Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Sunday, 8 December 2019

A Sort of Writing Hiatus

In 2019 I released not one but two novels: Crown of Blood (the final part of The Bloody Crown Trilogy), and Sir Edric and the Corpse Lord (the latest entry in the comedic Hero of Hornska series).

That sounds incredibly productive, but of course all the writing was done far earlier, and 2019 was spent editing and proofreading, as well as sorting the covers.

Making money from creative writing is very difficult. Even the relatively successful make less than £10,000 a year on average, and I am not, alas, relatively successful (which is annoying, not least because most of my books have ratings of 4.5 stars, but there we are).

On the plus side, I have been making something through writing on other matters (mostly travel and gambling, but also the odd spot of science, and financial news in the past. If you’re interested, do hit me up on Twitter, @MorrisF1. Also available for creative writing, particularly fantasy/sci-fi).

Naturally, this takes up a lot of time, and involves a lot of writing, with more emphasis on good places to eat and less focus on dragon attacks. Because of this my creative writing time has been massively reduced. Every so often I manage to get a little done on a completely new work-in-progress in a new setting, but that’s moving very slowly indeed.

I’m not so bad at the writing business, but the self-promotion and marketing is another story entirely. And in a marketplace that’s saturated, that means I make very little from creative writing. I’m not stopping entirely but it’s very much on the backburner.

You can still find my many excellent books (including assorted anthologies) at https://www.amazon.co.uk/Thaddeus-White/e/B008C6RU98 and (solo works and the Prey anthology) https://www.smashwords.com/profile/view/Thaddeus6th

They may be available elsewhere too, thanks to Smashwords’ distribution system.

Similarly, this blog isn’t dead, but it will be a bit sleepier. After a day of writing a lot for work, the desire to write a lot for free is less appealing (besides which, I’ve rambled here for a decade so I’ve said quite a lot already).

Anyway, I thought it’d be courteous to write an update. There is a very low chance I’ll be releasing anything creative next year. Beyond that depends on how things go.

Thaddeus

Thursday, 28 March 2019

Trilogy-writing: Pros and Cons


With Crown of Blood out early next month (6 April), I thought it might be interesting to consider the pros and cons of writing a trilogy, compared to writing stand-alone novels or a loose series, which has plots contained entirely within one novel but a recurring cast and world.

Pros:
Tell a bigger story
Allows more detail for secondary characters
Readers perhaps likelier to buy books 2 and 3 of a trilogy than books B and C of a loose series

Cons:
More complicated which means more planning is required and writing takes longer
Telling story arcs that work both within each novel and across the trilogy is difficult to balance
Readers often don’t want to start an unfinished series


People do like series, whether the traditional trilogy or larger scale mega-series (I’m reading the third entry in the Stormlight Archives myself right now). From a writing perspective, if someone likes book 1, they’re likelier to get books 2 and 3 of a tight series (with a single ongoing storyline) than books B and C in a loose series (with recurring characters but self-contained plots). Obviously, writers like selling books, as it gives them a warm, fuzzy feeling as well as the means to afford little luxuries, like food and rent.

Naturally, a tight series enables a larger, more complex/intricate story to be told than a single volume self-contained novel. Some stories are just too big to cram into one normal sized book (there is the enormo-book option, but some people are put off by a page count measured in the thousands). When I think about The Bloody Crown plot and trying to cut that down to one ordinary-sized book, it’s difficult to think what I’d discard to make it fit.

This brings us to the start of the cons list. A bigger story means it’s more complicated, and splitting the plot between three (or more) books means more planning is required. All that takes time. On top of getting that right, the division also means you need ongoing plot threads that are tied up in books 2 and 3, whilst also having self-contained and completed plot arcs within each individual book, otherwise a book, whilst having a place within the series, feels a bit under-cooked. That’s a tricky thing to get right.

Another problem for writers is that, particularly with larger series, later entries can be delayed. And some readers are reluctant to start series that aren’t finished. Which makes them being finished less likely if the first instalment is released before the others are ready to go, because fewer people buy them and the author sees little interest. Of course, you can finish the whole thing and release them with 2-3 week intervals, but that means writing, redrafting, editing, and proofing the entire trilogy/series before seeing any return at all.

Personally, my favourite approach is to have a loose series, as most of the pros of a tight series are present, but the significant drawbacks are not. It makes books quicker and easier to write (along with, for the Sir Edric series, fewer POV characters and being comedic rather than serious in nature).

For those wondering, my next move will be to sort out the release of Sir Edric and the Corpse Lord (Hero of Hornska book 4), which I’m hoping to release in the latter half of 2019.

Crown of Blood purchase links

Amazon UK:



Thaddeus

Saturday, 3 February 2018

The Last City: pre-order now!

Good news! Sci-fi anthology The Last City, featuring stories from a dozen authors including me, is out on 15 February. The UK pre-order link (just 99p for Kindle pre-orders) is here.

The Last City, cunningly, revolves around a city in space that mines asteroids in a distant solar system. Human explorers arrived there some time ago, and also have small (mostly rubbish) colonies on the system’s planets. Over time, the City has evolved into a political structure akin to corporate feudalism, with President Toros Strand enjoying a firm grip on power.

From the glittering heights of power to the criminal underworld beneath, twelve tales of excellent new sci-fi await within The Last City.



Thaddeus

Wednesday, 4 October 2017

Proofreading and formatting services

Bit of a break from my usual reviews and historical rambles to bring you some more serious business.

Having proofed and formatted numerous solo works, from short stories to full-blown novels, I’m now offering proofreading and formatting to others, on a professional basis.

Full information can be found at my new website: www.twwritingservices.com

Both services are intended for text that is complete from an editorial/creative perspective, and requires only the final (if time-consuming) touches of a proofread and formatting. Proofreading will be a line-by-line reading to find and correct/delete spelling and grammatical errors, whilst formatting gets text into a form that can be submitted to an electronic or hard copy self-publishing service.

Prices will vary somewhat according to word count, error frequency, and whether there’s anything finickity, but a rough guideline (not including discounts) would be £50-60 for e-book formatting and around £200-240 for proofreading.

A range of discounts are available, the best being 30% off for a limited time, to help encourage new clients. (Discounts are also available for returning clients and for those commissioning both services at once).

If you’ve got a finished story on your hands but would prefer someone else spend hours doing the donkey work, give me a bell at twwritingservices@gmail.com and we’ll discuss getting it into shape for submission.


Thaddeus

Sunday, 3 September 2017

Sir Edric’s Kingdom – out 22 September

Sir Edric Greenlock, the Hero of Hornska, returns in new fantasy novel Sir Edric’s Kingdom.

When King Lawrence is poisoned and consigned to his sickbed, the eponymous knight is surprised to find himself appointed lord steward. But he soon discovers the throne is the most uncomfortable seat in the kingdom, as he struggles to fend off assassins and invasions, all whilst juggling the claims of rivals competing to be named Lawrence’s heir.

Aided by his trusty manservant Dog, Orff No-Balsac the man-eating slaver, his feisty paramour Corkwell, and the elven enchantress Lysandra, Sir Edric will find himself in a battle to keep the kingdom, and himself, in one piece.

For the pre-order period and first week of release, Sir Edric’s Kingdom will be at the criminally low price of $0.99, so snap it up pronto. Or wait, and give me some more money. Either’s fine, really.

I have also helpfully compiled an explanation for why this delightful fantasy-comedy is the perfect book for everyone:

Progressive – marvel at the inclusivity of a book that contains multi-racial main characters, alternative sexual preferences (BDSM and gay), and repeatedly mocks the ridiculousness of inherited wealth and power, whilst the peasant sidekick outshines the noble protagonist at every turn.

Traditionalist – be enthralled by the witty escapades of a man unencumbered by nappy-wearing liberal guilt as he only takes a break from drinking for adultery and invasions. Enjoy the ride as the most cunning and most heroic men in fiction thwart conspiracy and regicide at every turn.

Trumptonian – I’ve written a book, people. So big, so many words, and I have the best words. Nobody words better than me. It’s true, folks, totally true. You’ll laugh so much you’ll grow tired of laughing. I’ve written a book, and the readers are gonna pay for it, and together we can make comedy great again.

Clintonite – you know what I call people who buy my book? My basket of adorables.

People who don’t care about the politics – the world’s a gloomy place nowadays. Cheer yourself up with some satirical British comedy.









Thaddeus

Friday, 28 July 2017

Traitor’s Prize – out now

Traitor’s Prize, the sequel to Kingdom Asunder, is out today.

Both books are discounted until 5 August (KA is just 33% of the usual price, TP 60%), so now’s the perfect time to buy.

If epic and dark fantasy is your cup of tea, if you like medieval bloodshed, treachery and political conniving, you can get just under 200,000 words for less than half the price of a cinema ticket (and no adverts to annoy you for the first half hour).



UK Amazon
US Amazon
Smashwords
Kobo
Barnes and Noble


Thaddeus

Thursday, 27 July 2017

Ethnic diversity in history/fantasy

I read an interesting tweet the other day regarding this, and racially homogeneous societies/worlds in fantasy being justified by historical reference. This little ramble will look at how things were historically, and how/whether this should affect fantasy writing in an ancient/medieval setting.

First off, a disclaimer on my own approach. My serious fantasy all occurs within the same world within which every book has multiple races (mostly of human), skin colours etc. The comedy of Sir Edric doesn’t ever actually refer to human skin colour (he’s white on the cover because he has to be a colour, though I can’t recall if I actually specified that to my artist). There’s also elves, Ursk (tall, red-skinned carnivores), feathery chaps, gnomes, dwarves etc.

In a given farming village, in England in the medieval world, travelling would happen. Every so often the nearest market town (walking distance) would be visited to either sell or buy. More infrequent travel to a larger town or city (NB ‘city’ in this context might just be a settlement with a few thousand people) would happen to attend court or for other serious business. The population of the village itself would not change substantially in terms of people leaving or newcomers arriving. The largest churn would be marrying people from a nearby village.

Jumping from that to the opposite end of the spectrum (sticking with England, for now), London was the largest city by a mile. Smaller than several continental capitals, it still drew in people from the surrounding area (especially true after the Black Death which also threw the feudal servitude system up in the air). Not only that, but merchants from continental Europe and further afield were constantly coming and going. On a more permanent basis, there were embassies from foreign powers, and establishments set up by prosperous foreign merchants.

Leaping perhaps a few centuries back, and a few thousand miles away, we have Byzantium. Or Constantinople. Or Mikligard, if you’re feeling Viking. Or, as it’s currently known, Istanbul. Now, you might think a capital city at the heart of the Eastern Roman Empire wouldn’t have many Englishmen. And you’d be wrong. Basil II, who was a great military leader but whose treatment of prisoners is about as far away from the Geneva Convention as you can get, is emperor. He establishes the Varangian Guard, a bodyguard for emperors made up of non-Byzantines. Initially, it’s largely composed of Anglo-Saxons, irked at the pesky Normans who have conquered England. Later, it gains a more Viking flavour as Scandinavians prefer getting paid a small fortune for guard duty to raiding.

Under Basil II (and his co-emperors/predecessors Nicephorus “White Death of the Saracens” Phocas and John Tzimisces), the city has been enjoyed continual military triumphs. The city is bustling with merchants from the rising Italian commercial powers of Genoa and Venice. Soldiers are largely drawn from Anatolia, modern day Turkey.

In short, scale and geography determine to a substantial degree how homogeneous or diverse a settlement (or story) is. Before mass transit and easy travel, getting to the Shetlands was quite a slog. If you set a story there you could, depending on the period, credibly feature Picts, Scots, Scandinavians. But if you put Saracens and Byzantines there it would feel a bit odd.

Similarly, if you wrote about the Eastern Roman Empire it would be odd to paint Constantinople as a city of one people only. It was effectively the global (or at least continental) capital, at the crossroads of Europe and Asia, and drew in a correspondingly cosmopolitan population.

However, we should be wary both of imposing our own norms on the past, or of neglecting/misunderstanding those of history. It’s easy to overlook the prevalence of religion in medieval history (and they were addicted to philosophical religious debates in Byzantium). Similarly, the terror of disease or urban fire (arson in ancient Rome was reckoned a crime second only to parricide). There were, particularly in large continental cities, substantial populations of minorities (often same race, different country) but not on the scale that we see today.

What about a pure fantasy land? An island could legitimately be mono-cultural. And, of course, you can gerrymander the rules of science and nature as you please. Personally, I think that could feel quite odd, particularly if your story happens in major cities on a large continent. More importantly, different cultures and races also present opportunities for conflict which can help drive stories.

Although a game rather than book, I was not impressed when some people bleated about The Witcher 3 having no black people in it (it has white humans, elves, dwarves and halflings. And the odd troll). Does it come across as unrealistic because of this? Absolutely not. The world has a great backstory and lore. Just as it seems ridiculous to me that some criticised Idris Elba being in Thor (did amuse me some people were happy with a magic rainbow bridge that threw almost invincible demi-gods across the universe, but thought a black guy being in charge of it was unrealistic), it’s not right to condemn a fantastic game because it’s deemed to have committed the sin of being ‘too white’.

Ultimately, it’s down to the author’s own whim. I don’t think other people should be trying to constrain creative freedom and dictate that their own personal perspective is The Only Way To Do Things.


Thaddeus

Tuesday, 18 July 2017

Debuting. Again. (guest post by Jo Zebedee)

My 5th book is out next week - yet I'm getting to use the #debut headline all over Twitter. Why? Because my first four books were science fiction, whereas Waters and the Wild is my first (but not my last) fantasy. Which means I get to have all the fun!

There are challenges to writing both genres. Not all fans of my military-esque Space Opera books will want to read my fairy-fuelled roadtrip through the Antrim Glens of Northern Ireland. To counter that, however, a lot of people who might have wanted to try out my writing find science fiction, as a genre, less appealing than fantasy and are looking forwards to reading one of my books for once!

I thought I'd explore what I love about writing the two genres, where I struggle and where I intend to go with this weird assortment of books.

What I love about writing fantasy.

Firstly, no physics. I am not a scientist. I manage okay with plants and the biology side of thing (I have a gcse in there somewhere, and an A level). But physics, chemistry and I parted company very happily at age 14. Which means sf research hurts my brain but fantasy is easier - not least because I worked in a 12th century castle for a few years. As soon as I decide to use a castle as a setting that will be very useful, I'm sure....

Playing with mythology. A lot of what I write is based in Ireland - particularly the frozen North of the island. Now, Irish mythology is wide and interesting, and not averse to being played with. I really love that. In Waters and the Wild I play with changeling mythology, bring in the legend of Ossian and Tir-na-nog, and adapt all that to the modern world. I use landscapes that haven't changed in years, that carry the feel and knowledge of the land, and rip through them with my contemporary story. And I can do that because mythology is just that - stories that have been passed down. Like the recipe for Irish stew there is no right and wrong, just one way or another.

Being really, really spooky. Fantasy is great for creeping fear. It's fabulous for slow build and dark shadowed corners. And I love that sort of writing. So, for general creepiness and the delight of knowing a reader might want to leave the light on for a while, fantasy is huge fun to write.

Which isn't to say my sf isn't scary and dark. The metal walls of Inish Carraig, that mould around to imprison people, are pretty memorable. But it's a different sort of darkness: my fantasy has things that can barely be seen in the corner of your eye; my sf your worst fears made real.

So, why, then, if I like fantasy so much have I written lots of sf (and intend to write more)?

Sf is huge fun. It is escapist. It is visual. It has no limits (if you ignore the physics). It is bold and loud with blasters and space ships. For sheer shove-the-story-down-and-have-a-blast there is nothing better.

Which brings me back to my first musing. Will readers who have liked my sf enjoy my fantasy?

That's the worry and challenge.

Mostly, I think they should. There are certain things standard across both genres for me:

Expect characters who feel real, and expect to be held close to them. Not just the lead characters, but the secondary ones too. Expect them to have their dysfunctional moments, and for the narrators to not always be honest.

Expect to walk on the darker side of life. I don't do fluffy bunnies and sparkly unicorns. Waters might be the darkest book I've written to date (hard to tell!) in feel and tone, if not horrific events. Whilst not full-on grimdark, it should cause the odd shudder in the reader.

Expect to have questions. As in Inish Carraig my characters don't entirely know what is going on around them and I don't step back to tell the reader the wider world. If that wrong foots people, I'm not sure it's a bad thing. For sure, it's the thing that I do.

Above all else - Waters and the Wild is as much a Jo Zebedee book as any of my sf is. The feel, the pace, the cadence - they all complement my earlier work. If you pick up a copy, I hope you come away with that sense that, otherworldly as opposed to spaceworldly though Waters might be, it's still my world, in my words, and in my style. I do hope readers enjoy it.


Jo Zebedee writes sf and fantasy, sometimes in her space opera world of Abendau, sometimes on the streets of her native Northern Ireland. She blogs at http://jozebwrites.blogspot.co.uk and has a busy life with work, kids, pets and, somewhere in the chaos, a long suffering husband.


Waters and the Wild can be found at: http://authl.it/7lt?d

Thursday, 6 July 2017

SPFBO 2017

Apologies for the slight hiatus from bloggery and blogcraft. Due to the aligning of the stars, I had a lot of formatting for not one but two books. Traitor’s Prize and Sir Edric’s Kingdom will hopefully both be forthcoming in the next few months.

The Self-Published Fantasy Blog-Off (SPFBO) was created a few years ago by Mark Lawrence, author of The Broken Empire Trilogy, amongst other things. It’s a Ronseal title, as between 250 and 300 self-publishing fantasy authors submit their books and are brutally torn to pieces/lavished with praise and adulation by 10 elite and very attractive bloggers/reviewers. Each reviewer/judge-overlord starts with a list of 25 to 30 and whittles that down to just 1.

The final 10 are then all read by every Supreme Selector and rated, with just one being pronounced the winner.

In short, there’s a 96% chance or so of losing out at the first round, and a 99.7% chance of not winning outright. However, the SPFBO is still an excellent contest, and I hope you do pay it some heed (just check the hashtag on Twitter for more).

It’s a great way for publicity-starved self-published writers to get on the radar of potential readers, and to do so in a way that depends on the quality of their writing rather than paying for marketing. Not only that, it’s a great way for readers to find new books they otherwise might not have seen. Those who win, or even come close, may well end up with traditional publishing deals.

So, it’s bi-winning, as Charlie Sheen might say. It’s also now an annual contest, so if you have a self-published fantasy, keep your eyes peeled for next year. And who knows? Maybe you’ll win.

For myself, I’ve entered Kingdom Asunder, the first part of The Bloody Crown Trilogy. Its sequel, Traitor’s Prize, will hopefully be out soon.


Thaddeus

Thursday, 1 June 2017

Wandering Phoenix and Roaming Tiger – Episode 3 out now!

The Tiger and The Demon, the third episode of Wandering Phoenix and Roaming Tiger, came out today.

It’s the fun, action-packed finale to the initial run of the serial (first episode free), featuring dramatic plot twists and memorable characters. Perfect Saturday morning adventure, set in a mythologised version of Ancient China. Enjoy!







Thaddeus

Friday, 30 September 2016

Two Ways To Create A World

Before I wrote Bane of Souls, I did a lot of world-building in preparation. At the time, this was unusual for me, but I didn’t feel time pressure because I’d only started working on it whilst trying to get a separate (and doomed-to-fail) story traditionally published. So, I tried to do as much background work as possible. Continuity was a big weakness of mine, and having background info ready and waiting helps both keep the world consistent and provides immediate ideas for little snippets you need (for example, social habits might include smoking, visiting cockpits and bare knuckle boxing).

This stood me in good stead, and the world created served as the foundation (with later additions) not only for Bane of Souls, but Journey to Altmortis and a future trilogy (first part, Kingdom Asunder, due for a December release).

However, I accidentally discovered a completely different approach when writing comedy. My world-building for Sir Edric was zero. I made up the incidental aspects (brandy being Andelic, elves having Greek-ish names, the Ursk eating humans) as I went along. Reviewers praised the world-building but, whereas I’d put months into Bane of Souls’ background, I’d done sod all for Sir Edric.

I’m a cautious sort of chap, and my writing method probably reflects that. So it was a bit of a surprise to find that the most neglected aspect of the comedy went down very well.

This does, I think, highlight an important point that’s relevant to both approaches. You’re not writing a guided tour of the lovely, or horrid, world you’ve created. World-building only matters insofar as it touches the characters and plot. And as showing is almost always better than telling, it should be, at it’s best, indistinguishable from the story. It’s the antithesis of an info-dump, the desire is to get the reader to learn about the world without even realising they are.

Maybe that’s why the Sir Edric approach worked so well. There’s little description, but a lot of action and dialogue. An inspiration for this is the approach adopted in Outlaws of the Marsh, a Chinese classic I bang on about sometimes. It’s brimming with action. You don’t need to be told Sagacious Lu is hard as nails, you learn it when he flings a gang of thugs into the nearest cess pit.

So, maybe a lot of background work isn’t just unnecessary, but a backward step. After all, I’m not here to write a guidebook for the Kuhrland or Denland or Felaria, but to write an entertaining story.

It’s worth pointing out a substantial difference between the two styles, though. I write comedy, for Sir Edric, from a single perspective. The eponymous knight is the centre of the story, the world, the perspective. Just about everything is filtered through his prism (hence why attractive women will get more description than plainer ladies). Kingdom Asunder and other serious writing is done from multiple perspectives. This means getting continuity right for both the world and things like timing the plot is more complicated.

I think the single POV approach of Sir Edric lends itself more naturally to spontaneity, as well as making it easier to keep things consistent. It’s not an area where there’s a right or wrong answer, because the two approaches both have merit, but I think it’s interesting that, even for a single writer, the two can work despite being completely different.


Thaddeus

Friday, 17 June 2016

The Writer’s See-saw

Perhaps the biggest challenge of writing, from my perspective, is keeping your head in the right place. It can be easy to get giddy when things go well or downcast when they go badly.

There’s also the writing equivalent of mid-term blues. Halfway through a first draft the initial enthusiasm will have faded but you’ll still be miles away from the light at the end of the tunnel (and the redrafting).

Not unlike gambling, staying cool is the way to go. Keep yourself in check, not unlike being the other person on a see-saw. If you’re in danger of getting cocky/giddy, just remind yourself you’re not JK Rowling (NB this does not work if you are JK Rowling, in which case use JRR Tolkien).

If you’re feeling a bit lost, just take a break, assess where you are, what you need to achieve in the short term, and set about it [if you’ve previously written a book, remind yourself that you’ve been through this before and dealt with it then]. If you’re wracked with self-doubt, remember that every writer has felt that way.

If in doubt, just keep buggering on. Write every day, even if only a little. As the Chinese say: don’t be afraid of walking very slowly. Only be afraid of standing still.


Thaddeus

Friday, 10 June 2016

Interview with Nathan Hystad

I’m joined today by Nathan Hystad, known on the Chrons forums as Ratsy, and a new entrant to the publishing game. [Disclosure: being a writer, I have submitted short stories for consideration in anthologies, and have a short story in The Haunting of Lake Manor Hotel].

Thaddeus White: You’ve recently set up a small press, Woodbridge Press. Given how challenging things can be for small publishers, what drove you to establish your own firm?

Nathan: That is a very good question. I’ve been a reader my whole life, and always had aspirations of being an author growing up. While other kids wanted to be hockey players, firefighters, and astronauts, I wanted to tell stories. Then the reality of it hit and I became an adult. Fast forward to a few years ago when I decided to give my passion a try. I have worked hard at the craft, and have been blessed enough to see my short stories being published in some books, online, and in magazines. I learned a bit about the business from being on the other side of the anthologies, and for the most part, it was a hard one as a writer. For most of them, you get a rough theme, a word limit, and a deadline. Then you send a story in, try to fight your way to the top of the 500 submissions, and months later get a form rejection email. It can be disheartening but it also motivated me. I had an idea of doing some shared world collections, through invite only, and wanted communication to be key. I was going to be totally transparent to the authors about how many copies were selling, where, and all marketing details. I started Woodbridge Press, even while hearing about other niche genre presses going under, with high hopes and faith that if I put the work in, it will be successful. So far I have nothing telling me this won’t be a thriving business.


TW: As you’ll be aware, there are a hell of a lot of writers and would-be writers, so you must be swamped with submissions when anthology slots appear. How do you go about whittling down the number of submissions to a final list of stories to publish?

Nathan: I am only one man, and without hiring outside help I could not have the time to read through slush piles of submissions, so I have not, and may not, have an open submission call. For the two Woodbridge collections, I did open submissions to the SFF Chrons only, because that is the one place I want to give something back to. For Explorations I was so happy to have Ralph Kern on my team to help me read the submissions and make decisions on those last couple spots (which turned out to be four spots because the quality was just so high) Even the rejected stories were done with a heavy heart and some serious deliberation.


TW: I’ve seen the lineup of authors (selected rather than picked from general submissions) for the forthcoming sci-fi and fantasy anthologies. How many goats did you have to sacrifice to Apollo to get the likes of Julia Knight, Douglas Hulick, Adrian Tchaikovsky, Ralph Kern, Stephen Palmer and Jo Zebedee on board?

Nathan: With Lake Manor, I invited authors. Some I knew from the Chrons, others I knew from the horror world, and I was so happy with the results. For Explorations, I first approached Ralph about it, since he is an active Chronner, and I love his books. I’ve been lucky enough to beta read his last two novels, and it was easy to ask him if he would be interested in taking part in a shared universe collection. He was immediately on board, and with his support, I canvassed a group of awesome indie and small press published Sci-fi authors. It really was like a snowball, and before I knew it, I had an amazing list of authors who wanted to take part. The same thing happened with the third collection. It is a fantasy themed anthology with the journey or quest as the central focus. I asked Teresa Edgerton, an editor and writer whom I truly adore and respect, to edit and contribute to the collection, and as I started to reach out to authors, I was getting people saying yes, who I have bookshelves full of their material. It was surreal, and it really just drove me to make the end product even better than I ever thought possible.

I didn’t have to sacrifice goats, so far, just my time!


TW: What advice, in general terms, would you give to authors who are thinking of submitting to anthologies (whether yours or another publisher’s)?

Nathan: I think it is to follow the guidelines. Make sure you type the proper thing into the subject line, follow the manuscript format they are looking for. Each anthology seems to have different rules and they can be tricky to get just right. And don’t take rejection as a failure. I have been rejected so many times. It is entirely subjective. The story may be amazing, but just not fit in the collection because it is slightly off theme, or they already accepted one with a similar shtick. Keep your head up, keep subbing it, and eventually you may find a home, but while you’re doing that, move on to writing the next piece. I couldn’t tell you how many shorts I have just sitting in a folder at home. All were not lost causes, because I learned from each and every one of them.


TW: Early days, so this may be tricky, but what’s been the best moment so far from a publishing perspective?

Nathan: I would have to say I’ve had a couple. The first getting unread, unpublished material from authors I have read for years. I remember getting the email from Julia Knight with her short story for the fantasy collection. I was like a kid in a candy store, and that was when I knew Woodbridge was going to be something special. I devoured the story and just sat there looking at the screen. I’ve repeated this feeling a few times since, and I don’t think it will ever get old.

The second was getting the final printed Lake Manor in my hands. I had put so much of myself into it, and obsessed over getting it done for the previous few months, and when all the hard work and dust settled, it was done, and I could share Woodbridge’s first book with the world.


TW: Self-publishing has never been easier. Given that, what are the advantages offered by being traditionally published, and are there any downsides for a writer?

Nathan: This is a great question and one that I really don’t have a definitive answer for. Yes. Self-publishing is easy. It’s the rest of it that is hard. Anyone can write a book and self pub, but then they need to get people to read it. Most get dropped on to Amazon and sit there, gathering virtual dust, never getting visibility, and that is key. If they don’t get an eye-catching cover, professional formatting, and editing, let alone a story people want to read, they will have a hard time selling it. That is what a good publisher will bring to the table. That being said, there are many awesome indie authors who make a great business from writing and do all of these steps, and invest the money to bring the world a good product. There is a lot of bad rap to indie publishers but like anything, there are many levels to them. Just like there are good small presses and bad ones. I think an author needs to weigh their options before making a decision, but at the end of the day, many end up self-publishing because they couldn’t get that agent, or Big 5, then small press to pick up the book. And they can have success that way too.

All of these things are very time consuming too, so there are some authors who would rather just write than worry about the ins and outs of the business side.


TW: One thing I struggle with when self-publishing is deciding on a price tag (there are arguments for and against just about every number). How do you decide on this, and do you vary prices with early/intermittent discounts, or just keep the price fixed?

Nathan: Well I am a sponge. I am new to this, but am a quick learner, and I keep an eye on what the big guys are doing, what the middle and small presses are doing, and what the indie guys are doing. I do know that it will vary with genre to an extent too. There are a few indie SF authors I keep a close eye on to see how they price, and what their marketing strategies are. You do need to think outside the box, and I have some stuff up my sleeves, but I also don’t think we need to reinvent the wheel. The good news is, I am coming up in what I call a change of guard out there for book publishing. The big guys, who deep discount their paperbacks in grocery stores, while indie and small press are taking market share in ebooks. Adapt and be reactive is what I think. Keep your finger on the pulse of what the market is doing. There is a lot of data out there saying that 3.99 US for an ebook is the sweet spot. I will let you know better in a year’s time 


TW: How difficult is it to decide how many books to release? Obviously you can take more care with fewer, but releasing more may help to build up a readership more quickly.

Nathan: I am taking it slow, and the reason for that is because I want each book to have my undivided attention. I have to commission cover artists, hire editors, format, and that is after the stories come in! There is a lot to putting a book together and then I have to promote, get reviewers, and work the social media angle. I do have a full-time job, which is my livelihood, so this is all done at 6am, after work or on weekends. So this year I have published Lake Manor, Explorations should be out late summer, and the fantasy collection will either be out in time for Christmas or early 2017. My goal is three books a year moving forward, but this may change as we go.


TW: Heart Blade by Juliana Spink Mills is Woodbridge Press’ first novel signing. What’s the premise of the story, and is it a stand-alone or part of a series?

Nathan: I am so excited about this book. Heart Blade is the first volume of The Blade Hunt Chronicles. I first beta read it over a year ago, and loved it instantly. When I started Woodbridge, I wanted to do some collections, and move into novels quickly. This is the book I thought of. When I asked Juliana what had become of it, we started talking and after another read, I had to make an offer on it. She is such a great person and author and I honestly feel so happy that she was willing to work with Woodbridge. Teresa Edgerton has been hired as editor, and this is going to be something special. Here is the summary:

The Heart Blade is the cornerstone of the myth-shrouded Blade Hunt prophecies. Once summoned, the sword will lead the way to light, or push everyone to the edge of a new Dark Age. Not many believe the stories, but those who do know the countdown has begun.

Two years ago, Del was gifted a demon’s blood on her deathbed. Now, pressured to sever the last ties with her lost humanity by making her first kill, the teenage half-demon escapes from her pack, the infamous East Coast Hunt.

Vanquisher Jimmy finds Del alone and penniless and gives her Sanctuary, despite having every reason in the world not to trust a demon. To complicate matters, Jimmy and Del are falling for each other. Soon Del is on the run again, except this time Jimmy is at her side and the demons and Vanquishers are on their trail.

But the pack has more than one quarry. For seventeen years the Brotherhood has done its best to hide orphan Lila from the demons. The centuries-old Heart Blade prophecy is supposed to take place any time now, and Lila is the key player.

The hunt for both Del and the Heart Blade is on, and when the threads tangle and demons, Vanquishers, and the Brotherhood converge, Del finds herself unwittingly in the center of things.

Heart Blade currently is scheduled for publication Late 2016/Early 2017.

To see more about Juliana, follow along her great blog at https://jspinkmills.com/ or twitter @JspinkMills


TW: The Haunting of Lake Manor Hotel is out now and I mentioned Heart Blade above, but what else can we expect from Woodbridge Press in the next 12-18 months?

Nathan: Well as I said, Explorations: Through the Wormhole, is out this summer, then the still untitled fantasy journey collection, and Heart Blade on Valentine’s Day 2017. We plan on releasing the second Blade Hunt book later next year, and I have some ideas on other collections, depending on the success of these ones.

Thaddeus, thank you so much for having me on your blog, and if the world doesn’t know yet, your story Dead Weight will be in Explorations, making you the only author to appear in Woodbridge’s first two books! Pretty cool. I look forward to working with you more, and it’s been a pleasure so far. [TW: Very kind, although I do find your lack of goat sacrifice disturbing].

Bio:
Nathan Hystad is an author from Sherwood Park, Alberta, Canada. He is the founder of Woodbridge Press, an avid reader, and a writer of words. He has stories in the upcoming Aliens, and Space: Houston we Have a Problem from Tickety Boo Press, and A Walk in the Park, is in the new Nine Tales, out June 22. https://www.amazon.com/9Tales-Told-Dark-14-ebook/dp/B01F2IJUU0
Please follow along with his news at www.nathanhystad.com and at www.woodbridgepress.ca and read his monthly serial at Kraxon Magazine http://www.kraxon.com/writers/nathan-hystad/ Start with Arrival and work your way through them!
If you feel like trying Woodbridge’s first book, with Thaddeus’ awesome story, Forget Me Not, please click the link! [TW: at the time of writing Lake Manor is a #1 bestseller in 3 categories on Amazon UK]


Many thanks to Nathan Hystad for the interview, and keep tuned for Explorations and Heart Blade.


Thaddeus

Friday, 27 May 2016

Short Stories, and how to write them

I’ve written a reasonable number of short stories (most recently a paranormal tale for The Haunting of Lake Manor Hotel). Last year I wrote 14 stories of 1,000-1,500 words for Kraxon magazine, and I thought some tips for those writing their first couple of stories might be helpful.

Beginning, middle and end. Bit of a cliché, but I found this very useful when first writing short stories of around 5,000 words.

If we’re talking flash fiction (say, 1,000 words or less) then that’s not enough for three parts. You need one central hook because you’re writing more of a scene than a full-blown story.

But for something around 5,000-10,000 words, the beginning/middle/end approach works pretty nicely. It’s enough of a word count to sink your teeth into, without being so much you have time for flimflam and padding.

In the beginning, you need to quickly sketch the protagonist and outline the situation. Keep it simple. Major characters should be counted on the fingers of one hand.

Premise set up, the middle should see it develop. Trials and tribulations, woe encountered, setbacks for the hero (or anti-hero, a protagonist doesn’t have to be nice). The course of true adventuring never did run smooth, after all. All this leads towards the conclusion of the plot.

An end doesn’t have to be a twist or a sudden revelation (NB avoid the word ‘suddenly’. It tells the reader you’re about to tell them something that might have been surprising or interesting, if you hadn’t immediately foreshadowed it).

If the ending’s a twist, it’s best if it’s something that’s cunningly foreshadowed ahead of time (easier said than done, though. Twists are hard to get right, because if they’re too left-field they come across as deus ex machina, and if they’re too obvious they’re not twists, just an obvious plot development).

Always a good idea, if possible, to send it off to a beta reader or two. Fresh eyes can more easily spot errors, and let you know if it flows nicely.

Don’t stress too much about the word count as you write it. Just get it written. You can lop bits off or write extra once it’s finished.

Most importantly, if you’re writing specifically for a publisher or competition, read the guidelines, and follow them. Any contest/publisher will get more submissions than they have prizes/slots. If you don’t follow the guidelines then your work will almost certainly be immediately filed in the bin.

Three free short stories by me are up here on my website.


Thaddeus

Sunday, 10 April 2016

The Haunting of Lake Manor Hotel – pre-order now

On 12 April, The Haunting of Lake Manor Hotel, a horror anthology in which I have a short story, comes out.

Running through the anthology is the common thread of the Lake Manor Hotel, with each story set with a different guest staying in a different room. It’s a nice way of tying together an anthology beyond a sub-genre, and the publisher, Woodbridge Press, has some more things coming down the track.

UK pre-order here.

US pre-order here.

So, if you like horror, give it a look. There are lots of talented authors involved (and me).


Thaddeus

Wednesday, 21 October 2015

Three Open Windows

Writers without agents, there is good news!

Three major publishers have open windows coming up in the near future. So, if you’ve got a finished novel, prepare to submit. (NB Responses to submissions can often take a bit longer than the publishers intend, largely because they get a huge number of submissions).

Do read the guidelines, especially regarding the submission dates. If you’re submitting grimdark to a publisher after primary school stories, you’re wasting your time and the publishers. If your word count is a tiny bit off, you’ll probably be alright, but if you submit a quarter of a million words to someone after 110,000, they’ll just bin it.

Be aware the odds on success are smaller than a pixie’s tallywhacker. There are many reasons for rejection (beyond the rather obvious lack of quality). A book may not fit the market, or it may not fit the particular publisher. It might be seen as a bit unusual, which can be a positive for some publishers, but others may feel wary that it will struggle to make the necessary sales. Publishing is a business, so don’t take it personally if your book’s rejected.

On that note, always be as civil as possible. If a publisher says no to your book but thinks your writing is proficient and your manner delightful, they may ask you to send them other things you write in the future. If you pester the publisher and whine like a spoilt brat when, along with 99.6% of other submitters, you get a swift rejection, you may get a black mark next to your name. Your character can help you gain or lose traction, as well as your writing.

Anyway, it wasn’t my wibbling that got you to read this post, but the three open windows. Here are the links, and best of luck [don’t forget to sacrifice a goat to Apollo]:

Angry Robot:

HarperVoyager:

Gollancz (unusually these days, it’s physical submissions only):



Thaddeus

Monday, 31 August 2015

The Final Hybrid blog post, by Teresa Edgerton

Often, self-publishing precedes traditional releases. But in the fourth and final part of our series, esteemed author Teresa Edgerton explains why someone might choose to self-publish their backlist, after it’s been traditionally released some time earlier.



Thaddeus

Monday, 24 August 2015

Doing It For Yourself

In the third of a four part series on self-publishing/a hybrid approach (mixing traditional and self-publishing), Jo Zebedee explains why a book that doesn’t easily fit into a category could be better off self-published.

So, if you’ve written a story about a cyborg bounty hunter space pirate with magic powers and a ghostly best friend, give the link a click and benefit from her wise words:


Thaddeus

Wednesday, 19 August 2015

You Can Judge A Book By Its Cover

And lots of people do.

My second book, Journey to Altmortis, is better than the first, Bane of Souls. The writing’s tighter, pace is quicker and it’s got a better rating on both Amazon and Goodreads.

But Bane of Souls has sold quite a bit more. Which confounded me, but I think one of the reasons is the cover.

Now, I want to make clear that I chose what I wanted for both of them, and I really like the artwork that was produced by Tiramizsu, my excellent cover artist. The problem isn’t the art, it’s the choice I made.


The cover, and title, of Bane of Souls has been specifically mentioned as a reason for giving it a go. I’ve read elsewhere that covers with a single individual on the front often go down well. Sometimes a symbol/crest can work (perhaps if you don’t have a clear protagonist).

It’s also important to consider a cover that works both in real life and as a thumbnail. You need to get technical stuff like having the title and author name clearly visible right (NB if you’re a big time author like George RR Martin your name will be relatively larger. Otherwise, the title should probably be bigger than the author name).

Then there’s the title. I generally find picking titles difficult (I only chose Bane of Souls very late on. The book has many named characters die, and the plot’s twisty which meant I didn’t want to give anything away). Because of my own difficulty, it’s hard to offer much advice here. I’d just suggest ensuring it fits the genre and sounds fairly interesting.

It’s a little odd to think that years of writing might have less impact on whether a sale is made than the three words in a title or the cover, but I strongly believe that’s the case. So, don’t neglect the title and cover. It’s the first thing a potential reader will see of your book, and might also be the last.


Thaddeus

Monday, 17 August 2015

Stuff To Avoid When Self-publishing

The second in the four part series on self/hybrid-publishing (mixing self-publishing and more traditional routes) was written by EJ Tett, and covers pitfalls that are easy to fall into. So, click the link, dodge those elephant traps, and enjoy her wise words.



Thaddeus