Royalty Statements

Posted on by
Comment

What my quarterly royalty statement tells me.

I make my living as a writer. Sure, I do other stuff and bring in money doing it, but when it all gets down to dollars and cents, the money I receive from writing is what pays the mortgage and puts food on the table.

With a new royalty statement in my hands, I thought I’d take a few moments to explain to folks interested in writing how the royalty part of writing works and what can be learned from a royalty statement.

How a Typical Writer Receives Income

Money from my writing work comes in three ways:

  • Payments for articles. When I write an article for publication, I normally get a check within 2 to 4 weeks of publication. The amount is agreed upon in advance, so I know what to expect but not exactly when to expect it.
  • Advances for work in progress on books. When I sign a book contract, it includes a payment schedule for advances. I like my advance paid in three or four installments that are due when certain parts of the book are submitted to my editor(s) — in other words, when I achieve completion milestones. A typical arrangement might be 1/3 on signing, 1/3 on 1/2 completion, and 1/3 on completion. Depending on the publisher, the checks usually arrive within 2 to 4 weeks of the milestone. Again, I know how much to expect but not exactly when to expect it.
  • Royalty payments. When I sign a book contract, it also includes a royalty percentage. The percentage is applied to the wholesale price of the book. So, for example, if the royalty is 12% and the book retails for $20 (about average for my books), the 12% is applied to the amount the publisher sold the book to retailers (or book clubs or direct order customers) for. A good rule of thumb is about 50% off the cover price. So I’d get 12% of about $10 or $1.20 per book. This royalty rate is applied to all sales of a title to come up with a royalty due. The amount of advance is then subtracted — remember, that was an advance on royalties — and if the result is a positive number, the book has “earned out” and I get a royalty check. My publishers pay royalties quarterly, although not on the same schedule. I know exactly when a royalty check will come — well, within 3 days of an exact date — but I never know how much I’ll get.

After doing this for 15 years, I’ve come to think of advances as my “bread and butter,” payment for articles as “fun money,” and royalties earned as “icing on the cake.” I won’t write a book unless the advance is enough to cover the amount of time and effort I put into writing the book. (I turned down two low-advance projects just last year.) This way, if the book doesn’t earn out, I’ll still make enough to keep paying the bills. If it does earn out, great. And since I don’t do a lot of work on articles — it’s just too much effort to get the work lined up — I don’t rely on that income for anything. That’s kind of unfortunate, because I can usually bang out one or two articles in day, so the income would really be great if I’d get get more of that kind of work.

As you can imagine, royalty statement time is a big event at my house — especially when Peachpit royalties are due. The statement comes in a big fat envelope. The reason: there are lots of pages. But one of the first pages of the package is the royalty check. And a quick peek tells me just how much icing I’ll have to spread around for the next three months.

How Many Books are on the Books?

The reason my Peachpit royalty statement comes in a big fat envelope is because there are lots of pages. The statement sitting in front of me right now is 61 pages long. I can’t even get a staple through it for filing.

The first few pages — 4, this time around — is a summary of the ISBNs covered by the statement. This list of ISBNs — 34 of them this quarter — are the books the publisher still has in its accounting system.

I need to make a distinction here between titles and ISBNs. A good example is right on the first page. My 2004 title, Creating Spreadsheets and Charts in Excel: Visual QuickProject Guide, is listed three times: the original title, the German translation, and the French translation. Sometimes translations get their own ISBN and sometimes revenue for a translation is listed for the main title. It depends on how the translation rights were sold. Also, since Peachpit is now selling PDF versions of some of my books, those versions appear on a separate line.

Still, a quick count of titles on this quarter’s statement shows 28 titles listed. Whew! Even I think that’s a lot.

In my case, the vast majority of my work these days is in revisions. So each statement might show multiple versions of the same book. This is especially true for titles that are still “alive.” For example, my America Online: Visual QuickStart Guides (a 2-part — Macintosh and Windows — nightmare completed for version 3.0 years ago) are “dead” titles. They came out, sold poorly, and were not revised. These book are dead and buried and the only reminder that I ever did them are the author copies of each book on my author copy shelf. But my Excel for Windows: Visual QuickStart Guide is alive and kicking — in fact, I just finished the revision for Excel 2007 this week. Three editions appear on my royalty statement: 2000, 2002, and 2003. (2007 will appear on the next statement.) And my Mac OS: Visual QuickStart Guide takes up the most lines: seven editions going back as far as the edition covering Mac OS 9.

For a title to appear on the royalty statement, it must be either earning money or losing money (by returns) with a more recent edition to suck up the losses. This is an important clause in book contracts — one that’s important enough to discuss in a little more detail here. Commonly known as cross-accounting or cross-deductions, it means that returns on one title can be applied to net revenue on another. So, for example, if my share of returns on an old edition of my Excel book was $43.54, that amount could be deducted from or charged to royalties on a more recent edition. That’s normally why books stay on royalty statements for so long — there’s still accounting for them.

It was kind of a good thing that my AOL books didn’t have more recent editions. Neither title earned out, so the money I was overpaid for those books could be deducted from future editions, had they existed. Instead, the publisher cut their losses by not doing new editions (a wise move) and simply stopped accounting for the existing books when the numbers stopped coming through. The books “fell off” my royalty statement.

(If you’re ever given the opportunity to negotiate a book contract, do not sign a contract with a clause that says all of your books can be pooled together for cross-accounting. (I don’t know the exact wording of a clause like that because I’ve had it removed from every single draft contract it appeared in.) Agreeing to this may prevent you from ever getting a royalty check if you write multiple titles for the same publisher and any or them are dogs. If you’re really lucky, you won’t even have cross-accounting for the same edition of a book — I was lucky to have that situation with one of my Quicken titles years ago. But I think it’s fair to do cross-accounting with different editions of the same book, so I don’t mind signing for it. I just brace myself for the returns every time a new edition comes out.

And returns, in case you’re wondering, are returns from retailers/wholesalers, not consumers. If Barnes & Nobel buys 1000 copies of a book and sells 200 of them in the time they allotted to give the title shelf space, 800 copies come back. That’s a bad thing for the author.

What the Summary Numbers Mean

Still with me? Here’s a bit more that the summary pages tell me.

For each ISBN, the summary page has 6 numbers:

  • Previous Balance is the amount owed to me (positive number) or the publisher (negative number) for the ISBN. There usually aren’t any positive numbers; if the publisher owned me money, they paid me last quarter. So books that are earned out show zero in this column. If I owe the publisher money — for example, the book hasn’t earned out or subsequent returns have put the ISBN in the red — that number appears as a negative value. Zero is good, negative is bad.
  • Earnings/Subsidiary Rights Earnings is what the book earned me during the quarter. That’s the royalty calculation applied to net sales. Positive numbers means they sold more books than they received in returns. Negative numbers mean they got more in returns than they sold. Positive is good, negative is bad.
  • Credits/(Deductions) is the amount paid out during the quarter for advances or, if the author is paying for indexing, the amount paid to the indexer. I’ve never seen a positive number in this column.
  • Cross Deductions is where they take returns from one title and apply them to royalties earned on another title. So, for example, if the net earnings on my Word X book were -$53.47, that amount would appear as a positive value in this column for that ISBN and a negative value in that column for a later edition — perhaps my Word 2004 book. If you add up the cross-deductions column, the net amount should be zero.
  • Payment Due is the net amount owed to me for the ISBN. This number is either zero or a positive number.
  • Balance Forward is the amount that needs to be earned out to get more royalties on the ISBN. It’ll be zero if there was a payment in the previous column or a negative number if zero was in the previous column. That value is carried forward to the Previous Balance column in the next statement.

Of course, this is the format Peachpit uses. Other publishers may use other formats.

So when I get a royalty statement, the second thing I look at is the summary. (The first is the amount of the check, of course.) The summary tells me which books are earning money for me. That’s usually current editions of books. This is where I can see at a glance whether a new title has earned out. I can also see which books are earning me the most money — the titles with bright and happy futures. The bigger the payment due on a title, the more likely that title will be revised in the future. (Unless the software publisher decides to kill the software, as Adobe did to PageMill years ago. That book was doing very well when it was killed.)

Sometimes I get pleasant surprises. For example, my Excel 2002 book is still selling. That book was published five years ago and it earned $262 for me this quarter. Okay, so that isn’t enough to host a big party, but it’s a nice thing, a good thing. After all, the average life of a computer book is 18 months. So to have one that’s still bringing in a few bucks for me after five years is great.

The summary statement also tells me which titles are dead. These are the titles with previous balances that are negative numbers and no revised editions to earn more revenue. Sometimes these titles have ugly negative numbers in the Earnings column, indicating returns. My QuickBooks Pro for Mac book is in this situation. Although it’s the only title covering that software, there simply aren’t enough users interested in buying a book to make the book earn out. So when my editor says the publisher is not going to revise the title, I can look at this royalty statement and understand why. The book is dead.

Want more detail? The summary pages are also a table of contents for the 57 pages that follow them. That’s where I can find information about units sold, subsidiary rights (like translation rights), and where the books were sold: U.S., Canada, Export, etc. To be honest, I don’t look at these pages for every title. Heck, I have enough to do in a day.

What I Learned this Quarter

Looking at the royalty statement is like peering into a crystal ball. I learned that there are certain topics I probably won’t be writing again and other topics I’ll be writing about for years to come. I learned which of my books is doing best for me (still Tiger, after two years!) and which ones I might want to promote a bit more to liven up.

But with 61 pages to review, that’s about all.

The Bookwoman's Last Fling

Posted on by
3

Disappointing.

Two or three years ago, I discovered John Dunning’s work. Dunning writes mysteries with a series character named Cliff Janeway. Former tough cop turned bookshop owner/operator Janeway narrates the tales of the book-related mysteries he solves. Along the way, the reader learns a little about collectible books and the world of bookshops.

Being the A.R. person I am, I always try to read an author’s books in the order in which they were written. This is extremely easy to do when borrowing books from the local library, since the librarians number each of an author’s books chronologically, right on the spine. In most cases, they’re even shelved in order.

The Sign of the BookThe Sign of the Book was Dunning’s first Janeway book. I don’t remember why I picked it up, but once I started reading, I couldn’t stop. It was some of the best mystery fiction I’d read in a long time. A good plot, good characterization, and good dialog. I went through it quickly and felt extremely satisfied — but ready for more — when I was done.

I then began reading the rest of Dunning’s Janeway books. The second wasn’t quite as good as the first, but it was still very good. The third wasn’t quite as good as the second. That made it above average. The fourth wasn’t as good as the third. I was definitely seeing a pattern here. It was as if Dunning was steadily losing his touch.

The Bookwoman's Last FlingThe Bookwoman’s Last Fling was a disappointment, plain and simple. It’s difficult, in fact, to believe that it was written by the same author who penned The Sign of the Book.

The book’s plot was contrived — Janeway makes conclusions without proper evidence (a violation of the mystery writers’ rule of “fair play’) and his actions based on those conclusions steer the plot. For example, early in the book, he decides that he needs to spend time at a certain racetrack where a woman who died 20+ years before had spent a lot of time. Why? There’s no clear reason provided. Once he gets there, does he start doing the logical thing — asking questions? No. That comes later, after more illogical activities. Clearly, the character is driven by the author, not by the circumstances he’s put into.

The dialog was flat and unrealistic. One of the things I liked best about Dunning’s first Janeway book was the snappy dialog. It flowed and was fun to read. As a reader, I felt alone with the characters, “listening” to them talk. In this book, Dunning seems to be working too hard to get those words out, and that effort is quite apparent to the reader. I’m not alone with the characters; I’m alone with the author, who is trying desperately to communicate what his characters may or may not have said. And although I usually feel that an author’s words are sacred and shouldn’t be over-edited, an editor could easily have cut 30% of the dialog and the reader wouldn’t have missed a thing.

The dialog was also difficult to follow. I’ve read a lot of novels, but I’ve never had so much trouble keeping track of who was speaking. Many, many quotes are unattributed to their speakers. That wouldn’t be a problem if Dunning had stuck to the common writing convention of starting new paragraphs for each speaker. But in some instances, the same unattributed speaker speaks in two paragraphs in a row or the attribution is simply unclear. Never before had I wished to see a few more “he said” or “she said” phrases.

Characterization was also flat and lifeless. The characters didn’t come off the pages. Dunning told you their traits; except in a few instances, he didn’t really show you much. Character relationships weren’t brought out, either — even between Janeway and his lady friend. What is their relationship, anyway?

I feel bad about writing such an unfavorable book review for an author whose work I’ve admired in the past. But I have a sneaking suspicion that Dunning wrote this book — and likely some of his previous books — under pressure by editors to produce another big seller. Apparently, he didn’t have the book in him — at least not when he wrote it.

I believe that a writer has to be internally driven to write a book in order to produce good work. External pressures can’t squeeze a book out of an author who just isn’t in the right frame of mind to produce. In reading Dunning’s later work, I get the feeling that he just wasn’t ready to write when he did.

How Many Sites Link to Yours?

Posted on by
Comment

Let Google tell you.

We all know that Google’s bots index our sites regularly. They collect all kinds of information for Google’s excellent search features. But while they’re indexing, they also collect information about links. And while they’re checking my site, they’re also checking other sites — and building a database of the sites that link to mine.

All this information is available to Webmasters in Google’s Webmaster tools. I gave it a try today and discovered, to my pleasure and surprise, that there are currently over 4,300 links to pages on aneclecticmind.com. Not too shabby.

External Links listed in Webmaster Tools

To use this and other Webmaster Tools features, you need a Google account. Oddly enough, it can’t be the same as your AdSense account (if you have one) — at least I couldn’t use mine for that. My AdWords account info did work, however, so I used that. If you don’t have a Google or Gmail account, you’ll have to create one. You’ll be prompted to do so if you need to.

Once on the main Webmaster Tools page, you’ll be prompted to specify a URL for your site. You can enter as many Home Page URLS as you like, one at a time.

But before you can see information about links to your Web site, you’ll need to go through a verification process to prove that it’s yours. There are two ways to do this: insert a META tag on your site’s home page or upload an HTML file to your site. I choose the META tag method, inserted the tag, saved the modified home page file, and clicked a verify button. In seconds, Google checked the page and completed the verification process. I could then view the stats for my site.

The Webmaster tools stats include a wealth of information about your site, links to it, and how Google indexes it. Although I think there’s room for improvement, this free tool from a search engine giant is plenty useful. If you’re a Webmaster or blogger, I highly recommend checking it out.

You can learn more about the links feature of Google’s Webmaster tools in “Discover Your Links” on the Official Google Webmaster Central Blog.

Congressman says he doesn't believe in God

Posted on by
Comment

Some thoughts about religion and government.

Earlier this month — much earlier; I’m just catching up with my reading now — Congressman Pete Stark of California became the first high-ranking politician to admit that he didn’t believe in God.

From “Congressman says he doesn’t believe in God” in the LA Times:

“When the Secular Coalition asked me to complete a survey on my religious beliefs, I indicated I am a Unitarian who does not believe in a supreme being,” Stark said. “Like our nation’s founders, I strongly support the separation of church and state. I look forward to working with the Secular Coalition to stop the promotion of narrow religious beliefs in science, marriage contracts, the military and the provision of social services.”

I have to commend Congressman Stark on his brave stance. In a day and age when an American’s value to his country seems linked with the depth of his religious beliefs, it’s refreshing to read about someone who isn’t a “me too” member of the Christian club.

I chose the quote above because it echoes my sentiments about religion:it has no place in our government. Early settlers came to the New World to escape religious persecution — this country was built, in part, on religious and cultural diversity. The founding fathers were careful not to promote one religion over another when drafting the documents that would structure the country’s government. The First Amendment of our Constitution guarantees religious freedom. I take that to mean the freedom to believe whatever you like.

There’s no place in public schools for prayer, there’s no place in the science classroom for creationism (no matter what it’s called), there’s no place in government buildings for the Ten Commandments. There’s no reason why our rights should be limited because certain members of the government believe that certain private behaviors — homosexuality, pre-marital sex, abortion — are “unacceptable to God.”

And look what happens in a country ruled by religion — a country like Iraq. Constant fighting among members of the different religious groups — groups with different versions of the same basic beliefs. As reported just yesterday in “Shiite police kill up to 60 in revenge spree” in USA Today:

Shiite militants and police enraged by massive truck bombings in the northwestern town of Tal Afar went on a revenge spree against Sunni residents there on Wednesday, killing as many as 60 people, officials said.

You might say that the U.S. could never get like that, but consider the bombings at abortion clinics and the hate crimes against gays. We’re only a step away.

So when I read that a Congressman has stepped forward to admit that he doesn’t believe in God and that he wants to stop the “promotion of narrow religious beliefs in science, marriage contracts, the military and the provision of social services,” I feel a certain amount of hope for the future of our country.

The phrase that comes to mind is one I heard many times as a child: “Truth, justice, and the American way.” I’m all for it here.

The Big Sandy Shoot, Take 2

Posted on by
2

I return for a weekend-long rides gig.

Last year, I wrote extensively about the Big Sandy Shoot, an event held north of Wikieup, AZ by MG Shooters, Inc. I’d gone to the event at the urging of my friend Ryan, and although I did some helicopter rides, it wasn’t a terribly good gig for me. But it certainly was a fascinating experience.

A few months ago, the MG Shooters folks contacted me, asking me to come to this spring’s shoot. The rich guy with the helicopter who’d shown up last year and had given free rides had sold his helicopter. I wouldn’t have to compete with him. I checked my calendar, saw that Mike and I had the weekend free, and decided we’d try again. I didn’t expect to do many rides, but I thought it would be a nice opportunity to test out our camper in a real off-the-grid situation. We’d leave Jack the Dog and Alex the Bird at home with a house-sitter and just get away for a weekend. If I did rides, great. If not, I’d brought along a book to read and Mike could study for his helicopter check ride, which is later this week.

Getting There

The weather was bad on Thursday and Friday, with heavy rain throughout most of the day. This was good and bad. Good because the shooters would be able to use tracer rounds during the night shoots without worrying much about starting fires out in the otherwise dry desert. Bad because the shoot location is about 5 miles from pavement on the other side of the Big Sandy River. The Big Sandy River does not have a bridge at the crossing, so you have to drive across the river in whatever water is flowing. And the dirt roads often get a top layer the consistency of snot when they get wet.

Of course, I didn’t have to deal with this. I was flying in. What I had to deal with was the weather itself: clouds, rain, wind, etc. We waited until [too] late in the day to make our go decision. Mike pulled out with the camper in tow at about 5 PM and I went to the airport.

In Wickenburg, the sky was partly cloudy and the winds were no more than breezes. I’d checked the weather along the route 93 corridor where I’d be flying, all the way up to Wikieup and Kingman. It didn’t seem bad, but it certainly didn’t seem good. As any pilot who flies in remote areas can tell you, weather forecasting isn’t exactly perfect for areas where there aren’t any airports or cities. So although my destination was 60 miles from Wickenburg, I couldn’t get any solid weather information for it. I had to extrapolate based on what I was experiencing in Wickenburg and what was going on in Kingman, another 30 miles northwest of Wikieup. The radar images helped. And just looking out the window in the direction I had to fly helped.

The plan was for me to fly up there and scout out the river situation from the air. If the river was flowing too swiftly to drive across, I’d call Mike on the aviation radio he had with him and tell him. We’d set up camp at the Burro Creek campground about 30 miles south on route 93 for the night. I wasn’t sure how they’d feel about a helicopter landing down there, but was willing to find out if I had to. (Obviously, I wouldn’t land in the campground itself.)

Because a straight-line route would have put me in the mountains east of route 93, I decided to follow route 93 itself. (IFR: I follow roads.) There were two benefits for that. First, if weather closed in, I could land near a paved road where I could meet up with Mike or get a ride with someone else if I had to. Second, I could check out Burro Creek campground from the air to make sure there were potential landing zones and open camping spaces.

It was an uneventful flight. The winds were not much more than light breezes. Although there were a significant number of clouds at my altitude, none of them were near my flight path. Instead, they obscured the mountain tops on either side of the valleys I flew up. I never got within a mile or two of any of them.

I passed Burro Creek and saw that the campground was about 80% full. I also noted that they’d never painted the second bridge over the canyon there. (I’d taken a photographer from Utah to shoot the bridges from the air as the second one was being completed at least a year before.) I climbed over the mountains there and dropped down into the valley where the Big Sandy River flowed. It wasn’t flowing much at all. In some places, the riverbed was dry, in other places, there was about a foot of water flowing. It was a lot like the Hassayampa River, which flows mostly underground through Wickenburg. I overflew Wikieup, then concentrated on my GPS to locate the shoot site.

It was a good thing I had the waypoint programmed into my GPS. The shoot was quite a bit farther north and east than I remembered. It was in the foothills of the Aquarius Mountains. A line of clouds at my altitude hid the mountaintops from view. The shoot site was about 1/2 mile from the clouds. A bunch of people were set up on the flattened out ridge top with campers and shade structures.

Now, I’d been told that they’d put in two helipads since the previous year. And try as I might, I just couldn’t find them. I circled once, coming quite close to that cloud bank, then decided to land, shut down, and get directions from the ground. I used my cell phone to call Mike and leave him a message about the river conditions — I knew he was too far out for the radio — then landed on the southwest edge of the ridge.

Zero Mike Lima on its helipadTurns out that the helipads were nothing more than just flattened out areas on the north side of the ridge. Someone had decided that the closer helipad would make a great campsite and had set up a ton of camping gear on it. Ed, the guy who runs the place, suggested that he move, but the guy camped out there wasn’t interested in that. He tried to say that it was muddier there than anywhere else. That simply wasn’t true, although the mud leading up to that spot was terrible. So Ed and I found another place on the east side of the ridge. It was higher and dryer and although it hadn’t been cleared for helicopter use, I had no trouble landing there. Best of all, it was closer to where the shooters and spectators would be hanging out, so I was more likely to get people coming over to me.

With the helicopter settled in and the light fading quickly, my thoughts turned to Mike. Last year, he’d gotten lost on his way in from route 93. I didn’t want him getting lost in the dark. So I found someone with a truck who was willing to take me down to the main road and guide him in. That’s when I saw how muddy the road was. It was almost frightening — especially one steep hill covered in reddish brown snotty mud.

We literally almost ran into Mike. He didn’t know I was in the truck, so he didn’t stop. My driver, Ron (I think), made a U-turn and tried to catch up with him. We were more than halfway back when Mike finally stopped and I switched vehicles. We followed Ron the rest of the way up, checked in at the registration area, then climbed to the ridge and parked the camper near the helicopter.

Night Shoot

We were just finishing the camper setup — which included parking its right wheels on five leveling blocks and using large stones to prevent it from rolling away — when the night shoot began.

A big gun. At night.If you’ve never been to a machine gun shoot, you’re missing a really outrageous event. These guys have the same kinds of guns the military has/had for warfare and I think they have more ammo than the military issues to its soldiers. And they’re not afraid to shoot it. At night they use tracer rounds that clearly show the path of the bullets as streaks of red or green light. The sound of fire is deafening and every once in a while, it would be punctuated by the loud boom of a reactive target (i.e., stick of dynamite) going off.

At 10 PM, the shooting stopped. By that time, Mike and I were already in the camper, getting ready for bed. It started raining lightly outside. It got quiet and we slept pretty well.

The Big Day

In the morning, the low clouds were back, but never really drifted into our area. The big camp slowly came to life as shooters woke. The local 4H club was serving breakfast and the bacon smelled excellent. After breakfast in the camper, I went out with some rags to dry the dew off my helicopter. We hung a sign that said, “Helicopter Rides $35” on the back of the camper, which faced the rest of the camp. At 8 AM, I had my first passengers.

I flew much of the day. It wasn’t nonstop, but it wasn’t stop-and-go, either. Generally, I’d get three or four flights in between shutdowns. Then I’d get out and grab something to drink or take a pee or do something in the camper before the next few passengers showed up. Most flights had just two people on board — most of these guys were pretty “healthy” — and I made the flights a bit longer than I needed to. The later flights were a bit shorter — after all, I wanted to make money on this event — and included a view of the little waterfall in the foothills about a mile east of the camp.

U.S. Firepower in WikieupMeanwhile, the shooters were shooting. They started up at about 9:30 AM and stopped at noon for lunch. Then 1:00 PM to 5:00 PM when they stopped for dinner. They kicked off the 1 PM shoot with the detonation of a pig statue packed with explosives. I was in the air when they did it, but my passengers and I saw the smoke out in the target area. Mike said that the car alarms for all the cars and trucks had gone off.

We used our new fuel transfer tank to refuel the helicopter. It didn’t work quite as expected. Mike got tired of cranking after about 2/3 of the fuel had been pumped and made the fatal error of stopping. The fuel drained out of the hose and we couldn’t get the damn pump primed again. So the remaining 1/3 tank (about 8 gallons) remained in the transfer tank. Later, I made a fuel run to Kingman which took about 5 minutes longer than it needed to when I parked the helicopter about 3 feet farther away from the pumps than the hose would reach and had to start up to move it. (I hate when that happens.)

The weather threatened rain to the east and west of the site most of the day. On a few flights into the mountains on the east, I got drizzled on. We saw rainbows, too. But the clouds broke up around sunset. I stopped flying at 6 PM after taking at least 40 people for rides.

We made dinner in the camper and opened a bottle of wine. Outside, everyone was preparing for the night shoot. It got dark and people started shooting off flares. They’d shoot into the air like a fireworks rocket, then explode. A red light would glide to earth at the end of a small parachute, lighting up the range. Occasionally, one would land before it went out, setting a small bush on fire. But the earth was so wet that the fire soon went out.

The night shoot began loudly. Mike and I walked down the back of the firing line, past the shooters, taking photos and videos as we went. Thank heaven for ear plugs.

The Last Day

By morning, the folks who hadn’t left the night before were packing up to leave. There was another shoot scheduled, but only the hard-core shooters seemed interested. I flew another 10 or so passengers. The waterfall was drier and harder to spot in the canyon. Between flights, Mike and I packed up the camper.

I was on the ground when one of the shooters, a man who had made a canon out of a fire extinguisher, shot a red bowling ball over the range. That thing climbed at least 300 feet, with the wind whistling through its finger holes, before crashing to earth. He’d been shooting the bowling balls all weekend, but I always seemed to miss them. Seeing it was a treat.

Mike and I had lunch, hooked up the camper, and prepared to leave. I took Mike on a quick flight up in the mountains before dropping him off at the landing zone. I flew home the direct route, detouring only to peek into Bagdad Mine on my way back. Total flight time for the weekend: 6.2 hours. When I later tallied up the money, I discovered that I did a little better than breaking even. (Should have made the rides a little shorter.) But it was enough to come back.