Working, Working…
Folks, I thought I’d drop in a quick bloglet to let you all know I’m hanging in there.
Mostly, I’ve been editing a few different high-priority projects. (I’m also writing some music, and trying to figure out what comes next in my novel-in-progress Keisha’s Vow with whatever mental bandwidth I have left after editing and dealing with family concerns all day.) One is a nonfiction book. The other two are both anthologies; one is a multiple-author anthology, while the other is a single-author anthology.
Against the backdrop of work, work, and more work (and happy to have it, let me tell you), I’m preparing for the eighteenth anniversary of Michael’s death later this month, AKA “the saddest of sad anniversaries.” I always become more contemplative around this time of year; in addition, I wonder more as to how I’ve managed to live all this time without the love of my life standing beside me in a way everyone can understand.
(I have to put it that way, because I don’t believe Michael’s love went anywhere. I still feel his spirit, even now, almost eighteen years later. Because I knew him so well, and knew how much he loved me, I am able to continue on, though it is very difficult. But I digress.)
I’ve thought long and hard about many things, lately. Mostly, I’ve contemplated mortality, though it’s more along the lines of, “Is there still enough time for me to finish everything I’ve got in train?” (This comprises all editing projects, all musical compositions in progress, and of course all my writing projects.)
I don’t know the answer to that. Not to any of it. But I’ll keep trying, anyway, and hope that by putting one foot in front of the other — and by doing everything I possibly can every day — I’ll make progress.
Now, enough about me…what’s going on in your life? (Tell me about it in the comments, if you feel so kind. I get tired of shouting into the void, as the void never shouts back.)
A Quick Writing Bloglet
Folks, I just wanted to let you know I’ve sent out a 5500-word story to an anthology.
For the past three or four weeks, I’d been working on this. I knew the main characters right away–one man, one woman–and their respective situations. They have to make an alliance marriage to save both of their families from extinction, but they don’t know each other (the man knows of the woman, and knows she’s a female fighter/merc type), and the beginning of it all felt like setup to me.
I don’t know about you, but setting up a story for me is like pulling teeth. I want to get to the action. Or the romance. Or the suspense. Or drama.
In this case, just as the marriage vows are sealed, bandits are spotted heading for them. The man immediately defers to the woman (which she didn’t expect), as she has much more experience than he as he’s a scholarly type.
I don’t want to give the rest away, so I won’t (bad me), but I hope the anthology editor is going to love it.
I’m also working on restarting (yet again) KEISHA’S VOW and finishing up three edits (one nonfiction).
What’s going on in your lives?
Hard vs Soft Rejection (and why the difference matters)
Jason goes into the differences between soft rejections (meaning, fix what’s wrong and send it again) and hard rejections. This is well-said and possibly the most succinct-yet-folksy way of describing the differences between the two. Listen to him. (And don’t give up.)
Getting a rejection letter is hard. Quite frankly, it’s one of the worst feelings a writer will go through in their career. That feeling of utter failure, the emotional kick to the stomach that your baby just isn’t good enough. The anguish and despair upon reading “Dear [[insert name here]], we regret to inform you…” Rejection letters are inevitable in this business and we, as authors, are expected to take that rejection letter and move on.
But… but what if… the rejection letter isn’t quite what it seems? In fact, what if the rejection letter is an invitation to resubmit said novel? The only problem is, nowhere in the letter does it say this. Wait, what? Where is the manual for this publishing business, and why is it wonkier than dating in high school? Why is the principal a werewolf? Who let a zombie teach history?!
Ahem
Sorry. I digress.
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My Take on the Josh Hader Trade (One Week Later)
Last week, the Milwaukee Brewers traded their best player, relief pitcher/closer Josh Hader, to the San Diego Padres for four other players: pitcher Dinelson Lamet, relief pitcher/closer Taylor Rogers, OF prospect Esteury Ruiz, and pitching prospect Robert Gasser. This was an extremely surprising thing to do, because the Brewers were atop the National League Central division.
In other words, teams make trades like that — trades of their best player — when they don’t think they can make the playoffs.
That, of course, is not what the Brewers front office has said about it. Their take is, “We’re a small-market team, and we need to plan for the future, not just now.”
But the thing is, the players know this is wrong, for the reason I gave above.
Now, what do I think about the players the Brewers got in return? Well, Rogers is a good pitcher, but we’ll only have him until the end of the year, when he’ll be a free agent. (Rogers is not as good as Hader, mind. But he is good.) Lamet has already been waived; the Colorado Rockies picked him up. The other two, well, time will tell, as they’re both in the minor leagues.
But that’s not the entirety of what I think.
See, I view this as a slap in the face to the fans, as well as to the team as a whole. The fans want the team to do well; more to the point, they want to root for people they recognize. (A major trade like this, of a team’s best player, usually happens in the off-season, not in the middle of the season like this one.)
Josh Hader pitched for the Brewers for several years. In that span, he won three NL Reliever of the Year awards. He’s also a four-time All Star (meaning he’s been selected to go to the All Star Game), and as I said above, he’s arguably their best player.
So, the fans hate this move.
The players also hate this move, probably because it shows them that the Brewers will trade anyone — doesn’t matter how good they are — if the price is right.
Two players, pitcher Brandon Woodruff, and relief pitcher Devin Williams, said things like this a day after the Hader trade (best paraphrase from watching two Milwaukee Journal-Sentinel videos):
Williams: “Some things just don’t make any sense.”
Woodruff: “The first thing I thought, when I heard about the trade, was this: ‘Is this a joke?'”
That speaks volumes, doesn’t it?
Also, during last night’s edition of Brewers Extra-Innings (a radio talk show that happens after every Brewers game on WTMJ-AM 620 in Milwaukee), sportscaster Greg Matzek said that the entire team was still unhappy regarding the Hader trade.
(Considering the Brewers have now lost five of the last six games since the trade of Hader, that seems to be a reasonable assumption.)
So, my view boils down to this:
Ruiz had best be the second coming of Hank Aaron, for this trade to ultimately pan out. Otherwise, there is no point to this trade beyond a salary dump (as Hader was making the most of any pitcher on the staff at about $11 million dollars).
And if that’s the case, that’s flat-out disgraceful.
Eric Flint dies at 75, and his wife Lucille needs help
Folks, Eric Flint passed away yesterday due to a long illness. He was a brilliant writer, an interesting soul, and a kind-hearted man — the last needs to be pointed out at great length, as most people focus on the other two.
I only met Eric Flint and his wife Lucille once. It was in 2002, not long after I married Michael. At that point, Michael and I were both trying to figure out how to write together, as our writing styles were about as opposite as can be imagined.
Anyway, it was a Barfly gathering, in Chicago. Many others were there. Some knew we’d just gotten married. (I don’t know if Eric did, but at least a few of ’em did.) We weren’t saying much (observers R us, or at least we both were), but were taking in as much information as we could.
I somehow got enough energy and gumption to ask Eric how he wrote so well with disparate people. (At that time, he’d worked with David Weber, Dave Freer, Mercedes Lackey, K.D. Wentworth, and I think he was in the process of working with Ryk Spoor. This was not long after his landmark novel 1632 was published.) I told him that my writing process was far different from my husband’s, yet we wanted to write together. How could we do that?
I figured Eric had the answer, and he did.
Eric said that the way to collaborate with someone is to play to their strengths. If someone writes fast — such as Dave Freer — work with that and add what you can. If someone needs more time and thought — as did Michael — let him add what he could. Otherwise, try not to step on each other’s toes, and remember to have fun…I’m pretty sure he said all that, and if not, he probably meant to say all that (so I’ll attribute it to him anyway).
This made a huge difference to us. We knew we could do it, you see, but we needed the right words from an expert to let us know it was OK to fail. (This may seem counterproductive, but bear with me.) If one of us could write faster than the other (believe it or not, that person was me), the other could take his time and add what he wanted. If the other needed to write things in longhand before transcribing them to the computer, that was fine…if he wanted my help, I could slow down just a little, and help him out.
This was very, very important to know. And it grew more important after Michael died, because I now was looking at a bunch of stories that Michael left in progress, wondering how I could possibly finish them and do justice by them. (I’m still working on that part.)
Anyway, I mention all of this because Lucille, Eric’s wife, needs help now. Eric was ill the last year or so, and while he plateaued out for a while, he wasn’t able to do much writing. (He did encourage people right up until the end, though. That counts more than anyone can possibly know.) Without being able to write, the income stream narrows…without being able to write, the writer is in danger of people forgetting all about them (though I find it hard to believe anyone could forget about Eric Flint, maybe he worried about that as he was human and it’s a justifiable worry). And without being able to write, the writer gets frustrated, stymied, wondering what in the Hell has gone wrong — just because health has intruded, why does that mean we can’t write?
(That’s how I see it, anyway. I can’t ask Eric anymore to know if that’s how he did.)
At any rate, Eric Flint was a very generous soul who cared about others and nurtured many fine writers along the way. He also was a very good husband to Lucille, and as I understand how it feels to be suddenly widowed and in need of help, I wanted to make damned sure I passed along this link so you could go help her out.
This is the link: https://gofund.me/6b66d7f6
If you can’t donate now, share the link as far and wide as you can.
And please, please, stand with the widows and widowers in your life, most especially right after they’ve been widowed. They need much care and love and concern, most particularly because they are unable to care or love or take any concern about themselves due to their bereavement.