I am happy to announce that my new book, Fistful of Pizza, is now available at the following places:

• On the Kindle for only 99 cents here.
• In print at Lulu.com for $8.74 here.
• In print at Amazon.com for $12.99 here.

Here’s the answers to some questions about this:

What is it?

Fistful of Pizza is a collection of short stories and flash fiction including ten pieces that have appeared in other publications and were otherwise unavailable until now.  I wanted to make the book as cheap as possible; actually, I wanted to make it free on the Kindle, but I can’t do that because I’m not a big publisher, so instead it’s the cheapest price they will let me.

What if I think the Kindle is stupid?

I also did a print version, which is a 150-page pocket-sized book.  Feel free to read it on the beach or lend it to your friends or drop it in the tub or burn it or do any of the other things that people who complain about the Kindle say you can’t do with the Kindle.

Why is the print version so expensive?

Because of the whole tree thing.  I could do what big publishers do and make the eBook version cost $8.74, or do what the biggest publishers do and make the print book $8.74 and the eBook $21.99.  $8.74 was about the cheapest I could go on lulu.

Can I get a preview?

If you have a Kindle, or have a PC/Mac/tablet/phone with the Kindle software, you can get a preview of the book for free.  Go to the Amazon page here and click on the Send Sample Now button.  This will send the cover and the first two and a half stories to you.

Does this include that one story where the guy flies a jet into a Wal-Mart in order to obtain an erection?

Yes, it does.

Why does the print version cost more on Amazon?

Because Amazon hates you.

Is this book suitable for my kid?

Any book is a children’s book if you teach your kid to read early enough.  Whether or not your child should read a book in which Richard Nixon pisses into someone’s gunshot wound is really your call, though.

What is a pocket book?

It’s a 4.3 x 6.9” book.  It’s roughly the size of one of those drug store paperback books.  I think it’s a neat size and have wanted to do one of these for a bit.  I have no idea why it’s that exact size; it probably has something to do with a fraction of a standard size of sheep used for its skin in England or something stupid like that.

What 19th-century French civil engineer who specialized in hydraulics is one of the 72 names inscribed on the Eiffel Tower?

Jacques Antoine Charles Bresse.  It’s the fifth from the left on the northwest side.

Why is there a picture of you sodomizing a wax figure of Tiger Woods on the last page of the book?

The Sean Connery figure was out for maintenance at the time.

I’ve been your pal forever and would really like a copy of this book for free.  Can you give it to me?

If you drop me a line and tell me how you’ll help me sell copies to all your friends, sure.

Thanks for the support, and I hope you get a chance to read the book!

I’m so depressed about the baseball season right now.  The Rockies have catastrophically failed in almost every aspect, and I don’t foresee it getting much better any time soon.  And if they had a bad start, and continued a slump through May, that would be one thing.  But they were leading the division — they were leading all of baseball for a while.  And now I think they’d have serious problems taking on most AAA baseball teams.

Some facts and numbers:

• The “ace” pitcher, Ubaldo Jimenez, does not have a single win.  Since he started the all-star game last year, he is 4-12.
• Jorge De La Rosa, arguably the team’s best pitcher, tore his UCL completely and will be out for the rest of the season.
• The ace of 2008 and 2009, Aaron Cook, hasn’t thrown a single pitch this year in the major leagues.  He fell apart last year (6-8) and then broke a toe, then messed up his shoulder, then slammed his hand in a door and broke his finger during spring training.
• Closer Huston Street has given up 5 home runs in his last 8 outings.
• There’s essentially nobody at 3rd base, and they just fired 2nd baseman Jose Lopez.
• There are no longer any left-handed pitchers starting.  They have only one lefty in the bullpen.
• They’ve gone from first to third in the division.  Depending on how the Dodgers do this weekend and how they do against the Dodgers in their upcoming series, they could very easily drop to 4th.
• Tonight they are starting a pitcher who has never pitched about the AA level in the minors against the team that has the most run production in all of baseball, in a hitter’s park.
• The team is 7-18 in May, and will most likely finish the month with 20 losses.
• There are a million other statistics you can look at to make this even more depressing.  (Stolen bases?  0 for 3 in 11 games?)
• Oh yeah, and the other day, a fan trying to slide down the railing in a stairway out by center field fell 20 feet and smashed his head in, and died the next day in the hospital.  Not only is this horrible for the fan and his family, but I’m sure it’s not helping a) the sagging attendance figures; b) the funk over the team; and c) the team’s finances, because I’m sure the guy’s family will sue the hell out of them because the safety rail didn’t have a safety rail.

It’s gotten so bad that I finally, after last night’s total clusterfuck of a 10-3 loss, deleted the MLB At Bat app from my phone.  Half of me thinks that they will eventually have to come back and start winning games again.  Half of me thinks it will only get worse, and it’s only a matter of time before Todd Helton gets his annual back injury and Tulo gets his yearly leg pull and Aaron Cook comes back from the DL and starts pitching like a batter’s high school coach at the home run derby.  I haven’t gone to any games this year, and I have no desire to drop a thousand dollars on a long weekend to Denver to watch them lose two or three games to the Nationals, or pay $100 for tickets to watch them get demolished in a sea of orange over at AT&T Park.

And it’s still May.  There’s still four months of this.

It’s so hard for me to give up on this, it has become so intertwined with my life.  I mean, I think about the time I spent in Denver and how much I liked it there, and how I loved going to games there.  Granted, I was not 100% happy there; I didn’t have a job for a good chunk of that summer, and I didn’t get much writing done during that era.  But I only remember the good stuff, and it’s odd how memory works that way, how I can smell a certain kind of suntan lotion and immediately think of the times I would slather on that SPF-80 and roast out in the 331 section during a day game.  I sit in my car that I bought back in Colorado and think of all of the times I listened to 850 KOA while driving up and down I-25, trying to keep up with the end of that 2007 season.  Even my iPhone - I think about all of the games I’ve watched on that stupid little app in the last couple of seasons, all of the time I’ve spent trying to follow this team while I was thousands of miles away.

We go to the movies almost every weekend, and it’s become this ritual, how I would get out of a show and flip on the phone and check the score.  And that’s the gotcha to all of this, the way those different disparate sensory inputs all twist themselves together: the wood trim on the mall we go to, the theater’s bright red carpets, the smell of the popcorn, the taste of the same Reese’s Pieces I always get, the design of the little icons on the screen, the feel of the phone in my hand, the look of the uniforms on the pictures in the news recap of the game.  It all fits together in such a perfect storm of pieces, that just taking out my phone now and looking at the hole in the icon screen where the app used to be makes me depressed.

I should channel all of this energy into writing.  And I’m trying to write, but I’m thinking about it too much right now.  And that’s the problem with both writing and baseball: thinking about it is your worst enemy.  If you’re standing 60 feet and six inches from a batter up on a pitcher’s mound, and all you can think about is the number of losses behind you and the ability of that batter and his stats versus your kind of pitching, you have lost.  If you stare at a blank page and think about how much you need to write and what you need to get done and how you need to get that next winning book out there, you will lock up completely.

Could be worse.  I could also be a football fan, and staring down that huge disaster of a lawsuit that’s probably going to derail their next season.  The more I think about sports, the more I miss the days when I hated all of them.

I wish I was a stand-up comedian.

I have trouble saying that, because I feel like the many or most people would reply with “you’re not funny.” And I’ve probably spent a lifetime trying to make other people laugh, and maybe I have, but the only thing that sticks in my mind are the too-serious people who reply with “you’re not funny.” And that’s probably why I couldn’t become a comic - it takes a certain amount of confidence to get up on the stage and talk to people like that. But lately, there has been something compelling to me about the whole comedy world.

Last night, I saw this documentary I am Comic on netflix.  It’s sort of about comedian Ritch Shydner, who had a ton of old Carson appearances, and then graduated into bit acting roles and staff writing jobs.  In the movie, he decides to make a comeback to stand-up after 14 years, and it documents his appearances at open mics and small gigs, both the horror of bombing in these small places where people are more interested in the pool tables and TV sets than the comedians, offset by the total high you get from running a show like that.

But the movie is more of a primer on stand-up, the process, the lifestyle, and the good and the bad, told through interview clips with at least 40 top-rate comics.  The wide swath of appearances is awe-inspiring, from household names that we forget got their start in stand-up (Roseanne Barr, Tim Allen, Jeff Foxworthy, Tom Arnold) to the current a-list (Sarah Silverman, Dave Attell, Lewis Black, Margaret Cho), and lots of other great cameos.  It talks about middling, and comedy club condos, and life on the road, and jokes versus bits versus chunks versus sets, and worst shows ever.  It’s a great movie if you’re a huge comedy nerd, and I am.

There’s a huge comedy boom going on right now.  I can’t quantify it and show you a Gartner report with pie charts or anything, but all the indicators are there:  there’s a whole world of podcasts and twitter feeds and web sites dedicated to stand-up; there are all of these shows like Last Comic Standing; there are tons of venues and shows; there are a bunch of stand-ups crossing over into movies and TV shows; there are something like 79 late-night talk shows now, every one employing a dozen staff writers and spotlighting a hundred comics a year.  It’s huge right now, which in my pessimistic mind means that there are orders of magnitude more people trying to break into the business, and I’m sure there are thousands and thousands of unemployed actors and directors and agents who are thinking “I need to start doing sets at open mics so I can segue that into a line producer job at Two and a Half Men.”  It also makes me think that if I decided today to become a stand-up and started writing jokes full-time, I’d just start to get momentum around the time 90% of the comedy clubs in the US shuttered and all of the trend-hop fans who are into Patton Oswalt today will move on to becoming professional salsa dancing fans, or whatever the hell the next trend will be.

I look at the huge growth of the comedy world as I look at the ever-dying world of publishing and wonder why the hell I got into a craft that’s so hugely unrewarding and impossible to crack.  As I try to study how to make it as a literary fiction writer, all I hear are horror stories about how there are now more MFA candidates trying to sell stories than there are readers of literary fiction, and there’s no money in publishing.  And yes, I could write genre fiction and make money writing hack murder mystery crap and publishing it myself, but you can’t choose your voice, it chooses you, and I can’t even read stuff like that, let along write it.  I write what I write, and I try to convince myself that someday the trend will change and people will trade in their vampire and zombie books for Kerouac and Wolfe.

But comedy has such an appealing ecosystem.  For one, you get up on stage at an open mic and go - there’s no trying to finagle blog followers and spamming your stuff to these lit e-journals in hopes that someone will pick it up.  You get on the mic and go, and there is immediate feedback.  I write a book, and maybe a year later, someone will read it and maybe I will hear back from them.  But comedy is immediately absorbed; you tell a joke, a person hears it, they laugh or they don’t.  And people seem to seek out comedy, go to clubs and pay money and see comics, and seek out these podcasts and XM Radio shows and live CDs.  I think in any art, there are two different cycles: either you follow the potential fans, or the fans follow you, and I feel like writing is very much the former right now, and comedy is the latter.  And maybe that’s not entirely true, and I’m sure a lot of comedians bust their asses trying to find Facebook friends and grow their mailing lists and post one-liners to twitter constantly.  But there’s not a huge audience of literary fiction fans out there eager to snap up anything you produce.

I recently took a comedy writing class, to see if I could do it.  And I found that I could and I couldn’t.  I mean, one of the assignments was to write something like 30 monologue-type jokes, which was hard only because I had to actually read the news, and I hate reading the news.  And after carving away at 30 jokes over the course of a week, I found that writers at Kimmel or Letterman have to write at least 40 or 50 jokes a day.  And their pay ranges somewhere between dick and shit.  I think I could hack away at being a comedy writer, or punching up scripts, but it’s probably as unrewarding as hacking away at user manuals all day.  And I don’t mean to knock the tech writing career, which pays more than all but the top tier of fiction writers on amazon, and gives me health insurance and paid vacation and pays me every day, whether or not I scare up sales.  But I remember that feeling when I hit ‘send’ and launched the final, final manuscript of Summer Rain to the publisher, after five years and a quarter-million words of pain and torture, knowing that it would be a 650-page chunk of my life and other peoples’ hands, and it was not the same feeling I get when checking in the final PDF of a developer’s guide for a software product that will literally sell a million times what my book does.

I wish there was a writing community more like the comedy community.  I mean, I look at stuff like the people taking UCB classes who are working with each other and building their careers and doing awesome things, and then I look at any number of literary sites where people are talking about their head shots or whether or not they should change their names to market to the Young Adult romance genre.  I’m slowly finding more authors that subvert this paradigm, but I need an order of magnitude of readers that do the same.  And lately, it’s hard to get people to pay attention to 140-character updates, let alone 140-page novellas.  But I think that will eventually change.

Oh yeah, I did standup once.  It was 1988 and I was in the Catskills and I did a talent show/open mic in some bar in East Windham, in front of maybe 20 people.  I don’t remember a single joke I did, but I vividly remember between the time I put down my name and the time I took the “stage” (really just the same floor as the bar), I went on this long walk in the upstate New York summer night, and listened to the bugs and talked to myself and tried to write a set on the spot.  I remember the smell of the August night, and the cool feeling when it was like a hundred all day and all you could really do is sit in the pool or hide in the AC of the motel, and the temp would drop to like 75 at night, and it would feel almost cold.  And I’m walking by myself, muttering “okay, no, start with that, then go into this, and then, no, then say this, and then mention I’m not from here, and go into that, and, and, and…”  And the set completely bombed; I think one joke got laughs.  But I did it.

I am participating in NaNoWriMo 2010.  I just decided this, and I have the vaguest of ideas for a book, and I really need to flesh out an outline, but I’m having trouble getting the thoughts into an outline this second, and I’m glad my copy of Call of Duty is not in the house, because this is typically the point where I’d switch on the PS3 and spend the next three hours “thinking about my outline”.  This is a story I’ve gone back and forth on for the last year, and reading The Three Stigmata of Palmer Eldritch earlier this year made me realize I totally need to do it.  So I’ll get there.  I have two days to start an outline, or at least have enough of an outline that I can start typing on Monday.

So yeah, that probably means I won’t be updating on here much for a month.  I’m sure both of you readers will be okay.  If not, there’s a thousand old posts here.  And if you get really desperate, you could always go read a book.

I’ve been listening to Sabbath’s Master of Reality on repeat for the last couple of days.  I think it’s one of their best albums, and for whatever reason, you can’t get it on iTunes.  You can in the UK, but you can’t buy music in the UK iTunes store if you have a US account.  I realized I did not have a copy of this on CD, and it was missing from my iTunes library, even though I am certain I had a CD of it in the mid-90s when I went on this Black Sabbath fit of purchasing and bought everything of theirs I could find.  (I think this was around the time I had my first root canal and got Vicodin.  I also think this was around the time I was interviewing someone for a tech writing position, and the whole thing went south, so I started asking them trivia questions about Black Sabbath.)  Anyway, I got a copy of it - it was re-released in the UK a couple of years ago with more bonus tracks than original tracks, which is great if you want to hear a version of “Orchid” where Tony Iommi starts the track by coughing and then counting in, but maybe that’s a bit obsessive if you’re just a stoner rock fan who wants to hear “Sweet Leaf” because it’s been covered by 84,238 other bands, who probably all think it’s pretty damn original when they decide to cover it.  Probably the hardest part of assembling a Sabbath tribute album is 90% of the tracks submitted are covers of “Sweet Leaf.”

Okay, I really need to do at least a token amount of work on this outline.

As a writer, I spend a lot of time at desks.  And I have some strange obsession with the workspaces of writers, which is why I always seem to be snapping pictures of my desks.  And every time I go back and look at it, I can tell the era and the project and the general zeitgeist by seeing what things I needed to keep within arm’s reach during the marathon stretches at the typer.

Here’s a bunch of pictures of my desks over the years.  Why?  I don’t know.  A good way to waste a Friday afternoon, I guess.

Here’s where I spent a lot of 1999: in Washington Heights at Marie’s, my first stop in New York, and where I hacked out the ending of Summer Rain. This must have been soon after my arrival.  There’s my Polaroid, which I bought during the cross-country trip, and some Hi-8 tapes, probably also from the journey.  That silver thing between the speakers is a MiniDisc recorder.

That winter, I moved to Astoria, and got my own place.  Still working off the office table, but I have a real chair now.  This must be in mid-2000, because I’ve got my surround sound speakers installed.  I probably got the bulk of my work from 2000-2005 done at this desk, where I used to type from nine to midnight over the sound of Jersey Shore wannabe douchebags screaming at each other outside my first floor window (hence the speakers.)

My desk at Juno, from 1999-2001.  I didn’t do as much fiction writing here, but I pumped out a lot of tech writing.  It was my first cube, after years of Seattle offices with closing doors.  There’s some xmas lights up; they told us we could decorate our cubes, so I went to K-Mart and bought $100 of lights, including one of those blinking strands that played 24 different holiday songs from an annoying watch-type speaker.

By 2001, I added this stupid aquarium to my desk, in some effort to be less stressed out or something.  I was too lazy to buy fish though, which is probably for the best, since they would have died after 9/11 when my power went out for a week.  You can also see the corner of my beige mini-tower computer on the floor, the case I bought back in 1992.  I must have replaced it a few months later.

In 2002, I started writing on the road a lot more, taking last-second fare deals every time we had a long weekend, so my “desktop” looked like this a lot.  That’s my Latitude LS, the first “real” computer I bought new.  A screaming Pentium III with 256 MB of memory and Windows 98, for a only $2500.  I dual-booted into Linux so I could fire up emacs at 40,000 feet and type away.  No, no wifi.

Here’s what it looked like in action: a hotel room in they Hyatt connected to the Pittsburgh airport, on Good Friday of 2002.  There’s also a Handspring Palm-clone PDA in action, something I bought to jot down ideas and read e-books, but ended up using primarily to play Dope Wars.  I was probably finishing edits of Rumored to Exist around then, although I was also mostly getting drunk and thinking of stupid movie ideas.

When you’re a bachelor for too long, this is what happens.  This is probably early 2005, and the mail collection has gotten out of control.  I think the browser window is opened to my old /photos directory, running its hacked-together PHP gallery software, before I finally gave up and just started using flickr for everything.  If you look carefully, you’ll see a PlayStation 2 on the floor, which is responsible for my lack of writing output for most of the 2000s.

Hey look, I got a Mac!  This is from spring of 2005, and I also got an ergo keyboard.  And I must have started dating Sarah, given that I felt the need to clean the apartment so it didn’t look like a serial killer was there, or maybe they were filming a special two-part episode of Hoarders.  Don’t worry, the stacks of unopened mail are still there; I found a spot on a bookcase to hide them, which is a miracle, given the number of books I had at this point.

New house, new desk.  This was late 2005, when I moved in with Sarah on the Lower East Side.  That desk was brutal to put together.  That red phone followed me around since maybe 1988 or so; I’ve still got it in storage somewhere.  There’s also the receiver for a Microsoft wireless mouse, a wretched little pointing device that ate batteries faster than a walkman with a 20-inch subwoofer.

That desk followed me to Denver, and in 2007, this is where I spent most of my time writing an unpublished book about time machines, and hacking at Ruby on Rails code.  The thing in the center is a full-spectrum light; I hadn’t sold the Mac Mini yet; this was well into September and going into Rocktober, given the order form for postseason tickets sitting in the corner of the picture.

In 2008, we moved to LA, and I worked from home again, this time with a place back in Denver.  I spent my days in VMware, slogging away in a Windows virtual machine, which is shown.  This was during my massive weight loss campaign, as evident by the 100-calorie pack and the diet Sobe Lean pink grapefruit soda.  I had an okay view from the window, with lots of California sun and the occasional crow on the tree outside.

Here’s my officemate for much of my writing.  Loca loved to crawl on the desk and crash, especially when I had documents spread out.  It’s always nice to have cats around when you’re writing, though.  You can also see how I hid my laptop on a keyboard tray, and a close look at the whiteboard shows some Ruby on Rails for hackers cheatsheet, which I probably looked at once and then ignored.

A bad stitch of some pictures of my office at Samsung.  Note the early 80s decor, like the old-school cubicles.  I didn’t have much on my desk, because any time a senior exec from Korea came to visit, they would go apeshit if anything was out of order, so everyone would panic and hide every single thing on their desk in an effort to make it look as sterile as an operating room.  Well, an operating room with early 80s wood paneling.

I wish I had pictures of my desk from 1992, when I lived at the Mitchell Street house and worked off of an old card table, the same one I used to use to build model airplanes in my early teens.  I also had a pretty kick-ass Sauder L-shaped desk in 1993, where I really started my writing career.  I either sold it or gave it away when I left Bloomington, but it was a nerd command center, with plenty of CD storage and a keyboard tray and plenty of room for 3.5” floppy disks, since you needed roughly 87 of them to install Linux back then.