So far, 2013 has been a more productive year than the partial disaster of 2012. I have finished and submitted Cast in Sorrow, which, given the existence of a cover and a publication schedule, is a good thing. It’s not — I know this will come as a great surprise to all of you — short.
I have finished, but not submitted, Touch, the book that broke my writing schedule for, in retrospect, not very good reasons. I am in a state of perpetual revision there, but I have committed to finishing and submitting it by the end of April. This April. I will reiterate the one thing that I’ve been forcibly retaught: do not attempt to break your own process. Everyone’s process is individual; no two writers work the same way. Sometimes, attempting to work in a way that is entirely unlike your normal process will produce results that … are entirely unlike your work, and not in a good way. Ahem.
I am working on War, sequel to Battle, and it is going well. In general, the West novels go well, but they’re always longer than I think they’ll be. In twenty years of writing, I haven’t figured out the ratio of length to story =/.
I owe you all an apology about the various Sun Sword ebooks. I have no idea how or why they were listed, because I am reliably informed they’re not publication ready. I also have no idea of when this will happen, and I am very, very sorry to be the bearer of continual bad news in this regard. I do appreciate — even if I don’t respond — that you point out to me the difficulties and problems; I pass them on immediately.
And last, on the leave the house to prove that I will not dissolve in sunlight front: I am planning to attend Confluence in Pittsburgh in July of this year; I am planning to attend Lonestar 3, which is the worldcon on Labor Day Weekend.
Tomorrow — or the day after — I hope to do a post about the various audio books available, because all of the House War books to date are now up on audible.com, and in the iTunes store, for download, as are the Elantra Cast novels.
The Cast novels, however, aren’t available — that I can see — in the UK market. Luna buys the rights to distribute World English versions of the various books. But Harlequin has international satellites in many countries, and the individual publishing companies choose which books they offer to their constituencies. If they pass on, say, the Cast novels, the Cast novels are then — in any format — absent from the markets they oversee. So while in theory Luna has the rights to sell these books in English anywhere, in practice, the exercise of the rights comes down to the offices that in theory know their territories.
I can’t actually change that.
In the case of the West novels, I control the audio rights, and can therefore ask audible to make their audio versions available in the UK, which is why the West novels are available there, even if there is no other version available in the UK.