FantasyCon 2016 Report

I write this immediately after my return from Scarborough, the remote but admittedly beautiful setting for this year’s FantasyCon.

After previous times going as an aspirer, a socialiser, and a would-be self-promoter, this year I decided I would go unashamedly as a fan, and thus adding to my sixty-strong signed book collection became a priority. I packed a load of unsigned books from my collection, along with a fullish wallet for buying new ones.

But the wallet was already stretched by the distance, which meant an expensive train ride and the necessity for an extra day of travelling either side, which in turn meant a four night stay as opposed to the two I can get away with in Brighton. So I saved a bit of money by avoiding the much-criticised Con hotel in favour of a much less expensive, and TripAdvisor acclaimed guest house a mile away, which would come back to haunt me later.

The six hour journey up left me with little energy for anything other than a little walk to find my way around, and needless to say I got hopelessly lost and had to ask a local for directions – a big step for a shy boy such as myself. But at least it meant I could find the Grand Hotel with no trouble on Friday, to take in a panel on ‘selling out’ and more importantly take in the launch of my fellow Grimboldians Joanne Hall, Steven Poore and AJ Dalton, while Joel Cornah, the talk of Westminster because of his Miliverse Twitter feed, gallantly manned the book stall. But carrying a heavy bag of books made the disco awkward, and my attire made it impossible. Last year I suffered an unfortunate low-flying wardrobe malfunction; this year it was the burgundy trousers themselves threatening to slide their way down my hips and around my ankles. At least it shows my recent return to running has shifted a couple of pounds, but I must remember to wear a belt with those from now on.

I took a chunk out of Saturday to watch my beloved Chester FC in their cross-border derby with Wrexham, and although the 0-0 draw was a decent result, the lack of entertainment on offer made me wish I’d stayed put. But I returned to get the most important signatures of all, Derek Landy on my son’s two Skullduggery Pleasant books. Then after the obligatory post-apocalyptic fiction panel (one day I need to be on one), it was on to the David Gemmell Awards, a glitzy occasion somewhat undermined by the absence of the actual trophy! But at least it had free wine, of which I had enough to make me forget I can’t sing, so apologies to anyone who had to listen to my terrible Nik Kershaw rendition when the karaoke followed in the same room.

Highlight of Sunday was the candid and humorous Joe Hill interview, before the BFS Awards. It was dreadfully overcrowded, but there were plenty of worthy winners, my favourite being Priya Sharma, who I never saw properly this year, but who should be glad she avoided my karaoke. But the hardly seeing people, or not at all, was my only disappointment this year, the two hotel format, and me being perma-tired from dragging heavy book bags around cutting down my opportunities. Still, I did get triathlon advice from Tim Lebbon, a good chat with Neil John Buchanan, more bonding with the Grimbold lot which will continue at BristolCon next month, pole position to see Ross Warren’s panel debut, and a recurring rendezvous with Stephen Bacon in the gents (!), along with various other all too brief encounters.

Last thing before I left the Con was watching my other team Southampton beating West Ham 3-0 away, a good end to a great weekend, tempered by the revelation of a health scare to long-time online friend and Crystal Lake Publishing founder Joe Mynhardt, but latest news is that isn’t too serious.

So now I hope that rumours about it being in Daventry next year turn out not to be true (no offence intended to any Daventrians reading), but first I have BristolCon next month and maybe – just maybe – my own panel debut. But whether I’m sat in the audience or facing the audience, I can’t wait.

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Maudlin Mindset and the Alien Terminator Shark

If you’re reading this, which you seem to be, there’s a good chance you and I are acquainted on social media. At the time of writing this post, I’m no longer there.

There may well be a link between creativity and anxiety, so perhaps as a writer I should wear my depression as a badge of honour, or give it a fancy name like ‘poignant melancholy’. But the truth is My Confidence was always an elusive little fella, easily discouraged and quick to take flight, long before I dared call myself an author.

My Paranoia on the other hand, is the perfect organism: its structural perfection is matched only by its hostility. What we are dealing with here is a perfect engine, a happiness-eating machine. It’s really a miracle of evolution. All this machine does is lurk and eat happiness and make paranoia. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are depressed.

And this Alien Terminator Shark hunts best in the shallow waters of social media. It turns every opinion that differs from my own into a personal attack on me. It shows me every party pic or optimistic update, and tells me that everybody else’s life is better than mine. It counts how many likes my posts get, and defines it as a snub from everybody else. Worst of all, it makes me cling too hard, and lean too heavily, on those who do take an interest, until they are driven away.

So last night, in an act of desperation that swung towards the self-destructive, I deleted my accounts. Trouble is, that’s no biggie. I do it all the time. So it felt like I had to go further, and it was on my pseudonym account that I really tapped into my inner Alien Terminator Shark. 400 friendships ended, one by one, with a touch of the button. Every post eradicated, all those cheeky anecdotes and witty insights, all that camaraderie gone, never to be relived except in my head, albeit now tainted with a tinge of sadness. And every conversation deleted, some messages frivolous, some of them meaningful, but all of them gone, shredded into tiny pieces and cast to the digital wind. So if and when I do return, it will be to nothing, and it hurts to have lost so much, and to have done this to myself, and I think I still have a grieving process to go through.

This post needs some positivity, so here it is, in an abstract kind of way. My worst moment is behind me, I’m still here, and I don’t think I have any further to fall. I am still waiting on a monumentally important decision, which will be either instant redemption or a crushing blow, but even if it’s the latter I feel better equipped to deal with it than I did yesterday. And this here under my feet feels more like limestone than quicksand; it’s not cloying at me and sucking me down, it’s bearing my weight. I absorb the shock on the balls of my feet and bend my knees, tensing my thigh muscles in readiness for the moment when I propel myself upwards and start bouncing back.

I hope this hasn’t been just a whinge post, and that it will be an interesting insight into a certain psyche, or of some reassurance to those with similar difficulties. As for me, right now the sun is shining and the library is open. My walk there goes down a tree-lined path alongside the stream, and the Alien Terminator Shark isn’t coming with me. Goddam right, it’s a beautiful day, and any day can be if you make it so.

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The Story Behind the Cover

I‘ve had a novella ready to go for a couple of years now, a genre splicer that veers from mildly saucy rom-com to dark psychological thriller, about a man whose life unravels when he has an affair shortly after his 40th birthday. The title is (predictably, but aptly) Midlife Crisis, and it draws an influence from What I Know by Andrew Cowan which also begins with a 40th birthday, and works from James Hawes such as Speak for England and My Little Armalite, which see a middle-aged, middle class everyman thrust into crisis.

It’s a work I’m very proud of, and have submitted it a couple of times, but accepted quite early on that its juxtaposition of two very contrasting genres would make it difficult to place with a publishing house: some who enjoy the beginning might find what follows too shocking; those with the strong stomach for the bad stuff might have bailed before they realise this is their thing after all.

So self-publishing became my preferred option for this story, but I knew this meant more work on certain details; and most importantly, the cover.

I had a decent idea of the image in mind. There is a scene in the book where the protagonist shuts himself away from life and builds a beautiful model house, only to snap and smash it up with his bare hands. For me, this was always the enduring symbolism for the story; that which had been built up over so long shattered in an instant never to return; a microcosm of the journey the character was taking.

A Google search for ‘damaged model house’ yielded the perfect result: a bright, burnt-orange structure, standing proud apart from the extensive devastation to one corner. All I had to do then was track down the creator, and seek permission to use the image.

From following the link I saw that it was – deservedly – a prize winner, scooping the Gauge 0 Guild (Britain’s premier model railway club) award in the Scenery category in 2010. It was made by a man named Ted McElroy, who had also secured second place in the same category, and by both images there was a picture of him, smiling broadly and warmly at his achievement. But what it didn’t have were any contact details for him.

I went through the years: there he was again in 2011, runner-up for Scenery with another damaged house, and after that, nothing. That was a bit worrying: with the few year gap, I had to wonder if Ted was still with us. But although he seemed to be past retirement age even in 2010, he seemed sprightly, robust, and obviously dextrous enough to build the model which had so captured my imagination.

So it was with some hope that I left messages to request contact details for Mr McElroy, but with no certainty as to whether they would have the desired result, or even if they would be seen at all. And after a couple of weeks with no response, I had to try something else.

I experimented with different wordings on further internet searches, until I found something, but it was so shocking and disconcerting that I wished I hadn’t. An unwieldy and incomplete Daily Mail headline: ‘British elderly couple on sightseeing holiday in US hit and killed within …’, which I followed, and there he was, the man I was looking for, arm around his wife and both of them smiling and looking out at me. The story that followed described a loving couple who were enjoying their retirement by taking holidays abroad, only for a trip to America to tragically result in them losing their lives in a road accident.

It was a strange, numb feeling, seeing someone whose work I admired, and who I wanted to get in touch with. And I’d seen a little glimpse into their lives two and a half years after they ended.

My book cover now seemed not to matter at all, but I was becoming increasingly keen on using the image as my own small tribute to them. Tracking down a next of kin would have been near-impossible, but the local news article included the married name of their daughter, who requested people not to wear black to the funeral, and instead use the occasion to celebrate her parents’ lives. It was a brave and refreshing attitude, and one that gave me the confidence to contact her.

I’m glad I did, because this striking image, which takes on even greater resonance now that I know the circumstances behind it, will now grace the cover of Midlife Crisis when it comes out next week. I just hope that my story is worthy of it.

Damaged Matchstick House.jpg

 

 

 

 

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Passport to Portsmouth Deleted Scene

The scene that follows will never be performed on stage, but I had some fun writing it, so I thought I’d air it here rather than have it lost forever. And given that the scene deals with the people of Portsmouth holding a referendun on whether or not to leave the UK, it’s somewhat timely and topical.

*

SCENE 3.

The pub. BRUCE stands behind the bar, putting up a badly handwritten sign which reads, ‘Poling Station’.

Enter VOTER

BRUCE: Good morning, how can I help you?

VOTER: I want to vote in the referendum, is this the right place?

BRUCE points to the sign.

VOTER: Oh, good. So how does it work, then? Where’s the ballot box?

BRUCE: There are two boxes. One for the Ayes – that’s aye for leaving the UK – and one for the Nays, if for some reason you don’t want to break away from a tyrannical regime. I give you a token, and you put it in the box to make your choice.

VOTER: But it should be a secret ballot. I don’t want someone from the other side seeing me cast an opposing vote.

BRUCE: Worried about reprisals? Don’t be: this sign should reassure you.

BRUCE puts up another sign, which reads, ‘No traitor bashing’.

VOTER: Traitor bashing?

BRUCE: No, we’ll have none of that here – it’s expressly forbidden on these premises. Of course I have no control over what goes on in the street outside …

VOTER: Riiiiiight …

BRUCE: Anyway, the two boxes are far apart, so voters for one can’t see the voters for the other.

VOTER: Alright then. So, like, just out of curiosity, what if someone wanted the Nay box?

BRUCE (points): Have to go through the toilets to get there. Unfortunately, we’ve had a rather unpleasant plumbing malfunction, so you would have to wade through a little raw sewage to reach the box.

VOTER: Just a little?

BRUCE: Not too much. Barely ankle deep in places.

VOTER: Okay, so where’s the Aye box?

BRUCE (points): Just that way: in the cuddly kittens and puppies plus free beer, wine and barbecue gazebo. You’d be quite welcome to stay on after casting your vote, we have patio furniture there, but there is an eight drink limit.

VOTER: Eight drinks?

BRUCE: I know it’s not much, but we have to be business-like right now. The proper drinking can start after the result comes in.

BRUCE hands over a token.

VOTER: This is a beer bottle top.

BRUCE: I know. I’d be a bloody useless publican if I didn’t recognise that. But anything that fits in the box can be used as a token.

VOTER: Err … thanks, I guess.

VOTER stands for a moment, looking back and forth from the Aye and Nay sides, before heading towards the Aye gazebo. Scene ends.

 

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Litmus Launch

Last night, for the third time, I was part of a book launch event. The previous two were for the Rhondda Cynon Taf Libraries’ Awen – Inspirations anthology series; this one was my turn to be part of the University of Winchester’s Litmus legacy. This yearly release showcases the work of the graduating MA classes, and may be a first step to stardom for some of the writers.

Like the previous two launches, I did a reading as part of the event. When in Pontypridd to read my stories ‘Senghenydd’ and ‘Aberfan’, I declined to attempt the accent of the setting – dw i’n gallu siarad Cymraeg eitha da, but I still can’t do a decent Welsh accent when speaking English.

Last night I learned I can’t do an American accent either. My story ‘Chasing the Sunset’ is set in a dystopian Georgia, so I practised my English Guy Does Deep South voice, a la Stephen Moyer in True Blood and Andrew Lincoln in The Walking Dead. But there’s a reason those guys make the big bucks and I don’t.

 

I wasn’t to trying to sound like a cowboy, although I may have ended up sounding like someone born of the unholy union betwixt man and bovine. I was going for somewhere in between Forrest Gump and K-Billy’s Sounds of the Seventies; I think the end result was closer to the former, and a pretty bizarro version of that. I kept my held buried in the book to avoid seeing anyone’s reactions.

Reading.jpg

Those that did react found it comical, when it’s supposed to be a serious story; but I’m cool with that. (Pretentious statement alert!) I think the writer serves as a conduit in these things, and it’s for each audience member to apply their own meanings to it. And at least my current works in progress are set in Southampton and Portsmouth respectively, so I won’t have this problem again: more a case of ‘write how you speak’ than ‘write what you know’.

Passport.jpg

Anyway it’s great to be in another book, and even better to be there alongside so many friends. May we all find ourselves back in print, time and time again.

Chasing Sunset.jpg

 

 

 

 

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Ten Things I’ve Learned About Self-Publishing

It’s only been a few days since I introduced my Welsh coalmining disaster story duplex Aberfan and Senghenydd to the world, but already the lessons have been coming thick and fast. Here are ten of them:

 

  1. It’s easy. It really is. I can see why it becomes so addictive. No covering letters, no synopsis, no interminable wait for a reply to your submission. And no wondering if the small press that’s accepted your work will go under, leaving you unpaid and your friends and fans ripped off. But there’s a touch of the Admiral Ackbar’s about this too: I’ve seen writers elsewhere saying things like: “On the last chapter now, book goes on sale tomorrow!” I can’t agree with that: self-publishing should be an option; it should not be a short cut. And being easy to publish doesn’t mean it’s easy to sell …

 

  1. You don’t need to spend. Which is not to say you mustn’t spend, or you shouldn’t spend. Formatting services, editorial consultation and quality cover art can all enhance your product, and I know a lot of trustworthy and talented people offering them. But I didn’t need it on this occasion: the short stories had been workshopped and redrafted until I got them how I wanted. I had a beautiful picture of the Senghenydd Memorial which I’d taken myself, capturing the only blue sky of the day, and with the flowers marking the anniversary of the disaster freshly placed. And I got lucky with the formatting, as the contents of the Word doc transferred seamlessly over.

 

  1. Self-promotion is a soul-destroying task. Especially for an introvert like myself. By the third post on my own Facebook page I was getting sick of it, and after a few posts on various groups I found myself apologising for being there, and telling people where they could read the stories for free without buying the book. Nevertheless …

 

  1. Facebook groups that aren’t set up for advertising might not welcome self-promo. Even if the product is precisely what they’re interested in. I joined a group commemorating the Aberfan disaster and posted a link, not even to the Amazon page, but to this blog, where they would have the option of clicking the Amazon link or going back a few pages to where the story is posted on this site. Instead, the group admin chose option three, kicking me out of the group and blocking me from accessing it again.

 

  1. Conversely, Facebook groups that are set up for advertising will never generate any sales. Because everyone’s there for the same reason: they log on, post their link, and go away again. They won’t look at my book, let alone buy it. Why would they? I never looked at theirs.

 

 

 

  1. Not all likers are buyers. I got a much a warmer welcome on the Senghenydd page, where the group members rushed in their droves to give my link the thumbs up. But according to my sales figures, no more than two or three of them could have bought it. Of course, I knew this already: if everyone who’d liked my debut novel announcement and offered congratulations had actually bought the book, I’d be a full-time author by now. Likewise, if I’d bought every book I’d clicked Like on, I’d be bankrupt.

 

  1. Not all buyers are reviewers. Again, this is where I reap what I sow: there are hundreds of books out there that I love but have never put a review on Amazon for. In the last few years I have put reviews on my own site, and before that I never bothered at all. I will rectify this as soon as I have time. As for my book, it still has just the one review, but it is very reassuring to know that it compares favourably to a novelty Father Christmas toilet seat cover.

 

http://www.amazon.co.uk/gp/pdp/profile/AT1HEAZ3K7U6Y/ref=cm_cr_dp_pdp

 

  1. It doesn’t take a lot of sales to make it into the charts. I remember an online conversation with Gary McMahon in which he remarked how many authors call themselves ‘Amazon Best-Sellers’ and I said that with so many different charts, anyone could claim that. Well, now I’m an Amazon Best-Seller, having reached Number 85 in the UK History chart by shifting a whopping four copies in 24 hours. And if your chosen sub-genre is niche enough, I bet you could make Top 100 on a single sale. Which is why …

 

  1. I will never earn any sort of worthwhile income by self-publishing e-books. I think I knew this already, deep down, but it’s been proven now. I know some people do, and they deserve every penny they make, because they must be working harder and smarter than I ever could. I never really thought I could make a proper living at this, but right now even making a handy few quid on the side feels like a distant dream. Not that I was trying to make any money on this particular release: it’s just a trial run, I was going to make it free, and anything I do earn will go to charity, but there’s nothing to suggest sales will be easier to come by when I’m doing this for real.

 

  1. End the article with a link to the book. You never know. You might have gained the sympathy of your reader enough for them to take the plunge, or you might be the beneficiary of a lucky mis-click. That’s not so far-fetched: I’ve already heard from my dad that he bought the book, but didn’t actually mean to. Says it all, really.

 

 http://www.amazon.co.uk/Aberfan-Senghenydd-Jason-Whittle-ebook/dp/B01ERUEXPQ

 

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Self-publishing debut

As of today, I am a self-published author, thanks to the release of my short story duplex Aberfan and Senghenydd.

Priced at 99p, with me on the 35% royalty rate, this is unlikely to be a one-way ticket to fame and fortune. Not with a title that nobody outside Wales will be able to understand or pronounce, anyway.

But that was never the point; not this time at least. In fact, I’d vowed not to make a profit on these stories, because of the real-life human suffering involved, and had intended to make this e-book permanently free. But I didn’t do that in the end because a) I wanted to learn more about all aspects of the process, and specifically KDP Select before making more ‘professional’ releases; and b) it was my first time on the site and I couldn’t find that option.

So instead I’ll see that whatever pocket money this release makes finds its way to charity, most likely by adding it to the sponsorship tally when I run another marathon next year.

In the meantime, let’s see how this thing goes. Traditional publishing has been very much my preferred option up until now, but self-publishing might yet become a viable alternative, especially for titles which fall between genres or have less publisher-friendly word counts.

So I suppose all that’s left is for me to put in a link to the thing. Diolch yn fawr!

 

http://www.amazon.co.uk/Aberfan-Senghenydd-Jason-Whittle-ebook/dp/B01ERUEXPQ

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