Anthony Dobranski Online

Month: August 2019

  • I grieve for my beloved Hong Kong

    It has bad air. I was still a smoker when I worked there, and I joked it was protective. It’s impossibly expensive, though plenty of people live there cheaply. It’s a culture clash, crash, and fusion — Chinese and Anglo, old and new, rich and poor, metropolitan and tropical, high-pressure and laid-back. It’s fast, so fast. After you leave, for a long time, everyplace else feels slow.

    Of course I set part of my first novel there, the most raw part, the true climax. That romantic imagined life was my consolation prize. Had my parents been younger when I left my corporate life, I would have moved back there.

    I love Hong Kong.

    Hong Kong’s Lion Rock lit up as protesters gathered at its peak. Photo: Tyrone Siu/Reuters

    I swore a while back not to write about politics, but this is more. Unique places are an endangered species. Hong Kong is its own strange ecosystem, married to change but in love with constancy. I admire its people. They are courageous and vivacious and more honest than most, except when haggling. I fear for them.

    I’ve feared for them since the handover from British rule to Chinese rule, 22 years ago. I was happy for my Hong Kong friends after the handover — there was a pride then, akin to what African Americans felt with Obama’s election. Still, my parents fled Soviet rule. I saw this conflict coming — honestly, I expected it sooner.

    It’s not the same, of course — unique is like that. It’s not left-right, not occupier-colony, not exactly rich-poor. For a shorthand, maybe old-new. Hong Kong is decades older than Communist China, but far younger at heart.

    Call it this, now: One country, two incompatible hungers.

    I’ve never lifted a billion people out of poverty. I do know something about the rare and the special. They are easy to milk and maddening to sustain — but if you don’t sustain them, if you don’t help them thrive, they dry up. There is no more special, and others know you for a fool.

    China made a big deal, the biggest deal, about adopting this shining child, and then refused to understand it. Maybe it was jealous. Maybe it felt threatened. Maybe it wanted a trophy. Maybe it was just indifferent. Hunger, like justice, is blind.

    China risks being a fool now. Soon, I fear, it will risk worse.

  • On being good at sales

    I’m still not totally comfortable with being really good at sales.

    Because, I am. I’m a sales machine. At large comic-cons, my single-title sales are on par with best-selling writers — which is good, because I still only have a single title. (Working on it.)

    Other writers tell me I am good at sales, a complex compliment inside our introverted guild. It helps that, if a reader doesn’t want what I am selling, I will send them to another’s work with equal enthusiasm. I’m good in the booth.

    I have made money in sales, covering all my bills during my year as a ski-bum in Lake Tahoe with a part-time telemarketing job. One of my most treasured compliments was from my manager there, who told me, “You give good phone.”

    I am a fierce fan of my stuff. It’s not for everyone, but it’s for more than might initially see themselves buying it. I see my book becoming ever more relevant to the world outside it. I want the world to know so my subset of it will find me.

    I don’t presuppose any strengths or weaknesses. I say what I have, strongly.

    In a teen-focused genre, I write mature work. At cons and festivals, I say “10 o’clock shows, not 8 o’clock shows.” It’s a happy expression because it’s a fact they differ, it’s not an apology, and it hints at earned privilege, an adult’s welcome relief from explanation or euphemism.

    Demon is a standalone novel. No sequels, except for a Tarot. “A big book, but one and done.” Maybe a fifth of people don’t find that appealing — Vayan con Dios. Most are at least fine if not happy to hear it. We talk about the joys of a certain ending, a lack of commitment, an amuse-bouche while awaiting GRRM.

    While I can spot aligned styles — if you cosplay Death from Neil Gaiman’s Sandman, I will sell you a book — even at cons I can’t know my readers on sight, especially since I am winning a few over right there. I assume all bipeds are in play until they make it clear they’re not.

    That said, I know the wrong audience. 1-star reviews never go away, and a good way of avoiding them is keeping your work out of inappropriate hands — or, disappointed hands. I use horror as a flavor, but if you want it as a main course, that’s not my Demon. For action, I have some fisticuffs, but only one drawn gun in the whole book. I have bone-dry acidic wit, but no chuckles.

    I say these things and people buy my books, people of all kinds, in very good numbers for the venue. I don’t know why it worries me, as opposed to the superpower that it really is. Maybe it’s impostor’s syndrome, that I am somehow more appealing than my work.

    Maybe it’s not impostor’s syndrome but honesty, of a kind. My sales self also expresses qualities of my work: unassuming but distinctive, unflinching not crude, erudite not highfaluting, seeking clarity but understanding about the muddle.

    It makes me nervous because it is not sales. It is an art, an ethic — like this blog post, a form of my writing. I can’t pretend it doesn’t matter, because it only works when it does matter.

    Then I’m a sales machine.