Thursday, 9 November 2017

Her Brother's Keeper


Over the last few weeks I've read Larry Correia's Monster Hunter Siege, which I bought in hardback in a fit of enthusiasm, not realizing my contract would be coming to end soon.  But that's life.  Great read, and I then went back and re-read Monster Hunter Alpha, because I wanted to check out how Larry had handled his third person POV.

I then re-read Cosmic Engineers by Clifford D Simak, which was a favourite of mine from my teenage years.  And gosh that was a long time ago, but I really enjoyed the book, despite its limitations of being serialized in 1939, the story had more ideas per page than most modern novels have period.  Stephen King describes Cosmic Engineers as a terrific read, and who am I to argue with Stephen King?

After finishing those, I read Dead Beat by Jim Butcher, which was also a whole heap of fun too.  A great series that I'm glad I found, because it's outside what I would normally choose to read, but it has been real fun to get into.

So, the point of this preamble to my review of Mike Kupari's Her Brother's Keeper is that it still made a big impression on me despite me having just read a bunch of excellent books by really good authors.

What made it was when I got page 380, where he describes the unknown extraterrestrial antecedent species that has been found during an archaeological dig *cough looting of a historical repository cough*, which the brother in the title of the book is involved with.  This was so well played that I had to send Mike a message, through FaceBook, because I was so excited.

Loved this book, and can't wait for the sequel.  And I'm trying to coax Mike into doing a piece for me to tell us more about the universe this story is set in, and the upcoming sequel.

Thursday, 2 November 2017

Bad Dog Finished Art


Here is the completed artwork by Elartwyne Estole.  Wow, it's exciting to see this finished.  Obviously I'm biased, but the art is stunning.

So now I've enrolled on a cover design workshop run by Dean Wesley Smith, and my first assignment was to show them what little I know about cover design.

Tuesday, 24 October 2017

The Bureau: It's Alive!

H. P. Lovecraft creator of the Cthulhu Mythos.

If you have scrolled down the page lately, you will have seen my new progress statement about my first novel, The Bureau.  It had been relegated to my metaphorical bottom draw.  Reviewing my files and blog entries, I see that the last time I did any significant amount of work on it was back in January 2015.  The project has, up to now, been well and truly stuck.

My excuse is that the story was in the grip of Eldritch forces, but now the stars have moved it has escaped.

The truth is a little bit more complicated than that.  I first started writing The Bureau back circa 1986 and it was my attempt to write a six issue comic that would be turned into a graphic novel.  My inspiration came from watching a highly acclaimed series on the BBC called the Edge of Darkness.

I'm not ashamed to admit that I was playing a lot of Call of Cthulhu games at the time.  They were a lot of fun, and I have many fond memories of my friend Kevin running campaigns, where invariably we all went mad.

Anyway, inspired by these two things, I had an idea to write a Lovecraftian comic book story that rifted on Edge of Darkness.  I managed to complete three episodes of my story.  My friend Alex Stewart read the first them and commented that The Bureau felt like Lovecraft meets The Professionals, which is a great pitchline.  Unfortunately, the artist, who I was thinking of working with, told me he couldn't draw what I was writing.

That as they say put a damper on things.

A little later my life became very difficult, and everything got put aside, because I had to go off and work to make money to have somewhere to live.  This meant I dropped out of writing thirteen years, and it wasn't until 2004 that I found my hand written first draft, and I decided to copy type my manuscript onto the computer, with the intent to turn it into a novel.

And again, life got in the way, in the shape of going off to train to become a cognitive behavioral therapist.

So another eight years passed until I dug The Bureau out to start working on it again.  But then I got side-tracked by Bad Dog, and being so inspired by the setting that I had to write two sequels to it.  Since then I've tried restarting The Bureau on two occasions, and managed to add scenes to the story, but basically I was stuck.

The reasons for this weren't immediately obvious, but with hindsight they clearly are.

This insight came from following various blogs around the web that talk about publishing.  Dean Wesley Smith and Kristin Rusch have both talked about writing and publishing.  What they write may upset you, but it's better to be upset and knowledgeable than ignorant, and end up being disappointed.

Anyway, they made me rethink my assumptions about what I was doing.

I realized that The Bureau was my first novel.  It had become my preciousness, and I was trapped by expectations I could never realistically meet.  Those were rooted in beliefs from the past about writing the best first novel that one could.  But the harsh truth is that failing to finish writing a novel is more of a problem than failing to write the breakout novel that in one's imagination will sweep the world off its feet, and show people how brilliant your are.

For one very simple reason, no one can judge my writing if I haven't written anything.  Besides, if my first novel is so wonderful, how on Earth would I ever be able to write something that was better?

And that was the trap I was caught in.

Realizing that, all my assumptions fell away, and I was able to sit down and revise the structure of the story and just like that everything fell into place.  All my clever tricks I had wheeled out when writing The Bureau I could now see were getting in the way of finishing the story.

To finish my piece today, I had one other insight, courtesy of Kristin Rusch, from her post here:
The book is giving me fits, because I can’t seem to nail down the structure.  I write books out of order, as those of you who followed me through The Freelancer’s Survival Guide know.  I wish I could change this process, but my mind sees books as a mosaic instead of as something linear.  When I finish, I have to construct the book, rather like a quilter with scraps of fabric.  If I put the scraps together one way, I have one kind of book.  If I put them together in another, I have a completely different book.
Until I read this, I though I was the only person doing this.  I made an assumption that other writers either outlined or wrote a story instinctively discovering the story as they wrote it.  I thought I was the only person who shuffled scenes around to fit the story.

Again, as they say, live and learn.

Tuesday, 17 October 2017

The Economics of Self-Publishing


As readers know I went on a Self-Publishing Masterclass.  It was interesting, which is a politic way of saying I learnt a lot, but disagreed with parts of the day.  In fact I would go so far as to say with a major part of the theme.

The theme was that if you want to be taken professionally then you will need to hire professionals to make sure your work looks professional.  When written like that it seems so obvious and even self-evidently true.

And at one level it is.

But, here's my problem with it.  The cost.  The cost to have a developmental editor to make sure your story is all it can be.  The cost of a copy editor, which is essential for consistency.  And the cost of a proof reader, because it's a mystical art to be able to be a proof reader.  Add to the cost a book cover designer, and if like me you're working in a genre where the readers expects a type of cover, then you need an artist too.

A quick back of the envelope calculation produces a figure of about £4000 pounds or $5,500 dollars.

And that's before any sales.

Over on Kristine Kathryn Rusch's site she breaks down the publishing industry, and I was staggered to read that in traditional publishing the cost to bring a book to market is around $200,000 dollars.  From this one can see how traditional publishers don't make any money on the books they sell, and how this leaves the authors where they are.

So while Print On Demand, POD, does away with the inventory costs, the hidden production cost remain, and are something that needs managing so that they don't grow out of control.