C.C. Adams's Blog: C.C. Does The Write Thing, page 8

Halfway into the month of June. Business is ticking over nicely. Final edits done on the next novella and novelette, so now taking time between projects. Which is usually spent handling beta work for other authors - this time is no different. And I get my beta fix on the regular. New work has come in, which means time has to be set aside for it. As someone who's 'always writing', I need to to schedule my work, whether it's writing, edits, beta work, etc. Still, I'm grateful that the author work and creativity are still coming, even in the midst of the current pandemic.

Oh, yeah - there's still a pandemic.

Which, in part, is the thrust of this entry.

I've not left the house since March. Not because of any apparent ill health or infirmity - simply because I've not had the desire to. Why? Because even at the best of times, I appear to be an idiot magnet. For those people who try to walk and look at their phone at the same time. Who somehow veer into me with near pinpoint accuracy. Who don't turn away or cover their mouth when they yawn or cough. Even without a pandemic, I try to distance myself from people, let alone crowds. To avoid those kinds of people - and the annoyance they provoke - I stay at home.

I'm aware similar idiocy continues. People not observing social distancing. People not wearing masks in public. and in the midst of the current pandemic, the plight of systemic racism against Black people rears its head - in particular with George Floyd. Footage of his death at the hands of police officers has provoked a national, and I dare say international, outcry. We as black people were well and truly in the spotlight. Protests of Black Lives Matter both in the U.S. and here in the U.K. I've seen the outcry and protestations from a number of races, not just black. That said, I've reached out to a number of peers and friends; black men - to see how they were. To see how they were holding up. Anger. Frustration. Fatigue. I, myself, was weary. Told this to Rodney V. Smith when we got into a short convo a little while back.

For my part, it's a wearing experience, because I've experienced a whole lifetime of racism, systemic and otherwise. In some areas, I saw hope. White peers, aware of the privilege they have, acknowledge it, call it out and took positive steps. Asked how they could help. I'd been approached to beta read a story to make sure it was racially on point. Asked for recommendations on black authors. My Twitter notifications kicked up a gear or two. Publishers that were caught giving racist tirades quickly discovered such things were the nail in the coffin - and folded. Publishers such as PMMP (Perpetual Motion Machine Publishing) admitted they could do more to encourage diversity, and actively sought submissions from black authors. Reaffirming. Humbling, in some instances. Progress; at least, I would hope.

But from the last time I mentioned scrutiny, I knew I was reaching the stage where, to quote Keith Murray, 'Oooh, I might lose my cool.'

With those who will tell you that All Lives Matter (which they do), but are missing the point that Black Lives Matter because these are the ones facing systemic racism. With those who would argue why don't black youths stop black-on-black violence, missing the point that the systemic racism we as black people face is from the system that is meant to serve and protect everyone. And then, apparently in the name of veganism, came a tweet comparing black people to animals.

That was when I lost my cool.

Protests have evolved here. Protests in the cause of Black Lives Matter have now begat protests of (as one reporter called it) anti-anti-fascism. Where statues had been pulled down, given their history linked to racism. More recent protests have been against this. Right-wing protesters, according to the likes of The Guardian, were out to defend monuments like the Cenotaph. Apparently making Nazi salutes.

And oh, yeah - there's still a pandemic. Where Covid-19 doesn't care what you're protesting, although it might be grateful that you don't observe social distancing. Or aren't wearing a mask.

Anyhow. The internet is full of idiots and full of arguments. I don't feel the need to respond to all of them; just as well, when there are more rewarding things to focus on. The indie horror fiction community is still by and large supportive, and I give thanks to the readers, peers, publishers, editors et al. for that. But, I'm still with the scrutiny. And now I'm at that point where, once in a while and as a matter of principle, 'I might lose my cool.'

#coronavirus #COVID19 #blacklivesmatter #writing #scrutiny

 

Acronym for To Be Read: 'TBR.' As in 'books to be read', suggesting they're not read yet. To say I have a TBR pile is an understatement. Also somewhat inaccurate: I have piles of TBR. Or piles of books with some TBR randomly stuffed in between. Just like in the picture. Hideous, isn't it?



I'll hold up my hand and admit that while I like to read, I'm not the most voracious reader. I'm mildly impressed by my peers who'll tell me that they've finished reading another book, and I think, 'wow. Y'all must have a lot of time on your hands.' But, I get it. You do what moves you. Don't get me wrong, I like reading. But not so much that I'll zoom through book after book like some readers/authors appear to. Back to the matter.



Let's use 'TBR' pile figuratively here. I say figuratively because, in case you hadn't guessed from the picture, there are piles and piles of books here. The picture shows the close up of a few piles on the floor. There are more piles of books on the floor. Because there's no more room with the piles of books on the bookshelves which sit in front of the books standing up on the shelves (as nature intended). That's not even including the stuff on my Kindle; which also has a number of Spider-Man titles on there (with No Turning Back featuring the Lizard a personal favourite).



Regardless of whether it's hardback, paperback or electronic - and, no, I don't have any audio-books as yet - my books come from a number of sources/scenarios:



1. Books I seek out and buy from the likes of Amazon



2. Books I'm intrigued by while looking for a specific book from the likes of Amazon



3. Books I see when I'm at a fantasy-lit convention (e.g. FantasyCon, Edge-Lit, etc.)



4. Books that authors/peers/friends/etc. might give to me





How many books do I have in my TBR pile? I'm not sure. I'd guess and say it was at least 30. One of the oldest is a biography called Michael Jackson: For The Record, which is a hardcover book I bought back in 2008 (yes, back when Michael Jackson was still alive). I've still not read it yet. Now that I think about, biographies are possibly the only book where I wouldn't mind a hardback. Probably because after reading a John Lee Hooker interview years back (in the Evening Standard), if memory serves, my brother then bought me a copy. 'Boogie Man: The Adventures Of John Lee Hooker In The 20th Century.' A hefty hardback at that, and full of cool anecdotes from the man. Yes: that one I read: the first of many biographies including Aerosmith, ZZ Top, Run-DMC, LL Cool J, INXS, etc. But I digress.



Despite the pandemic, I wouldn't say I have more time on my hands. This is because I'm always keeping busy with something. I know there are some creative types who lament that they're not as creative as they usually are, or that they're not creative at all. These are challenging times, so I'd say that as long as you get through unscathed, you're doing well, and everything else is just detail. It just happens that keeping busy is one of the ways I cope so I'm still writing, editing, promoting, etc. That's aside from the lifting, bass playing, gaming and such that help self-isolation go down a little easier. What I'm also doing now is making a concerted effort to read more of my TBR pile. Which I'll admit is slow going, but at least I've made a start. As someone who'd usually read on a commute, I guess this is why my consumption of fiction has taken a hit. Still, I'll have a crack at it.



Because, as I'm sure many readers will attest, having a TBR pile doesn't stop them buying more books they've not read yet. I'm no different.



 

#TBR #writing #pandemic

One of my favourite views in the city (taken a few years back): western exposure at the Vertigo 42 bar, Bishopsgate. EC London. Yes: 42nd floor (if memory serves). As quiet as it is in the neighbourhood, there's a sense of normalcy: even with the current pandemic. The weather picks up across the capital, and I still have a sense of normal. Neighbours out in their garden, but no big gatherings. Little traffic, but some.

I'm aware of the range of reactions to the pandemic. Fear. Anxiety. Frustration. Anger. Hope. Maybe even denial. I get it. I have no shame in saying that I've gone through these (probably with the exception of denial). Thankfully, I have ways in which I manage that:

1. Pay attention to news from credible sources: medical/scientific professionals

2. Keep an eye out for news updates: good and bad

3. Limit the amount of time poring over the news

4. Engage with friends and family: calls / video chat / etc.

5. Exercise

6. Keep busy


I appreciate that this is what works for me and as a result, it might not work for other people. I've been at home for over 30 days now. The house has a front and back garden. Phone and internet keep me in touch with friends, both here and overseas. The exercise is more of a challenge, since I'm used to a daily walk in the neighbourhood, and time in the gym. Exercise is morning and night, but upping the ante. And yes, I'm still writing.

Even before the pandemic, there was work being juggled. There's still work being juggled. The Semen novella is the first work published this year, with more due in the near future. Additional projects have come in recently. Again, this is how I function. I'm aware that some might feel disheartened that they're not being productive in whatever way they usually do (writing, music, whatever). I get that. And, for my part, I say your task is to cope and make it through. These can be testing times for everyone. And not everyone copes the same way. Not everyone can cope the same way: and that's okay.

As is, I'm still on course to bring the current manuscript to an end this month. It's then on to edits for some other pieces before taking a much-needed break. Pandemic or not, this is something I'd do anyway. Yes, it's a very romantic idea to write non-stop, but it's not practical. Yes, I'm an author, but I'm not slavish to the craft. I write often, but I don't necessarily write a lot at one sitting. I'll aim to hit at least 1000 words a day when I write. A figure that maybe over 3000 words if I have the whole day at my disposal. Outside of writing, I'll exercise. And I'll relax.

Balancing work and relaxation is key at any time. For me, relaxing is talking to friends. Everything from text messages to phone calls and video chats. With friends and family globally, this is great. I'll put my PlayStation 2 to good use (yes: a PS2, as I'm not such a dedicated gamer. Shame, I hear Spider-Man on the PS4 is solid). Play some bass. Binge some boxsets and film, courtesy of Netflix. Amazon Prime too. I might even do some reading.

Reading is something I've not done much of lately, outside of writing. The travesty here is that my TBR pile has grown from a number of sources:

1. Books picked up at conventions

2. Books recommended by friends

3. Stuff that looks good while browsing on Amazon

4. Price drops on Amazon

As a result, I have a pile where some books are ...some years old. Most likely, when I finish the current manuscript, I'll pull one of those books and read the hell out of it.

Yeah. #coronavirus #London #writing #game

It's been a quiet week. Which I'm grateful for. Over the last few weeks, I've paid attention to the news in terms of coronavirus, and the number of those infected in China. Watched the bulletins that told how it began to spread across the world. (At this point, I remembered the opening to Dawn Of The Planet Of The Apes). Bulletins describing the first cases in London. The subsequent rise. Boris Johnson's stark warning that more would die. All of this, I took as clinically as I could, and focused on the basics. Basic hygiene. Social distancing. Common sense. Or so I would have thought: https://www.nhs.uk/conditions/coronav... Usually I order groceries online. I found out the hard way about a week ago that won't be possible: as a Sainsbury's shopper, I find out that all the delivery slots are booked up for the next 3 weeks. Thankfully, I live within walking distance of a number of supermarkets and corner shops. 30 mins of brisk walk means I still get my exercise in. So, mid-week, I bite the bullet and hit the supermarket at the ass-crack of dawn. Not particularly surprised to see it busy. Some comfort in the fact that had I gone mid-afternoon, I'm sure it would've been a lot worse. Supermarkets have less capacity for social distancing now. Those who can't place online orders are now left with options like 'click & collect' or to shop the old-fashioned way and go into store. My one time in store this, and I'm faced with a number of those not paying attention to their fellow human. No 'excuse me' or acknowledgement of me letting them pass. Not all people ...but some. Queues failing to observe social distancing, despite the signs. An old man so close to my ass in the queue, any closer and there'd have been penetration. Never mind the fact that he was frail enough to lean on a stick, so why he's so close behind me when I'd risk knocking him over is lost on me. Same with the signs at the checkouts that maintain 'social distancing.' Along with the cashiers wearing gloves. Eventually I told him to hold his position while I got served at a distance and got the fuck out. Part of what pains me now is to see the city so busy. London Tonight has shown tube trains so packed, you wouldn't think anything was wrong from looking at them. As much as I love London and the hustle and bustle, I'd love to see more of the social distancing all round. I'm sure people have their reasons: the same way not all of those reasons are essential. With family members who've worked in the health service, I know the NHS is under pressure at the best of times. Social distancing will minimise the spread which, in turn, will minimise the impact on the NHS - and give them some breathing space. As of today's announcement from the PM, there'll be more of a lock-down after tonight: pubs, bars, gyms, theatres, et al. For which, I'm grateful. I'm aware that things are drastic now, but they could get worse. Currently, there's access to food. Clean water. Electricity. Medicines. Phones/basic communications. Internet. I'd dread that things progress to the point where those aren't available. For those of us who write fantasy - or, at least, horror - we know too well how bad things could get. We can imagine it. From the likes of The Walking Dead to the likes of Twelve Monkeys. I'd spoken to a friend in Spain this morning. A general catch-up. The expected 'these are some crtazy times.' Thankfully she's ago, albeit concerned for loved ones, as I would be. But she's taking steps to stay low and stay safe, as I am. Among other things, she asks me if I'm still writing. To which I answer that I am. At least the new Semen novella is published now; one less thing to worry about. I'll admit that for a day, I watched the news to the point where I'd figure I'd take the day off. No shame in it, and nothing wrong with it. As much as I can be a workaholic, I also know the value of self-care: physically and mentally. If nothing else, self-isolation has taught me that time away from the gym has made me soft. 20 push-ups is no number at all. Still, I'll have time to work on that. But I digress. The writing still continues. Life still continues with some degree of normalcy. There's food, TV (Netflix and Amazon Prime), friends, exercise. The muse is still good to me. Work on the new novel continues. Right now, I'm working on keeping mind and body in shape. Even before the pandemic, there've been a number of hurdles to address. Not easy, but I guarantee they're not impossible. Still, it can be a trying time. Again - self-care is key. Thankfully, I'm in one piece. I'm trying to keep it that way. For those that read this entry, no matter where you are in the world: thank you for visiting. I'm always humbled that people like my work, or are at least intrigued by it. And in this time of virus, I hope that you minimise the spread and distance yourself where you can. Protect yourself - and protect others. Thanks, people. #coronavirus #COVID19 #semen #writing #selfcare #London

Before I get into it, let me give you a frame of reference for this particular entry. On the issue of race and racism, as it relates to me personally. As a black man in London. Or, at least, the UK. I'm aware this might make for uncomfortable reading. And to that, I say: good. I've been called 'nigger'. I've also had the word 'nigger' shouted at me in a department store. I've been assaulted. I've been spat at. I've had a brick lobbed at me. I've had people on public transport choose to stand rather than sit next to me. I've had people introduce themselves with inappropriate handshakes I've been accused of shoplifting. I've been accused of not paying for takeout. I've had people bump into me but apologise to other people - if they apologise at all. Some of those instances were in early childhood. Some of those instances were in the last twenty-odd years. Some in the last few years. Some in the last few weeks. Some were isolated incidents. Some weren't. Let that percolate for a while. Because these are instances of racism I've seen. There are instances of racism I still see - and I don't doubt for one minute that there are issues of racism I'm not seeing, or that aren't so easy to see. Responses to job applications. Behaviour in the workplace. Entry to/seating at bars and restaurants. These experiences will colour this entry. What I'm thinking on now - and certainly of more recent times - are those issues of race and diversity in the genre of horror. Certainly from the point of view of fantasy: that umbrella that covers fantasy, sci-fi and horror. Little over a month into the new year, and already I see issues of race that concern me. A backlash against Stormzy for calling out racism in the UK. Stephen King's comments on diversity in the Oscars. The representation of Latinx individuals as per the novel American Dirt. Barnes & Noble reissuing classic books (Frankenstein, Moby Dick, et al) books with POC (people of colour) on the cover but not written by authors of colour. I'm no victim. But these things make me weary. Racism. A lack of inclusion. A lack of diversity. A lack of representation. One thing I'm mindful of is the seeming lack of diversity when I'm at conventions throughout the UK. Don't misunderstand me: those who attend conventions make it worthwhile - there's a sense of camaraderie and fun. The likes of Paul & Marie (joint chapter heads of HWA UK) who are always quick to put me on, whether it's to speak on a panel, contribute to a newsletter, invite to a signing/gathering, etc. Tracy Fahey and her skull game and other grave matters. Phil Sloman, who brings humour and drive in equal measure. Dave Watkins and Eric Ian Steele, who are always generous with their time and support. And comedy. Meeting old friends and making new ones. But the vast majority of those individuals are white. I'm mindful that not every fantasy author in the UK will get to a convention. But there are questions I have. How racially diverse is the population of fantasy authors; at least, in the UK? What visibility does the industry have on those authors? What steps are being taken to encourage and promote that diversity? That inclusion and representation? What comes to mind right now is how many times I've been listening to Cameo's "Skin I'm In" - certainly over the last few months. Now I remember listening to this track as a kid, and thinking it was just so funky and cool. Some thirty years down the line and I'm thinking on how I've evolved. And that this song is still so blasted relevant right now. Which brings me to the title of this entry. Because I remember a documentary some years back, where Young MC had commented on rap music getting a lot of scrutiny because it was black and making money. That it got a lot of scrutiny that other music genres wouldn't get. As an author, I do my best to deliver top-notch work. There's no lie in what I do. Similarly, I do my best to support those in my genre. That doesn't mean each and everyone, because not everyone's work - or approach to it - will move me. But I will promote and support others: regardless of gender. Race. Sexual orientation. Age. Etc. But as of more recent times, I'm mindful that not everyone will see it that way. And as such, there's something else I'll be bringing to the table: scrutiny. A lot more scrutiny. #race #racism #diversity #inclusion #representation #HWA

How about that? I started writing the journal entry at the start of this month, and now I'll finish it nearing the end of the month. Sat here listening to Shooter Jennings' bluesy-rock, 'All Of This Could Have Been Yours.' To be fair, all I wrote on this journal entry at the start of the month was the title. Evolution. Before I get into the meat of it, I'll thank everyone for their patience. Everyone from my peers to my publishers. I know peers, friends and my audience have been keen to see what comes next. And believe me, there's work to come. From the publisher point of view, in particular, I thank them for their patience, and I can't thank them enough. We don't necessarily agree on everything, but that's okay. Hell, I prefer it. Your ideas are different to mine? Let's hash 'em out. Brings out the best in me and my work. Keeps me sharp. Anyhow. Evolution. The first short story I wrote was a 100-word story called On Reflection. Which I sold for 'exposure.' No money: just a chance to get my name out there. Boosted my confidence. Got me used to dealing with publishers. As I've said before (to Kelly in particular), there are levels of game. And as such, I evolved: to where I'd written my first story to where I'd edited my first story (including input from beta readers) to where I'd submitted my first story to where (instead of previous rejections), I'd had a story submission accepted to where I'd signed a contract for that story The second story I'd sold was one called I Wouldn't Let You Die. Notable, because this is the last story I sold for 'exposure'. Everything else since then has been paid, with a handful going to anthologies for a given charity/cause. So, yeah, game has evolved. But evolution isn't static. Not here, at least. And I can give examples in grander terms of the genre. Good old days - when I was small and Afro'd - of histrionics and poor editing in screen entertainment, along with relatively ropey effects. I'm thinking of Ash punching a possessed Linda in The Evil Dead. Nancy's mom dragged back through the window at the end of A Nightmare On Elm Street. The basketball scene in Deadly Friend. And countless other examples (although I'll cite the main transformation from An American Werewolf In London as an inspired exception). But effects have evolved. And even though I don't watch horror anymore (the irony! the irony is coming!), I've seen evolution. Michonne cutting down walkers in The Walking Dead. Buffy Summers dusting vampires aplenty in Buffy The Vampire Slayer. Dexter Morgan gives in to his dark passenger, in a quiet room of clingfilm, blades, and bound victim. This last example is key. Because not only do the effects evolve, but so do the narratives. Heroes are now more likely to have a degree of villainy about them. If anything, this is what entertains us more. Shows the Dexter, Breaking Bad, et al. Not just dark narratives, but darker narratives. There's evolution. And, unfortunately, horror can befall all of us, any of us. Even if we hope it doesn't. So changes our genre. Horror/dark fiction. I see my peers evolve. Work written. Work sold. Work adapted. Work rewarded - awarded. More diversity and inclusion in the genre (which is not to say there isn't discrimination). As for me? Some years back, I took a cue from the likes of the now-defunct DarkFuse magazine. In addition to seeing short stories from an author, they wanted to see what that author's website would be like. The online presence. My thinking? Start selling short stories to build up an accessible body of work. That achieved, game evolved into longer works of fiction - especially since as an author and reader, I prefer longer works. More immersive. While the first stories I wrote with professional intent were novels, I hung back from that for a while, honing my craft writing short stories. That doesn't mean that the evolution stops now. Or else, how is it evolution? My first novella scared me. One of my later stories disturbed me. Imagine that. Evolution. Which means what? Evolution in the game: everything from what I write to how I write, along with how I manage the writing. New narratives; darker narratives, coming down the pike. But don't take my word for it. In addition to telling a good story, I want to tell an honest story - nothing gratuitous, nothing for shock value. That, I don't see changing any time soon. So, as always, I humbly hope the work will entertain you, move you. Maybe even scare the shit outta you. #evolution #darkfuse #game

Not a bad year for business. New connects, podcasts, etc. Right now, this being the festive season in the capital, my neighbourhood is quiet. And still. Just the way I like it. Recent works have been edited, polished as much as can be without damaging them, and sent to the respective publishers. Work that should be coming down the pike in 2020. All good. What I'm thinking on is for one of those works in particular. A work which is, for me, a push to a darker place. Psychological horror, for one thing. But it's an idea I had for a while, and I'm not the type to wonder 'what if?' Ever since my earlier forays into dating, I'd never encounter a woman just to daydream about what could be. No. I'd go up to her and tell her I found her attractive, ask her out, etc. And if she said 'no'? At least I got a definite answer, and wouldn't have to keep kicking myself with some 'what if?' Even when I first wrote the original short story as part of 2017's "A Story A Week" challenge from This Is Horror, it was something I wanted to re-visit. Expand upon. Anyhow. This particular work is dark material. And because it's closer to real life, it arguably goes to a darker place. I like this story, this Work X. But it's not had a welcoming reaction from all quarters. One peer who I asked to beta-read it said yes, and eventually said no - that it wasn't their kind of thing. Other peers have told me everything from they love it to they like it, but not the title. And I'm okay with that. My sister from another mister tells me the title alone is blatant, to which I tell her I'm aware of the connotations. Which is partly why Work X has that title. I assure her there's nothing gratuitous in the work. She's one of my biggest supporters and I love her to bits for that alone. Among other things, she says it may be a polarising work. That it may spark some controversy, but she also says that's not necessarily a bad thing. Mama, FYI, has expressed disdain over the title, let alone what the story's about. But that doesn't surprise me. Mama doesn't read my work, as such: again, there's a degree of trophy value in that she gets to hold my book in her hand. But even if she reads the story, if she reads the words, she won't digest it because it doesn't interest her. In much the same way that if you read a book in a foreign language you don't speak, it's largely meaningless - since you can't digest what the book is conveying. Of course, you can read the words, but the words are conveying something more. And the publisher? It's sat with them now, so we'll see what happens. For my part, I stand by the work as a genuine story: in that I'm not pandering to any trend. It's a story I wanted to tell and as such, I've taken time - as always - to create realistic and genuine characters. Nothing exploitative in my work. Along with pushing those characters (and my work) to dark and terrifying places. If/when the work sees the light of day, feel free to judge for yourselves. Most of the research material is in the bag for the new novel. Swung by a contact of mine - someone I used to spar with many moons ago. Informative. Him and his team gave me a lot of background for the new novel, and then some. The rest of the year will be tidying up research notes, putting the synopsis together, that kind of stuff. I'm looking forward to it. Having spent time of late editing work, it'll be good to prep for writing something new. And given that my craft has evolved, it'll be good to craft something darker. Which may be more unsettling as a result. Hopefully, it'll engage you. Move you. Maybe even scare the shit outta you. #horror #writing #novel #novella #muse #astoryaweek #thisishorror

I'm thinking back on a conversation I had with Kelly (one of my core beta readers) many moons ago. To be fair, it's a conversation I've had with a number of people over the years, outlining various stages of how I do what I do - but I don't think I've ever outlined it in full.


What does happen more often is that people will ask me what I'm working on. It used to be the case that they'd ask, 'are you working on anything?' - to which the answer is usually 'yes.' So now they ask the better question: the 'what am I working on?' And even then, the answer seems to stagger a number of people. Eyes wide, jaws dropping. Words of disbelief.


As is, I'm working on a number of novellas at various stages, along with a couple of novelettes, also at various stages, ideally, all of which will be tied off by the end of 2019. Which then leaves me free to write the new novel in early 2020 - and which I plan to start outlining in December 2019.


Anyhow. This is where I talk game: how I do what I do. There's an American phrase, 'your mileage may vary', as my approach might not work for you. It's just my approach. So. Welcome to Game, 101. Hangtime at FantasyCon 2019 with Kit Power. This good man is an author, essayist, reviewer, friend - and also one of my trusted beta readers. 1. WRITE. I cannot stress this point enough, because this is the bottom line, this is the alpha-omega - this is what makes it all possible. And it's so deceptively simple on paper that this is arguably what some people will miss. You ever hear sayings such as 'everyone starts somewhere'? Or 'the longest journey starts with a single step'? Etc. etc. etc. i) Start writing something.

ii) Finish writing something.

iii) Repeat. This is the bread-and-butter of it all. This is how you not only produce a story, but stories. As an author, your job is to write. This is how I do. I could go into depth just on the writing itself. I've had this conversation with Kelly before, in terms of levels of game. a) First of all you need a level of game to write a story. It's no mean feat.

b) The next level of game is to actually finish a story - and this is arguably where a lot of people will fail: from novices to more seasoned writers. Again, it's deceptively simple on paper (ha!).

c) Once you actually finish a story, the next level is to polish it to a degree of quality that you and a paying audience will be happy with, which means... 2. EDIT & POLISH YOUR WORK. Chances are that your first draft of a story isn't as good as you can make it. To spend so long writing a piece of fiction means that you may be too close to the work to see any flaws in it. How then do you catch those errors? Those flaws and inconsistencies? Again, here's what I do (and your mileage may vary): i) Distance yourself from the work. Once a story's written, I take time away from it, usually at least a couple of weeks (so I can go back to it with fresh eyes). Time to do anything but look at that particular story. What do I do in the meantime? Possibly write something else. But once I'm ready to clean up the work...


ii) Clean up the grammar/typo slips. Because I type at speed in order to finish the draft ASAP, my first draft will be sloppy with typos. Rife with them. But I don't care. Why? Because at least I have a finished draft. I also read the draft aloud. What this does is not only help you catch those grammar/spelling slips, but also illustrate how your narrative sounds. Where your pauses and inflection should go. Which helps you polish the work even further. Which leads me to: iii) Beta readers. These are the readers who will read the draft once the author is done writing it. They can look for any and everything in the draft beyond typos and grammar slips. What works. What doesn't. Plot holes. Character arcs. Etc. Note when I'm between writing projects, I offer to beta work for other authors. This is for a number of reasons:


a) It helps other authors.

b) It keeps my critical eye sharp for my own work

c) It means when I need a beta read for my work, other authors are more likely to assist. To a degree, a beta read may be a matter of opinion. What works for one reader might not work for another. You as an author need honesty and conviction to take on board a reader's critique: whether that's parts of it, all of it, none of it. What matters is that you use that critique where possible to bring out the best in your work. Over the years, I've built a beta team that consistently deliver. Not only for honest constructive critique but those who also appreciate the vision I have for where my stories take the reader. And as such, I'll happily do beta work for them - and others. 3. GET YOUR WORK PUBLISHED. Easier said than done, right? For many things, I maintain it might not be easy - but it sure as hell isn't impossible. If at any point you think you can't, chances are good that you won't. Writing isn't for everyone. But you won't know if it's for you until you try. Yes, some people have a natural ability for something. But I guarantee that no one will become world-class at anything without working at it. The barometers of quality I use are a. would I proudly put my name on it?

b. would I buy it? - and I work to get my product to that standard. Now you could go the self-publishing route. I won't - not yet, at least. I won't rule it out completely but right now, that's additional heavy lifting I won't take on. So I leave that to the publishers.


So. Imagine you've written a story. Polished it, had beta readers look at it, gotten it as tight as can be. All ready to send to the publisher of your choice. Sending a manuscript to a publisher is a submission. Some publishers are forever open to submissions. Some have a specific period of time - a submission window - in which you can send them a manuscript. While some publishers will look at submissions from an agent, let's talk open submissions - which are where you don't need an agent in order to send the publisher a manuscript. Let's assume that the publisher(s) you have in mind are a good fit for your work and are good people to do business with (which is a whole other topic).


When you send the publisher a manuscript, they won't necessarily look straight away. Not when they're getting submissions from other authors. That mountain of submissions from all those authors is known as a slush-pile. Your manuscript will be part of that slush-pile. Even if they decide to go with your particular manuscript, it will take them time to get there. Weeks. Months. Timescales that aren't unheard of. After all, to read so many stories can be time-consuming. So what can you do while you're waiting for them to get to your story? Answer - write. And if your story is rejected? Look at why. While the publisher may say it's not for them, or they don't like the pace, etc. that doesn't necessarily mean it's no good. By all means, take on board what they say. But look at your work and honestly decide if it's something you'll proudly put your name to, and something you'd buy. If not, get your work to that level. If it's there, then send that work back out to a different publisher. Rejections are part and parcel of the game. But don't take my word for it: Anyhow. Let's assume that your work is now top-notch and gets sold to the publisher of your choice, and does the rounds in the market. A big assumption, given the various reasons why your work might not land with a publisher, (e.g. work from other authors is a better fit). Ideally, the audience will love your work, and come back for more of it. But writing is a time-consuming process. Reading, however, is arguably much faster to do than writing. So a story that took you some months to write (let alone edit and polish) is something that a reader can consume in a fraction of the time. Best-case scenario, how do you satisfy those readers? Answer - you keep writing. This doesn't necessarily mean you write everyday. If you can (and do), more power to you. What's more important that is you consistently keep knocking out product.


The illustration I use is that grocery stores don't do business because they have just one loaf of bread, or bottle of milk, or frozen pizza. No. They do business in part because they've got shelves of bread, fridges of milk, and cabinets of frozen pizza. That last story you wrote - even if it's the best story ever - will be just one story of many that your audience would look for from you. Let alone what they're also looking at from other authors. Which brings me back to the same bottom line as before - to keep knocking out product. In short: write. Which brings me to... 4. MANAGE YOUR WORK SCHEDULE. Again, this is how I work (so, for anyone else, 'your mileage may vary'). If I'm sending one story to one publisher, that may be easy to keep track of. But I'm 'always' writing. So I'm always sending stuff to publishers. Publishers can be great and supportive, but they're also people. As such, they can be delayed for a number of reasons in responding to you, or letting you know whether they accept your manuscript or not. Some publishers will be upfront about this, and tell you in advance to respond to a particular email address if you've not had a response on your submission by a particular date.


Since I'll do a number of submissions of different stories, I keep a schedule of: when I sent it

where I sent it to

when I should expect a response by

whether it was accepted or rejected, or still in 'submitted' status

when to follow up by if I've not had a response

etc. Of course, I don't sit idle waiting for a response on a submission, since I'm often writing. What it does mean is that I keep a close eye on what submissions are at what stage. Note that I don't just keep a schedule of what submissions I currently have with publishers, but also what work I need to get written. The more stories I work on and the more publishers I work with, the more I need to coordinate/schedule everything so I can get it all done. The comparison I use here is that jugglers have two hands, but juggle several balls at the same time. Similarly, I'm mindful to keep work moving. The more work I keep moving, the more likely I am to sell something sooner.


In an ideal world, those submissions are accepted, and I then work with the publisher to get the manuscript even tighter before a book sees release in print and/or e-book, whatever the case might be. Both writer and publisher want the best product possible to hit the market, so we work together to make that happen. That might mean compromise along with diplomacy, tact, etc. Which should be pretty straightforward, if you're looking at a publisher that's a good fit for your work. What matters is to bring professionalism to your work, regardless of who you work with. Not all business relationships pan out. For those that don't, there'll be others that will. Either way, when your work is accepted by a publisher, sooner or later, it'll be available to buy. Which brings me to... 5. PROMOTE YOUR WORK. I know a number of authors have said that they're not comfortable promoting their work. But even if your stories would set the world on fire, they won't spark anything if people don't know about them.


The approach I take to promotion of work is on a number of levels. First of all is to spread the word. That means: i) before the work is released

ii) when the work is released

iii) after the work is released This encompasses such things as teasers on social media, cover reveals, excerpts from the story, book reviews/interviews with bloggers and reviewers. Along with podcast interviews, as well as attending actual conventions and signings.


In terms of bloggers and reviewers, bear in mind that they - like publishers - may also have a large pile of author requests to work through (not submissions). A distinction here is that while publishers may tell you whether your submission was accepted or rejected, reviewers may mention upfront that they can't review every work sent to them. On top of that, a number of reviewers may do this without any payment, aside from their love of reading and the genre. This is notable because there are some authors who show a sense of entitlement that their work isn't reviewed sooner, or given a more glowing review.


As I often tell people: no matter what you write, no matter what your craft: music, sports, journalism, dance, whatever - there will always be those who simply don't like what you do. And that's their right. In light of that, throwing a strop against the reviewer is not only ignorant, but self-damaging. The global genre community can be tight-knit and strong - but I guarantee that a tsunami of fuck-you will rise up if you ever throw such a strop. Even if it's in an email to a reviewer. Chances are good that the reviewer will expose your foolishness to the world. And you'll see firsthand just how large the community is.


Reviewers, like the publishers and the editors and the fellow authors, along with the artists/illustrators, et al, will serve to elevate the genre, get it in front of an audience and keep it there. What will also help promote your work is to support them the same way that they support you. That doesn't mean to blindly support any and everyone. Which is unrealistic, because you won't like any and everything. But, by all means, if someone else's work moves you, say so. There's no shame in that - just the opposite. Spread the word about how cool someone's artwork is. Or how chilling their last story was. How their editorial work on your story made it so much sharper. Celebrate your peers as they celebrate you. All of this shows you as more than some trader shouting about their latest release - it shows that you love the genre. Which is something your audience can get behind. Beyond all of this, there are a lot of exponents in the genre. It may be challenging to shout loud enough to be heard. What will matter more is to 'shout' often. The more consistently you are engaging your audience, the easier it is to keep them, and reward them. For me, that means regular update of my pages: my website (including the journal), my social media pages, Amazon pages, author section on publisher pages, etc. One surefire way to promote your work is to keep working. All going well, your audience will love your work, and they'll keep an eye out for what comes next. So, like the O'Jays said; 'Give The People What They Want.' Of course, the bottom line is that writing will drive all of this. So write. There it is - Game, 101. #game #writing #betareader

There are certain things I'm used to as part of stepping to a convention. Book launches and signings. Wandering around the convention centre. All-too-brief catch-ups and photo-ops with old friends - as well as new ones. Plus other things that are part and parcel of it all.


What I didn't bank on this time around was the tedium of the journey to Clydebank. From the train's departure from Euston at around 09:30 on the Friday morning to get to Glasgow Central at 2pm on the same afternoon. And then waiting for a smaller train to get to Clydebank. Not realising Dalmuir was nearer, so then having to walk to the convention centre. Which was not only in the ass-end of nowhere, but well hidden in some wilderness as part of a hospital. By the time I got to the convention, it was 4pm. And with me being in desperate need of food & R&R, I didn't start to get into the swing of things until maybe an hour or so later.


The other main 'failing' for me was the reduced turnout. Now social media is a wonderful thing. Enough that I already had a good idea of the reduced turnout before I went to this convention. One, because of the logistics/cost. Two, because of StokerCon 2020 this coming April in the UK. More peers may have different additional reasons, but this is where I'll tell you the ones I'm aware of.


Anyhow. HWA panel at FantasyCon 2019. l-r: Paul Kane and Marie O'Regan (husband/wife and joint heads of the HWA's UK chapter), me, and new member Heide Goody. With all that being said, it was still a decent time at FantasyCon. I've learned from experience to stay at the convention centre - so as not to waste valuable time traipsing from the conference back to my hotel. A wise choice especially when a late night of lounging with peers would then see me trudge back to my hotel in the cold night air, half-full with alcohol and low on food. I was on the HWA panel again this year - which is cool. I'm glad to speak to anyone formally or otherwise in terms of what the organisation is/does and such - as well as offer any insight I can on author game. But here's the thing. For the most part at a convention, I want to be a spectator. Talking on a panel or two here and there is fine. But for most of the time, I'm happy to just lounge with the like-minded, watch panels/discussions with the likeminded, etc. It would be nice to connect with just readers. Sure, a lot of us are - but I mean readers who aren't also authors. Or editors. Or publishers. Etc. As a result of the last week - both in and outside of FantasyCon - there'll be some additional fiction coming down the pike. Additional to what I've already got scheduled so far. Bear this in mind for when I drop a reveal or two, and reference this point in time.


The last two FantasyCons have fallen across the birthday weekend. As much as I'd rather not spend the birthday at FantasyCon, right now, they're too much of a business opportunity to pass up. At least for 2020, my birthday falls on a weekday, so there shouldn't be any such conflict this time around. Plus, with it being hosted in Sheffield in 2020, the venue should be nearer, and more accessible. #fantasycon #HWA #glasgow #clydebank #stokercon

Nearing the release date for The Third Corona Book Of Horror Stories, the third horror collection from Corona Books. A collection I have a story in. Anyhow. I'm sat here with a couple of boxes of said books: for giveaway and such - all part and parcel of the author hustle.


I'm thinking back on a few weeks ago, when one of my peers shared the release news on social media and then expressed dismay on the lack of response from peers. For my part, I thought it was at me, rather than about me. Blame hasty reading/low blood sugar/etc. for misinterpretation. My bad. I'm aware, for many authors, there's an element of 'the void'; of trying to make yourself heard when no one is listening. Or when there are how many other voices also trying to make themselves heard. I'm always grateful for those who engage with my work - whether they're the readers, the publishers/editors, the fellow authors, and the artists/illustrators. As well as friends and family. But I never feel any sense of entitlement. In other words: it's cool if you like my work, but it's okay if you don't. That's your prerogative.


In terms of the upcoming book, as it tells you on the cover, the stories that made the collection were selected from over 800 submissions.


Think about that for a minute. Seriously. I'll outline it for you:


A publisher wants to put together a collection of short horror stories. Let's say for the sake of argument, they want to put together a book of thirty stories - a nice round number. They then hold an open submission call (open submission: a period of time where authors can submit stories to a publisher without going through an agent). Let's say that open submission call runs for a month - the better part of 30 days for any interested author to send a story in. That's assuming the author needs to write a story - rather than them already having written one. This is just one of the reasons why I'm 'always' writing. I digress.


But where the publisher is only looking for 30 stories, they get nearly 1000. And this - pardon the pun - is where the plot thickens.


As a reader, would you want to read 1000 stories? As in: read 1000 stories from 1000 different authors, to a deadline? Make no mistake, this can be an arduous task. And that's assuming that all of the 1000 stories are of good quality and of style and content that engages you. Bear in mind that a story can be good and still not move you.


For the publisher's part, compiling the book may be very much like compiling a mix-tape. It's not only about what tracks go in, but also the order they appear in. So the publisher's editor or editorial team have the task of going through what's known as the 'slush pile': the sheer volume of story submissions that come in. For the author's part, unless the publisher says upfront how many submissions were received, it may be hard to get a handle on 'why was my story rejected when I feel it was pretty damned good?' For my part, I've sent enough stories to enough publishers to know what kind of odds/numbers an author's up against to get their story into the final cut. You have a 1 in 1000 chance. Sound promising? 'No', because you're up against another 999 authors. And 'yes', because ideally, you have as much chance as anyone else.


But 1000 authors? How many authors can you name? Is it 1000? But this is for a collection of horror stories, so the chances are good the stories will come from specifically horror authors. How many horror authors can you name? 1000? 100?


10?


With that said, hopefully this gives more insight into what indie (independent - not signed to one specific publisher) authors are up against. So from an author point of view, I'm not surprised when every so often I'll get an invite asking me to 'like' an author's Facebook page. The answer is still 'no'. Actually it's no answer at all ...because the answer is 'no.' This doesn't come from a place of mean, but one of fact. I don't know you or your work, but you want me to 'like' your page. No. Not happening. Sorry.


So I, too, may be shouting into the void. That's okay though, because I look at the bottom line to make myself heard. I continue to write stories, continue to shop them to publishers whether they're rejected or not. FYI, for my story in the Corona Books collection, I'd previously sent it to a different publisher who rejected it. Of course, I don't let a little thing like rejection stop me. I continue to promote my work, as well as those of others - work that moves me. Or at least that the approach to said work moves me.


The new novella draft is now wrapped as of yesterday. Not my best work, far from it. But after a clean-up of the draft and tightening flow, nuance, etc, it might just shine. There's still additional work to do for, well, additional work. Part of the reason I feel less of a reason to shout into the void is because I'm always working on something. New stories. New interviews/Q&A/podcast/etc. New conventions. In much the same way that if an alarm clock goes off in the morning, it doesn't go off once. Why? Because it keeps going. To get your attention.


Something you can't ...a-void.


"Ha." #horror #coronabooks #submission #slushpile #facebook #like