My Third Book: From Nothing

Writers by affliction are an idiosyncratic lot. Other than a willingness to spend an enormous amount of time alone and a preternatural love of language construction, we don’t have all that much in common. We write about different things, from the historic lives of dead people to the ponderous calculations of romance that could never live up to its description. Some of us have enviable discipline in reserving hours for our craft day in and day out. Others are beasts of procrastination who binge occasionally in overnight typing sessions while devoting daylight hours to cleaning out pencil-stuffed drawers and ceiling fan lint. An author on tour may enjoy speaking publicly, while another cowers at facing readership in the form of human flesh.

We may share a passion for literary achievement, but we are in few ways the same. One bit of sameness has occurred to me exactly three times, each when I’ve finished one of my novels. When the final copy-edit has put the book to bed and readied it for your consumption, I’ve invariably asked myself the same simple question:

“Why did I do that?”

The existential query is unavoidable. Why does a writer remain dedicated to the challenge of completing a book? I am guessing I am not alone in that meditation. It is impossible to think that most of my colleagues and the legions of our predecessors have not asked themselves the same thing. It’s a heck of an endeavor, for most not particularly lucrative. It disarms the writer to a battalion of transparent critics, and the incomplete satisfaction is resolved only in the reborn commitment to attempt it yet again.

So I ask you, as you are likely to ask me: Why bother?

To say that we are without choice in the matter may sound glib, but I am afraid that is the only reasonable answer I can muster. We do it because we can’t not do it. We do it because there is something inside of us that needs to ferment and emerge, to escape the confines of a sole mind and become part of a shared consciousness. If we could avoid or redirect this need many of us would, but we cannot, and so we sit, ruminate, draft, and revise. Somehow the new book becomes complete and we are ready to share it, with the best of intentions. For me, happily that time is now, and I hope the new work resonates with some of you the way its voice called out to me.

I am glad it is done. I am honored to share it with you.

It has been a fragile three years in the making. It was delayed partly by life’s interruptions and partly by my need to pick each word at least a dozen times. I may not have the discipline to write in predetermined sections of each day, but I do have the discipline to embrace each of my sentences before I toss them to you. It’s nerve-wracking. It’s time-consuming. It’s exhausting. I know of no other way to do it with pride.

From Nothing. That’s the title, and sort of where it came from — out of nowhere, yet grounded in a collection of moments I have known or expanded in scope. Should you choose to read it, you’ll discover in more detail why I called it that.

It’s the story of why a life becomes a story, how that story is guided concretely and through alchemy, and why some stories are better than others, even if they didn’t set out to be something more than assembled emotions wrapped around an evocative philosophy.

Weird stuff, huh? The problem remains that it’s difficult for an originator to talk about the plot and characters in a book without giving away any spoilers or making light of one’s own intentions. Allow me instead to dance around a few of the book’s themes.

Technology: Yes, it’s me again, come to take you inside the empirical land where I earn most of my living. This is the universe of creative destruction, where bad things have to happen to otherwise good people for progress to have its way with all of us. At the same time, bad people have a way of making these spoils the treasury of their own private club, and the best most of us can hope to do is stay out of the way of the greedy stampede when it targets our cubicle. Change comes with ugly intervention and nasty byproducts. We then quickly abandon the carnage, cash in whatever chips are left on the table, and reinvent ourselves in our evolving world.

Bar Music: I hope you like piercing lyrics and backbeat as much as I do. Sound is at the heart of this novel. We’re still digesting the baby boom, the soundtrack of our lives, the guitar-hero worship that came and went as fast as any other craze but lingers in the possibility of ephemeral ambition. I spend a lot of time thinking about music, and in this tale I devote a lot of pages to unwrapping composition. The songs connect the dots, even when the dots don’t want to be connected and would rather fade into the Milky Way. I have my favorites and they may not be yours, but our immersion in star-quality memories holds us together. That makes for songs that matter.

Redemption: This book has been a strangely spiritual journey for me, more unmasking than I have attempted previously and certainly more uncomfortable than I intended. The protagonist, Victor Selo, has a troubled life that he finds ways to overcome on the surface, yet he can neither come to terms with success nor adequately interpret loss. He makes a lot of mistakes, stumbles through a litany of lifetime accidents, and where he learns from some misdoings, the ultimate assessment of moral right and material wrong forever confounds and eludes him. Theology and philosophy are a tight couplet in our curious canon. I know I have done no better a job of answering the unanswerable than any before me, but perhaps I can open a different door for you to the unquenchable struggle.

So there you have it, a new book is born and with my deepest hope on its way to your hearts. Reserve a copy, read it when time allows, and let me know where we are and aren’t on the same page. With any luck I’ll be back again in a few years with another adventurous yarn, asking myself why I once again committed to the improbable. Much of that will always be up to you, more than you will likely ever know.

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Publication date is June 12, 2018. If you would like to review an advance reading copy please contact my publisher, The Story Plant, or via email: thestoryplant@thestoryplant.com.

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A Brief Excerpt from Track 2

When Victor awoke it was dark. He looked around and the parking lot was filled. He recognized a third of the cars from the office parking lot. Full Stack Max’s mustard yellow minivan, dents on three sides. Code Machine Clarence’s jacked up Escalade with the shotgun bucket seat usually toting that new kid, QA Juan. Admin Darcy’s prized lime green Prius gleaming under security lights as if she had driven through the car wash on the way there. The familiarity was comforting. At least some of them had come. He was head to toe in perspiration but relieved in the dashboard’s digital transmission that it was after 7:30. People inside would be singing. There would be friendly faces. Inside Providence it would be safe.

Victor had slept in the car almost six hours. That was odd. He really was drained, more than he had thought. As he mustered the courage to open the car door, a tap came on the half-open window. The face beyond the glass was unfamiliar to him.

“You okay?” It was the voice of a man perhaps a decade older than him. Victor looked at the stranger, his plain grey T-shirt, blue-black lumberjack flannel overshirt, vintage khakis, stubble beard, untrimmed mustache and mutton chops. It was a programmer look, but Victor knew all the programmers at Global Harmonics and they were the only programmers who came to Providence. Who was this guy?

“I’m fine,” replied Victor, not yet finding the energy to move.

“Come on inside, you look like you could use a drink,” said Mean Master Muttonchops.

“Yeah, I’m coming. Do I know you?”

“You don’t. My name is Thomas Katem. I’m an investment banker.” He handed Victor his business card through the open window slot. “You’re Victor Selo, right?”

Victor eyed the card for familiarity and put it in his damp chest pocket. “Have we met before?”

“It’s possible, the circles we travel overlap. Unfortunately your meeting at Global Harmonics was over before I got there. Late to the slaughter, the way I heard it.”

“Your loss, we put on a good show. You don’t dress like an investment banker.”

“It’s afterhours. I carry a change in the car. Doesn’t everyone around here?”

“You think I need to clean up before we go in?”

“Nah, come on, I’ll buy you a drink. I’ll bet you have friends inside.”

“We’ll find out.” Victor opened the door and got out of the car. Strangely, the asphalt felt comforting under his feet.

As Victor walked through the doors beside Katem, Providence was in full swing. In all the day’s drama, he had forgotten this was Friday, Live Band Karaoke Night. A warm fall weekend was getting under way. Tonight people wouldn’t sing with a machine, they would front a cover band. It was what made Fridays special, particularly for anyone who had abandoned a long-ago dream.

At the mic was possibly the worst Elvis impersonator of all time, a grey ponytailer doing his best to belt out “Viva Las Vegas” with more stage drama than musicality. He wasn’t an awful singer, he could work his way through a tune with credible intonation. He just didn’t sound anything like the King. He didn’t look like him either, beyond the tattered white sequined jumpsuit. Elvis recognized Victor from across the room and raised the mic stand to him as he entered. Victor waved briefly, then crossed toward the bar with Katem a half step behind. Elvis found the segue to a low pitch baritone interpretation of “Love Me Tender.”

“You know Elvis?” asked Katem.

“His name is Johnny Olano. He lives for this. Friday is his day. Three Elvis tunes, five shots of tequila, and he never goes home alone.”

“He must be seventy, maybe seventy-five,” observed Katem. “How does he pull off that trick?”

“Welcome to Providence.” Victor motioned the bartender with two fingers and was handed a pair of Coronas. Few of his colleagues in the bar were making eye contact with him. A few nodded slightly his way, but his usual warm embrace wasn’t to be found.

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Endless Encores: A Brief Excerpt on Profits

EE CoverWith the September 22, 2015 publication of my second book, Endless Encores, I wanted to share a few excerpts to catch your interest. Published by The Story Plant, this is a business parable about People, Products, Profits—in that order. This excerpt is from the chapter about Profits.

♫ ♫ ♫

There was a modest rumble in the room. A flight had been called. It was not Daphne and Paul’s flight to Los Angeles, but both were heartened by the rustling of computer bags and rollaboards around them as fellow passengers-in-waiting began ambling to the door. It had been a long night, but now it appeared the delay would not go on forever, nor the conversation.

“We have hope,” proclaimed Paul. “We’re going to get out of here.”

“Hope is the strength that keeps us going,” said Daphne, watching people around her happily begin to leave the airport lounge. Since their flight wasn’t leaving, she had no reason to follow them, but she knew her remaining time with Paul would be limited.

“When you set out to determine strategy, how do you think about building the business so it keeps growing?” continued Paul. “No sane executive wants to lead a company into the Dead Brand Graveyard, yet so many end up there. Suppose they have the best people and the best products. How do they get their head around a business model that is going to both work now and expand into the future?”

“That’s the greatest enigma of all,” answered Daphne. “You have to think about recurring revenue alongside new revenue. Some transactions have to be there without your prodding, so you can add new transactions on top of them. If you’re going to spend money to acquire new customers, you have to balance that with what you’re spending to retain the ones you have. If all you do is spend to acquire new business, your margins will be perpetually squeezed. No fun, I assure you.”

“My boss says that all the time,” agreed Paul. “If every year you start the P&L from zero, it’s virtually impossible to grow. You have to know there is some business already on its way from your catalogue of products, and on top of that you add new product introductions.”

“Smart guy, your boss,” said Daphne. “He gets the mix a lot of us miss. Maybe he was at the same Paul McCartney concert I attended.”

“The same boss who isn’t going to can me for this lackluster sequel?”

“Yes, that clever fellow. Let me ask you something about that catalogue of products, the base of recurring revenue. Do you cannibalize your own markets before the competition does it for you?”

“Well, we don’t put out the same videogames, so it’s not exactly possible,” said Paul. “But if you’re asking do we sometimes leave one out there longer than we should to extract the last bit of profit from it, yeah, we do that sometimes.”

“How does it make you feel?”

“Queasy”

“Me, too,” winced Daphne. “I think we all do it to some extent, but the key to all of this is balance. Yes, you need a base of recurring revenue, but if you don’t give your customers something new and exciting before your competitors do, they will sweep your customers into their camp. You have to study and manage the ratios of evergreen and introductory endeavors at work in all your sales channels. Remember, constraints on distribution are low, choices are high.”

“It’s staggeringly hard to find the stamina to pull a product from the shelf when it’s still selling,” said Paul. “R&D costs are ridiculously high. We need all the sales we can muster for contribution margin to make sense.”

“One of the hardest choices in business is to pull a product while it’s still moving. Again, what we are talking about is strategy. Of course you don’t want to leave more money on the table than you should, but you’ll often find you need to leave some. If you don’t do it, your competitors will happily obviate your offerings. That can be the end of one brand and the birth of a new one that is no longer yours.”

♫ ♫ ♫

Endless Encores: Repeating Success Through People, Products, and Profits by Ken Goldstein is available in hardcover and as an e-book from Amazon, Barnes and Noble, iBooks, Kobo, IndieBound, Indigo, and at independent bookstores near you.

“Focus relentlessly on the extraordinary.” Pub Day

Endless Encores: A Brief Excerpt on Products

EE CoverWith the September 22, 2015 publication of my second book, Endless Encores, I wanted to share a few excerpts to catch your interest. Published by The Story Plant, this is a business parable about People, Products, Profits—in that order. This excerpt is from the chapter about Products.

♫ ♫ ♫

Paul’s phone dinged. It was the text alarm. He was afraid to look, but he knew the Band-Aid had to be ripped off in one pull. He turned over the handset so they could both see it at the same time. The text read: “We’ll talk when you get back.”

“I’m not off the hook,” grumbled Paul. “Not even a little.”

“Did you expect you would be with a simple text?” asked Daphne. “He’s your boss, not your father. How much did your company invest in the sequel?”

“Millions. We’re not going to lose all of it. We may not lose any of it. We just aren’t going to make the kind of money we made on the original. Sequels in my business are supposed to do better than the originals as the brand and market expand. Everything we do can’t be a winner.”

“Would you let Randy or Helen off the hot seat for mediocre performance with just a text?”

“No, of course not,” said Paul. “I would remind them that there is no growth without risk, that we have to be willing to try things and fail, but when we fail we have to learn. It’s not failure if it’s learning, but there has to be learning. You have to capture that learning and harness it.”

“I suppose he’ll say something to the same effect,” said Daphne. “Of course, I’ve never met him, so you never know. He could mop the floor with you to make him feel better.”

“Thanks, I feel so much more chipper,” grimaced Paul.

“You should,” said Daphne. “Think about the opposite spectrum. Suppose you weren’t willing to risk failure and learn. Suppose you devoted all your energy to protecting the status quo. Think of a company that isn’t around anymore that tried that trick.”

“Kodak comes to mind,” said Paul. “I read somewhere that they developed the first digital camera in 1975, but kept it off the market because they were afraid of what it might do to their traditional film processing business.”

“Polaroid missed the shift to digital as well,” replied Daphne. “They didn’t have to stick with mechanical, self-developing prints. That was a choice.”

“It’s amazing how bad the blunders can be,” continued Paul. “Borders Books, Circuit City, Tower Records—they’re gone forever. With all the customers they had, the vast resources, all that talent and cash in the bank, these days they’re just names, empty shells. Businesses become nostalgia.”

“Tombstones, actually, all in the Dead Brand Graveyard,” said Daphne. “No Endless Encores there. The list goes on and on: Palm, Zenith, Blockbuster, CompUSA, Wang Laboratories—all once beloved brands, all now decaying tales of yesteryear. Now think of the once great brands about to fail, the ones you know will soon evaporate. What is their idea of risk?”

“Way too conservative,” answered Paul. “They’re afraid to take risks because they’re afraid of failing, when in fact they’re already failing by refusing to dance a little closer to the edge.”

♫ ♫ ♫

Endless Encores: Repeating Success Through People, Products, and Profits by Ken Goldstein is available in hardcover and as an e-book from Amazon, Barnes and Noble, iBooks, Kobo, IndieBound, Indigo, and at independent bookstores near you.

Endless Encores: A Brief Excerpt on People

EE CoverWith the September 22, 2015 publication of my second book, Endless Encores, I wanted to share a few excerpts to catch your interest. Published by The Story Plant, this is a business parable about People, Products, Profits—in that order. This excerpt is from the chapter about People.

♫ ♫ ♫

It was getting late in the evening, and as yet there was no additional update on the flight departures. At this point Paul was sort of hoping it would go that way. To leave this conversation unfinished was not something that held much appeal.

“What don’t I know that I wish I knew?” asked Paul, knowing that didn’t exactly come out right. “We put everything into this new game, everything we had to give, but the end result isn’t flourishing.”

“Seems like we’re making quick progress with that wall,” prodded Daphne. “The truth is, you already know everything you need to know. All I can do is perhaps get you to rethink it in a different context. Take me through the project from the beginning.”

“The good one or the follow-up?” asked Paul.

“Why would I want to retrace the path of mediocrity?” replied Daphne. “The good one, the big winner—where did you begin with the original Ethereal Gaze?”

“We started with a pitch. We’d been kicking around this concept for a few years, the idea of an enormous war game, galactic in scope, but without a lot of weapons—without any bullets, or tactical bombs, or spleens exploding, any of the normal shooter stuff that was leaping off the shelf. We said we’d try to do it with clever ideas of strategy, mind-blowing graphics, a full symphonic soundtrack, and characters that made you believe they were real.”

“Sounds visionary, heck of an agenda for a library of program code,” lauded Daphne. “You even went against the grain and tried to build something that wasn’t a proven big seller. But tell me, and I sort of asked you this before but it is worth repeating, who is we?”

“We, the team,” answered Paul. “The core design group, the people I see every day who completely know this stuff, who come up with the ideas that make it happen.”

“Cool, got it, then let me ask you, which came first, the concept, or the talent to create it?”

“Why do I think this is another trick question?” asked Paul.

“The last time you thought I asked you a trick question it wasn’t, so go with your instinct. Which comes first, the idea, or those who offer the idea? This is a key starting point, kind of like the chicken and egg thing, only we’re going to solve it.”

“You can’t have an idea without someone expressing it,” said Paul, hoping he hadn’t said something too obvious.

“There you have it, bulls-eye,” declared Daphne. “Not just someone expressing it, someone with the ability and training to express it, and then be able to deliver on it. A team or an individual, it doesn’t matter, the foundation is the same. Let’s talk a little about talent.”

“I’ll try to keep up with you,” remarked Paul. “You have a lot of big ideas.”

“Too many people I’ve encountered over the years in business think it’s solely the big idea that matters,” continued Daphne. “Don’t get me wrong, big ideas are critical to success. You need spectacular concepts when you envision new products and services you want to bring to market. We’ll talk about that shortly. But before you can even think about creating, marketing, distributing, and selling anything of value, you have to have the right people in place to get the job done. Desperate leaders spend too much time worrying first about output. Long-term leaders spend the majority of their time thinking about talent.”

“I don’t know about that,” replied Paul. “I live in a world where customers need to be hugely excited, almost frothing at the mouth, standing in line overnight outside the store, waiting for the product to release before it’s even on the shelf.”

“Don’t flatter yourself, in one way or another, we all do,” countered Daphne. “Great ideas can be thrilling, but they don’t make payroll. Ideas get the ball rolling, but they are overrated. We worry too much about those who would steal them. Getting a product to market that embodies a great idea is what matters, and that is extraordinarily difficult. Products don’t build themselves.”

♫ ♫ ♫

Endless Encores: Repeating Success Through People, Products, and Profits by Ken Goldstein is available in hardcover and as an e-book from Amazon, Barnes and Noble, iBooks, Kobo, IndieBound, Indigo, and at independent bookstores near you.