I'm putting together my giveaway schedule for August, and I have a lot of copies of The Winter Long. I also know that most of y'all have either a) bought that book, or b) not started the series. So here is my question:

Do we have enough people here who are caught up otherwise who still need a copy of The Winter Long? I don't want to send book eight to folks who've only read books one and two; that's counter-productive and really spoiler-y. At the same time, I want to make sure people with limited book budgets can still read A Red-Rose Chain when it comes out. Thus checking to see whether this would be a valid giveaway plan.

Caveat: I am still not up for international mailing. So this is really a question for my US readers.

Comment amnesty is on for this post. I just need data.

So:

Shortly before I left for New York (beginning of February, for those keeping track) and began the wonderful whirlwind that has been my spring convention season, I opened a hardship giveaway. Because of the timing of the trip, winners were not selected before I left, and have, in fact, not been selected yet. Since then, two more books have become eligible for hardship inclusion (Pocket Apocalypse and Rolling in the Deep). Also, due to apparent unclarity on my part, several people asked for books which I do not have in my possession. My question is this:

Should I do a drawing from that original giveaway post, or should I make apologies and open a replacement giveaway, with the updated book information?

If you're not sure what a hardship giveaway is, please check the "giving stuff away" tag for a better explanation than I am currently capable of.

Let me know what you think.

Hi!

I got a ping from Deborah (who monitors the merch account) yesterday, saying that people have been emailing her to go "WHERE SHIRTS?" First, thank you for using the merch account rather than commenting here. I've asked people to do that, and people are doing it, and that's awesome.

Second, shirts are still being mailed. Only not right this second, because right this second, I am in New York, and my mother, who is home with the shirts, doesn't have access to my bank account to pay for the postage. I've indicated several times that shirts are still being mailed, both directly, and by saying things like "I am still mailing T-shirts" in other posts (usually giveaways). As soon as I get home, I will go to the post office again.

The post office, as it turns out, does not look favorably on my bringing more than twenty packages at a time. Ten if they're international.

So please, don't email until I have made a post saying "all the shirts have been mailed, yes, all of them." Until that point, the answer to "WHERE SHIRTS?" is "in my spare room, waiting to go for a ride in the car."

As of tomorrow, The Winter Long will be officially available from bookstores all over North America, and from import stores all over the world. It's been spotted in the wild from California to New York, with several points between also chiming in to let me know that they've got copies. Hooray!

Since it's release week, I figured it was time to once again answer the wonderful people asking how they can help. So here are a few dos and don'ts for making this book launch awesome.

DO buy the book as soon as you can. Sales during the first week are very important—think of it as "opening weekend" for a movie—but they're not the end-all be-all. If you can get the book tomorrow, get the book; if you can get it at my book release party next month, get it at my book release party. Whatever works for you. Brick-and-mortar store purchases are best, as they encourage reordering. If you've already bought the book, consider buying the book again during release week, as a single copy might get lonely. They make great gifts!

DON'T yell at other people who haven't bought the book yet. I know, that's sort of a "why are you saying this?" statement, but I got a very sad email from a teenager who'd been yelled at for not buying A Local Habitation the week that it came out. So just be chill. Unless you want to buy books for people who don't have them, in which case, don't yell, just buy.

DO ask your local bookstore if they have it on order. If your local store is part of a large chain, such as Barnes and Noble, the odds are good that the answer will be "yes," and that they'll be more than happy to hold one for you. If your local store is small, and does not focus specifically on science fiction/fantasy, they may have been waiting to see signs of interest before placing an order. Get interested! Interest is awesome!

DON'T berate your local bookseller if they say "no." Telling people they're overlooking something awesome doesn't make them go "gosh, I see the error of my ways." It makes them go "well, I guess it can be awesome without me." Suggest. Ask if you can special-order a copy. But don't be nasty to people just because their shelves can't hold every book ever written.

DO post reviews on your blog or on Amazon.com. Reviews are fantastic! Reviews make everything better! Please, write and post a review, even if it's just "I liked it." Honestly, even if it's just "this wasn't really my thing." As long as you're being fair and reasoned in your commentary, I'm thrilled. (I like to think you won't all race right out to post one-star reviews, but if that's what you really think, I promise that I won't be mad.)

DON'T get nasty at people who post negative reviews. You are all people. You all have a right to the ball. That includes people who don't like my work. Please don't argue with negative reviewers on my behalf. It just makes everybody sad. If you really think someone's being unfair, why don't you post your own review, to present an alternate perspective? (Also, please don't email me my Amazon reviews. I don't read them, I don't want to read them, and I definitely don't want to be surprised with them. Please have mercy.)

DO feel free to get multiple copies. No, you probably don't need eight copies for your permanent collection, but remember that libraries, school libraries, and shelters are always in need of books. I'm donating a few of my author's copies to a local women's shelter, because they get a lot of women there who really need the escape. There are also people who just can't afford their own copies, and would be delighted. I wouldn't have had half the library I did as a teenager if it weren't for the kindness of the people around me.

DON'T feel obligated to get multiple copies, or pressure other people to do so. Seriously, we're all on budgets, and too much aggressive press can actually turn people off on a good thing. Let people make their own choices. Have faith.

DO check with your local library to be sure they have a copy of on order. If they don't, you can fill out a library request form. Spread the paperback love!

DON'T forget that libraries need books. Many libraries, especially on the high school level, are really strapped for cash right now, and book donations are frequently tax deductible. If you have a few bucks to spare, you can improve the world on multiple levels by donating books to your local public and high school libraries.

DO suggest the book to bookstore employees who like urban fantasy. Nothing boosts sales like having people in the stores who really like a project. If your Cousin Danny (or Dani) works at a bookstore, say "Hey, why don't you give this a try?" It just might help.

DON'T rearrange bookstore displays. If the staff of my local bookstore is constantly being forced to deal with fixing the shelves after someone "helpfully" rearranged things to give their chosen favorites a better position, they're unlikely to feel well inclined toward that book—or author. It's not a good thing to piss off the bookstores. Let's just not.

So those are some things. I'm sure there are lots of other things to consider; this is, at least, a start. Finally, a few things that don't help the book, but do help the me:

Please don't expect immediate email response from me for anything short of "you promised us this interview, it runs tomorrow, where are your answers?" I normally make an effort to be a semi-competent correspondent, but with a new book on shelves, final edits due on Chimera, and Chaos Choreography in need of finishing, and me gallivanting around Europe, a lot of things are falling by the wayside. Like sleep.

Whee!

As of today, Sparrow Hill Road is officially available from bookstores all over North America, and from import stores all over the world. It's been spotted in the wild from California to New York, with several points between also chiming in to let me know that they've got copies. Hooray!

Since it's release day, I figured it was time to once again answer the wonderful people asking how they can help. So here are a few dos and don'ts for making this book launch awesome.

DO buy the book as soon as you can. Sales during the first week are very important—think of it as "opening weekend" for a movie—but they're not the end-all be-all. If you can get the book today, get the book; if you can get it at my book release party, get it at my book release party. Whatever works for you. Brick-and-mortar store purchases are best, as they encourage reordering. If you've already bought the book, consider buying the book again, as a single copy might get lonely. They make great gifts!

DON'T yell at other people who haven't bought the book yet. I know, that's sort of a "why are you saying this?" statement, but I got a very sad email from a teenager who'd been yelled at for not buying A Local Habitation the week that it came out. So just be chill. Unless you want to buy books for people who don't have them, in which case, don't yell, just buy.

DO ask your local bookstore if they have it on order. If your local store is part of a large chain, such as Barnes and Noble, the odds are good that the answer will be "yes," and that they'll be more than happy to hold one for you. If your local store is small, and does not focus specifically on science fiction/fantasy, they may have been waiting to see signs of interest before placing an order. Get interested! Interest is awesome!

DON'T berate your local bookseller if they say "no." Telling people they're overlooking something awesome doesn't make them go "gosh, I see the error of my ways." It makes them go "well, I guess it can be awesome without me." Suggest. Ask if you can special-order a copy. But don't be nasty to people just because their shelves can't hold every book ever written.

DO post reviews on your blog or on Amazon.com. Reviews are fantastic! Reviews make everything better! Please, write and post a review, even if it's just "I liked it." Honestly, even if it's just "this wasn't really my thing." As long as you're being fair and reasoned in your commentary, I'm thrilled. (I like to think you won't all race right out to post one-star reviews, but if that's what you really think, I promise that I won't be mad.)

DON'T get nasty at people who post negative reviews. You are all people. You all have a right to the ball. That includes people who don't like my work. Please don't argue with negative reviewers on my behalf. It just makes everybody sad. If you really think someone's being unfair, why don't you post your own review, to present an alternate perspective? (Also, please don't email me my Amazon reviews. I don't read them, I don't want to read them, and I definitely don't want to be surprised with them. Please have mercy.)

DO feel free to get multiple copies. No, you probably don't need eight copies for your permanent collection, but remember that libraries, school libraries, and shelters are always in need of books. I'm donating a few of my author's copies to a local women's shelter, because they get a lot of women there who really need the escape. There are also people who just can't afford their own copies, and would be delighted. I wouldn't have had half the library I did as a teenager if it weren't for the kindness of the people around me.

DON'T feel obligated to get multiple copies, or nag other people to do so. Seriously, we're all on budgets, and too much aggressive press can actually turn people off on a good thing. Let people make their own choices. Have faith.

DO check with your local library to be sure they have a copy of on order. If they don't, you can fill out a library request form. Spread the paperback love!

DON'T forget that libraries need books. Many libraries, especially on the high school level, are really strapped for cash right now, and book donations are frequently tax deductible. If you have a few bucks to spare, you can improve the world on multiple levels by donating books to your local public and high school libraries.

DO suggest the book to bookstore employees who like urban fantasy. Nothing boosts sales like having people in the stores who really like a project. If your Cousin Danny (or Dani) works at a bookstore, say "Hey, why don't you give this a try?" It just might help.

DON'T rearrange bookstore displays. If the staff of my local bookstore is constantly being forced to deal with fixing the shelves after someone "helpfully" rearranged things to give their chosen favorites a better position, they're unlikely to feel well inclined toward that book—or author. It's not a good thing to piss off the bookstores. Let's just not.

So those are some things. I'm sure there are lots of other things to consider; this is, at least, a start. Finally, a few things that don't help the book, but do help the me:

Please don't expect immediate email response from me for anything short of "you promised us this interview, it runs tomorrow, where are your answers?" I normally make an effort to be a semi-competent correspondent, but with a new book on shelves, final edits due on Pocket Apocalypse, and A Red-Rose Chain in need of finishing, a lot of things are falling by the wayside. Like sleep.

Whee!

This question has been coming up a lot recently, so I thought I'd take a moment to address it in a central place that people could be pointed to. Specifically:

"Why can't I buy your music on iTunes/Band Camp/Amazon MP3/whatever?"

Sometimes the question takes the form of "I have gone all-digital, why do I have to buy a physical CD?", but those are basically the same thing, since "Why can't I buy..." is the flip side of "Why do I have to buy...". And here is my answer:

I will never, barring the closure of all the CD manufacturing companies, be selling my music digitally. If you want to own my music, you will need to either buy and rip a physical CD, or pirate it. I would obviously prefer the former, but since some of my CDs are out of print, I'll understand if you go for the latter.

Why?

Two big reasons. These are...

It's a hobby.

I am not a professional musician. Even if I sell every single copy of every single CD at full "retail price," never selling through filk dealers or sites like CD Baby, I won't turn a profit. Breaking even is the most that I can hope for. Because all CDs are nothing but red ink, they don't further complicate my already incredibly complicated taxes. If I started doing digital sales, which many people view as "money for nothing," I might pass that magical line where I make a profit, and then I would have to figure out how to deal with things.

I don't take enough of a loss for my music to be a tax write-off (yet), but I also don't make any money, and that keeps things simple. If I started needing to religiously track receipts and who paid what where to who, I don't know that the carrot would remain worth the stick for me.

The digital divide exists.

I feel as strongly about physical CDs as I do about physical books. The ability to release things digitally is amazing for people who can't afford a print run, or are doing something incredibly focused, or just want to get themselves out there. I can afford a print run; I have an audience; I am as out there as I need to be. And people like my mother, who doesn't own an MP3 player, and who listens to all music via her CD player, still exist.

Because of the costs of production, I can only afford to produce physical CDs when I'm sure that I'll be able to sell them. If 50% of my audience went to digital downloads, I'd wind up with a lot of unsold CDs, and again, would not be able to justify producing more. And for me, that would be the end of it. I'm not going to pay for recording and mixing and mastering and not have something in my hands when I'm done. I can't afford to produce CDs in units of less than 1,000—and with full "to get this, you must buy physical" buy-in, it still took four years for Stars Fall Home to sell out.

Cover songs.

None of my cover song licenses include digital rights. All my albums would be missing pieces if I put them up for digital download.

And so...

I know that this can create bottlenecks. I know that physical disks come with shipping costs, and that sometimes vendors run out. I know that I'm losing business. These are choices that I made, for the reasons listed above, and while they may be wrong choices, they are mine, and I'm sticking with them.

Thank you.

As of today, Half-Off Ragnarok is officially available from bookstores all over North America, and from import stores all over the world. It's been spotted in the wild from California to New York, with several points between also chiming in to let me know that they've got copies. Hooray!

Since it's release day, I figured it was time to once again answer the wonderful people asking how they can help. So here are a few dos and don'ts for making this book launch awesome.

DO buy the book as soon as you can. Sales during the first week are very important—think of it as "opening weekend" for a movie—but they're not the end-all be-all. If you can get the book today, get the book; if you can get it at my book release party, get it at my book release party. Whatever works for you. Brick-and-mortar store purchases are best, as they encourage reordering. If you've already bought the book, consider buying the book again, as a single copy might get lonely. They make great gifts!

DON'T yell at other people who haven't bought the book yet. I know, that's sort of a "why are you saying this?" statement, but I got a very sad email from a teenager who'd been yelled at for not buying A Local Habitation the week that it came out. So just be chill. Unless you want to buy books for people who don't have them, in which case, don't yell, just buy.

DO ask your local bookstore if they have it on order. If your local store is part of a large chain, such as Barnes and Noble, the odds are good that the answer will be "yes," and that they'll be more than happy to hold one for you. If your local store is small, and does not focus specifically on science fiction/fantasy, they may have been waiting to see signs of interest before placing an order. Get interested! Interest is awesome!

DON'T berate your local bookseller if they say "no." Telling people they're overlooking something awesome doesn't make them go "gosh, I see the error of my ways." It makes them go "well, I guess it can be awesome without me." Suggest. Ask if you can special-order a copy. But don't be nasty to people just because their shelves can't hold every book ever written.

DO post reviews on your blog or on Amazon.com. Reviews are fantastic! Reviews make everything better! Please, write and post a review, even if it's just "I liked it." Honestly, even if it's just "this wasn't really my thing." As long as you're being fair and reasoned in your commentary, I'm thrilled. (I like to think you won't all race right out to post one-star reviews, but if that's what you really think, I promise that I won't be mad.)

DON'T get nasty at people who post negative reviews. You are all people. You all have a right to the ball. That includes people who don't like my work. Please don't argue with negative reviewers on my behalf. It just makes everybody sad. If you really think someone's being unfair, why don't you post your own review, to present an alternate perspective? (Also, please don't email me my Amazon reviews. I don't read them, I don't want to read them, and I definitely don't want to be surprised with them. Please have mercy.)

DO feel free to get multiple copies. No, you probably don't need eight copies for your permanent collection, but remember that libraries, school libraries, and shelters are always in need of books. I'm donating a few of my author's copies to a local women's shelter, because they get a lot of women there who really need the escape. There are also people who just can't afford their own copies, and would be delighted. I wouldn't have had half the library I did as a teenager if it weren't for the kindness of the people around me.

DON'T feel obligated to get multiple copies, or nag other people to do so. Seriously, we're all on budgets, and too much aggressive press can actually turn people off on a good thing. Let people make their own choices. Have faith.

DO check with your local library to be sure they have a copy of on order. If they don't, you can fill out a library request form. Spread the paperback love!

DON'T forget that libraries need books. Many libraries, especially on the high school level, are really strapped for cash right now, and book donations are frequently tax deductible. If you have a few bucks to spare, you can improve the world on multiple levels by donating books to your local public and high school libraries.

DO suggest the book to bookstore employees who like urban fantasy. Nothing boosts sales like having people in the stores who really like a project. If your Cousin Danny (or Dani) works at a bookstore, say "Hey, why don't you give this a try?" It just might help.

DON'T rearrange bookstore displays. If the staff of my local bookstore is constantly being forced to deal with fixing the shelves after someone "helpfully" rearranged things to give their chosen favorites a better position, they're unlikely to feel well inclined toward that book—or author. It's not a good thing to piss off the bookstores. Let's just not.

So those are some things. I'm sure there are lots of other things to consider; this is, at least, a start. Finally, a few things that don't help the book, but do help the me:

Please don't expect immediate email response from me for anything short of "you promised us this interview, it runs tomorrow, where are your answers?" I normally make an effort to be a semi-competent correspondent, but with a new book on shelves, final edits due on Pocket Apocalypse, and A Red-Rose Chain in need of finishing, a lot of things are falling by the wayside. Like sleep.

Please don't ask me when book four is coming out. I may cry. Plus, the answer is March 2015.

Whee!

...that I have already answered the majority of the questions about Indexing in this entry, and will not answer them again.

The only question I've received multiple times which is not addressed in that entry is "Will there be a season two?" The answer to that is "I still don't know." It'll be influenced by a lot of things, including how well season one sells, so...tell your friends, I guess, if you want to see more adventures of the ATI Management Bureau.

That is all.

I get asked, a lot, about what I have coming out. Where can it be found, where is the schedule, has something been published, has something been sold. Which is incredibly flattering, honestly—what author doesn't want to have people beating down her door to find out where they can get more stories?—but can also lead to that thing where I have answered the same question ten times and now it's just upsetting and I'm starting to doubt my own answers. So here is your quick and dirty guide to finding out what I have coming up:

Stop #1: The Bibliography.

The bibliography on my website is located here:

http://seananmcguire.com/other.php

It lists every book, short story, and essay I have published, all curated into the appropriate sections. Note that, for the most part, this only includes things that are already available; upcoming releases are unlikely to be listed, unless they are novels being released within the next three months. The bibliography is updated every time something is released, so it's always up-to-date. Indexing is not currently listed, because there is no "serials" category; I'm still trying to figure out how to deal with that.

Stop #2: Inchworm Girl.

The best place to find out about upcoming publications is here:

http://seanan-mcguire.livejournal.com/tag/inchworm%20girl

This is the tag where I post my rolling "upcoming" list, and includes release dates whenever possible. Some things, especially novels, may appear on this list for some time before they move to the bibliography.

Stop #3: The Lost Children.

"But wait," you cry, "what about...? I saw it on the Current Projects list!"

Sadly, the answer is "if it is not on either the bibliography page or listed in the inchworm girl with a release date, it does not have a release date." That could mean it's out on submission. That could mean it's currently benched while I deal with other things. Or it could mean that it has been sold but not yet announced, which puts me effectively on radio silence. And here's the real problem:

I can't tell you which it is.

If you ask about something that's not in one of those two places, I will not discuss its status with you. I will say "yes, I wrote that," and move on. Pressuring me for details will just frustrate us both, because you won't get what you want and I'll feel like my boundaries aren't being respected. I actively want to publish everything, because let's face it, that's how I pay the bills, but this is a very long game.

I hope this helps; I'd like everyone to be able to find everything. There's a lot of everything to find.

I have appeared in two limited edition books from Subterranean Press: A Fantasy Medley 2, which featured my Tybalt-centric novella, "Rat-Catcher," and When Will You Rise?: Stories to End the World, which features "Countdown" and "Apocalypse Scenario #683: The Box." ("Apocalypse Scenario" is not set in the Newsflesh universe, by the way; it's part of my mad science triptych, along with "The Tolling of Pavlov's Bells" and "Laughter at the Academy.")

A Fantasy Medley 2 is now out of print. Very, very out of print. "The signed edition is selling for upwards of a thousand dollars on Amazon" out of print. I do not have copies for sale. I don't generally sell author's copies of anything, because I am not a store, but in this case especially, I didn't receive enough copies to do anything like that. There is no ebook edition, and right now, because I am still under contract for the physical book, I don't have the option to post the story as a free download. Eventually, it will either be reprinted or posted to my short fiction page, depending on how things go, but for the moment, I just don't have the authority. (Most short fiction contracts come with an "exclusivity" clause which guarantees an author won't sell the same thing to thirty markets at once.)

There are some copies of the basic, non-signed edition of A Fantasy Medley 2 currently available on Amazon, starting at about $15. If you're really, really desperate to read "Rat-Catcher" without buying from Amazon, you might want to consider getting a supporting membership to this year's Worldcon. Yes, $60 for one novella is a lot, but you don't just get one novella: you get the entire Hugo Voter's Packet, which is way awesome and packed with goodness.

When Will You Rise?: Stories to End the World is not out of print...yet. But it is a limited edition of 1,000 copies, and I know that a lot of those have been sold. You can find details on the book here. It's a really gorgeous piece of work, with incredible illustrations throughout. And, speaking candidly...I really enjoyed doing this book, and I'd love it if the sales supported Subterranean doing another. So I'm very much in favor of people buying copies for their very own. Both stories included in When Will You Rise? are available through the Orbit Short Fiction Program, so you won't have the same issues getting your hands on them (at least for right now), but this is currently your only option for seeing those stories in physical form.

Hope this clears things up a bit!

(The Velveteen vs. books are also limited printings, although in this case, the publisher has the option to print more if the first print run sells out. So it's not as much of an immediate concern, although naturally, I think everyone should own these books in their own homes, to avoid them somehow magically ending up in mine.)

ETA: Updated some availability notes, as Amazon once again has the basic A Fantasy Medley 2 available for order. Hooray!

The first episode of Indexing (check this link for more details) has now been out for a little over a week. Response has been generally positive, which makes me very happy, but there have been a few recurring questions, so I figured I'd take a moment to answer them.

1. Can I get Indexing for my Nook/in the iBookstore/for any format other than Kindle?

No.

I'm not trying to be harsh: it's just that this particular question has a very simple answer. Indexing was commissioned by 47North for the Kindle Serials Program; "Kindle" is right there in the name. While I am historically opposed to "format exclusives," I am okay with this one for two major reasons. One, the project would not have been possible if not for 47North saying "we want this for the Kindle, we will pay you to write it." Two, there will be a World English print edition in December, meaning that even those of us who don't us Kindles will get the opportunity to read it. It's just going to take a little longer.

2. Isn't this just going to increase piracy?

Probably. But I really do hope that anyone who chooses to pirate the serial because they don't use the Kindle will then buy the finished print edition, because I really, really enjoy feeding my cats.

3. Didn't I read this like, four years ago?

The serial novel Indexing is based on a revised and expanded version of the short story "Indexing," which originally appeared on the Book View Cafe in September 2009. The original story is no longer available online, and has not been collected in any print volumes.

4. Why can't I buy this outside the US?

The Kindle Serial Program is currently US-only, which means that the biweekly installments are only available to United States residents/people who know how to fool their Kindles. The print edition, as noted above, is World English, and will be available wherever there is an Amazon partner site. If you have questions about why this is, please ask Amazon; I cannot help you.

5. Is the Aarne-Thompson Index a real thing?

Yes! I own one. It is my pride and joy and it is enormous and it cost a lot of money and one day Bill Willingham will pay someone to break into my house in the middle of the night so that he can claim it as his own. Sometimes I just sit and pet it for hours. It's a very helpful scholastic tool, for a folklorist, and a really great doorstop for people who don't read indexes for funsies.

6. You know Bill Willingham? Does that mean you know about how there's a Snow White in Fables?

I do, and I do, but our Snows are very different people. Snow White is what's called a "public domain character," which is how there can be so many versions of her without Disney deciding to sue us all for copyright infringement. I love her because she's a fantastic mirror to hold up to other stories. She brings the apples and the glass coffins, we bring everything else. For other awesome Snow Whites, read Catherynne Valente's Six-Gun Snow White, Neil Gaiman's Snow, Glass, Apples, and Jim C. Hines's The Stepsister Scheme. Archetypes are for everybody!

The next episode will be out this coming Tuesday, and I just finished the first draft of episode nine. I think you're going to like what's coming!

Got any more questions?

I'm doing an AMA (Ask Me Anything) tonight on Reddit. The link is here:

http://www.reddit.com/r/Fantasy/comments/1aqoy0/hello_im_seanan_mcguire_i_write_urban_fantasy_and/

We're taking questions throughout the day, and then I'll be answering them at 7PM CST tonight. Please swing by and contribute some witty, insightful, interesting questions. Or, you know, ask me about the X-Men. Whatever makes you happy.

See you tonight!

As of today, Midnight Blue-Light Special is officially available from bookstores all over North America, and from import stores all over the world. It's been spotted in the wild from California to New York, with several points between also chiming in to let me know that they've got copies. Hooray!

Since it's release day, I figured it was time to once again answer the wonderful people asking how they can help. So here are a few dos and don'ts for making this book launch awesome.

DO buy the book as soon as you can. Sales during the first week are very important—think of it as "opening weekend" for a movie—but they're not the end-all be-all. If you can get the book today, get the book; if you can get it at my book release party, get it at my book release party. Whatever works for you. Brick-and-mortar store purchases are best, as they encourage reordering. If you've already bought the book, consider buying the book again, as a single copy might get lonely. They make great gifts!

DON'T yell at other people who haven't bought the book yet. I know, that's sort of a "why are you saying this?" statement, but I got a very sad email from a teenager who'd been yelled at for not buying A Local Habitation the week that it came out. So just be chill. Unless you want to buy books for people who don't have them, in which case, don't yell, just buy.

DO ask your local bookstore if they have it on order. If your local store is part of a large chain, such as Barnes and Noble, the odds are good that the answer will be "yes," and that they'll be more than happy to hold one for you. If your local store is small, and does not focus specifically on science fiction/fantasy, they may have been waiting to see signs of interest before placing an order. Get interested! Interest is awesome!

DON'T berate your local bookseller if they say "no." Telling people they're overlooking something awesome doesn't make them go "gosh, I see the error of my ways." It makes them go "well, I guess it can be awesome without me." Suggest. Ask if you can special-order a copy. But don't be nasty to people just because their shelves can't hold every book ever written.

DO post reviews on your blog or on Amazon.com. Reviews are fantastic! Reviews make everything better! Please, write and post a review, even if it's just "I liked it." Honestly, even if it's just "this wasn't really my thing." As long as you're being fair and reasoned in your commentary, I'm thrilled. (I like to think you won't all race right out to post one-star reviews, but if that's what you really think, I promise that I won't be mad.)

DON'T get nasty at people who post negative reviews. You are all people. You all have a right to the ball. That includes people who don't like my work. Please don't argue with negative reviewers on my behalf. It just makes everybody sad. If you really think someone's being unfair, why don't you post your own review, to present an alternate perspective? (Also, please don't email me my Amazon reviews. I don't read them, I don't want to read them, and I definitely don't want to be surprised with them. Please have mercy.)

DO feel free to get multiple copies. No, you probably don't need eight copies of One Salt Sea for your permanent collection, but remember that libraries, school libraries, and shelters are always in need of books. I'm donating a few of my author's copies to a local women's shelter, because they get a lot of women there who really need the escape. There are also people who just can't afford their own copies, and would be delighted. I wouldn't have had half the library I did as a teenager if it weren't for the kindness of the people around me.

DON'T feel obligated to get multiple copies, or nag other people to do so. Seriously, we're all on budgets, and too much aggressive press can actually turn people off on a good thing. Let people make their own choices. Have faith.

DO check with your local library to be sure they have a copy of on order. If they don't, you can fill out a library request form. Spread the paperback love!

DON'T forget that libraries need books. Many libraries, especially on the high school level, are really strapped for cash right now, and book donations are frequently tax deductible. If you have a few bucks to spare, you can improve the world on multiple levels by donating books to your local public and high school libraries.

DO suggest the book to bookstore employees who like urban fantasy. Nothing boosts sales like having people in the stores who really like a project. If your Cousin Danny (or Dani) works at a bookstore, say "Hey, why don't you give this a try?" It just might help.

DON'T rearrange bookstore displays. If the staff of my local bookstore is constantly being forced to deal with fixing the shelves after someone "helpfully" rearranged things to give their chosen favorites a better position, they're unlikely to feel well inclined toward that book—or author. It's not a good thing to piss off the bookstores. Let's just not.

So those are some do's and don't's. I'm sure there are lots of other things to consider; this is, at least, a start. Finally, a few things that don't help the book, but do help the me:

Please don't expect immediate email response from me for anything short of "you promised us this interview, it runs tomorrow, where are your answers?" I normally make an effort to be a semi-competent correspondent, but with a new book on shelves, final edits due on Half-Off Ragnarok, and The Winter Long in need of finishing, a lot of things are falling by the wayside. Like sleep.

Please don't ask me when book three is coming out. I may cry. Plus, the answer is March 2014.

Whee!

So remember when I said that I would answer ten questions about the InCryptid universe? I'm still taking questions, and actively need questions that follow the "big, about the world" model as described in the original post, but here's your sixth answer!

rianax asks...

"If they can't interbreed with humanity, how to these different species met up and have children in the modern world? Is there a cryptid Cupid.com?"

Yay, cryptid breeding! We're going to restrict ourselves to a very anthrocentric approach, for the sake of answering the question as posed: we're only looking at cryptids that can, for one reason or another, live in human settlements. The ones who can "pass," in other words. They're both the ones who are most likely to have issues with humans seeming attractive, and the ones who will have the most "I need to know your species before we can hook up" problems.

Some of these cryptids get around the "accidentally dating humans" issue by not being mammals. For the most part, humans smell "wrong" to them, and are hence not attractive. You do get occasional perverts who like mammal boys or insect girls instead of sticking with good, honest reptile people like their siblings, but for the most part, people are attracted to things they have half a chance of being biologically compatible with. (Science supports me on this.)

A few species of cryptid are cross-fertile with humans. A very few species, and most of them will still choose not to crossbreed, because there's a very good chance their offspring will be infertile, which doesn't help keep the family line going. Lilu, which includes both incubi and succubi, are cross-fertile, and their offspring have a fifty percent chance of being infertile. Fertile crossbreeds will usually have children that are indistinguishable from the species of their mate. So if Elsie, who is half-succubus, were to visit a sperm bank and get some human sperm, she would have a baby who was effectively a very sexy human, rather than a succubus crossbreed. Jinks and leprechauns are similar, and many family links have a little jink or leprechaun blood.

Tanuki are the only known species of therianthrope to be cross-fertile outside of other therianthropes, and they manage this partially by having lots and lots of tanuki babies. As with certain types of frog (no, seriously, science again), they have evolved extremely dominant DNA. If Ryan were to mate with Istas, you wouldn't get half-waheela babies, you'd get unusually colored tanuki. Even when there were more of them, they would often seek out-species mates to get hybrid vigor back into the community. Sorry about what that does for your family line, dearest.

There are dating services for some species of cryptid, ranging from the very communal "let me introduce you, he's a nice boy" social dances of the bogeymen to the more formal courting rituals of the gorgons. There are very few true solitaries, and almost everyone knows where everyone else is. And yes, some of this happens on the internet, although it has to be very carefully masked and monitored; the Covenant can log on, too.

So remember when I said that I would answer ten questions about the InCryptid universe? Well, I'm still taking questions, but here's your fifth answer!

ladymurmur asks...

"I'm not asking for calendar of holidays, but instead have a logistical ponderment - For how many generations to the Aeslin keep their holidays? when the colonies branch off, and begin creating their own new holidays, do the new holidays begin overwriting or supplanting the old holidays so that there is only one or just a few on any given day? Or do they stack, becoming almost an "on this day in history" sort of situation? If there are multiple celebrations on one day, are the celebrated concurrently? consecutively? Do colonies ever rejoin each other, or cross-pollinate in some fashion (an Aeslin exchange program?) and thus share holidays? or are the new colonies more like religious schisms, and ne'er the twain shall meet?"

I decided that I would answer one question about the Aeslin mice this round, because while I love them, they're sort of like bacon: a little bit can go a very long way, and we're way too early in the series to be risking mouse burn-out. This one offered the most opportunities to stick knives into people, so...you're welcome, I guess.

First off, there's a major underlying assumption buried in this question: the assumption that colonies branch off. They used to, but that doesn't happen anymore, because branching really happens only when the population gets too large for the space and resources available. The colony of Aeslin mice currently living with the Price family is the last known Aeslin colony in the world. The elders control birth rates and expansion very carefully, and pray for the younger generation of Prices and Price-Harringtons to marry and settle in homes of their own, because they're trying to avoid an actual schism; they know very well that any groups that leave the family home are extremely unlikely to survive. At the same time, if a schism becomes unavoidable before a new attic or basement or guest bedroom becomes available to them, the schisming mice will no longer exist from the perspective of the colony. Reject the colony, you reject the colony's gods. Reject the colony's gods, reject the colony's way of life. Reject the colony's way of life, you are no longer my child.

Aeslin mice are pathologically religious. They can't fight the urge to worship. It's tied to their survival instincts; while a colony that worships a cat is likely to be eaten, a colony that worships a tree will have a stronger tendency to stay together and stay safe, because they need to be healthy to properly tend to the needs of their god. They're capable of teamwork and very complicated thought, but they're still mice. Talking mice. The Covenant wiped them out easily as sports of nature and demonic imps. People who found them in their homes captured them and sold them to circuses or traveling shows. Cats, dogs, foxes, snakes...it's a big, scary world for an Aeslin mouse, and it's entirely possible that the colony found by Caroline Davies, mother of Enid Davies (later Enid Healy), was the last one there was. She saved them. She gave them something to believe in.

She gave them her family.

Now, on to the more time-based questions. "For how many generations do the Aeslin keep their holidays?" For as many as they keep their faith. If they worship a tree, then hundreds of generations could pass before their god withers and dies. If they worship a mayfly, they'll need a new god by the end of the summer. The Price family Aeslin still celebrate the Sacred Ritual of I Don't Care What You Say, They're Harmless Little Things and They Need a Home, They're Not Monsters, They're Mice, better known to the family as "the day Great-Great-Great-Grandma Caroline found the mice in the barnyard." Nothing is ever forgotten. Nothing is ever forgotten. To forget anything would be to shame the gods, and to be less than Aeslin.

The Aeslin calendar does not exactly match the human calendar; it has more months, for one thing, and the number seems to increase periodically, although no one human understands how or why that happens. While the feast days and celebrations will always match up to their original places on the human calendar, how often they are observed is determined by a number of factors, including their place on the Aeslin calendar, how resource-intensive the observation is, and how much they like the festival. (The Festival of Giving a Mouse a Cookie, way more popular than The Remembrance of the Violent Priestess, Who Never Learned to Be Careful.) They can, and will, perform any liturgical rite on request, but when they come around naturally doesn't follow a human logic pattern.

The mice who travel with Verity, Alex, and the others aren't considered new colonies; they're still part of the central colony, and will remain so for as long as they share gods. The mice very much enjoy coming back together to consolidate their observances of the family, share rituals, and remind themselves that they are still united.

As long as there are Prices, there will be Aeslin.

The same is not quite as certain in reverse.

So remember when I said that I would answer ten questions about the InCryptid universe? Well, I'm still taking questions, but here's your fourth answer!

geekhyena asks...

"A clarification of my earlier comment (since I realized I didn't word it as clearly as I had intended): Why do some cryptids from very reclusive/rural-oriented and/or endangered species (such Waheela/Gorgons/etc) choose to live in cities, as opposed to others of their species? Herd immunity (so to speak)? Cultural reasons? Genuinely curious here. (As to how Istas got involved with the Goth and/or Lolita subculture(s) )"

Well, first off, I'm not going to tell you how Istas got involved with the Goth and/or Lolita subcultures. If you look at the original post (which I'd like you all to do, since I need to do six more of these Q&A posts before the book comes out), you'll see the bit where I said "no spoilers." That applies to "how did character X wind up in situation Y" questions, since hey, I may want to write that someday. You'll like it better if I'm allowed to think about it longer, I promise.

Which brings me to the core question of "why do some cryptids who aren't considered specifically urban, like bogeymen (who hate living in the country), sometimes choose to live in cities?" Well!

First off, we have to remember that sapient cryptids, while not human, are still people, and every person is different. Istas is a serious social butterfly, for a waheela. Ryan is considered a little stand-offish, for a tanuki. Sarah is remarkably pleasant and non-destructive, for a cuckoo. And so on, and so on. You can make blanket statements about a species, like "waheela are generally territorial" and "tanuki generally live in family groups," but those will never be universal, any more than "humans are often suspicious and aggressive" applies to every single member of the human race. For someone like Istas, who actually likes things like fashion, cooked food, shoes, and having conversations with people she's not about to eat, living in the frozen Canadian tundra is just this side of hell. For a normal waheela, living in Manhattan would be just as bad.

Secondly, we have to remember that cities offer some opportunities that country living just doesn't, especially now that the world doesn't really believe in barter economies. If you belong to a species that can "pass" for human during part or all of your life, spending a few years in Orlando working at Disney World and sending money home to the rest of the family is just the sensible, responsible thing to do. Think of it as the cryptid equivalent of the popular interpretation of the Amish rumspringa: go to the city, live and work among the humans, figure out how dangerous and frightening they are, come home where no one's going to skin you and wear you as a fashionable coat.

It's surprisingly easy to be reclusive in the big city. In a small town where everybody knows your name and notices if you don't show up to check your PO Box on Wednesday afternoon, you're going to have a lot of trouble explaining where you went for those two months when you were hibernating. In San Francisco or Chicago, as long as your bills are paid, you can probably get away with it. Also, just like some humans don't like people but do like tigers/alligators/gorillas/whatever, some cryptids don't like their own species, but do like humans, regarding us as adorable and bizarre at the same time, and hence enjoy spending time with us, while still considering themselves "isolated" and "alone."

Finally...where else are they supposed to go? It's increasingly hard to live in a little house in the middle of a deep, dark forest without worrying that you're going to have a Wreck-It Ralph eminent domain situation on your hands. Much like most humans can't imagine going back to living with outhouses and no electricity and shoes only on special occasions, most sapient cryptids aren't overly excited by the "go live in a cave already" concept. There are rural cryptids, and cryptids who survive quite happily in places that humans still regard as uninhabitable, but for all the ones who evolved and adapted to climates similar to the humans around them, it's cities or suckage. So they choose cities. It's not their favorite option; thanks to us, it's the one that they have.

So remember when I said that I would answer ten questions about the InCryptid universe? Well, I'm still taking questions, but here's your third answer!

professor asks...

"Given that the Covenant is a centuries-old organization that worships tradition and conformity, how do gender and racial identity politics within the Covenant work?"

I find it interesting that when we hear the phrase "hide-bound" or "traditional" in reference to an organization like the Covenant, whose stated mission is killing monsters, we immediately assume that they must be an organization completely dominated by white cisdudes. And I'm including myself in that "we": when I first started working on the organizational structure of what would become the Covenant of St. George, it was extremely old white cisdude-centric.

At one time, that was probably an accurate view of the organizational makeup. While they are no longer particularly religious in nature, or sanctioned by any major church, they did start out with strong church ties, and the church in the Middle Ages was pretty firm on its whole "gotta be a dude with a penis to come to the party." Add in the fact that large portions of the Covenant's leadership settled in Italy, France, and the United Kingdom, and you'd get a very white cisdude party. But here's the thing: the Covenant was good at their job. They still are, as much as they can be; remember that today's cryptids are the descendents of the ones who learned to hide from the raids and the cleansings. One by one, the big flashy monsters were killed off or driven into the shadows, and it got harder to be picky.

There was a time when any village in Europe would have been proud to have a son chosen to work with the Covenant of St. George. By the late 1500s, most of those same villages considered the Covenant a fairy tale, and would never have dreamed of giving away their sons. The Covenant began doing their recruiting from people who had actually encountered cryptids, who could actually see the value in fighting against them. This meant dropping virtually all restrictions against girls serving active roles, because sometimes, it was the girls who survived.

Most of the Covenant's early female recruits provided backup and support for the field teams, having not been trained to fight before they came to the Covenant. At the time, it was not standard within the Covenant for all recruits to receive field training. This changed in the mid-1600s, following the last successful attack on a Covenant stronghold. Half the support staff were killed, as were most of the children currently being housed in that location. After that, it became a prerequisite that all recruits learn to fight, even if they were not constitutionally equipped for field positions.

Resistance to women in the field continued for quite some time, although it had less to do with "women can't handle it," and more to do with "we're not really a powerful political or religious force anymore, and we don't want our male operatives arrested for traveling with women they're neither related to nor married to." Field team marriages became very common, because it was a way for women to get "out of the office" and out doing what they did best. Killing stuff. By the mid-1800s, women had a completely equal voice in Covenant activities.

If this seems like it took a really long time, please compare it to real-world history. The Covenant was surprisingly enlightened, largely out of necessity.

But that only addresses female equality, not race or gender identity. Race was actually addressed somewhat earlier, when the Covenant followed the various explorations, Crusades, and invasions of the rest of the world, either forming or making contact with similar groups around the world. Most local groups were sadly largely absorbed into the Covenant, because the Covenant had the resources and the manpower to make joining forces seem appealing. Those who weren't absorbed are still considered part of the Covenant today, and are not spoken of much outside the regions where their methods dominate. And here's the thing: since the Covenant, and its sister organizations, focused so strongly on "humans first," they didn't bother as much with racial divides. There would be time for those later, when the monsters were all gone. To be fair, if the Covenant had successfully wiped out the monsters in the 1600s, they would probably have turned around and started ethnic cleansing. But they didn't, and they didn't, and they wound up a fully integrated organization by the mid-1800s. They understand racism, and will use it to their advantage when possible, but the Covenant as an institution does not tolerate racial discrimination. Humans gotta stick together.

Sexuality and gender identity are harder, in part because the Covenant relies on "legacy children" for so much of its membership. You're really expected to have kids if you possibly can. While this isn't a law or anything, you'll get a lot of the "Have you tried not being a ________?" routine, especially if you were already slated for inclusion in the breeding program. But at the end of the day, again, they need trained members more than they need to be prejudiced, and have been QUILTBAG inclusive since the early 1900s.

Seriously, there was a time—a long time—where if you were a strong-willed woman who wanted to make your own choices, a gay, lesbian, bisexual, or transsexual teen, or of any race that didn't match the locally dominant racial type, the Covenant was your best route out of that life. If you heard about them, if you heard that they could save you, you took that chance. And the people who took that chance tended to become very loyal, because they were given lives that they could otherwise have only dreamt of.

The modern Covenant is very enlightened, except for the part where anything that isn't human is a monster. There's no room for discussion on that front. And really, that's the problem.

So remember when I said that I would answer ten questions about the InCryptid universe? Well, I'm still taking questions, but here's your second answer!

ashnistrike says...

"I'm going to deviate from all the Aeslin obsession above and admit to a cuckoo obsession (much less healthy). When I see something like this—a species that has almost all gone mad around their basic biological set-up—my assumption is that at one point they were more sane and adaptive, and something changed in their environment so that once-adaptive characteristics led to problems. And yes, I realize that they are still adaptive in the purely biological sense in spite of being sociopaths. But it still seems likely that they haven't always been that way. So, question—what's the original environment in which their parasitic telepathy evolved? What changed? Were they ever less completely destructive to their hosts? Symbiotic? Have they ended up, as parasites often do, in biological/telepathic arms races with other cryptid species?"

YAY I GET TO TALK ABOUT JOHRLAR YOU'RE ALL GOING TO BE SORRY!!!!

...ahem.

So the cuckoos are more properly called "Johrlac" (species name Johrlac psychidolos), and they are not from around here. I would call this a spoiler, since it hasn't come out in the series proper yet, but it's something that I talk about on panels, and it's something that anyone who's performed any sort of physiological examination of a cuckoo has probably guessed. Still, your personal perspective on spoilers may make this sensitive information, so I'm going to cut-tag.

( Here be dragons. Worse yet, here be cuckoos. Proceed at your own risk.Collapse )

So it's the holidays; I have multiple books due, and I'm blocking out my time for 2013 in regards to conventions, short story commitments, and taking time to breathe; my cats still need to be snuggled occasionally so that they'll keep letting me get out of bed. So I am offering this fervent plea to the universe:

Please, please, before you ask me questions, either here or via my website contact form, go to my website (www.seananmcguire.com) and check the Bibliography and/or FAQ pages.

Need to know when something is being published, if something is being published in the next few months, or whether something has already been published? There's a Bibliography for that (http://seananmcguire.com/other.php). It's updated with works up for four months out.

Have a question about a possible typo or error, or where I'm going to be, or who Jane is in "Wicked Girls"? There are multiple FAQs, specializing in different types of question. Please check to see whether I have already provided an answer before asking.

I love talking to people, I love answering comments, but when I've already answered the same question thirty times, I just get frustrated and tired.

Please.

Once again, people have started asking "Why can't people outside the US buy the e-book edition of X?" (In this case, X = any given work that is unavailable in a specific region. Most often Blackout, since it's new, and "Countdown," since it currently lacks a physical edition, but almost everything has fallen into this category at one point or another.)

The answer is pretty simple.

Basically, when I sign a contract with a publisher, they acquire certain territorial rights. This is distinct from my copyrights, which are always mine and never sold. DAW owns the World rights for Toby and InCryptid. Orbit owns the World English rights for Newsflesh. DAW and Orbit may then sublicense these rights to other publishers in other regions (or territories), which is how you get things like Winterfluch and Feed: Viruszone (German editions of Rosemary and Rue and Feed, respectively).

The pieces I have sold to the Orbit Short Fiction Program ("Apocalypse Scenario #683" and "Countdown") were sold under a contract which, at present, covers only US territorial rights, which means that my publisher can't make those properties available outside the United States right now. They aren't allowed. And buying the rights for every possible market, in every possible region, is not always financially feasible with every work they publish.

It is also not always financially feasible for an author to sell all the rights to their work in every territory to the US publisher. Keeping World rights may mean a lower advance, but when I do retain those rights, I can ultimately earn more for them by selling them directly to foreign publishers. I want you to have and read my books in your preferred format, but I also want to pay my bills, and foreign rights sales enable me to do that reliably.

Orbit is working on making the short fiction pieces available outside the US; if you check the Short Fiction landing page, they note the problem exists, and that they're looking for a solution. Under my most recent contract with them, they now have the right to sell or license English language editions outside the US, which means that you'll hopefully be able to read it soon.

It's mildly annoying that it works this way, just like it sucks when I can't get the British or Australian TV shows I want on the right region format immediately. At the same time, this is how I keep the lights on, and how my publishers keep being able to do what they do.

ETA: This post has been pretty dramatically revised, following some clarification from smarter people than me. So if some of the comments seem to make no sense compared to the content of the entry, that's why. Sorry to confuse!

Okay, I want to lead off here by saying thank you. Thank you for caring about where book sales will be best for me, thank you for wanting to buy my books, and thank you for asking. I am so excited about Discount Armageddon, and I really want it to do well. I also want to note that I am making this post because I was asked, not because I'm trying to tell you "buy it like I want you to or it's butts to you, sir." Honestly, as long as you buy the book, I'm happy.

That said, here are the best ways to get a copy of Discount Armageddon while also helping my week one sales:

1. Do not buy the book until March 6th. If you see a copy on a shelf somewhere early, don't pick it up. Wait until the actual release date, because that's when sales will start to count against my first week. Anything before then will count toward my overall sales, but will vanish into the ether when it comes to calculating best seller lists. I know, it's weird.

2. Buy brick and mortar. If you possibly can, walk into a bookstore and take a copy off the shelf. Not sure your local store is going to carry it? Now would be the time to contact them and remind them that you'll be wanting to buy, since this way, they have time to place an order (they won't if you come in the day before release). There are a lot of reasons for this, but the two big ones are a) if they sell, they re-order, and that's good for me, and b) most brick and mortar stores report to the NYT list. And I'd love to get onto the list again.

3. If you need to order on the internet, consider Borderlands Books (physical only). Borderlands is my local store; they take international orders, as well as orders within the United States; I will be dropping by on release day to sign books for them, so you can not only get a copy of your very own, you can get it signed. That doubles the awesome factor, and makes up for needing to wait for the postal mail to reach you, right? Plus, well. My book events are big and chaotic, so I like driving business their way. Again, sooner is better than later, as they're going to be hosting my book release party, and need to know how many copies to get.

4. All eBooks are created equal. Sadly, right now, electronic and internet sales don't count against the NYT list, which is why this comes in so far down that list. That said, a sale is a sale, and my royalty rate is the same for all electronic editions, everywhere. So buy from whatever retailer best suits you, in whatever format best suits you.

5. Buy the book. This is the most important thing. My sales, especially in the first week, will tell my publisher what kind of a market they're looking at for the adventures of Verity and company. So please, if you can, buy the book. I want to stay in this world for a long, long time to come.

Thank you.

Shamelessly, I have stolen a very clever idea from John Scalzi at the Whatever, who has posted an excellent, and quite thorough, guide to obtaining signed books from him for the holidays. He has some really spiffy books available right now. You should check them out.

Anyway, I, too, have been receiving emails for about the last month, asking where people can get signed copies of my various books. Since I already have a bajillion shirts to mail (still mailing), "from me" isn't a viable answer. So...

Want a signed book? Signed by me, I mean, and not by that guy who always looks at you sort of funny on the bus? Borderlands Books is here to help. They're located in San Francisco, on Valencia Street, and they see me a lot. Like, a lot. Anyway, they'd be totally happy to take your order, and I would be totally happy to sign and/or personalize those orders. Here's what you have to do:

1. Contact Borderlands. You can send an email via their website (link above), or call their toll-free 888 number, at 1-888-893-4008.

2. Tell them what you want, and how you want the book signed. I will do inscriptions, but they need to be short, as those title pages don't leave me a lot of room to work with.

3. While you're at it, you might want to consider picking up a few books other people have written, since you're already paying for postage, and isn't getting a big box of books always better than getting a small box of books? I'll be posting my holiday recommendations soon, none of which have a damn thing to do with the holidays, but in the meanwhile, there are lots of books out there looking for a home.

3b. I won't sign those books. Unless you really, really want me to.

4. Give them your mailing address and billing information. You must be prepared to pay for inscribed books when you place your order. It's a logic thing. Once I write your name in it, they can't sell it to anybody else.

5. Your books will magically appear at your home! It's amazing!

If you want your books in time for Christmas, I seriously suggest ordering by December 12th. The mail will be insane by that point, so sooner is probably better. I'll visit the store for the last time this holiday season on December 19th (Alice's third birthday!), but I'm leaving for Orlando after that, so any orders placed beyond that point definitely won't reach you before 2012.

Borderlands can ship internationally, but postage will be spendy, and you need to work it out with the bookstore.

In case you need a recap on what's currently available:

TOBY BOOKS (in order): Rosemary and Rue, A Local Habitation, An Artificial Night, Late Eclipses, One Salt Sea.

MIRA GRANT TITLES (in order): Feed, Deadline.

ANTHOLOGIES I AM IN: Home Improvement: Undead Edition (hardcover, Toby story), Tales From the Ur-Bar, Zombiesque, The Living Dead 2 (as Mira Grant, Newsflesh story), Grants Pass, Human Tales.

ESSAYS AND NON-FICTION: Chicks Dig Time Lords, Whedonistas.

If you have questions, let me know...and if you do decide to order, thank you so, so much for helping to support both my endless quest to feed the cats and my beloved local independent bookstore. You are awesome.

To prepare for the release of One Salt Sea, I said that I would answer five questions the world and cosmology of the Toby Daye books, thus preparing us for the fun and the glory of Tuesday's release. This is the last of the five posts.

kippurbird's inquiry was not posed in the form of a question, but is interesting all the same:

"I'd like to know more about merlins."

So would a lot of people, it seems, and it is because of that fact that I will now do as I am bid, and tell you more about merlins.

First off, merlins, small "m," are individuals with a tiny, tiny bit of fae blood—not enough to qualify them as a changeling, or cause them to look other than human-normal—who are nonetheless able to access some measure of fae magic. Merlin, big "M," was one of the first, and most notable, of these crossbreeds. Hence the term "merlin" being applied to the class as a whole.

So how much fae blood does it take to make a merlin? Not much. But if someone has too much, they'll be considered a changeling, which is a whole different ball of worms, and if they have too little, they'll be effectively human. Basically, if a faerie and a human have a kid, that kid will be a changeling (50/50). If that kid and a human have a kid, that kid will still be considered a changeling; just a very weak one (25/75). That kid's kids, however, will stand a very good chance of being merlins, as will their children. After two generations of merlins, sadly, you'll just get humans who maybe live a long time, or have a knack for finding fresh water. It's a short-lived gift.

(Yes, this has led to some families of merlins whose children marry each other, which can keep the magic alive for substantially longer, even if it does eventually lead to inbreeding and unpleasantness.)

Why do merlins matter? They're watered-down changelings, after all. They have little to no innate magic; they can't shapeshift or fly or teleport or do any of the other things that changelings and purebloods can do instinctively. So why don't the merlins just get trampled by their stronger relations?

Because they can use charms, potions, and written incantations, they aren't bothered by iron or bound by rowan, and they have none of the inborn limitations of true fae, that's why. A changeling or pureblood will always have checks and balances written into their very genetics, preventing them from accidentally destroying the world. Merlins don't have anything like that. They work their magic with external tools, and that keeps them from suffering from most of magic's nastier consequences. They are, in short, extremely dangerous. Many of them are also extremely devoted to gaining more power, more magic, more spells and tricks and charms. This can lead to some truly bloody encounters between them and the true fae, since a Puca's wings will fuel a lot of love charms. Not fun.

Most modern merlins keep their heads down and work primarily underground, since the fae are harder to find and faster to attack when actually troubled. But that can't last forever.

Someday, the merlins are going to present a problem.

Now we come to the fourth in my promised series of five posts about the background and construction of Toby's world, all those little things you might not learn from the main series. The current question is from faithfulcynic, who asks:

"How common is shape-shifting in Faerie? It's been awhile since I've read all the books but I think the only real shapeshifter was an assasin in Rosemary and Rue. Otherwise we have characters like Luna who borrowed someone's shape and Toby who was turned into a fish (and also alters her appearance in the last book) Is shapechanging something everyone can do?"

Shapeshifting isn't something that everyone can do, and is mostly restricted to Maeve's descendants, although you do get shapeshifters descended from Titania; they're just rarer. (Titania's descendants tend to be more skilled illusionists, so there's a trade-off.) It's actually one of the more common powers in Faerie.

There are two kinds of voluntary transformation in Toby's world. Shapeshifting, transforming yourself into something else through your innate power, and skinshifting, using a bond with an item to transform into the indicated form. Shapeshifting is not always dramatic. The Luidaeg is a shapeshifter; she just changes her appearance, usually in relatively subtle ways. She is not an illusionist at all—when she dons a human disguise, she does it by actually transforming the shape of her face.

Most shapeshifters can less malleable, and can turn into one or more distinct forms. Cait Sidhe become cats. Cu Sidhe become dogs. Phouka become horses, or big black dogs that you don't want to meet in dark allies, no really. Roane become seals. (Selkies pull the same trick, but do it through skinshifting, which is a different matter.) Even Piskies are considered a form of shapeshifter, since they can dramatically change their size, going from human-size to pixie-size.

The Piskie-type of shapeshifter—the ones who modify their bodies, but not their overall shapes—are more common in the Undersea, where almost all the denizens can become bipedal, if not fully humanoid. Merrow look very much like Daoine Sidhe in their bipedal forms, and can even be confused with them, when they dress themselves correctly. (The Merrow are pretty much in charge in most of the Undersea, because they can go on land and argue with the air-breathers.)

Even Undine, like Lily, are shapeshifters; she was actually a body of water that could turn itself into a person for short periods of time. April can be viewed as a shapeshifter, since she's made of light, and can transform herself, within reasonable limits, to match whatever she thinks she should look like.

So, the short answer: there are lots, and lots, and lots of shapeshifters in Faerie. It's a very common form of magic, and if there doesn't seem to be much in the books, it's because it's so common that no one really remarks on it most of the time.

Make sense?

Here's the second post in my promised series of five about aspects of Toby's world that may or may not be covered in the books. Our question, from beccastareyes:

"Are there other geographic divisions among the fae besides those that live underwater and those who live on land? Are there duchies/counties/etc. where one must be able to fly, or ones situated underground, or places of great heat or cold?"

Oh, are there ever.

The simplest way to divide Faerie is by element. You have land fae, water fae, sky fae, and "we live in a volcano, no, you can't come over for dinner, WE LIVE IN A FUCKING VOLCANO" fae (er, fire fae). Most of the Toby books deal with land fae, since Toby herself can't fly, live in lava, or breathe underwater. (Since this is a magical universe, she can do any of those things with help. She doesn't always have help. Or want help. Or hold still long enough to be helped, since "let me throw you in this volcano" is not her idea of assistance.)

That's the simple form.

The land kingdoms are divided into temperate areas (IE, anyplace where humans can live without major protective gear), along with frozen kingdoms, high desert kingdoms, and deep forest kingdoms. The elevation divisions—high mountain and underground—are technically considered "land," but are also considered "border zones" (more on this later).

Most of the land kingdoms are inhabitable by most of the fae races, with some exceptions. Land-bound water fae (undine, who are always fresh water, rusalki, who are water fae, but don't do oceans) can't survive in the desert; neither can the true cold fae, like the snow fairies, some of whom would actually melt. True desert fae, like the peri, don't like cold climates, although not all of them would die if subjected to cold. And naturally, most fae who live in a human range, like the Daoine Sidhe, will die of frostbite or dehydration if forced to go out without the proper gear.

The water kingdoms are divided primarily into fresh and salt; the Undersea doesn't include the freshwater fae, most of whom are treated as land denizens, due to lack of a coherent governing body in every single pond. The saltwater kingdoms are divided into the shallows, the middle-sea, and the deeps. Merrow can handle shallows or the middle-sea, but not the very bottom of the deeps. Cephali can handle the middle-sea and the deeps, but become very uncomfortable in the shallows. There are stories about some of the things that live in the deeps. Bad stories. For the most part, no one goes down there, because for the most part, people aren't idiots.

The sky kingdoms are the least divided, because, thus far, no fae have been confirmed capable of breathing in a vacuum. So they live in the clouds and pray no one flies a plane through their living room. Storm fae help with this. Good luck finding the capital city. It drifts.

The fire kingdoms are all very isolated, and very little is known about them, on account of the part where they're ON FIRE ALL THE TIME. They are the only kingdom which does not yet have reliable wireless.

Now, borders.

Every kingdom borders on every other. Land/sea border = shoreline. Land/sky border = mountains. Land/fire border = deep caverns. Sea/sky border = more nebulous; usually weather patterns. Sea/fire border = deep rifts. And yes, there are fae basically everywhere. The land fae are the most accustomed, and adapted, to living with humans, and even they don't tend to like us very much.

Biology: Faerie does it weird.

Yesterday I said that, to celebrate the upcoming release of One Salt Sea, I would once again make five blog posts detailing the background aspects of Toby's reality. This is the first of those posts.

liret asks "Can parents of changelings send their child off to the Summerlands alone and stay with their mortal spouses? I got the impression that Amandine was as stuck as Toby after Toby went through the Changeling's Choice, but I was wondering if arranging for a foster-family and writing the kid off was also possible."

The short answer: No.

The longer-form answer is, naturally, a little more complex.

For those of you who aren't aware, the Changeling's Choice is the process via which changeling children (fae/human crossbreeds) are presented with the two sides of their heritage. Pick fae, be whisked away to Faerie and never see your human family again. Pick mortal, your fae parent has to kill you on the spot. There are no takebacks; this is not something that can be negotiated. The Changeling's Choice is a necessary part of playing fairy bride.

The only exceptions are the weak-blooded fae, like Stacy or Marcia. Their magic was clearly strong enough to have triggered the Changeling's Choice at some point, since they're in Faerie, but if either of them were to have children with a human, there's a fifty/fifty chance that those kids would never manifest measurable magic, which means the Choice would never be triggered. (This is how we wind up with merlins.) Toby slept with Cliff knowing she might get pregnant, and chose to ride the odds as to whether Gilly would fall into that "magic too weak to become visible" sub-category. Since Gilly is still with her mortal family, and they haven't noticed anything unusual about her, Toby's gamble appears to have paid off.

Now, here's the thing: when a changeling is removed from the mortal world, either through abduction or death, they don't just vanish. That would leave too many questions unanswered, and could result in people searching for their children long past the point where it would be safe for Faerie to have them looking. Toby's father found bodies in the remains of the house; Natasha and October Daye were both declared dead, and were buried in Colma. Toby's father is buried next to what he assumed was his wife, but was actually a night-haunt's mannequin.

So could someone send their kid packing and stay with their mortal spouse? Sure, if they were able to convince their liege (and everyone has a liege, even if it's just the local King or Queen) that they could absolutely sell the idea that their child was dead, find a foster family, get the kid to choose Faerie, ship the kid off without getting caught, and manage to weather the aftermath of the "accident" without making any mistakes or getting accused of murder. Hint: this is very, very hard, especially given that most fae are incredibly attached to their children. Many purebloods think of human lovers as nothing more than a convenient way to get a baby, and would never even consider picking a spouse over a child.

In the event that a fae parent somehow convinced their liege that they could pull all this off, and then actually did manage to pull it all off, they would never be allowed to see that child again, and would have a seriously hard time convincing other fae to date them, since they have just proven that they're shitty parents. (I am aware that this is an apparent contradiction, given the fae fosterage system. Most societies are built on minor contradictions, and at least under normal fosterage, you'll eventually get the kid back. You know. When they finish being a teenager.)

So it's logistically hard, emotionally difficult, and culturally frowned upon. Technically, it's possible. Functionally, it's something no fae parent would really consider doing, even if they wanted to.

Since I have a book coming out in a week, I figure it's time to once again offer to answer your questions about the world. So...

I will make five blog posts detailing aspects of Toby's universe. Ask me anything! I will not answer every question, but will select the five that I think are the most interesting/fun/relevant, and will detail them to my heart's content. There's a lot to learn and know, and asking loses you nothing.

Leave your questions on this post. I'm declaring comment-reply amnesty for any that I choose not to answer this time, since otherwise, my wee head may explode.

Game on!

ETA: Things covered last time we did this: inheritance, fosterage, madness, historical records, and Cait Sidhe court structure.

So people have been asking a lot lately "Why can't people outside the US buy the e-book edition of X?" (In this case, X = any given work that is unavailable in a specific region. Most often "Countdown," since it lacks a physical edition, but almost everything has fallen into this category at one point or another.)

The answer, sadly, is simple, and not something that's easy to fix. Basically, when I sign a contract with a publisher, they acquire certain territorial rights. DAW owns the US distribution rights for Toby and InCryptid. Orbit owns the US and UK distribution rights for Newsflesh. Other publishers own my distribution rights in other regions. The pieces I have sold to the Orbit Short Fiction Program ("Apocalypse Scenario #683" and "Countdown") were sold under a contract which, at present, covers only US territorial rights. Meaning that my publisher can't make those properties available outside the United States. They aren't allowed. And buying the rights for every possible market, in every possible region, would make the work fiscally unsustainable for them.

Part of this is tied to the intrinsic value of a property. Say, for example, that we want to sell the InCryptid books to a UK publisher, for a UK edition. This would make the physical books cheaper for UK customers, since they wouldn't need to pay import costs. This would mean I got paid (foreign rights sales are a good chunk of my income in a given year, since it's a way to keep a book that's already been sold paying my electric bill). But if we tell a UK publisher "oh, and by the way, we sold the ebook rights to that series to someone else," that publisher isn't going to buy the series. There's too much tied up in ebooks right now for that to be fiscally wise of a publisher.

Orbit is working on making the short fiction pieces available outside the US; if you check the Short Fiction landing page, they note the problem exists, and that they're looking for a solution. But the solution is never going to be "sell global ebook rights to the US publisher," because if authors did that, the foreign rights market would collapse. Books would remain import-expensive, non-English readers would lose a lot of diversity, and my cats would get very hungry.

It sucks that it works this way, just like it sucks when I can't get the British or Australian TV shows I want on the right region format immediately. It may change someday. But for right now, this is why things are the way they are.

Here's the sitch:

It took us a LOT longer than expected to track down payment from everyone, and some people still haven't made good on their orders. These orders will be canceled as of Sunday, so that I can proceed with submitting the spreadsheet to the T-shirt manufacturers. I don't know how long printing will take, but will let you know once I have an estimate.

After shirts exist, they'll need to be shipped. This is going to mean a MASSIVE shipping party, probably at my house; volunteers will be solicited. Because we'll be doing it all by hand, I expect that mailing everything may take two to three weeks. Again, I'll keep you posted.

But that's the situation. Next time I do something like this, I may require payment immediately, to prevent a few absences from delaying the whole field trip.

Shirts!

Since I'm currently trying to clear out all the older reviews from my link file, thus enabling me a) to post reviews of newer books while they're still, you know, new, and b) to find the non-review links I saved because I wanted to write about them, I thought I should take a moment to explain my position on reviews. Namely...

1. I don't link to every positive review I find.
Yes, good is good, and everybody likes a little good news, but some reviews are very brief, or don't say anything especially new. I appreciate and am honored by every review that I receive. That doesn't mean I want to subject people to the all-reviews, all-the-time channel. That's a good way to get myself hit.

2. I don't go looking for reviews.
I'm way past the point of ego-surfing looking for reviews of my books, and I've found that, on the whole, I'm happier if I only read the things people email me links to, or that are found by my Google spiders. So if I don't post about your awesome review full of witty comments and deep thoughts, it may be because I never saw it. Or it may be because, as now, I'm three books behind in the file. Both things can happen.

3. I don't read Amazon or Goodreads reviews at all.
This is a hard rule. For serious. Some of the reviews posted on those sites seem to have been written by people who think authors don't have feelings, and while I try to say "judging the work, not judging me," it's really hard when people get personal. So I just don't go there, and everyone stays happier.

4. I don't generally link to negative reviews unless they have something really interesting to say.
I've had a few people say, somewhat sharply, that I'm a Pollyanna when it comes to reviews; I just post the good ones. This is largely true. There are two reasons for this: one is selfish, and one is altruistic. Selfishly...this is my journal. Why should I link to people saying bad things about my stories? I love those stories. They're my babies. Altruistically, most of the people who read this journal are here because they love those stories, too. I don't want to unleash a swarm of flying monkeys on some blogger who was just having an honest opinion, and then found themselves unexpectedly linked to by the author. It's not nice, it's not fair, and I'm not that kind of a girl.

5. I make no promises as to the timeliness of my links.
I have had one reviewer—just one—email and yell at me because their long, thoughtful review hadn't been linked to three weeks after it was posted. It's August, and I'm posting reviews from October. I love linking to reviews. It makes me happy. But wow, are there no guarantees as to when it's going to happen.

A vague disclaimer is nobody's friend!

So there's been a spate recently of people going "What's the status on _________?" or "Where can I buy _________?" This is usually referring to either the Lycanthropy books or the print edition of Sparrow Hill Road, although I've also had a somewhat surprising number of inquiries about print editions of "Velveteen vs." Here, then, is my across-the-board answer:

If I am able to give the status on a project (sold, in print, not yet shopping, not yet finished), I will. I am not in any way shy about going "OH MY GOD YOU GUYS GUESS WHAT?!" I will probably give you this status whether you want it or not, whether you care about it or not, and whether you ask me or not. And just to live up to this statement, my confirmed publications for the remainder of 2011 and the beginning of 2012 are...

One Salt Sea, novel, September. Toby Daye book five.
"Cinderella City," short story, in the collection Human For A Day, December.
"Flower of Arizona," short story, in the collection Westward Weird, February.
Discount Armageddon, novel, March. InCryptid book one.
"We Will Not Be Undersold," short story, in the collection The Modern Fae's Guide to Surviving Humanity, March.

The third Newsflesh book, Blackout, will be published in May 2012.

I have a few other short stories slated for publication, but don't have release dates and/or permission to announce them yet. See, once something is sold, I am unable to tell people until I am given permission from the publisher—it's part of the standard contract. So if I'm not telling you where you can buy something, it's because there's a "can't" involved. Either you can't buy it, or I can't tell you. Either way, please, please believe me when I say that anything I am allowed to share, I share as quickly as I can, to keep my own head from exploding. This includes information about audio books and foreign editions.

Thank you for understanding. And stuff.

1. I don't know why this needs to be repeated, but here you go: If you friend this journal, I will friend your journal in return, so that you can see any friend-locked contests or giveaways (they're rare, but they happen). I will not necessarily read your journal, as I am very, very outnumbered, and I need to sleep occasionally. Assume I don't see anything you post unless you point it out to me explicitly. If you unfriend this journal, I will unfriend your journal in return. This is not a personal thing. This is just mirror-image reciprocity.

2. If you're looking for book release dates, or want to know when/where a story will be appearing, check my bibliography page. I update it regularly, and while not all recently-sold stories will be present (since I don't add things until they have a firm release date), this will answer ninety percent of the "when can I get...?" questions.

3. If you want to know where I'm going to be and when I'm going to be there, check my appearances page. It, too, is updated frequently (although I'm not as good about editing past appearances to put them in the correct tense as I would like to be). I'll usually post about an upcoming appearance here, but long-range planning is rendered easier by the actual appearances page.

4. If I was supposed to mail you something—a poster, a CD, a book you won in a contest, a severed human head—and you haven't received it, the appropriate channel for letting me know is via email. My website contact link is easy to find and easy to use, and if I don't know you don't have something, I can't look into it. I don't use mail confirmation when I send things; the additional postage cost is simply not an option. So please, please, if you don't have something you think you should have, email me!

5. Zombies are love.

Thanks to everyone who submitted questions for my latest wacky ARC giveaway. The random number generator has spoken, and our first winner is...

...alicetheowl! Alice, please email me via my website contact form within the next twenty-four hours to claim an ARC of Late Eclipses for your VERY OWN. Blah blah failure to contact me will be taken as not wanting your prize, blah blah picking a new winner, blah blah do not taunt happy funball, blah blah YAY YOU'RE A WINNER NOW LET ME MAIL YOU THINGS!

Our second winner, selected by using the random number generator again, this time on a list of my favorite questions, is...

...seawench! Congratulations! Lady of the Waters, please email me via my website contact form within the next twenty-four hours to claim an ARC of Late Eclipses for your waterlogged enjoyment (book is not waterproof, management is not responsible for damages stemming from attempting to read in your submerged living room). Again, blah blah blah blah follow the rules or I'll have your voice and it'll be NO LEGS YOU FOR, YOUNG LADY.

And that's our giveaway! More to come, because I like giving out prizes when I'm twitchy (and wow does waiting for a book to drop make me twitchy). Thanks again for participating, everybody, it was super fun!

With Late Eclipses approaching fast, I am naturally spending a lot of time thinking about Toby's world, and blogging about Toby's world, since I want everyone to be as excited as I am. So here is your invitation:

Ask me a question.

This has no connection to the current ARC giveaway, which asks you to ask simple, FAQ-style questions that don't require extensive spoilers or flowcharts. What this is connected to is, well, the big questions. Like when I posted about the rules governing fae marriage. The ones that require serious thought, and a genuine desire to know.

How does fae marriage work? Where did the Changeling's Choice begin? What happened to the Roane? Questions too big, and too complicated, to answer in the FAQ. Now, because I apparently wasn't clear enough the first time, I WILL NOT GIVE SPOILERS. Please don't ask me where someone is, or whether someone else is coming back, or whether you're ever going to see Gillian again (a question which has started to make me clench my teeth). Ask me about laws and rules and universe, about etiquette and speciation and trends in fashion.

The five best questions will get full blog posts about them, explaining whatever facet or facets of Faerie they touch on. I get to determine "best," although you're all welcome to weigh in or ask secondary questions.

Whee! Time for another ARC giveaway! Once again, I'm giving away an ARC of Late Eclipses, the fourth book in the October Daye series, which comes out in twenty-seven days. So you could get an early chance to find out what's going on! Also, I'm actually giving away two books this time. Curious? Read on!

If you've been to my website recently, you may have noticed that my Toby FAQs are a trifle, well, sparse. Whole books are missing. Since I'm getting ready to shuffle things around to make room for InCryptid, I'd like to fix this. So here's what you need to do to enter today's ARC giveaway:

1) Leave a comment on this entry containing a suggested question for one of my FAQs. FAQ-type questions only, please, like "Is the date at the beginning of An Artificial Night correct?" or "Why has Quentin's hair changed color?", not "Will Toby and Tybalt ever get together?" or "Is there going to be a movie?"

2) Leave the comment on its own, please, not as a reply to someone else's comments. Comments on comments can't win, even if they have the BEST QUESTION EVER.

3) That's all.

Now here's the twist: I will be choosing two winners. One will be chosen by the random number generator, cruel mistress that it is, and the other will be chosen by me, based purely on my personal "that's the BEST question" reaction. Also, I will use your questions to improve the FAQ, so really, everybody wins.

I will choose a winner at 2PM PST on Tuesday, February 8th.

Game on!

Okay! So here, in conveniently numbered form, is the status on the mailing of Wicked Girls CDs, and the ordering thereof.

1. All paid-for pre-orders have been shipped.

2. Because of high holiday traffic at the post office, it is entirely possible for you to have received your "it has been shipped" email during the last week of December, and then for your CD to have not been sent until the first week of January. This is because "it has been shipped" really means "it has been stuffed into an envelope and also we were able to find it on the checklist."

3. Ironically, since I'm still working my way through the checklist, this also means you could have your CD well before you receive your "it has been shipped" notice. Sorry about that.

4. I do not have tracking information on any of the CDs. They were all sent either first class or media mail (whichever was cheaper for that specific package), with no bells or whistles of any kind. Why? Because confirmation would require another dollar per package, and a lot more time per package, at which point I sadly don't have time to mail more than three at once, and you're still receiving CDs into 2012.

5. There's an awful lot of weather hitting North America right now, and this, unfortunately, means that quite a few packages are being delayed. I do not control the weather. I mean, besides the rain. I control the rain. But it's not the rain that is causing mail stoppages and slow deliveries. So please have patience until the horrific weather stops keeping you apart from your precious CD. Waiting makes the payoff all the sweeter, right?

6. If you need to verify the address your CD was sent to, you can email me. I will then grumble at you for making me remember where I left the database, and go and look it up. I do not have a time machine, so I can't change where the CD went, so please don't tell me today that you meant to get me an address correction last month. I can arrange to re-ship the CD when the post office returns it to me, but I'll have to ask you to pay postage again.

7. If your CD has absolutely, positively, "it's been a month and I have nothing" gone missing, email me, and we'll see what we can do. I don't control the mail, but that doesn't mean it should be messing with people, either.

8. Right now, you can obtain copies of Wicked Girls from either Southern Fried Filk or from Bill Roper (at-con sales only). I'll be getting the album up on CD Baby sometime in the next month or so; there just hasn't been time, and I wanted to make sure that all pre-orders were sent out before I started supplying the vendors.

9. No, I really can't take direct sales until then.

10. No, I am not recording a fifth CD. Yet.

If you have any other questions, comments, concerns, or cuckoo birds, feel free to share them here. I just wanted to try to get the big ones out of the way in a centralized manner, because I am currently crap at answering my email.

So the discussion on my latest book piracy post is fascinating, and I fully intend to answer comments. However, right now, I'm not feeling terribly awesome, so I'm going to take some cold medication and go lay down. I just wanted to address a few high-level points first. Forgive the brevity, I really feel like crap.

Point the First: "Not everyone who illegally downloads your book would have bought it, so you shouldn't act like they would have."

True! That being said, I know enough people who have illegally downloaded books and then bought them, or have told me to my face (or via email) that they were planning to buy the book, only then got it for free, that I feel some consideration of the number of illegal copies is warranted. Just going off what I do know, I tend to assume about one person in ten represents a "lost sale." This accounts for new readers only, not people downloading copies of books they already own.

Point the Second: Downloading copies of books you already own is a morally gray area.

True. I completely understand and sympathize with people who download virtual copies of books they already own. Unfortunately, a) I don't own the e-book rights to my books right now, and thus can't say "sure, have a PDF with proof of purchase," and b) the methods for getting those downloads are non-legal. There's not a private literary speakeasy where you have to send in a photo of yourself with your legal physical copy before you get the download link. And so while I can understand the moral ambiguity of it all, I can't endorse the practice.

Point the Third: It's not piracy, it's copyright infringement.

Okay, true. For precision of language, I should call it copyright infringement. But the people who sometimes post intentionally inflammatory things on message boards aren't actually trolls, they're just being mean. In some cases, the prevailing language of the land is going to win out over precision. I apologize for any confusion.

Point the Fourth: "Does this mean you don't like me because I initially read your book in a sub-legal format?"

Did you buy the book? I mean, really, that's where my concern is here: In whether I can feed the cats. I first discovered the X-Men because my friend Lucy had an older brother who wasn't careful with his comics, and I didn't pay for those, either. As I said above, I can't condone illegal downloading, but once you've paid for the material, I lose all personal animosity.

Point the Fifth: Books and music aren't the same.

Most the research on illegal downloads has been in the music arena, and the numbers aren't the same. According to iTunes, the single song I have listened to the most often is the cover of "Livin' La Vida Loca" by Spork, which I have listened to 342 times. The single book I have read the most often is IT, by Stephen King, which I have read, if guessing generously, eighty times in the last twenty years. Many people don't re-read, or do so only sparingly. So saying that illegal downloads increase sales when you're only looking at music is like saying that breeding mice increases the elephant population.

Point the Sixth: Cory Doctorow does it.

Cory Doctorow is also recognized by my spellchecker, which doesn't recognize my name. He chose to distribute over the Internet, and it worked out awesomely for him. He's also doing Internet-savvy fiction, with a keen edge of interest for the online crowd. I write urban fantasies about women with silly names. We don't have the same target audience; it's mice and elephants again.

I'll come back and participate in the discussion more one on one later. Now? DayQuil and sleep.

So there's been a spate recently of people going "What's the status on _________?" or "Where can I buy _________?" This is usually referring to either the InCryptid books or the Lycanthropy books, although I've also had a somewhat surprising number of inquiries about print editions of "Velveteen vs." and Sparrow Hill (hint: even if I'm able to arrange for a print edition of Sparrow Hill, it won't be until well after the virtual edition has finished, since TEoP gets first crack at the series). Here, then, is my across-the-board answer:

If I am able to give the status on a project (sold, in print, not yet shopping, not yet finished), I will. I am not in any way shy about going "OH MY GOD YOU GUYS GUESS WHAT?!" I will probably give you this status whether you want it or not, whether you care about it or not, and whether you ask me or not. And just to live up to this statement, my confirmed publications for 2011, so far, are...

"Gimme a 'Z'!," short story, in the collection Zombiesque, February.
Late Eclipses, novel, March. Toby Daye book four.
"Alchemy of Alcohol," short story, in the collection After Hours: Tales From the Ur-Bar, March.
"The Girls Next Door," essay, in the essay collection Whedonistas, March.
Deadline, novel (as Mira Grant), May. Newsflesh book two.
One Salt Sea, novel, September. Toby Daye book five.

The third Newsflesh book, Blackout, will be published in 2012.

I have a few other short stories slated for publication, but don't have release dates and/or permission to announce them yet. See, once something is sold, I am unable to tell people until I am given permission from the publisher—it's part of the standard contract. So if I'm not telling you where you can buy something, it's because there's a "can't" involved. Either you can't buy it, or I can't tell you. Either way, please, please believe me when I say that anything I am allowed to share, I share as quickly as I can, to keep my own head from exploding.

And stuff.

First up, calico_reaction has selected Feed as her October book club selection, and is currently moderating a vigorous discussion of the book. She does good, critical review, and you should check her out.

Second up, I'm linking to this in part because other people keep pointing it out to me, often with a "hey hey you should go participate in the discussion" rider. So I wanted to take a moment to explain why I'll read reviews*, but won't read or participate in book discussions.

Having an author join a discussion of their own book often has the unintentional effect of both censoring and stilling the dialog. Which is not to say that people won't happily say "you suck" when they know I'll see it...but people who think that's fun aren't usually the sort of people who really want to do critical analysis, and people who really want to do critical analysis sometimes get uncomfortable critically analyzing someone who's standing right there. This goes double for readers who are also friends of mine. It's way harder to be harsh on a book, or critical of a plot point, when you're worried about hurting the feelings of a friend.

Plus, anything I say about what I meant—not how the text was interpreted—sort of sounds like holy writ. "No, no, you have that wrong..." is not something you want to hear from an author during a book discussion. Ever. It can be really easy for an author to come off as a condescending brat when they chime in on this sort of thing.

Lastly...the "book as child" comparison doesn't stand up for me, most of the time. My books don't need to be fed, don't get the stomach flu, and don't wake me up at two in the morning to look for monsters in their closets. But there are times when the comparison holds. Imagine putting a small child in a room with two-way mirrors all the way around it, like a zoo enclosure. The child doesn't know you're out there, which is good, because you and your friends have gathered to rip that child apart.

She's funny looking. His clothes don't fit. She has too many freckles. His toes are weird. She's not smart enough. He's not cute enough. She's too tall. He's too short. She doesn't play with her dolls the way you think she should. He keeps sticking Lego pieces in his mouth. And so on, and so on, until every possible flaw, real or perceived, has been picked apart in detail. Someone will opine that the child should never have been born. Someone else will opine that the world would be better if the child had been taken behind a barn and shot.

Now imagine that the child's mother is standing right there, listening to every word you say, but unable to defend her child from you in any useful way—in fact, attempting to defend the child will just result in her being attacked as a bad mother on top of everything else.

And this is what it's like to be an author at a book discussion, even a good, civilized, totally bitchin' one like calico_reaction's tend to be. Which is why I don't read or participate in them.

Now you know. And knowing is half the battle! The other half involves airborne rabies hybrids and a hand-held mister.

(*That aren't posted on Goodreads or Amazon.)

(A note: This was supposed to go up on the 9th, but I got distracted by banana slugs, Canadians, roadkill, and my mother. We'll be resuming the normal posting dates after today's interjection. Sorry for the confusion)

Hello, and welcome to my journal! I'm pretty sure you know who I am, my name being in the URL and all, but just in case, I'm Seanan McGuire (also known as Mira Grant), and you're probably not on Candid Camera. This post exists to answer a few of the questions I get asked on a semi-hemi-demi-regular basis. It may look familiar; that's because it gets updated and re-posted roughly every two months, to let folks who've just wandered in know how things work around here. Also, sometimes I change the questions. Because I can.

If you've read this before, feel free to skip, although there may be interesting new things to discover and know beyond the cut.

Anyway, here you go:

( This way lies a lot of information you may or may not need about the person whose LJ you may or may not be reading right at this moment. Also, I may or may not be the King of Rain, which may or may not explain why it's drizzling right now. Essentially, this is Schrodinger's cut-tag.Collapse )

This one comes in two parts. Part the first: The Toby Daye FAQ is looking a little thin on the ground, with very few questions directly relating to the books themselves. Please give the FAQ a glance, if you get the chance, and propose new questions? I want to get things cleaned up and updated. In, y'know, my copious spare time.

Part the second: The Horror Movie Survival FAQ is going to be moving to MiraGrant.com with the launch of the new site. I know, I know, it's a sad day. But it'll fit in better there, and I'll have a lot of really awesome opportunities to update and expand.

This means I need a new "silly" FAQ for my main site...and that's where today comes in. I'm going to do a Fairy Tale and Ballad Survival FAQ. Please propose questions, offer survival tips, whatever comes to mind, and I'll get started from there! Help protect a new generation of children from evil stepmothers, wicked witches, inexplicable beanstalks, and the dangers of gingerbread houses.

Sometimes my life is awesome.

I am in the fascinating position right now of having two books in the ARC stage—A Local Habitation (Toby two) and Feed (Newsflesh one)—at the same time. This means there are ARCs all over my house, making people feel that I have an extravagent number of the things. My care and caution with giving them away is hence viewed as channeling my inner Scrooge, rather than conserving limited natural resources. (This makes me think of ARCs as some sort of rare bird. The migratory North American ARC, majestic in flight, aerodynamic like a brick.) The cats view them as natural enemies which Mommy Likes Better, and stalk them with ears flat and whiskers in full threat position. My mother attempts to steal them. And, occasionally, reviewers request them or contest entries win them. Right now, they're worth their weight in kittens, and as the window of their usefulness is narrow, I'm enjoying them while I can. Reviews of A Local Habitation are starting to appear, and various bloggers are starting to announce that they've received their copies of Feed, which means reviews of that should start appearing right about when I get my equilibrium back. Fun!

People periodically ask me* how ARCs get out into the wild. Well, there are three main ways, not counting contests. Namely...

1) You are already on a list, which is in the possession of my publisher, and they will send you one automatically. Most large review outlets are in this category. Feed is being sent to Fangoria Magazine, which is sort of like saying "Seanan, we're going to dip you in chocolate, roll you in selected pages from the script of Night of the Living Dead, and deliver you to James Gunn with a gift tag."

2) You contact my publisher and request an ARC. You probably need to prove that you have a review site or an affiliation with a legitimate review outlet. Your Livejournal is unlikely to count, I'm afraid. I'm sure there are exceptions, but you'll need a readership the size of like, Ohio.

3) You contact me through my website and request an ARC. I go through a lot of the same vetting steps as my publisher—I'll go read your blog, I'll look up the magazine you say you're affiliated with, I'll ask the magical moon ponies whether they've really seen you dancing naked at midnight in the middle of Mare Imbrium—before I decide one way or another.

Be aware that any time you elect for an option that includes the word "ask," you may get told "I'm sorry, no." ARCs are an extremely limited commodity, and just to make things more fun, the number printed tends to decline with each book. It's reasonable math. Your first book, you want to spread it as widely as possible. So you give more copies away, trying to create as much early excitement as possible. Your second book, well, some of that buzz already exists, right? So you don't need quite as many free copies out there, circulating and being read before the actual release date. As the number of people asking for ARCs goes up, the number of ARCs to be had goes down. This isn't the author being mean, or the publisher being dumb. This is using your promotional dollars as sensibly as possible.

What do ARCs have to do with promotional budgets? A lot. Page for page, making an ARC costs more than printing a hardcover. The print runs are small enough that they never tip over into bulk pricing, and since ARCs have no resale value (people selling them on eBay and earning my eternal annoyance aside), there's no way to recover the cost, beyond praying that sending the ARCs out into the world will result in positive reviews and higher sales. So as the "spread the word" value of the individual ARC goes down, the number of overall ARCs printed will also decline, putting those dollars back into the promo budget. I've been very lucky, and have received a decent number of ARCs for all three books to date. The definition of "decent" will continue to shift as days go by.

As a secondary note, if you ask me for an ARC, and I say "yeah, okay," and the ARC then shows up on eBay, I'm afraid I won't be sending you any further books. I can't afford the copies or the postage.

Hope this helps.

(*For values of "me" that mean "the Internet at large, only they use my name, so my Google spiders pick up the post and bring it back to me.")

After going through the truly awesome questions presented for possible inclusion in the FAQ, I've settled on...

g33kboi, you are the winner of an ARC of A Local Habitation! Please email me through my website "contact" link with your mailing address.

tigertoy, you are the winner of a signed copy of Rosemary and Rue! Please email me through my website "contact" link with your mailing address, or with the address you'd like it sent to, if you want to give it to someone else.

Thanks, all!

So as you may have noticed, I love FAQs. I love writing them, I love updating them, and I love pointing people to them. With that in mind, we come to our second giveaway for the day:

Here is the current October Daye FAQ. You may notice that it's pretty sparse. That's why I'm turning to you, my best-beloved people who live free things, to ask for more questions. Be creative, be specific, be general, be pedantic, be whatever makes you happy, but ask questions.

I will be adding the best questions to the FAQ. I will also be selecting two winners from out those questions. One will receive a signed copy of Rosemary and Rue (and if you already have one, I can send a copy to your local high school or library).

One will receive a signed ARC of A Local Habitation.

I'll take entries until tomorrow morning. Now please, please, question me! Get rewarded! Flesh out my website! I'll be your bestest blonde if you will...

Well, Rosemary and Rue has been on bookstore shelves for a month, and that means it's time for me to split off the Toby Daye FAQ into its own page. What questions would you like to see answered? I'm dividing them roughly, for now, into "series" (IE, publication dates, number of books, typos), "world" (Toby's world), and per-book, but this could change.

Please expect mild spoilers in the comments on this thread, with the stress being on mild. I won't answer FAQ questions that read like "on page 189 you say, but on page 317...," since that's way too much of a spoiler for a publicly-accessible website.

Game on!

Because "done" is a misnomer around here, the ever-fabulous team of taraoshea (graphic design) and porpentine (back-end code) are hard at work preparing a redesign for SeananMcGuire.com, aka, "my website." We're not getting rid of the current content—we're not insane—but we are trying to make it a little easier to access and navigate, by doing things like shifting the majority of the menus to be down the side of the page, rather than at the top, and by making the drop-downs a little less likely to snap back up while you're trying to browse.

Among other things, I'll be revamping the FAQs, since I really do prefer keeping them as current as possible. I live in a magical cotton candy wonderland where someday, my email volume will be kept under control by the existence of clear, coherent, comprehensive FAQs. So here's the question for the floor:

What isn't currently answered in the FAQs that you want answered?
What answers do you want to see expanded?
What additional questions do you have?
Are there any sections missing? What are they?

I'll be soliciting for questions for a separate Toby Daye FAQ later this month, so please don't suggest Toby-specific questions as yet, unless they're the very general "what's the release date" or "who does your interior dingbat design"-style questions. Right now, I'm just trying to get base data.

As an aside, if you think there's a page missing that's not part of the FAQs, what is it? You never get what you want if you don't tell me what it is!

Thanks, y'all.

So I'm in the process of (once again) revamping and updating my FAQs, partially because I'm getting more writing questions (yay!), and partially because I need to be prepared to split the Toby questions off into their own FAQ somewhere around October 15th. Bearing this in mind, what do folks think I should add to my FAQ section? The current categories are...

...writing.
...general.
...music.
...horror movie survival.

The horror survival FAQ may wind up moved over to Mira Grant's site once it gets up and running, just so we'll have content there; I don't know yet. I'm not taking questions for a Toby FAQ yet, because so few people have been able to read it, and any questions beyond the very simple ones already on the site would be spoilery.

What should I be answering? Ask away!

We've done music. We've done (and are still doing) horror. Writing is pretty solid. Now here's the amorphous one:

Who has questions for my GENERAL FAQ?

Be creative, but also ask what you'd like to know that isn't directly tied to music, horror movies, or writing. Thank you all so much for your help!

So when I originally approached the readership of this journal and said 'lo, what should I include in my site FAQ section?', roughly half the people who responded said 'horror movie survival.' So yes, there's an actual section on getting out of a horror movie with your skin and sanity reasonably intact.

Feel proud of yourselves.

So now that the horror FAQ is underway, I ask you...what all should be included? What burning questions do you have about the things out there that want to make you die -- and maybe more important, what questions do you have about staying alive? Remember, only you can defeat the crawling terror from beyond the stars. Unless, y'know, it eats you first.

So, in an effort to distract myself from being sad...

I'm setting up the FAQ Pages over on my website, since it's a good way to keep my hands busy. One of the pages is, naturally enough, going to be questions about music and filk. I have three CDs, I attend a lot of filk conventions, it seems like a good thing to do. Now, I know that I have many non-filk readers on this journal. So I put forth this query:

What questions do you have about filk?
What questions do you have about my music in general?

Please let me know what it would help you to know, so that I can put all the pieces together coherently!