You’ll find it by looking to the right hand side, under the “Stories” widget. Just click on “Audio” and you’ll discover a large selection of my stories, poems, commentaries, even an excerpt from my novel So Dark the Night. All available for free listening and downloading onto whatever device (iPod or cell phone) you currently favour. Many of these pieces are accompanied by music, which provides dramatic highlights, a soundtrack that is either pleasing or provocative (or both).
The most recent offering is a six-minute chat about “indie” writing I recorded because I’ve received a host of questions, both here and in various forums where I hang out. People want to know what it means to be an independent writer…and I want to do what I can to dispel this notion that one goes the indie/self-publishing route because your work can’t cut it with traditional publishers. Hey, kids, I chose to go my own way because after 20+ years of dealing with inept, sociopathic, moronic editors, I’d had enough. New technologies like blogs, podcasts and print-on-demand put more control into authors’ hands, a situation I welcome with open arms.
For the record, here’s what I said–
–and after giving it a listen, I hope you’ll have a clearer understanding of what I’m trying to accomplish with this blog. And please check out the rest of my audio releases, I think you’ll be pleasantly surprised by the production values and the power and intensity of the work.
Theatre of and for the mind…
I’ve been accused of lacking a certain amount of, well, esprit de corps when it comes to the plight of my colleagues in publishing. These are not the best of times for people in the biz: staffs are being cut, longtime employees dismissed, whole divisions lopped off in response to plunging book sales and evaporating profit margins.
But rather than commiserating with the editors and book folk who have been handed their walking papers, my reactions have been cold-blooded, remorseless and decidedly ungenerous. Why?
Try to see it from my point of view: these people have failed. They have failed to excite the reading public, they have failed to choose and promote books that appeal to the tastes of their purported readership. Their gross ineptitude has led to their bosses absorbing big financial losses and, quite understandably, looking to clean house. Honestly, why should we care if they’re called to account for their incompetence, summoned into an office and given ten minutes to collect their name plates and personalized coffee mugs and get the hell out of Dodge?
Is jetissoning them any great loss? Are they irreplaceable? Tireless advocates of excellence in literature and the power and glory of the printed word? Not in my experience.
Don’t forget, I’ve dealt with publishing types for nearly twenty-five years and I have all too frequently found myself on the receiving end of their stupidity and outright dishonesty. When I think of editors and those who serve with them as cogs in the corporate publishing mega-monster, I’m not exactly overwhelmed by warm, fuzzy feelings.
Occasionally, as I read the latest casualty rolls in some industry mouthpiece like MediaBistro’s “Galleycat” site, certain names make me perk up. ____________ and _____________ (names removed for legal reasons) were both editors at major New York publishing houses who were given the boot within a few months of each other.
The two editors treated me abominably, hanging onto my manuscripts for ungodly periods of time, refusing to respond to my communications. In desperation, I finally called one and at first the editor in question seemed genuinely contrite. “Oh, God, yes, I remember liking that one. I’ll get to you next week”. But a week passed and then a month…and when I called a second time, I was given a rude brush-off.
“I’ll get to it when I get to it, all right?”
Never heard from her again.
I’ve detailed my many odd and surreal experiences in the world of publishing in my essay “Solace of Fortitude”. Not a word of it is manufactured or exaggerated, I assure you. I only wish that were the case. (Warning: This essay not to be read on a full stomach.)
The truth is that in my quarter century as a professional author I can count the number of intelligent and thoughtful editors I’ve encountered on the fingers of one hand (sans thumb). Ditto for agents.
So why in the name of eternal, infinite God should I give a tinker’s damn if, as a species, editors cease to exist? Should I wear a black armband because the same people who have mistreated me, lied to me and denigrated my work are dangling from every lamp post in lower Manhattan? Fat chance.
To me, all this downsizing is a golden opportunity to pare away some of the dead wood that the industry has been carrying far too long. Editors and execs who have grown old, fat, stale and comfortable in their corner offices, as secure as tenured professors (and just as paranoid and senile). Insular, self-serving, fickle. Highly resistant to change. Time for some new blood, I say, new ideas and approaches.
Traditional publishing seems to be dead, so to me the obvious question that arises is: WHAT NEXT?
Clearly the corporate approach ain’t the answer. Publishing by committee, collating and analyzing spreadsheets, projected sales figures, flow charts and pie graphs. Slitting open a sheep for good measure and rooting about in its entrails for any insights that might be gleaned there. Always on the look-out for the next blockbuster, something sort of different but mainly the same. But while the big ticket scribblers like Rowling and Dan Brown may plump up the sales numbers for a few quarters, what are editors/publishers doing to grow and sustain a stable, longterm readership? Maintaining a lifetime consumer base that’s literate (something less and less important in these days of text messaging, emoticons and three line e-mails) and devoted to the printed word, unwilling to see books relegated to the status of artifacts and curios.
The way ahead lies with smaller, tightly run publishing concerns, staffed by informed, dedicated, reader-savvy men and women. Independent in spirit, offering a more diverse, iconoclastic selection of titles thanks to the wonders of print-on-demand (POD) publishing and e-book hard/software. Works which are then promoted through podcasts, blog reviews and on-line interviews, “virtual” book tours. Live “web chats”; YouTube readings and short films.
Computer technology also enables readers to connect directly with their favorite authors through personal sites, Facebook, etc., as well as allowing them to join forums devoted to writers or genres of interest. Forming a vast, far-reaching community of book-lovers and devotees, unimpeded by geographic boundaries and undeterred by small details like race, politics, gender.
The end of corporate publishing is nigh. The signs are all there. The multi-nationals are fed up with the red ink their book divisions keep hemorrhaging. First they went at the fat with scalpels, now they’re using machetes. Desperate tactics enacted by desperate people…and I suspect it won’t make one bit of difference. The die has been cast and nothing the suits do will have the slightest effect on the massive changes technology is bringing about and a paradigm shift that is part cultural, part economic and wholly beyond the control of Wall Street, Fleet Street…or anywhere else.
These are actually great times to be a writer, or, really, anyone who works and creates in the arts. Never before have we, as artists, had access to (potentially) such a vast audience, drawn from every corner of the world. And the good news is that we can acquire this access for a relatively modest investment. No longer do writers (for example) need to kowtow to the traditional gate-keepers of publishing, the editors and agents who are largely to blame for the present moribund state of the industry. Those self-appointed arbiters of taste have been rendered superfluous, shown to be incapable of identifying or developing authors gifted with originality, power and grace—the very qualities that get people excited about reading again.
It’s my personal belief that a good deal more publishing poobahs need to have their tickets punched before authors and the general reading public have any hope of being better-served. And if the end result of these lay-offs and staff reductions is better books, a wider selection and variety of formats for readers to choose from, more authors having their voices heard, I say:
HASTA LA VISTA, YOU WHITE COLLAR, SELF-REGARDING, MARTINI-GUZZLING, TOFU-EATING, FAKE-MEMOIR-SOPHIE KINSELLA-PIMPING IDJITS! AND GOOD RIDDANCE, TOO…
My name is Cliff Burns and I chose the path of “indie” writer after enduring more than two decades of stupidity and folly at the hands of editors, publishers and agents. I gritted my teeth and pounded my fists as my work was tampered with by inept, second rate minds, dolts offering all sorts of career advice that often amounted to selling out, prostituting my talent and imagination. Despite these obstacles I still managed to accumulate a body of work that drew readers from around the world and praise from authors like Kim Newman and Timothy Findley. My tales appeared in some pretty high profile anthologies, including The Year’s Best Fantasy & Horror, City Dreams and The 20 All-Time Best Science Fiction Stories. Both novellas from my book Righteous Blood were optioned for adaptation into films–“Kept” is currently in pre-production at Twisted Pictures/LightTower, slated for release sometime in 2009.
Creative control is my obsession. I have not the slightest interest in collaborating with editors and agents to make my work more commercial and palatable, watering down my vision, creating derivative, saccharine prose. I’ll say it again: I’d rather be a bum, living on the street, than a whore in a mansion.
Thanks to new technologies, writers can now bypass the gate-keepers of traditional publishing, the agents and editors who for too long have imposed their pathetic, brain-dead aesthetic on the reading public. This blog enables me to present my work without altering it any way to conform to some real or manufactured “niche” market; the internet allows me to disseminate my writing to a worldwide audience; podcasts help me promote it; print-on-demand will put actual published books in your hands. I can do this without any of the organs of corporate publishing or catering to the lackeys who serve that impersonal machine.
On this site you’ll find more than a quarter million (250,000) words of prose. That includes two full-length novels, numerous short stories, several volumes of prose poems and two complete poetry collections.
My writing frequently features the macabre and surreal; I once referred to my oeuvre as “Twilight Zone on acid stories” and I don’t think I’ve come up with a better description since. My influences range from Richard Matheson, Paul Auster, Jonathan Carroll to the sublimely weird visions of Terry Gilliam, Rene Magritte and Roman Polanski.
I labor long and hard on my efforts–in the case of my novel So Dark the Night that meant three years of writing and revising. Don’t confuse “indie” with “amateur”. I could have continued on the course that gained me scores of anthology appearances and professional publications…but I made the determination that to maintain that path would have meant on-going frustration from having to deal with those aforementioned gate-keepers, who were, in my view, butchering my writing and destroying my artistic spirit. I place enormous demands and expectations on my work and will not release anything that doesn’t have my complete confidence. The novels and various efforts on this site are of the highest literary quality, as good as (or better than) anything you’ll buy in a bookstore–that is my personal pledge to you. You might not like everything you read but I will never waste your time or insult your intelligence.
A quick overview of what you’ll find here on Beautiful Desolation:
The “Home” page features news and updates, as well as short essays and rants on subjects near and dear to my heart. That includes everything from the contemporary publishing scene, indie writing, the idiocy of National Novel Writing Month, etc. etc.
“About” gives some background and biographical information on yours truly; you’ll also find reviews of my various publications and a partial bibliography stretching back more than two decades.
“Bookstore” is where I offer some of my books and collections for sale–these are limited edition offerings and supplies are scarce. Most of my books sell out within months of being published and some have, to my delight, become collector’s items (with the inflated prices to prove it).
“Non-Fiction“–lots of book reviews and essays on literature and the writing life. You’ll also find pieces on film and music, two other great passions of mine.
“Novels“–should be your first stop. You can read and/or download two complete novels at no cost. So Dark the Night and Of the Night are supernatural thrillers, employing aspects of noir, mystery and horror. Terrific reads: I dare you to read the first ten pages of either and then try to quit. Good luck…
“Rarities” is a recent page I’ve added. This is where you’ll find out-of-print and older editions of my work, prose poems and verse. Also some of my monologues and the writing I’ve done for the stage. Material that hasn’t seen the light of day, in some cases, for more than fifteen years (if at all).
“Stories“–the best of my tales, some of them previously published, many of them composed after I started this blog. I no longer submit my work for publication so if you’re looking for fiction by Cliff Burns, this is the only venue where you’ll find it.
Tired of the same old crap, looking for writing that (to quote one review) is “a breath of fresh air”?
Beautiful Desolation is a site for those who treasure finely crafted prose and uncompromising and original visions. It is compelling evidence that there are authors out there who eschew (and revile) the contemporary publishing scene and are capable of producing ground-breaking, genre-bending and (above all else) entertaining literary endeavors.
And it’s a beacon of hope for those who feel, as I do, that writers and readers are poorly served by monolithic, impersonal, arrogant publishing houses that expend enormous efforts and revenues on mediocre “talents”, whose main claim to fame is that they are capable of delivering the exact same novel over and over again.
I offer you an alternative.
Come in, have a look around.
You’re in for a very pleasant surprise…
Pliny the Elder
It’s an ugly word, one not found in my vocabulary. Honestly, I utter it so rarely I actually had to look it up just now to find out if there was an “i” after the r or an “o”.
Got it. Commit to memory. Or…maybe not. After all, how often will I end up using it?
Some writers see bending to the will of agents or editors or the grand-all-powerful marketplace as a necessity if one wants to be a published, successful author. They see no problem letting outside parties tamper with story lines, suggest the addition or removal of characters, chapters, subplots. I read one account in Poets & Writers magazine where an author sat down to lunch with his agent, outlined a couple of different ideas for a novel and let his rep pick the one he would work on next.
My immediate and visceral reaction: what an asshole. Imagine giving someone that much influence over your writing. Now, I don’t really have a lot of hard and fast rules when it comes to my work but there are certain tenets that I live by and here are a few, strictly FYI:
1) Editors should remain unseen and unheard. They are non-entities. Spell-checkers and proof-readers and if they try to raise themselves above that lowly status, slap them down. Hard. Writing is not, repeat not a collaborative exercise. Anyone who credits an editor for saving a manuscript didn’t work hard enough on it, chickened out when the going got tough.
2) Agents have one job and one job only: protect their clients from greedhead publishers. Pitbulls when it comes to negotiating rights and contracts, pussycats when it comes to dealing with their clientele. No creative input, no vetting of manuscripts. No career advice. Here’s my completed manuscript–now it’s your job to sell it and get the best deal you can. Oh, and by the way, I expect to have final clearance over cover art and jacket copy. Make sure I get it…or you’re fired.
3) The writer is always right. There might be rare exceptions but, for the most part, the writer should know his/her work, its strengths and weaknesses, better than anyone else. Any wordsmith willing to abdicate responsibility, autonomy over a book or story, should take up flipping fucking burgers for a living. You don’t belong in our sacred guild of artisans. You ain’t good enough, strong enough…so do us all a favour and fuck off.
Now, admittedly, some authors aren’t comfortable with such a stance. Timid, insecure creatures, they need to be reassured, stroked. They’re willing to cede control of their self-esteem, their vision and integrity, as long as they have a pretty book they can show their friends and impress the proles. Their greatest dream is getting published and if that means opening themselves up to every indignity and humiliation, well, that’s part of the price they’re willing to pay.
I’ve been on-line for a couple of years now, poked about hundreds and hundreds of blogs and websites devoted to authors, established or otherwise. With very few exceptions (my friend Peter Watts being one), few scribblers take issue with the treatment accorded to writers and fewer still express the slightest antipathy toward a system designed to belittle their importance.
It’s fear, I suppose, but it’s something more than that too–an innate cowardice, a reluctance to make waves that is nothing less than craven. This fawning, milquetoast attitude I find in our little community makes me nauseous.
Other disciplines feature far more mavericks than the literary world.
How about a band like Tool, who refused to release any new albums for four years until they finally secured complete artistic freedom from their record label? I’ve already alluded to Trent Reznor, Ani DiFranco and Radiohead, musicians who tired of executives and A & R people fucking with their musical direction.
Kubrick demanded and received “final cut” throughout his career. MGM treated him with something akin to awe, enduring the lengthy hiatuses between pictures, editing suites booked for months of expensive post-production, mediocre or insignificant box office receipts…as long as he kept making films for them.
Welles wasn’t so lucky. After “Citizen Kane”, Hollywood never again granted him creative control. “Magnificent Ambersons” was butchered and rather than accept his reduced status, Welles broke away and spent the rest of his life in the wilderness, scraping together financing for films that were never made, left half-finished or suffered badly due to poor production values. There were occasional signs that his genius was undiminished–portions of “Chimes at Midnight”, “The Stranger”, even “F For Fake”.
I read an interview with Welles reprinted on the website for Senses of Cinema and, despite his frustrations, the soul-sucking necessity of expending 95% of his energies on searching for financing, he remains as defiant as ever, God bless him.
Orson was one tough sonofabitch.
But I don’t see the equivalent of these strong-willed personalities in the writing world. A willingness to break with convention, defy authority, maintain one’s independence and vision even if it costs you any chance of achieving fame and fortune.
And that says something.
After my Mediabistro rant was published, where I “burned bridges” and “committed artistic suicide”, I received a few cranky notes but I also got quite a show of support from other writers…most of whom were unwilling to go on the record with their remarks.
“Good for you”…”Glad someone’s finally taking these fuckers to task”…etc.
The point I was trying to make was that you can tell editors, agents and publishers to take a flying fuck at a rolling hand grenade and it doesn’t mean the end of the world. Thanks to the burgeoning indie movement that the new technologies are facilitating, authors can achieve a decent readership, gain fans and followers around the world and not have to jump through hoops to do it. The balance of power is shifting, the old edifice is crumbling. POD means “print on demand” but also “piss on dickheads”.
Dickhead editors. Dickhead agents. Dickhead publishers.
Poets and writers: your readers are out there, waiting for you. Take my word for it. Seize control of your career, refuse to cater and kowtow to people who move their lips when they read and have the social skills of a badger with mange.
Friends, colleagues, fellow wordsmiths: the revolution starts NOW.
Coming soon: So Dark the Night (the podcast).
That’s right, Sherron and I have been spending long hours up in my office, figuring out the software, doing sample recordings, trying out theme music. We’re laying down the tracks, baby, getting ready to release a full-length, unabridged audio version of the best occult thriller around.
Keep watching this space…