Inspired and, at the same time, still feeling his loss, I dug out some some lyrics I wrote a number of years ago, added musical accompaniment and ended up with “Alias”.
Here’s the the version I recorded…what do you think, do you detect a little Lenny in this piece?
Is it a suitable homage to a beloved troubadour?
All the times you’ve dropped by my strange, little site and found yourself confronted with yet another rant, a venting of spleen directed toward my latest bugbear. Middle of the road, milquetoast, liberal democrats are my current obsession. I despise them, down to the last strand of DNA. Don’t get me started on that.
I reported previously that I was “de-commissioning” an old notebook. I salvaged some poems, ideas…and a few bits and pieces that coalesced into a spoken word piece I’ve recorded and titled “The Boy Eternal”.
It’s personal, to some extent, but I’m never one to let facts get in the way of a good tale.
I present it to you, with my compliments. The music adds a nice, dramatic element.
Have a listen and let me know what you think:
- To listen to more of my spoken word or ambient recordings go to my Other Media page.
I’ve been going through a notebook I’ve been keeping since 2010—kind of a “scratch” book, to horse around in. Poems, lyrics, essays and short stories, in very raw form.
Found the following two poems, which may or may not make it into my next compilation, slated for release Spring, 2018:
We emulate our gods
by turns jealous and paranoid
desirous of silver and gold
hiding our indifference
behind impassive masks
reluctantly doling out favours
callow, prone to deceit
* * * *
Nothing to do with rockets
miles off course
spiralling out of control
threatening civilian populations
programmed for self-destruction
to prevent serious harm
© 2017 Cliff Burns (All Rights Reserved)
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 firstname.lastname@example.org.
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?