Category: publishing

Once upon a time, I thought an author would write a book, get it published, and then write their next book. But, once upon a time, I also believed in Santa Claus.

Let me start by admitting that I have never seriously considered becoming a “writer” as a career. I’ve had an eclectic employment history, but I came to writing rather late in life. My first speculative fiction publication (in Esperanto) was in 2010 (in my late 40s). That is also the year I self-published my first book, Poŝtmarkoj el Esperantujo, a collection of haiku in Esperanto and English with imaginary postage stamps, using Createspace.

I went on to self-publish another three books. These are books where I did very nearly everything (although I got a friend to help me edit the manuscripts — you really can’t edit your own manuscripts.) But I did the writing and page layout and cover art and interior art. And “promotion” — if you could call it that.

These books were not commercial successes. But I never expected them to be. I made them mostly for fun — so I could give copies of my poetry to friends and family. And to learn about self-publishing. It was an interesting and valuable experience. But I also came to appreciate how much work it is to self-publish.

I’ve never been traditionally published, although I’ve seen book publishing up close. I’ve worked on several book projects for traditional textbook publishers. And been invited on some of their junkets. My father published several books. And my brother has always been interesting in writing and publishing.

But the key point I’m making is that I’m not personally that invested in my writing becoming a significant part of my financial support. I wouldn’t mind, but that’s not primarily why I’m writing. And this fact drove a lot of my decisions about how I approached choosing a publisher for my work.

In Fall 2021, I signed a contract with Water Dragon Publishing (an imprint of Paper Angel Press) to publish my first work of speculative fiction in English, The Third Time’s the Charm. Working with a small press offers unique opportunities and challenges to an author. But it’s not for everyone. Anyone who is tempted to go with a small press should probably be aware of the trade-offs before signing a contract.

Publishers are a kind of specialized venture capital firm. They put up the capital to publish a book hoping to recoup their investment plus profit. But more importantly, a publisher hopes to discover the Next Big Thing. That’s what they’re really hoping to do: to discover the new writer today that becomes tomorrow’s great and famous writer.

Large (traditional) publishers basically require you to work with an agent. A small publisher probably won’t. Agents can be helpful in terms of negotiating the terms of the contract. And knowing which publishers are most likely to be interested in your manuscript (and, indeed whether your manuscript is likely to be publishable by one of the traditional publishers.) But, of course, their labor doesn’t come for free either. Their interests are aligned with yours but, at the same time, they’re also probably on friendly terms with the publishers too. (Make of that fact what you will.)

With a small publisher, you’re on your own. This is, front and center, one of the primary reasons that Writer Beware warns against small presses. “Be afraid! Be very afraid!” You, as the author, will be negotiating with them directly.

That said, a good small publisher will act like your agent for many of the tasks you would otherwise need to do yourself if you were self-publishing. And, in some ways, is better than an agent: An agent probably has some good ideas about what kinds of manuscripts a publisher is accepting. But the small publisher knows. 🙂

Small publishers tend to not have deep pockets. So don’t expect an advance. But you will probably get a more favorable revenue sharing arrangement. What does a small publisher do? They do the publishing: they edit your manuscript, do the layout, arrange for the cover art, etc., etc.

Perhaps, the biggest challenge is that small publishers (and authors) face is publicity. The large publishers have a track record and established relationships with the national vendors and media outlets to help get favorable placement for their authors in book stores and advertising. Small publishers mostly do not.

In point of fact, however, the large publishers have been pushing authors to take larger and larger roles in publicizing their work. Authors are encouraged to maintain a presence in social media and try to develop a fanbase that can help get “word-of-mouth” referrals, which is the gold standard (or, perhaps, best manure) for growing sales. And as the traditional publishers make the author do more and more of the publicity work anyway, there are fewer and fewer downsides to going with a small publisher anyway.

If you imagine a line between self-publishing (where you do everything) and traditional publishing, there are a whole range of small presses in between that offer more or fewer services. Shop around! Look at what kinds of books they’re already publishing: Will your work complement what’s already there? Do you like their selection of cover art?

And be sure to do your due diligence: What’s their track record? How long have they been around? Have they been reported as a vanity press? Are people complaining about them?

But if you do decide to go with a small press, you should understand that the relationship is a two-way street. The press has chosen to invest in your work. They’re going to do whatever they can to help you succeed. And that means it’s incumbent on you to also help your work succeed. You need to advocate for yourself and get your work out there. But you should also try to help raise the profile of the press: their success will also be your success.

Don’t publicize your book with links to distributors! Link directly to the publisher! They can provide the links to a range of vendors that buyers might prefer. And people going to look at your book might find other things at the press to buy.

Tag the press when you post about your work! Help the public to discover and learn about the press! The more people are looking at the press, the more likely they are to discover what other stuff they might have — including stuff you have there.

Work together with the other authors at the press! They can help cross-market your work and coordinate with publicity. And help discover opportunities (awards, conventions, etc.) that might be useful. Who knows? You might even make a friend or two.

At its best, your relationship with a small publisher is a kind of partnership. If you were self-publishing, you’d be on your own. But with a publisher, you’ve got someone you can work with, ask questions of, and get advice from. Take best advantage of this partnership and work together.

Neil Clarke spoke at length during a kaffeklatsch at Boskone about editing and publishing. Having submitted a half-dozen manuscripts to Clarkeworld, with none of them selected, I was interested to have more insight into what he’s looking for. But he just said, “Surprise me.” He then went to go on to about thematic things he doesn’t like or wouldn’t like. He talked about how the statistics of what he’s accepted historically are misleading, because they don’t really predicted what the next thing is. Although he uses them to try to maintain balance, for example, in terms of accepting manuscripts from international authors. In other countries, the markets for short fiction are limited or absent — or are actually overwhelmed by work translated from American sources. Some local authors can benefit from the “pedestal effect” of having their work appear in the US market and then get translated for distribution back home.

He spoke at some length about the state of the small press. He argues that most short fiction outlets are functionally small press (with a few notable exceptions like Tor.com). Many struggled during the pandemic, but things seem to be normalizing. The biggest problem is not quality or supply, but in getting people to pay for what they consume. (Only about 7% of readers pay for what they read.) The lack of funds means that a lot of the labor involved (e.g. editing) is unpaid, which makes these outlets vulnerable to illness or burnout. We need to find some way to make the finances work better.

Someone asked about using a paywall to let people see some amount for free. But he said that model, which might work for news, wasn’t satisfactory for fiction. Authors want their stuff to be out where people can see it — especially for the fan-nominated awards. If people can’t read your stuff, they can’t nominate it. And, in fact, there was evidence to suggest that stories that were in anthologies — or paywalled — were at higher risk for not being nominated for fan-based awards.

I asked about alternate financing models, e.g. Patreon and Kickstarter. He said he thought they were OK and, in fact, he uses Patreon his own self. But had concerns about using Kickstarter, which he said was like a “sword of Damocles” hanging over your head. It might be OK for seed money to start something, but subscriptions are more predictable: you may have some lapses and some new ones every year, but more likely to be incremental in terms of changes.

A key problem with small presses is that, since it doesn’t really pay for itself, it often depends on free labor. He indicated he had declined to pay himself for his editorial work for years, to “re-invest” the revenues back into the press. After some personal reverses, he decided he wanted to quit his day job to focus on the press full-time, and that it took 5 years, but that he had accomplished that. (Although, he admitted, his wife still had a day job).

In the end, he said he enjoyed working with short fiction: its where experimentation happens, so its constantly changing and evolving — it’s what drives the field. The money quote:

“It’s not negative to notice the problems [in publishing]: it’s negative to do nothing about them.” —Neil Clarke

When I was the appropriate age for such things, Young Adult (YA) literature was not really a category. I certainly read stories that today would be classified YA. The Three Musketeers and Treasure Island would today probably be classified as YA. They were among my favorite stories I read over and over again.

In fact, the first real book I read, The Hobbit, could probably be defined as YA using Cheryl Klein’s model (as I wrote here). The Hobbit is a story centrally interested in the experience and growth of youthful protagonist(s) who drives a story narrated with relative immediacy. Bilbo is not teenaged, but hobbits age slower and live longer. And even though Bilbo is not a teenager, the story arc is largely concerned with his growth throughout the story. This was particularly brought home to me by the movie adaptations, which changed the story from an optimistic YA story into a tragedy, serving only as the grim introduction to the Lord of the Rings. But I remember one book that would undoubtedly be considered YA today: Another Fine Myth by Robert Lynn Asprin.

I remember my brother loaning me his copy of Another Fine Myth. I was initially a bit skeptical because it didn’t look like a regular book. It was in a trade paperback format and had weird artwork. I remember having to be persuaded to give it a try. But, wow! It totally blew my mind.

I remember thinking, “Can you even do that?” as I was reading the book. It mixed comedy and drama in ways I had never imagined were even possible. The endlessly corny puns tickled my funny bone. I’m sure I made everyone the household sick by reciting the terrible puns. I remember reading that book and its sequels over and over again.

I read several of the early MythAdventure sequels and enjoyed them too, although the series was a bit too much of a one-trick pony. Once the main character had grown a bit, the YA character of the stories was hard to maintain. And the endless puns did have an end after all, as they became increasingly cloying.

None of this takes away from the original magic the story had for me. It was a delight and forever changed what I thought was possible with literature. And I recognize now that this story probably got passed over by editor after editor in the traditional publishing world and, in the end, was published by a small press, StarBlaze Graphics. It makes me appreciate all the more that I’m getting to work with Paper Angel Press and Water Dragon Publishing which let me push boundaries and test limits.

pen from senokulvitre

In September 2021, I made my first sale of speculative fiction in English for my story, The Third Time’s the Charm to Water Dragon Publishing. I was very encouraged by the positive responses I got. As I said in the author’s note, this was actually a story I began more than 15 years ago that was originally like the first chapter of a larger story. It has evolved a lot since then. But the other ideas I had envisioned for these characters were still there.

I was overjoyed when one of my reviewers, Martha J Allard wrote:

The corner of the sky we see is fascinating, but there is so much else out there! This world begs to be explored. I hope to see more stories about Revin and Will soon!

I am pleased to be able to announce that following stories about Revin, his beloved captain Will, first mate Grip, and the rest of his crew have been serialized and more are forthcoming.

I have signed the contract for the second story, “For the Favor of a Lady.” The series will be called “Revin’s Heart.” The third and fourth stories are already written and more stories are planned over the coming year, including a couple of side stories.

I find this length of story — a 9000-10000 word novelette — is comfortable for me to write. And I always enjoyed reading serialized fiction, like The Three Musketeers and the Sherlock Holmes stories.

I have other writing projects I’m working on too, but it’s a real treat to have this set of stories serialized. Perhaps it’s partly that, when I read manga, serialization is everything. It hasn’t been that way in fiction in the US for a long time. Oh, it happens, but it’s not treated as a big deal. But it’s a big deal to me: I’m very grateful to Paper Angel Press and I’ll be excited to share more about these characters in the days and months ahead.

Drinking Fountain in Shaw’s Gardens from Poŝtmarkoj el Esperantujo

As far as I can tell, I’ve never written a proper year-end wrap-up of my fiction writing. But I haven’t really done enough fiction writing previously to warrant it. My first fiction publication was in 2006 (Milos kaj Donos) and my first speculative fiction publication was in 2010 (Kion dio farus?). My 2016 story, Krespusko sub Fago, won an honorable mention in the Belartaj Konkursoj. But this year was basically the first year, I made a serious effort to submit fiction in English.

In 2021, beginning on June 12, I made 49 submissions of 10 manuscripts to 25 different markets. Four of the manuscripts were older (the oldest manuscript was started in 2004) though much revised. Six of the manuscripts were newly written in 2021 (including a 22,000 word novella, which was begun in fall 2020).

I received 39 rejections. Eight submissions are still outstanding, not including one “revise and resubmit.” And I received one acceptance.

Most of the rejections were variations on “Unfortunately, this story didn’t work as well for me as I’d hoped” or “Unfortunately, your story isn’t quite what we’re looking for right now.” One wrote, “There were things we enjoyed about it, but overall it didn’t quite work for us.”

I got two rejections that included actual, actionable feedback:

I loved the cooking details and craft details, and that the [MC] tried to think his way out of his fate, but the fable overall felt a bit more simple to me than I needed in order for it to feel satisfying, and the frame narrative to me didn’t have as much of an inextricable role in the story as I was hoping.

While I liked [the MC]’s curiosity, especially as it serves to move the story along, I found I did want to see more of his thoughts on what was happening around him, and to see his world through his own eyes, to see what he would think when he saw the sheep on the surrounding hills, etc.

My one acceptance, for The Third Time’s the Charm was by Water Dragon Publishing which I’ve already written extensively about.

I’ve learned a lot about writing this year — most of all from my interactions with Paper Angel Press (Water Dragon Publishing is an imprint of Paper Angel Press), the managing editor Steven Radecki, and the lively community of associated writers (aka The Island of Misfit Toys). The feedback I got from the reader panel was very helpful to identify and correct a number of small but significant issues with the manuscript. I learned several really useful things from the editorial process. The most important of these was to report facts via the character’s observations in preference to reporting them as the narrator — this corresponds directly to the comment I got above from one of my rejections, but which I couldn’t really understand until I saw what the editor was doing with my manuscript. Now I can watch for that myself.

I’ve also learned a lot about publishing — and about promoting myself. I’ve never felt comfortable engaging in self-promotion, but it’s clearly become an increasing important part of the publishing process. To paraphrase the demotivator: “The only consistent feature of all your unprofitable books is you.” I’m even using Facebook (Ugh). But I’ve drawn the line at Instagram.

I learned from various other experiences as well. I attended two writing conferences, Readercon 31 and Discon III. In both cases, due to the pandemic, I was a virtual attendee. Readercon did a fantastic job of creating opportunities to meet and interact with people, perhaps because it was virtual only. (And also due to a particularly talented organizer who managed the technical landscape like a virtuoso.) It was at Readercon where I met the friendly folks from Water Dragon. I didn’t feel like I really met anyone at Discon III which was split between a face-to-face environment and a virtual environment. The virtual part of the conference felt like a balkanized afterthought.

I also investigated two local writing-support organizations: Straw Dog Writers and Amherst Writers. I attended one writing workshop (by Straw Dog) “Darling, You’re Making a Scene.” It was well organized and I learned some stuff. I haven’t joined either organization yet, but I probably should — for self-promotion reasons, if for no other.

In the new year, I’ve identified several things I want to work on. I recognize I need to get better at story structure. This is hard because I like my stories the way they are and I don’t necessarily want to write stories where the stakes are higher or the main character has to “risk everything”. That may be a hill I’m willing to die on. (Or maybe not, thinking about my most recent writing.)

I also want to get better at titles for my stories. I was fascinated when I learned that the author wrote I Sexually Identify as an Attack Helicopter, in part, because it was a meme and they wanted to co-opt and subvert the meme. Note: I’m not saying I want to have my titles embroiled in the same kind of controversy (or any kind of controversy, honestly) — but that watching these events unfold that brought home to me how important titles are and that I need to put more thought and effort into choosing titles because I suck at it.

I would also like to join a writing group. Unfortunately, I’ve not had good experiences with most of the writing groups I’ve joined previously. Many of them were organized by, and primarily peopled with, women and felt unwelcoming to me. I do have a small circle of readers who have graciously read my manuscripts and provide excellent, thoughtful feedback, but I think I need more in-depth critiques. Maybe I should consider taking a class. Or I would love to attend Viable Paradise. But those are hard to do while I’m employed full time. And when I do have time, I want to spend it writing.

I’m also hoping to attend several writing conferences in 2022. I’ve already signed up for Arisia and Chicon. And I’ve agreed to attend the Rhode Island ComicCon to help table for Paper Angel Press in November (though I’ve not yet registered). But the Omicron variant of COVID may prevent me from attending Arisia. And we’ll have to see what conditions are like next fall.

Mostly, though, I’m just going to keep writing because, for the first time in a long time, I’m finding that I’m happy. In no small part, this is the result of working with Paper Angel Press and Steven Radecki. I’m constantly impressed by their energy, professionalism, and support. I’d been unhappy for so long that this year has been a revelation to me. For the first time in almost as long as I can remember, I’m genuinely looking forward to what the next year will bring.

Photographic Timer. From senokulvitre.

When I was very young, I submitted something for publication and then wrote a letter pressing the editor for a response. I blush to think of it now, how impatient I was for success. It takes a long time to become successful in writing (unless you’re some kind of a savant, I suppose). But now that I’m older, I’m reflecting on how important patience is for writing in ways I had never recognized before.

To begin with, you can’t just write something and submit it. You need to write something and then have some patience and wait for a bit, before you go back and edit it. But it takes more that that.

It takes a lot of time and effort over years to hone your craft in order to produce writing worthy of submission in the first place. You need patience while you write and get feedback and then write some more. But it takes more that that.

After you’ve submitted your manuscript, you need to get ready and wait again. Some publications will get back to you in hours or days, but some will take months to get back to you. You need patience to submit something and then wait and wait and wait. But it takes more than that.

After your story has been accepted, get ready to wait yet again. Oh, you’ll need to deal with revisions and submit a bio and a photo and other stuff. But at best, it will be a month or two — and perhaps much longer — before your piece actually appears in print.

And then you’ll still be waiting on reviews and award nominations and those accolades you, no doubt, fully merit. For those, you might need to keep waiting your whole life.

When I was younger, it was hard to stay focused across such long time scales. A month seemed like an eternity when I was a teenager. Now the months evaporate like fog in the sunshine and bring one’s impending death into crystal-sharp focus. But that will require a little patience too.

When The Third Time’s the Charm was selected by Water Dragon Publishing, I was invited to suggest ideas for cover art. My initial response was to suggest some of the most iconic scenes in the story. But when I saw the first draft of the cover art, I came to understand better how the covers were put together by compositing stock photo artwork.

We had several rounds of revisions. I saw the first draft and made some comments. Another draft was much closer but had a few elements I thought could be improved upon. But the artist had also come up with a second conception for a cover.

It’s got similar elements, but a completely different kind of feel. It has less dynamic range — it’s almost monochromatic — with a more “modern” font. After some back-and-forth, we agreed that, although it was interesting and had its own merits, it probably wasn’t as eye-catching as the original. So we went with the original.

One thing I realize, as I look at both covers, is how little world building I’ve done as yet. I’ve just finished the rough draft of the sequel and I keep realizing decisions I’ve made (or haven’t made) about the structure of the world. In the cover we selected, for example, is a very long single span bridge. Would such a bridge exist in the world? Mmmmaybe. Maybe not. Each new discovery I make through my writing gives me a tiny burst of pleasure and excitement.

In the alternate, I don’t know what that curved thing is on the back cover. It’s pretty cool, I guess. But what is it doing up there in the clouds? I guess now we’ll never know.

One of my reviewers wrote me to say, “I do really hope you write more stories in your world, because I look forward to finding more out about it.” I look forward to finding out more too.

The Third Time’s the Charm Support Graphic

In my previous post about publishing with Water Dragon I mentioned the “support, encouragement, and advice” that authors get with publicity. About a week before the release of the story, I got a link to download some graphics. The folder included the electronic, print, and trade covers plus versions of the cover art carefully composed and resized for my desktop (as “wallpaper”); for my website; and for header graphics for Twitter, Facebook, and Instagram.

Creating these kinds of graphics are not necessarily difficult for me. I created my own covers for my self-published books. (And I’m rather proud of the covers I created.) But that stuff all takes time and, without access to the the original files, it wouldn’t be feasible to create re-composed versions at all. But, in the end, it’s just one fewer thing I need to do myself: I can just use them and spend more time publicizing. (Or writing!)

In point of fact, authors frequently don’t get consulted about their cover art at all. Nancy Wood wrote about how discouraging it was to get a horrible cover when working with a different publisher and how the magic of a compelling cover can make all the difference. Look at that cover! I mean… just look at it.

For my cover, with Water Dragon and the amazing artist Niki Lenhart, we went through about three iterations. The first design was similar to the final design, but I had some suggestions about the nature of the ship that was presented. In the second, I noticed a few additional details to correct. But I was also presented with an alternative design to consider. I liked it — and it was compelling in a certain way — but jointly, with the editor, we decided that the original design was more eye-catching. Then I got one last chance to see it before we pulled the trigger and approved it.

In addition, authors also receive postcards and business cards to support their publicity efforts. The postcards can be used to provide a “signed” version of the digital edition. But, for a story that only sells for $0.99, sending a postcard for $0.40 postage doesn’t make much economic sense. And business cards are more useful during times when people are actually meeting face to face. (I guess I could hold one up to my Zoom camera…)

In addition to material support, Water Dragon and the supportive community of writers working with them have had a wealth of ideas and advice for how to get the word out about one’s writing. It’s provided almost a template for how to get set up to publicize effectively — and to share information about events that might provide opportunities to offer a reading or get books in front of people.

I don’t have (m)any illusions that my first short story will catch fire and take over the internet. But I have to admit that as a debut, this experience has been amazing: My story has been published on its own, with its own cover and identity, rather than part of a collection. It’s been a great trial run for writing a longer piece of fiction (and I have several in the pipeline). And Ive learned a huge amount about the process and established a foundation (blog, twitter feed, website, etc.) to support my writing going forward. Thanks, Water Dragon!

(PS: You too can submit to Dragon Gems!)

Water Dragon Publishing
Water Dragon Publishing: an imprint of Paper Angel Press

In the summer of 2021, I began making a dedicated effort to get speculative fiction stories published. As part of this effort, in August I attended Readercon 31. It was entirely virtual this year, due to the pandemic. I had only attended a face-to-face Readercon once in the Before Times. But I remembered it as a very chill and high quality event. Oh, there was the old white guy who kept railing about furries, but that just added to the character of the event. Still, I was quite excited.

It was fantastically well organized. The tech support team had put together an amazing system — slightly byzantine — that combined Discord, Zoom, and Youtube which was extremely effective at providing a seamless conference experience. I enjoyed the panel discussions and other scheduled events. But spent a lot of time just exploring who was there.

There was a “bookshop” section that had a few resellers (book stores), but also several publishers. A few, I’d heard of. But most were new to me. I anticipated meeting them and hearing more about how their publishing businesses worked. But I ended up being bit disappointed. Several of them seemed to have pre-stocked their Discord “channel” with a generic message or two. But most seemed unstaffed much of the time. I stopped by all of them several times, but didn’t have much success in connecting with any of them. Except one: Water Dragon Publishing.

I had never heard of Water Dragon Publishing before, but when I stopped in their channel, it was not only staffed, there were often two or three people there engaging in friendly banter. And they also had a series of scheduled events, with author Q&A sessions and also the possibility to pitch stories to their editorial team. I tried hanging out in several of the other Readercon “hang out” spaces — the “con-suite” or “hallway” or “the bar” and although they were OK, I pretty quickly started spending most of my time just lurking in the Water Dragon channel. By the end of Readercon, I had submitted a piece of short fiction to their “Dragon Gems” program and pitched my novella and was invited to submit it as well.

About a month later, I got a follow up email: my short story was accepted! Yay! Then the real work started. I got a list of comments from the reviewers, helpfully annotated with suggestions for addressing them. Plus a contract; social media policy; a project in a project management system with tasks, and subtasks, and deadlines; invitations to a Discord server and an instance of Slack, etc.

It’s been an adventure! This is my first publication of speculative fiction in English, so all of this is new to me. I’ve been learning a huge amount about the process and publication in general. I had this naive idea that you write a story, it gets accepted, and then you write another story. Instead, I’m approving cover art, identifying potential reviewers, writing biographies, and summaries. It’s been eye-opening to see what goes into publishing.

I have also been doing my due diligence with respect to Water Dragon Publishing. They’re an “imprint” of Paper Angel Press (as of Spring 2021). Paper Angel Press has been around for about 6 years. It’s a “small publisher” overseen by the managing editor, Steven Radecki. With this company, they’ve staked out a position bridging the divide between self-publishing and traditional publishing. If you’re self-publishing (Disclaimer: I have self-published four books.) then you’re doing everything, baby: cover design, page layout, editing, etc. Paper Angel does all of that, but doesn’t have the marketing power of a traditional publisher and so more of the burden of promoting books falls to the author — with lots of support, encouragement, and advice. Of course, traditional publishers have been pushing more and more of the promotion onto authors anyway. So the boundaries are a lot more diffuse than they used to be.

Finally, there is a lively community of folks involved in Water Dragon and Paper Angel. I’ve been invited to attend a virtual writing group with other authors and other events, including book launches, being interviewed for podcasts, virtual writing events, etc. The community has been incredibly supportive. But I must admit that we’re an odd assemblage of people of different ages with different backgrounds and from different walks of life. So I started joking with my family that, when I attend, I’m traveling to the Island of Misfit Toys. But, in this regard, I feel like I fit right in.

My first story, The Third Time’s the Charm, is being released on November 22, 2021 and is now available for pre-order! Just $0.99! It makes a great stocking stuffer, because who doesn’t like pirates and dirigibles and mayhem! Order it today!