The printed proof of RIGHTEOUS BLOOD should be here tomorrow.
Exciting times. Like an expectant father, pacing about the waiting room.
In the meantime, I spent part of my afternoon devising a promotional flier for the book—then Sherron comes home from work, does a little creative re-arranging and suddenly the flier’s looking pretty darn good.
This will go out with review copies and also to specialty or genre stores that might be willing to stock my book:
As the flier indicates, e-book and Kindle versions of RIGHTEOUS BLOOD are already available.
Now just gotta get a look at that proof…
Righteous Blood slowly creeps toward publication.
Susan, who’s been handling my interior layout, has delivered a text file for Lightning Source and is currently working on Kindle and ePub versions (to be read on tablets and other devices).
Chris, as you saw from my previous post, has devised another wondrous cover.
Both text and cover files were submitted to Lightning Source two days ago and the book remains in “pre-media”. If there are no glitches (there usually are), a proof of the book will be printed and dispatched to me via courier for close examination. At that point, if all is well, I give the go-ahead for publication, order however many copies I want to sell to booksellers and friends…and from then on, Righteous Blood is officially back in print.
But we’re not quite there. I mentioned previously that the folks at Lightning Source are more than a trifle finicky; their system has very strict specifications and that can be maddening. With previous books, I’ve had to re-submit either the text or cover files two or three times before I got it right. Crossing my fingers I’ve nailed it on this occasion and should know for sure in the next day or so.
Since I began posting about the process of publishing Righteous Blood, I’ve received a number of queries from individuals regarding various aspects of indie/self-publishing. Thought I’d post those questions and my replies for the benefit of all:
Q: You’ve complained various times about the difficulty and complexity of using Lightning Source as your printer—why stick with them when there are other platforms available?
A: Well, you know that old saying about the devil you know…but, really, I suppose I continue to do business with Lightning Source because they produce such lovely, professional looking books, plus they’re the platform that, in my view, promises the best potential access to booksellers around the world. As long as I pay my $12 annual fee, my books remain in Lightning Source/Ingram’s vast catalog, available to anyone who wants to order them, anywhere on the globe. I also like the fact that many mainstream, commercial publishers use Lightning Source as their printer—with over 30 years as a professional writer under my belt, I want all the benefits of high-quality services and standards. My books are created and designed to look identical to (or better than) any title released by traditional publishers. That’s my goal and Lightning Source helps me achieve it.
Q: Have you had any experience with Amazon’s CreateSpace or Lulu.com?
A: No, I haven’t. My understanding is that Lulu is more geared to beginners and amateurs. It’s where you should go if you want to print a few copies of your family history or a collection of your grandmother’s poems (or whatever). CreateSpace seems to produce a lot of stuff I have little use for: fan fiction, erotic shapeshifter romance, the silly shit produced by wannabes and sub-literates. Much of it only available digitally (because it’s so cheap and easy to set up). Both CreateSpace and Lulu are less costly and more user-friendly than Lightning Source, which is why certain kinds of “authors” are drawn to those other platforms. With Lightning Source, there are more hoops to jump through and that tends to discourage non-professionals. I guess that’s yet another reason I use them.
Q: I find the self-publishing process confusing and labor-intensive and I have limited computer skills. Your advice?
A: There is a learning curve and you can expect a great deal of frustration along the way. There are agencies like Upwork, who can provide you with connections to skilled men and women who have extensive experience typesetting and designing books. For a relatively modest fee, they can prep your manuscript so that it is printer-friendly, even set up a cover for you. The more services and help you require, the more expensive it gets. Again, if you’re only publishing a vanity book, something of questionable literary or commercial merit, go to Lulu, get it done on the cheap. You don’t need an ISBN, you’re not looking to get on bookstore shelves, you just want a couple of copies of a title for sentimental reasons.
Q: Even after all this time, do you find there is still a stigma toward self-published books?
A: Undoubtedly, and in my opinion that stigma is well-deserved. Technology and print-on-demand is allowing far too many people to publish their godawful, inept scribbling. It has empowered the wannabes, convinced them that for a few hundred bucks they can be SERIOUS writers. The cult of the amateur has done lasting damage to literature, reducing authors in stature and cultural importance since, after all, “everyone has a book inside them”. That kind of twaddle has enriched creative writing programs (and instructors) for decades.
Q: How much can I expect to spend publishing my book?
A: That varies. If you’re computer-savvy and can handle the set-up yourself, it saves a lot of time and money. Finding and purchasing cover art is another expense—again, if you have some design background, perhaps you could cobble together an eye-catching cover without having to resort to using someone else’s work. My books usually range from $1200-1800 (each), depending on if I’m using my own cover art, the length of the book in question and the number I want printed to sell or send out as promo copies.
Q: How do you promote your books?
A: Short answer: badly. I send out review copies but that’s usually a waste of time. Book reviewers are a dying breed and most of them have a dim view of self-published books, regardless of the quality. Last time I heard, something like a quarter million books are published in North America every year, and self-publishing has only contributed to that deluge. So much crap being printed and so many different forms of entertainment and distractions available to our potential audience. How do you draw attention to your work in that maelstrom? If you figure that one out, you’re on the fast track for a Nobel Prize…
* * *
That’s it for now. If you have any further questions about self-publishing or indie writing in general, drop me a line at email@example.com.
I had a dickens of a time with the cover of Righteous Blood.
For some reason, I resisted doing what I’d done on previous occasions: go on-line, to a site like RedBubble (or some place similar), tap in “dark fantasy art” as my search term and see what came up.
For So Dark the Night I must have looked through over a thousand images. Easily.
Not only was the effort of actually finding art to match the mood and message of Righteous Blood daunting, if I did manage to identify an illo that appealed to me I’d have to locate the artist (not always easy), secure their permission to use their art for a reasonable fee (ditto) and then, y’know, come up with the money for the transaction.
Earlier this spring I needed a break from writing, retreated to my basement dungeon where I like to paint and shoot my strange, short films, and slopped away happily on a couple of canvases. Both pieces turned out well, but my favourite was inspired by apocalyptic thinking: global warming, the massive wild fires that have raged around the world due to drought conditions and human tampering. I titled it “Red Skies” and quickly recognized how it might be the answer to my cover art woes.
Mark Rothko was definitely an influence, wouldn’t you say?
I sent a Jpg of “Red Skies” to Black Dog Press’s longtime cover designer Chris Kent last week, told him to use it as source material but not feel slavishly bound to the original. We had to be careful with other people’s artistic efforts but I wanted to give him permission to play with the image to his heart’s content.
Chris is a full-time teacher, a husband and father, an athlete constantly in training…but he also has an artistic side that he loves to indulge, a passion for design and art that’s very much a holdover from childhood.
Over the next few days, he tinkered with my painting, spitballing me a few initial notions like this one:
But I got a sense these first salvos were sort of tentative, Chris not sure how much license he had to tamper with my work.
But then, with his next flash of inspiration, he abandoned all fealty to the original and just fucking went for it. I opened up the file he sent, sat back and gaped at the shattered, fractured version of “Red Skies” that now graced the cover.
And went absolutely mental over it.
Sent him a few minor suggestions, nothing of any great import, he went away did some more polishing and then delivered the final version. His masterpiece.
What do you think?
Maybe you were a subversive.
Part of a cell.
Or you ordered some questionable books.
Matching some profile.
Compromised by a friend.
Betrayed by a rival.
Brought in for routine questioning.
Vehemently denying all charges.
Tragically expiring while in custody.
The official inquiry tactfully deflecting blame.
A closed casket, to spare your poor mother.
© 2016 Cliff Burns (All Rights Reserved)
Photo credit: Liam Burns
Or, at least, that’s how it seems.
Where did the past month go? Well, I’ll tell you:
Mostly it was swallowed up by a 12,000-word novelette set in my “Ilium” universe. At one point I spent eighteen consecutive days slaving away on said project, from eight in the morning until eight at night. Fun, fun, fun.
Because for me to be at my most creative I have to be fully immersed in a work, utterly incognizant of the “real world” around me.
And so it’s been with this latest piece.
I’ve barely been reading, just some essays from a posthumous collection by the great Tony Judt. So burned out the most I can manage in terms of entertainment the last few nights are a couple of old Gene Autry westerns. I kid you not. The singin’ cowboy a balm on my brain.
But yesterday I finally printed up my “Sherron Draft” and this weekend my devoted and long-suffering wife will go through the novelette and render her verdict. And from there: revisions and more revisions until at last I’m satisfied I’ve got it as note perfect as I can.
The ceaseless grind. That’s the part they don’t tell you about in those helpful “how to” articles in Writer’s Digest or that expensive creative writing class you just enrolled in. Creation, getting words down on paper, that’s the easy part…it’s the process that comes afterward that tests your mettle. How much effort are you prepared to expend to make your story or poem the best it can possibly be? Meticulous, tireless editing. That’s the difference between genius and wannabes.
Somehow I also managed to complete an overview of a fictional Quebecois film-maker and enfant terrible, a 2000-word “mockumentary” that’s the best piece of satire I’ve written in ages. I have some plans for that one and will likely release it in the next week or so. I’ll update you as soon as there’s anything to report on that front.
…and like everybody else, I’ve been watching the political shenanigans south of the border with growing incredulity.
Here’s my two cents worth:
First of all, this talk of a “contest” on the Democratic side is a joke. Hillary has the money and power, Bernie is a nice guy with some cool ideas. Bernie represents a movement; Hillary is a fucking machine. She’s got this one wired tight. End of story.
Regarding the Republicans, I’m starting to see shades of Barry Goldwater in 1964.
Name not familiar to you youngsters? He’s the dude who famously said: “Extremism in the defence of liberty is no vice”.
Still doesn’t ring any bells?
Never mind. The point is that in 1964 Goldwater and his followers were like today’s Tea Party—pissed off about special interests and insiders controlling Washington, the whole thing in need of a radical overhaul, etc. Richard Nixon and the GOP hierarchy came to the conclusion that Lyndon Johnson, wearing the mantle of an assassinated president (JFK), was unbeatable in 1964 and decided to let Goldwater and his lunatic fringe seize the reins of the Republican party. Once they were annihilated, they would go slinking back to their rat holes and the true king-makers and lever-pullers could take back the party in time for 1968.
Which is exactly what happened.
Makes me wonder if today’s Republican poobahs aren’t intending the same thing in 2016. Let Trump and his dickhead followers lead the party to certain ruin against the Hillary juggernaut, and then regain control in time for congressional and senate elections and a run at the presidency (hopefully with a more proven, viable candidate) in 2020.
Right now the GOP establishment is spooked—their two star candidates, Jeb Bush and Marco Rubio, have failed to produce any excitement or momentum. Bush, in particular, never looked statesmanlike and comfortable in the spotlight and clearly wasn’t interested in making a serious bid. Hopefully, we’ve seen the last Bush in the Oval Office (my daily mantra). Rubio’s been rallying of late but does he have the balls to go toe-to-toe with the Donald? That remains to be seen. He needs better gag writers and he has to take the gloves off. Marco, if you can’t manage to engage with and whup a coiffed, spoiled blowhard, frankly you don’t deserve a shot at the big chair.
I’ve been a political junkie for as long as I can remember and that sphere (especially south of the border) just keeps getting weirder and weirder.
Money has distorted the process and attaining power and stature have become the primary motivations of those seeking to represent us.
Public service? Accountability? Transparency? Ethics?
Mere words, lacking currency or value in a world increasingly fixated on satisfying selfish desires, while consciously and arrogantly absolving itself of the consequences of its greed and stupidity.
Don’t make me laugh.
People, it has been said, get the form of government they most deserve.
In that sense, today’s theatrics and hijinks don’t say much about us as a society and civilizing influence, do they?