Win Free Books

Standard

Anyone following my blog knows that The Way into Chaos is a finalist in the SPFBO, the Self-Published Fantasy Blog Off. If you know what that is, you can skip the rest of this paragraph. If not, it’s a contest where 300 self-published fantasy novels are split among 10 review bloggers. Each picks one standout for the final round, then all ten reviewers read the finalists and rate them. The book with the highest score wins the blog off.

Well, the finalists have been chosen, and for a limited time, you can enter to win all ten. Just drop a comment, with some sort of contact info, here.

Hey, free books! And if you’ve meant to try some indie novels, this is your chance.

Podcast Review of The Way into Chaos, and an interview with the author

Standard

… Who happens to be me.

The podcast is right here. Podbean. iTunes.

I listened to part of it last night. At one point, I brought my son into the room, played about fifteen seconds’ worth, and said: “Is this how I sound in real life?”

Him: “Yeah, Dad. That’s you.”

Me: “It’s a miracle your mother ever gave me the time of day.”

Him: “Yeah, Dad.”

So, check it out. I talk about the successes and failures of Twenty Palaces, the various seeds that became The Great Way, and a number of other things.

Apparently, I talk earnestly about my work, and am honest and open. Which is how people should be, I think, if they’re going to put a microphone in front of their faces and recording the things they say. Otherwise, what’s the point of making speech noises?

SPFBO, The Self-Published Fantasy Blog Off

Standard

Have you guys heard of this?

Author Mark Lawrence, in an attempt to help self-publishing authors publicize their work, created a Self-Published Fantasy Blog Off. The system is simple: He recruited ten reviewers with blogs, solicited 300 fantasy novels from self-published authors, and distributed them. Each reviewer picks one out of their 30 to move to the finals. Then the reviewers choose a winner.

The Way into Chaos is one of those finalists.

The winner gets an award, but most importantly, a publicity boost, which is a big hurdle for self-published work. Last year’s winner also landed a publishing deal with Orbit.

So, if you’ve been thinking you’d love to try some indie fantasy but don’t know where to start, snag one of these finalists (right after you read mine).

Speaking of snagging one of mine, did you know that I’m trying to revive my Twenty Palaces series with a new novella that picks up where Circle of Enemies left off? Grab a copy today.

For God’s Sake, Don’t Talk in the Elevator: The Social Media Pitch

Standard

[Added later: This post has been included on Joshua Palmatier’s blog round up of posts about creating pitches. If you want to read more (after you finish mine, ‘natch) check it out.]

The elevator is a terrible place for an elevator pitch.

The idea behind an elevator pitch was that maybe someday Earnest Hopeful, young production assistant at Big Wig studios, might unexpectedly find himself alone in an elevator with Mr. Big Wig himself! How could he best describe his movie idea so that Mr. Big Wig falls in love with it, gives it the green light, and casts William Powell and Veronica Lake to star. Earnest has to be prepared! His pitch has to be shorter than the elevator ride but compelling enough that Mr. Big Wig invites young Earnest to get off at his floor.

But that’s not why we need an elevator pitch. In my entire life, I’ve never had reason to talk to a stranger on an elevator unless I couldn’t reach the button for the floor I wanted.

No, elevator pitches are supposed to be for the writer, and for social media.

For a long time, elevator pitches were mixed up with the idea of the “log line”. Log lines were the short descriptions of TV shows or movies that appeared beneath the listings in the TV Guide. But, if you went online during the late nineties hoping to find advice that would make you a pro, creating a log line for your story was commonplace advice. In that context, the log line was:

[Protagonist] struggles to [goal] in order to [what’s at stake] to prevent [terrible price of failure].

Or something like that. It was always a little different each time, but the basic Mad Libs of the thing are in that line above.

The point of a log line was to show beginning writers where their story could be found. It was about [Protagonist], not a million side characters. [Protagonist] was in pursuit of [goal] because [what’s at stake] was so important. They didn’t laze around mom’s basement, feeling sorry for themselves. And so on. It’s a fine way to highlight the important parts of a certain kind of story (essentially: stories that are like movies or tv shows, which is where these ideas come from) but it didn’t apply to every sort of fiction.

Eventually, this Mad Libs-ed log line idea merged with the elevator pitch to become the most basic way a writer could describe a story. It told you where to go with the story. It told you what mattered. It was extremely limited and limiting.

But it’s a tool, and all tools are limited. When we teach writing, it’s much easier to gas on about basic story construction than what most new writers really need: the skills and judgement needed to organize sentences and paragraphs in an enjoyable way. That’s what I really needed to study but that shit is hard to teach in a 300-word blog post or message board thread, so instead the internet filled up with “How to make your protagonist compelling” and Freytag’s Pyramid.

So, has an elevator pitch/log line ever been useful to me before I wrote a first draft? Yeah, actually, in short fiction. The format has helped me keep the story from spinning out into an unpublishable length.

For novels, which are a complex, sometimes digressive form, no. Not ever.

After the book is started, I’ve found some use for these pitches/log lines. Has the plot started to wander? Have the characters motivations become jumbled? Does this one particular scene seem to be going nowhere? That’s a good time to remind myself what, specifically, each character wants and what’s in their way. When I’m blocked in something as small as a few lines of dialog, filling in those blanks can help point the way forward.

But really, the elevator pitch is the social media pitch. It’s the short description that fits inside a tweet (oh for the luxury of a five-story elevator ride) that piques readers’ interest. It may not sell the book, but it might get readers to download the sample. I didn’t have one for the Twenty Palaces books, but I did for The Great Way: “An epic fantasy trilogy about a sentient curse that destroys an empire.”

At one point a reader asked me if I hadn’t gotten that wrong: shouldn’t elevator pitches focus on the character? Who’s the story about? What are they trying to do? This reader was focussing on all the log line essentials: Shouldn’t I fill out that Mad Lib? I responded by saying that a pitch should highlight what’s most unique and compelling about a book. If that’s the lead character and their goal, awesome. Going that route is easy enough, and it can be effective. If, instead, what’s unique and compelling is an apocalyptic tone and a weird antagonist, then some other format has to be created. The Mad Lib of a log line is a fine tool to start with when organizing a pitch, but it’s a poor fit for a lot of books. Sometimes the work has to be done without that tool.

For example, the pitch for A Key, an Egg, an Unfortunate Remark was: “It’s a pacifist urban fantasy with a hero who’s a cross between Auntie Mame and Gandalf.” Nowhere does that define her goal (which is to solve a murder) or what awful thing will happen if she fails (because she doesn’t know at first and it’s supposed to be a fun surprise) but it does highlight what I think is unique and compelling about that book.

Currently, my agent is shopping One Man, a fantasy/crime thriller, and I’ll have to create a social media pitch for it. That means I take a sheet of scrap paper and list elements that I think are fun/unusual/exciting. Not all of them will make the cut, but lists gives me something concrete to work with. Should I focus on the protagonist, a former golden boy responsible for the deaths of those nearest to him, who now bears unknown magic? The setting, a city built within the skeletons of two “dead” gods (both killed while fucking)? The plot’s macguffin, a piece of forbidden healing magic that might lead to civil war?

Nah. For me, the most unusual and interesting aspect is the stakes. The protagonist isn’t trying to destroy a magic ring, or defeat an evil army, or slay a sorcerer-king. He wants to rescue an orphaned little girl that no one else in the whole world cares about. They’re small, personal stakes for a book filled with fighting, magic, and impending war, but that’s what makes it interesting to me. Will readers feel that same way? It’s impossible to know. Fantasy readers like their stakes to be big. Epic, even. Will pitching the stakes in One Man push people away from a book they might love if they read it?

I haven’t worked that out. But then, if it were easy, everyone would do it.

That’s my take on so-called elevator pitches. Once in a long while, they’re useful during the writing process, but they’ve become necessary after the books comes out to help attract readers. Start with a log line, if you want, and make a list of unique and compelling elements that you believe will intrigue readers. And good luck. None of this is easy.

But please don’t talk on elevators.

A Sudden Attack of Common Sense

Standard

Sometimes, common sense sneaks up on me and shakes me out of a stupor. When it does, I tell people.

I’ve just changed the price of The Way into Fate from a set dollar amount to a Pay What You Want system.

What is The Way into Fate? It’s a 50K word-long game supplement that adapts both The Great Way trilogy and A Key, an Egg, an Unfortunate Remark into campaign settings for the Fate Core rpg. It includes world building documents, custom rules for adapting non-human species (to make them intelligent and inhuman at the same time) plus scenario ideas and “Invasion at Shadow Hall”, a full-length fantasy adventure set in Kal-Maddum.

If you’re a Fate Core player or GM, the supplement has never been more affordable. If you enjoyed the books and are curious about the nuts and bolts behind them: see previous sentence.

And if you’re gamers who haven’t read the books, maybe the supplements will make them look intriguing.

So, The Way into Fate is Pay What You Want for a not-limited time. Check it out.

Three Things Make a Post

Standard

If you subscribe to my Patreon, you’ve already seen this, but here’s one for everyone else:

1. Long time readers of my blog and/or social media will know what this picture means. I’ve reached another major goal in my current work-in-progress. The book is ONE MAN, which is the fantasy/crime novel I’ve been working on for OVER TWO YEARS. The goal is that I’ve incorporated my agent’s notes and I think the book is much stronger and therefore ready to send to publishers.

There will be new drafts later on, whether publishers bite or not, but for now it’s off the table.

That means I can spend the week leading up to Giftmas doing family stuff, cleaning, cooking, and otherwise refilling the well.

2. I took the wife and son to see ROGUE ONE (no spoilers) on Friday afternoon. I liked it more than they did, but I’m more inclined to forgive the clunky, awkward moments so I can have space ships and shoot-outs. We all watch Star Wars as generic but enjoyable mass media entertainment, not as a fannish fetish object. But it’s more my kind of thing than theirs.

And the clunkiness was there–hoo boy–along with the plot problems that come with the way the films have used The Force. They also struggled with the constraints of being a prequel to “A New Hope:” Darth Vader is there, but he’s not the main villain. They need their own antagonist who can lose at the end (see above re: generic but enjoyable mass media entertainment) and not outshine the villains in ANH, but still seem powerful and effective. They might have had a better film if they’d managed it.
Still, it’s an enjoyable diversion from holiday stress.

3. Speaking of Giftmas, I’ve dropped the Amazon ebook price of the first novel in my Great Way trilogy to $2.99. If you know someone who likes ebook adventure fantasy, you might want to grab it for them. Also, once you own the ebook, the audio book becomes super cheap. That, too, might make a nice gift.

And that’s it. I hope everyone has a wonderful holiday, however you celebrate. And if you don’t celebrate at all, I hope your days are wonderful anyway.

Baby’s First Audio Book

Standard

Today I finished listening to my first audio book.

It was the unabridged Fellowship of the Ring, read by Rob Inglis, and I enjoyed it. A lot.

I didn’t expect to. When the audio book for Child of Fire came out, I found it impossible to listen to it. The narrator’s voice was fine–excellent, even–but it was completely different from the voice I heard in my head when I was writing it, and the dissonance was unbearable.

And the format itself seemed utterly wrong for me. I love to drive but I don’t have a car so I never do. I don’t have a phone to carry with me when I walk. My apartment is tiny, so when would I be able to listen at home? Besides, no skimming? No reading quickly through the exciting stuff?

Hmf, I said.

Then I heard a piece on NPR where a woman said she listened to Rob Inglis’s reading of LOTR every year, and I found it at the library. The first book was 19.25 hours long on 16 CDs! [1] And I just happened to get my copy of Obduction from Kickstarter.

A quiet, Myst-style game and an audio book through the headphones seemed like a perfect combination.

And I loved it.

The game was done before the audio book and I’ve been having trouble squeezing time to listen, but all the things I thought would be bugs turned out to be features. As annoyed as I was when I read Tolkien’s description of hiking through rough terrain (was this really the sort of challenge you want to devote page space to?) being forced to listen to it had the opposite effect. I could visualize the scene. I didn’t feel impatient because I couldn’t skim ahead to the next plot point. Taking away that small measure of control was surprisingly relaxing.

Anyway, I have never enjoyed Fellowship of the Ring quite so much before (although I still say Fuck Tom Bombadil) and I’m wondering how I can find 17-odd hours for the next book. I can’t. It just won’t fit into my life, but I wish it did.

Until I get a car, maybe.

[Update] I forgot to mention that the third book in my Great Way series comes out today in audio book. If you subscribe to Audible, you can listen free. If you bought the Kindle version from Amazon, the audio version is startlingly affordable. The series begins here.

[1] Don’t laugh. I’ve just had to order a new CD player online, because our old one is going wonky and my wife doesn’t want to have to fuck with a computer to play her music while she paints.

The Way into Audio

Standard

Back in 2013, when I was looking at stretch goals for for my Kickstarter project, a number of people asked for audio books. I didn’t go that route, mainly because I don’t know much about them. I don’t listen to them and I don’t know much about how they’re made except that it’s expensive and it sounds terrible if it’s done badly. Frankly, on top of everything else, it was too much.

At the time I said I hoped that an actual audio book publisher would step forward. And they did:

In case that iframe doesn’t show: The audio book is up for pre-order through Amazon. And also on Audible.com / Audible UK.

The release date is August 9. Book 2 releases later in August and Book 3 in September.

Also! The books will have “Whispersync”, which means that, if you also buy the Kindle edition from Amazon, you can switch back and forth between ebook/audio book without losing your place. Which is a pretty cool thing that I knew nothing about before now. Also, owning the Kindle edition lets you buy the audio book at a reduced price. Check it out.

If you’re one of the folks who was hoping for an audio book, here you go.

Want to see the cover for the German edition of The Way into Chaos? (train trip wrapup)

Standard

I should have written this post last week I guess, but I returned from vacation and landed with both feet on the run. I’m working hard on One Man again, and making good progress. Homeschooling is on again. My wife has a computer station I need to set up. My niece, who has been housesitting for us so kindly while we’ve been taking trips, is having a birthday.

So I haven’t really had time to write an in-depth report on the 30-day train vacation I just took. Here’s the short version: It was great to see family. It was great to see friends. I was lucky enough to eat a bunch of regional foods: jambalaya in New Orleans, pepper steaks in Philly, Italian beef sandwiches in Chicago. Splashing around in the ocean in Miami was fantastic, and so was seeing the monuments on the National Mall in Washington DC.

And then there were the long, quiet moments with my family on the train. Sometimes we played games, or read, or talked with other passengers. Sometimes we just stared out the window.

Sleeping was a bigger challenge than I’d expected and those east coast trains carry more people than this Seattleite is used to, but it was a beautiful trip with a lot of family time, and that’s what I wanted.

We also stopped in at every bookstore we could find, but none of my books were on the shelves. It’s just been too long, and I need to finish this one asap.

Speaking of which, the German edition of The Way into Chaos has come out, and I like the cover. Check it out.