But, as I’ve said before, if I’m not blogging I’m undoubtedly at work on some project that is utterly consuming me.
In this case, it’s actually three projects.
I should explain.
Last year I was supposed to release a collection of short stories with urban settings called Electric Castles. But that one sort of got over-taken and set aside when I wrote and released an e-book of topical and controversial non-fiction material titled Mouth: Rants and Routines.
I’ve gone back to work on editing the stories in Electric Castles...but I’ve also been assembling a collection of new poetry as well as making additions to Notebook, a compilation of thoughts, reflections and meditations I’ve been gathering for nearly ten years.
The order of publication is: Electric Castles in June-July, 2020, Notebook in 2021 and the poetry collection in 2022 (I have a tentative title for that one, just not willing to share it yet).
Putting the finishing touches on Electric Castles has been time consuming and intense (my approach to editing obsessive and exhausting), especially the last tale in the book, a 50-page, 12,000+ word novelette. Still pondering a cover and hoping to nail that down soon. A couple of possibilities, including some of my own visual efforts.
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I realized recently that it’s now been a decade since I rebooted my Black Dog Press imprint. It sort of went into hiatus after the release of The Reality Machine in 1997. PS Publishing (U.K.) published my book Righteous Blood in 2002 and I retained some hope that finally I would be able to find presses out there that would provide a venue for my writing.
That turned out to be wishful thinking and by 2008, I’d had enough. I wrote up a venomous press release and sent it out to a couple of writing forums, announcing I was tired of playing the game, submitting work and waiting sometimes YEARS for editors/publishers to grace me with a response. Fuck that and fuck them. Basta!
Shortly thereafter, I started this blog and began posting big chunks of material, short stories and novel excerpts that thousands of people read and downloaded.
But I still wanted print versions of my books and that meant familiarizing myself with POD (print on demand) technology (and terminology) and in 2010, I published my first Black Dog Press offering in 13 years, my occult thriller So Dark the Night.
I was back, with a vengeance. Since then, I’ve produced a dozen titles, doing my best to satisfy my small but vocal cadre of readers.
The indie world is the place for me and I have permanently (I think) set aside any notion of commercial success or mainstream acceptance.
I hope those of you who are familiar with my oeuvre will continue to support this eccentric venture of mine and that new readers will drop in and discover an author who defies expectations and subverts preconceptions, creating wholly original and provocative titles for those who love challenging, literate books, short stories or poetry.
Welcome to Black Dog Press.
Pull up a chair, make yourself at home.
There’s a lot to see here and we’ve got all the time in the world.
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…
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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.
For not the first time (and certainly not the last), I find myself apologizing for the lengthy interval between blog posts.
But, as I’ve pointed out previously, when I’m deeply immersed in a project I don’t have the time or energy to blog—so when these long silences (inevitably) crop up, I think you can safely assume I’m up to something.
In this instance, two short stories have been devouring my waking hours. One, “The Grey Men”, is a mystery/suspense tale clocking in at 1900 words, and “Magic Man”, the one I’m just wrapping up, is 8700 words (33 pages) long.
Upon its completion “The Grey Men” struck me as more accessible and genre specific than my usual efforts, so I did something very out of character and actually submitted it to a magazine for consideration. Longtime readers know I swore off that practice ages ago and only rarely offer my short fiction to publications or writing competitions. Why bother with extended (interminable) response times and form rejections when I can just go ahead and release my work either here or over on Scribd? But, I dunno, “The Grey Men” is a solid, convincing story and maybe just this once a perceptive editor will see its merits and snap it up. I’ll let you know.
I tackled “Magic Man”, in all honesty, because I was feeling quite smug and confident after completing “The Grey Men”. I should have known better.
The first draft of “Magic Man” was written back in 1984. I kid you not. It was one of the tales that signalled a shift from narratives centred around myself, my own life experiences, to venturing out into unexplored waters, creating entirely fictional worlds and characters. For that reason, I’ve always had a rather fond view of “Magic Man”, never completely forgot about it. And so, as an exercise, I pulled the one, typed copy of “Magic Man” out of my archives and set to work.
It was torture. First of all, I had to tap in the story, 4-5000 words of it, and that was an excruciatingly slow process because I couldn’t help correcting and doing adjustments as I went along, which really was incredibly stupid and stretched the process out. Dumb, dumb, dumb. Just type the fucking thing in, Cliff, and then start editing. Nope. Finally, got the entire draft on computer…and that’s when it really got difficult.
Obviously, I’m a much better writer now than I was thirty-one years ago. That guy back in 1984, he was still basically a rookie, a kid learning the ropes. So “Magic Man” needed work, lots and lots and lots of work. At the same time, however, I wanted to show respect to the kid, the one I remembered slaving away on this story, really excited about it because he knew it was a step, more like a lurching, uncertain stumble, in a new and different direction. I wanted to recognize that effort, the courage it took to complete “Magic Man”, and so I was also determined to preserve as much of the spirit of the original as possible.
Finally, two weeks later, it’s almost done. Sherron is downstairs reading the copy of “Magic Man” I printed last night. I didn’t tell her (never do) what I’ve been up to so she’s in for a treat. She’ll remember this story very well: after all, it’s one of the first I ever dedicated to her.
If “The Grey Men” falls into the mystery/suspense category, “Magic Man” is a bit more problematic. There are elements of dark/urban fantasy, I suppose, but for the most part it’s a mainstream effort. Realistic setting and scenario. Which will likely make it next to impossible to sell or market the bloody thing. The extended length will factor against it as well. In the old days, I might have sent it to magazines like Cemetery Dance or Midnight Graffiti, but the latter no longer exists and the former has been closed to submissions for ages. I might release the tale as a Kindle “single”, sell it for 99 cents a download, but I’m not sure what that would achieve. I’m very happy with how “Magic Man” turned out and would like to see it presented to readers in an attractive, respected venue.
So let me throw it out there: anybody know of a decent-sized anthology or magazine willing to look at an 8700-word story featuring a “touch of strange”? If so, drop me a line at email@example.com.
400 blog posts? Can that possibly be right? Even with all the long gaps, the periods of time when I’ve completely ignored and shunned Beautiful Desolation?
Amazing. Inconceivable. I think that averages out to 40-45 blog posts a year or around one a week. Not bad for a full-time workaholic author.
Looking back over the years it’s interesting to note the changes in tone and content. I confess I was a very, very angry man when I first started posting on Beautiful Desolation eight-and-a-half years ago—check out a few of those early blog posts and you’ll see what I mean. I was fed up with money-hungry, corporate publishers and their idiotic editors, and the greedy literary agents colluding with them to destroy any chance of interesting, innovative authors getting into print. The publishing biz, especially after the big, multi-national takeovers in the 1980s (something else to thank Ronnie Raygun for), has systemically dummied down the marketplace to the extent that sub-literate, amateur purveyors of fan fiction have a better chance getting their work in book stores and sales racks than the next Don DeLillo or David Foster Wallace. Disgusting, innit? My fury with that situation finally boiled over when a draft of my first novel, So Dark the Night, was rejected by an editor who kept me waiting over a year before delivering the bad news. I penned a very public “fuck off” letter to the industry, a portion of which which was reprinted in “GalleyCat“, an on-line site devoted (mainly) to the New York publishing scene. Folks who responded to my expletive-filled tirade warned me that I’d burned all my bridges and “would never work in this town again”.
But by that point I was beyond caring. I had recently discovered print-on-demand (POD) publishing and immediately recognized that printing had finally caught up with the times and authors now had a relatively inexpensive and efficient way of releasing their own work without involving editors and agents or gate-keepers of any kind. I had self-published my first book, Sex & Other Acts of the Imagination in 1990, but those were the bad, old days of offset printing and all the horrors associated with that. Print-on-demand simplified and streamlined the process…and it also didn’t encumber you with 500 or 1,000 copies of your book to store and inventory (with POD there are no minimum print runs).
Thanks to print-on-demand, my wee imprint, Black Dog Press, was reborn, rejuvenated…and I was a much happier camper.
And so the rants here came a lot less frequently—though topics like the amateurization of the arts and National Novel Writing Month always seem to spark more vitriol—and I settled down, embracing the independent (indie) writing world, feeling empowered and artistically fulfilled, knowing that my work was available to the reading public exactly the way I envisioned it. No middlemen, no interference.
Coming up on ten (10) books later, and I keep doing my thing, making no apologies, kickin’ against the pricks. Older, greyer, a little wiser, a “grand old man” (at 52) of self-publishing/indie writing. Still refusing to pay obeisance to fashions and trends, still refusing to whore my talent, writing what I want to write. Power to the people, motherfuckers!
I’ve got a catalog of excellent books and every single one of them is unique and original and highly literate.
After thirty years as a professional author, I’ve seen ’em come and go but, hey, here I am, still standing, still creating and publishing intelligent, highly crafted prose while many one-hit wonders and flashes-in-the-pan have slipped into obscurity or disappeared altogether. Where are they now?
I’m a “neglected” author, I’m a “cult” author, operating on the fringe, below the radar, working without the slightest desire for fame or monetary reward.
But the main thing is I’m working, staying relevant, productive, thematically and stylistically daring. Consumed by the act of creation.
It will be interesting to read blog post #500 in a couple years’ time.
I wonder how much will have changed, with my writing, the state of the world.
In either case, I can only hope (and pray) it’s for the better.
- Sherron finished “Magic Man” a few minutes after I completed this post and loved it. Just for the record…
I’d assembled a “Best of…” collection of tales and spent more than a year trying to find a publisher for it. All of the stories in that collection, titled Sex & Other Acts of the Imagination, had been previously published, some in pretty prestigious publications. A couple had aired on CBC Radio and I’d even received a generous grant from the Canada Council that helped pay for writing part of the book.
See, the widely held view is that single author short story collections, regardless of the stature of the writer, just don’t sell. Sadly, I can tell you from personal experience that this is not an urban legend, for some reason contemporary readers shun the short story format. God knows why. Regardless, publishers tend to shy away from anthologies and such and my little offering was no exception.
“These stories are well written but as you know in today’s marketplace short story collections do not attract significant sales, etc….”
Heard that one a number of times.
But, curiously enough, the one sentiment repeated over and over again was this: good writing, exciting plots and themes, but we don’t publish this type of thing.
What exactly was “this type of thing”?
My own bizarre concoction, a spicy stew of science fiction, horror, fantasy and mainstream, literary prose. A mash-up of every genre under the sun, defying categorization and safe niches. Which didn’t help matters. As far as Canadian presses were concerned anything with the slightest taint of genre was out—more than one Canuck editor gave me the impression that my stories weren’t, well, Canadian enough, didn’t conform to some weird, unwritten cultural checklist.
And as far as the Americans and Brits were concerned, I was a young, emerging writer, no following, and while my work showed originality and creative spark, it wasn’t worth risking a significant investment of time and resources.
So my book was effectively dead in the water.
But I couldn’t help thinking about a fellow I’d heard about out east, a guy who’d made it his mission in life to stick a pin in the Canadian publishing industry and, in general, make a nuisance of himself. Crad Kilodney’s best stunt, in my view, was submitting classic stories by Kafka and Hemingway and others to a national literary contest and then publicly embarrassing the judges and administrators for failing to recognize their literary merit.
Crad, understandably, found it difficult to place his work so he started publishing it himself and selling it as limited edition chapbooks on the streets of Toronto. My wife brought me back a copy of one he dubbed Bang Heads Here Suffering Bastards in the late 1980’s and I was immediately impressed by the author’s chutzpah and creative passion.
When my Sex collection was passed over by every publisher north of the Rio Grande, I recalled Crad and his fuck you, DIY mentality and thought to myself, shit, I can do that too.
It took me months to put it all together, find the right cover art, a printer and bookbinder, and the final price tag was (gulp) just over $3000 to print 500 copies. Money I did not have.
Fortunately, the entire print run sold out in about five months.
It was astonishing.
I think my old chum Mark Ziesing sold at least 70 copies through his small mail order company alone. The Regina bookstore I worked for at the time also moved a lot of copies and every time Sherron and I travelled somewhere, we always took a box with us, nabbing consignment sales in Vancouver, Edmonton, Calgary and Toronto.
There were no returns.
The crowning moment was when our bookstore staff had dinner with Canadian literary icon Timothy Findley. Once he heard I had a new book out, Tiff generously asked to see it. After reading it, he sent me the most beautiful blurb possible. I was unable to use his kind words on that edition of Sex and promised him I would never employ them on any other title except the one for which they were intended. And so when I re-release Sex and Other Acts of the Imagination on its 25th anniversary early next year (2015), it will finally feature Tiff’s warm praise:
“This is a book of hot dreams and frozen nightmares. It floats on a plane few writers achieve, where the imagery is raw but the insights are tender. The people in these stories will stay with me for a long time to come.”
Thanks, Tiff. You dear, sweet man.
I’ve published a couple of short chapbooks and a collection of novellas (Righteous Blood) through other small presses but I have to say none of those experiences came close to the joy I felt writing, editing and publishing my own work. No middle men, no editorial interference, no bullshit. Controlling all the creative and aesthetic decisions, right down to the choice of font and margins.
I was hooked.
I released books through my imprint, Black Dog Press, in 1994, 1995, 1997…but that last title (another short story collection!), The Reality Machine, cost me close to $7000 and put a serious strain on our finances. It took us awhile to recover and then I embarked on a 3 1/2 year odyssey that became, eventually, my occult thriller So Dark the Night.
The completion of that novel coincided with the arrival of print-on-demand publishing, the biggest change to the book biz since Joe Gutenberg opened his first copy shop in Mainz. Thanks to POD, publishing on a smaller scale has become much more affordable, plus I now have access to the international marketplace I’ve always coveted. Physical book or digital version, it’s up to my readers.
Since the 2010 publication of So Dark the Night, this press has released 5 more titles, each of them professionally designed and formatted, featuring eye-poppingly gorgeous cover art. You’ll find them in my bookstore and, I think you’ll agree, they look as good as any offering you’ll come across in your favorite book store. The writing isn’t bad either.
So that’s the story behind Black Dog Press, my eccentric little publishing venture. Twenty-five years and eleven titles later (two more in the pipeline), and we’re still going strong.
I may never get rich but at least my work is out there, available to readers who seek prose that veers from the familiar and mocks the very notion of consensual reality. In this era of corporate publishing, a profit-mongering environment that encourages the proliferation of sub-literate, derivative fiction, independent presses like mine offer hope and inspiration to those of us who revere the printed word and refuse to kowtow to the mediocre and witless.
Thanks for your support over the years.
The best is yet to come.
I’m referring to a recent post over at Mediabistro (why do I continue to subscribe to them, they only depress me) crowing that over 235,000 self-published books were released last year. That’s physical books and their digital cousins.
Sturgeon’s Law would have you think 90% of those titles are complete crap but, based on my own investigations, I would say the actual figure is closer to 99.8%. Which means, according to my very rough calculations (I’ve detested math all my life), less than 500 of the aforementioned books are worth even glancing at.
Nearly a quarter million books, only 500 possessing any kind of literary merit. Pretty grim, huh?
But when was the last time you walked through a Chapters or Barnes & Noble book barn? Of the thousands of books your eyes passed over, what percentage looked intelligent enough to warrant a closer look? I’m guessing it was a very tiny proportion. Crap is crap, whether it’s produced by a bad cowboy poet from Dubuque, or issues forth from Random House, with the full weight of their publicity machine behind it.
I’ve just about given up on the big box stores. This past week we were visiting Edmonton and I had the great fortune to spot Old Strathcona Books, a wonderful used book place on Gateway Boulevard. The selection was amazing and the two gals behind the counter friendly and welcoming, real book-lovers, with in-depth knowledge of their wares. My kinda joint.
Get out there and support first rate bookstores like Old Strathcona, marvel at the wide selection of titles they offer, hard to find tomes and marginalia that highlight the diversity of fine fiction available to discriminating readers, unheralded authors waiting to be discovered. Because despite the flood of offal being spewed out these days by traditional publishers and the self-publishing gits, superb works of literature are still being produced…you just have to dig around and search for them.
Don’t be discouraged, steel your nerves and have at it.
The reward, finding a book that changes your perspective, alters the way you think and look at the world, sends seismic shockwaves through your soul and soma, makes all those tireless efforts worthwhile.
I was talking to someone recently and spoke of the pressure I feel as an independent writer and publisher to ensure my work achieves professional standards. I’ve been an indie guy for over twenty (20) years and I can tell you I take what I do very, very seriously. I labor without respite, without consideration to either health or sanity, to release volumes of the highest possible caliber, painstakingly conceived and lovingly produced.
To me, it’s important to present readers with a complete package: a book that’s lovely to look at and hold, the formatting easy on the eyes and, most important of all, the quality of the writing is in evidence in every line.
Sometimes you can tell a book by its cover.
Self-publishers, especially those who primarily favor the e-book format (for cheapness and ease), select the most generically ugly covers imaginable. Artless, crude, formulaic. And, chances are, those adjectives can also be applied the prose they excrete at an alarming rate. It’s amazing how many books you can churn out when you don’t edit or proofread. Or spell check.
I look at these efforts by my “colleagues” and shudder. And feel an even greater motivation to somehow separate my fiction from the terrible slop that people are constantly releasing thanks to e-books, blogs and print-on-demand (POD). How can I convince readers that my work is the exception that disproves the rule: not all independently produced writing is sub-literate, juvenile, asinine tripe?
That question has bedeviled me for a long time, my friends. I can’t describe to you what a downer it is to walk into a bookstore with some of my books and see the manager’s face fall when I tell him/her my work is released under my own imprint. Book employees are constantly being approached by people pushing their dreadful poetry, memoirs and cookbooks on them, demanding precious shelf space, while simultaneously giving every impression of enduring lives of endless persecution and unacknowledged suffering. But I have to say, the book people I’ve dealt with usually do an abrupt volte-face when I pull out a copy of a Black Dog Press release and show it to them. The covers are always eye-grabbers and that helps, then they spot the glowing reviews and blurbs, open the book, feel the pages, glance over the formatting…more often than not they end up taking a few copies. And not begrudgingly either.
I’m learning to accept that I can’t do much about the silly, deluded people who are determined to foist their unpolished, inept scribbles on the world, flooding the market, reproducing themselves with the prodigious energy of hormone-laced hares. I must keep on keeping on, positioning myself before this keyboard every single day as I have for the past quarter century or more. Seeking no fame or recompense, wishing only to improve my craft, grow and develop an an author. Clinging to a kind of belated faith that there are still serious readers out there, bibliophiles avidly seeking out literate, well-honed prose.
If I keep at it long enough, remain devoted and true to my calling, they’ll eventually find me.
It’s kind of like believing in God, only the evidence is far more tenuous, the suspension of disbelief even harder to maintain…
You’ll find all the relevant biographical info about me here.
I offer a sizable batch of my stories for free reading and downloading, you’ll find them here.
A number of my books are available for purchase and you can find ordering info here.
I know some of you (many of you? most of you?) view indie/self-published writers with a great deal of misgivings. I don’t blame you. The advent of blogging, print on demand and e-books has led to an explosion of self-published novels and volumes of poetry and the vast majority of them are unbelievably horrible. So bad, I wouldn’t wrap fish in them (real or virtual). In my view, when it comes to self-published offerings, Sturgeon’s Law is too kind—at least 98% of the self-published efforts I’ve tried to read are embarrassingly juvenile and inept. Derivative, tuneless, execrable drek.
I acknowledge that.
Now I want you to pop back to my roster of professional credits, scroll down until you get to the blurbs appearing below them. I think it’s pretty clear I’m no dabbler. For the past twenty-five (+) years, day in and day out, I have been putting words on paper. Writing is my obsession, an essential article of my faith, the activity that keeps me from absolutely losing my mind. Have a glance at one of my stories, a tale like “Daughter”. If that one doesn’t have you hooked within about ten lines, kid, you’re reading it upside down.
I became an independent author and publisher by choice. Producing and releasing my own work allows me to present it in the manner I intended; every choice is left to my discretion, from the cover art to the layout. It’s time-consuming, frequently maddening but, in the end, worth it for the control it gives me over all aspects of book production, promotion & distribution.
I hope you’ll take a chance on an author who has taken advantage of the new technologies to present an alternative to the rather dreadful crop of books the trads (traditional publishers) have been releasing since they went corporate and lost their souls. My stories and novels are thrilling, original and literate. They transcend easy genre classification; years ago, someone referred to my odd oeuvre as “Twilight Zone on acid stories” and I suppose there’s some truth to that. I draw inspiration from the surrealists and my work frequently displays more than a passing affection for the macabre.
If you’re feeling a bit flush this month, experiencing a craving for a much-needed mental goose, give some thought to picking up one of my books or downloading some of my stories. It’s simple, just a matter of a few clicks of your mouse. Remember how bored you were the last time you walked through a bookstore? Unable to find anything that spoke to your particular zeitgeist. Now’s your chance to veer off the beaten track and discover an author who makes no attempt to cater to the marketplace or kowtow to editors and agents.
But be warned: here there be tygers. My writing takes a toll on readers who have been lulled into lazy modes of thinking. My fiction is a wake up call, a warning klaxon, a condemnation. You can do a lot of damage with a steady hand and a sharp scalpel.
Time to check out some of my work. Go ahead. What are you waiting for? You’re not scared, are you?
The latest communication from Lightning Source indicates the proof of my novel So Dark the Night will be printed tomorrow (Tuesday, April 20th) and, if there are no obvious glitches, sent off to me a short time afterward.
(Sound FX: Fingers drumming anxiously on desk top.)
In the meantime, I’ve decided to post more of my strange, ambient music—it’s on my “Audio” page, just scroll down past the spoken word stuff and you’ll get there. Really love these pieces, which I’m calling (collectively) Intervals. There’s been a big progression since my first offering and one tune from this latest batch in particular stands out for me: can you guess which it is?
Busy days around here: Sam, Liam and a number of their friends (shout out to Sean, Dylan, Jess and the rest of the crew) are deeply involved in a short film project that keeps getting bigger and bigger. I applaud their ambition. Sherron has her own film on the go, an abstract bit of business for which I’ll be supplying music. But the deadline for the local, library-sponsored film short film competition is looming, so I hope their post-production efforts go well or they’re gonna be scrambling.
Meanwhile, I’m fretting over the impending arrival of the proof, beating my brains out trying to find ways to better promote and distribute my independently produced books. I welcome your input and advice on both these points.
Let me know what you think of Intervals too. And keep watching these pages for more info on the release of So Dark the Night, a supernatural thriller with a heart of gold. Your summer reading is on its way. And I promise, you won’t be disappointed.
First of all, the cover and text files of my novel So Dark the Night have been uploaded to Lightning Source and we have been told to expect a bound proof of the book in the next week or so.
The process of prepping the book, getting the files formatted properly, meeting Lightning Source’s very complicated and detailed specifications, took some doing. Honestly, the folks at Lightning Source are great, helpful and quick to respond to questions. Full marks to them for that. But their process is so amazingly convoluted it would scare the living bejesus out of anyone with little or no tech savvy. Fortunately, my wife Sherron is fearless and possesses endless reservoirs of patience. She needed every last drop. She worked for hours on consecutive nights, trying to make sense out of the printed guide supplied by Lightning Source and then, God help her, doing her best to master Adobe Pro 9, which we needed to complete the process. She was a trooper, I tell you, plowing her way through while her husband (that’s me) had to take frequent “time outs” to maintain his composure and rein in his well-known impatience and incendiary temper.
And let me also single out our cover designer/graphic artist Chris Kent for praise, salute him for assistance and tolerance above and beyond the call of duty. When Sherron finally had to throw up her hands, he graciously agreed to meet with her and help her get those &$#@ing files sorted out. Chris, you da man!
So now it’s wait for the proof and see if there are any glitches that need correcting. This is computers we’re talking about, after all, semi-sentient creatures showing the first stirrings of consciousness. God knows what that proof will look like. Lightning Source has a promotional offer on right now–for the next month they’re waiving their set-up fee of $75. So I guess I should consider this, my initial shot, a freebie. Nothing to lose, right?
But if all goes well, we’ll get the proof, it’ll look fantastic and production can begin immediately. I’ll put in an order for 100 books and we’ll arrange a launch, peddle the books to Regina, Saskatoon, Edmonton. Send fliers to the indie bookstores still out there (damn few of them) and prevail on friends in far-flung places like Vancouver, Toronto and Los Angeles to flog the sample copies I send them.
What else can I do? Newspapers have slashed their book review pages–and, even so, indie/self-published work constantly had a hard time getting any kind of acceptance from the mainstream media. No one in Canada reviewed Righteous Blood, despite the review copies publisher Peter Crowther supplied at my insistence (sorry, Peter!). Should I try my luck with their on-line counterparts? BookNinja and Bookslut, places like that? What think you, Readers? Where do you go to get your reviews, information on interesting new releases? Let me know…
I’ve checked into shipping and, hoo boy, have prices ever skyrocketed in the past few years. Mailing out copies of So Dark the Night is going to be a pretty costly proposition. Tentatively, here are the numbers we’re looking at:
So Dark the Night—$17.95 per copy (U.S. & Canada); £13 (U.K.); €14.75 Euros (Europe)
E-Book: $9.95 (U.S. & Canada); £6.50 (U.K.); €7.50 Euros (Europe)
$8.00 Surface (USA) $9.50 Airmail (USA)
$16.50 (Air) Overseas
I’ll be making half the book available as a free PDF and I’ll also be recording the entire book, which you’ll be able to hear (free) as an MP3 download or podcast.
And there you have it; you’re now completely up to date.
Besides getting the book ready, I’ve had to register Black Dog Press as a business ($110.00) and check on my PST and GST status (thankfully, neither applies to a micro press like mine). To keep myself sane, I’ve been creating more music, which I hope to post in the next few weeks. For those of you who liked my “Soundtrack For A Science Fiction Movie Never Made” (thanks for the kind words, by the way). Anyone who hasn’t popped over to my Audio page for a whole buncha free stuff to listen to and download should check it out.
I’ll drop a line or two when the proof arrives, maybe even include a few pictures. We’re on pins and needles around here. Nervous as expectant parents. Counting the hours and hoping for the very, very best…