RLLauthor@outlook.com and @RLL_author GO TO AMAZON KINDLE STORE AND TYPE RLL. YOU WILL FIND MY BOOKS.

Showing posts with label Incomplete Uncollected Short Works. Show all posts
Showing posts with label Incomplete Uncollected Short Works. Show all posts

Saturday, 1 June 2024

WHEN AMAZON KINDLE DIRECT PUBLISHING TRIES TO REMOVE YOUR BOOK: A REPORT FROM A FUGITIVE.

They came after me.
   Let me be clear about this. Amazon KDP didn’t try to remove my book. They simply eyeballed my book’s material during the standard publishing procedure. And they didn’t like what they saw. So they totally tried to remove my book.
   This is publishing death by algorithm. It is removal by default.
   I’d conducted one of my periodic reviews. My Kindle books house hyperlinks leading to the outside world. Occasionally, those links go bust. Either I remove the links or update to better ones. If you change a single thing or many things then you are republishing.
   My deal with my cover model, Totenbraut, included this gem: I’d provide links to her online presence. In the past, I offered multiple links. My recent review showed one link stopped working across several books. Time to update.
   I hired her again to provide a new cover for a book. An updated cover means republishing the whole thing, and submitting the work for review. You can’t update the cover by itself. It’s a fairly painless process, if damnably slow. I’d also need to update the link situation. Line your ducks in a row and then bomb the whole waddling crowd at once…
   One change or many changes, the arrival of the update e-mail is slooooooooooooooooow. So make many changes at once. Don’t change and republish, change and republish, change and republish, not for one book, all in the same day. Oh, the sun has set. When did that happen?
   This wasn’t about updating one book. I don’t leave any books behind. No. I check all the files, update what’s necessary, and republish everything on the list anyway. Whether Totenbraut is on the cover or not, whether some books need updated links or not, everything is checked and it’s all published again.
   Then the material sits in a folder that’s done. Latest book folder blah-de-blah, insert date here. This is a hell of a lot more convenient than the way I used to do things.
   (I knew what was updated based on whether or not the book file had a back-up file. Fiddly, and easy to miss in a sea of files. Therefore…)
   Your one-stop-shop really should be a one-stop-shop. Everything is updated. No book is left behind. Here are the latest copies. No quibbles.
   And so…
   Updating one book with a cover, and updating several books over a busted link, I reviewed the rest and found one thing that needed fixing across all books. Looks like I’ll be publishing all books all over again anyway, and with good reason. Time to update that folder in full.
   And then…
   I slogged through the fixes. Checked. Double-checked. Triple-checked. One by one, the books went from LIVE to LIVE plus a note. The note tells you the book is under review, and reviews could take up to 72 hours.
   This is an arcane process. You republish books one, two, and three…then see book three finish the marathon first. An e-mail eventually states your book is now live. Publishing order depends on the size of the book and the number of alterations. Also, the weather plays a part. And, possibly, chicken bones feature in the equation.
   One by one the books cleared the last hurdle, in no particular running-order. I missed an extra detail, and had to go in and publish one file again. That’s why you quadruple-check the stuff you triple-checked. This took eternity.
   My wayward nag passed the hurdle the second time. And then, out of a clear blue sky, thunderclouds formed. Oh no. One aircraft from the squadron hasn’t returned. Should be back by now. Everyone else landed and went off to the pub. Pilots. Roaring drunk, the lot of them. Thunderclouds formed.
   Not gradually. This was an instant thunderstorm. Dehydrated. Just add water. And maybe an algorithm. I wasn’t the only one conducting a review. Amazon reviews everything you put out there. And then clears it. That’s what Amazon does.
   Amazon cleared this particular book over three dozen times since I first published it. Going by the e-mail archive, that is. I updated or changed a load of links, many times. No drama. I even changed the file when their outdated format was replaced and no longer supported. If I added, subtracted, or altered material, I republished the book. And I never had a clearance problem publishing or republishing the text.
   Did you hear thunder? Must be an incoming e-mail from Darth Bezos… 

During our review, we found that the following book(s) appears to be a derivative work based on previously published content:

INCOMPLETE UNCOLLECTED SHORT WORKS. by RLL (AUTHOR)

 We need to confirm one of the following:

• All underlying content is in the public domain
• The underlying content is under copyright and you have the rights to use it

In order to publish the book(s), please take the appropriate action below within 5 days:

Option 1: Provide information for underlying public domain works
If your book(s) is based on a work(s) that is in the public domain, reply to this email and provide the following information for the public domain work(s):

Underlying work information:
1. All author names:
2. All author dates of death:
3. All initial publication dates:
4. All initial publication countries:
5. Website link(s) to confirm:

Option 2: Provide information for underlying works under copyright
If your book(s) is based on a work(s) that is under copyright, reply to this email and provide us with documentation and/or verification showing you hold publishing rights.

Examples of documentation we cannot accept include:
• A personal statement by you that you have the publishing rights
• A copyright application for which registration has not been confirmed
• Contracts that have not been signed by all parties

For more details about publishing public domain books, visit Help:
https://kdp.amazon.com/help/topic/G200743940

Please reply with the requested information within 5 days. Otherwise, the book(s) will be unavailable for sale on Amazon.

If you have questions or believe you've received this email in error, reply to this message.

Thanks for using Amazon KDP.

I’d never received one of these Nastygrams™ before. Well. Fuck.
   Why is this message bad? REALLY BAD. WELL AND TRULY BAD. If you don’t comply then the book is gone, and, if you are a repeat offender, Amazon can shut down your entire account. You aren’t allowed to open another account to start all over again. No more publishing on Kindle for you.
   They put you up against the wall, offer you a last cigarette, and shoot you before the tobacco-related cancer kicks in.
   Worse than that, you can be banned on your first time out of the gate. You don’t even gain the luxury of being accused of repeat offending. Whether you are farm-fresh to the Mighty Amazon or you’ve been plying the trade routes for years…doesn’t matter. If this message lands on your doorstep, then it is – to use a highly technical term – some serious shit.
   Fuck fuck fuck fuck fuck fuck fuck.
   It happened on a Friday, close to midnight. I read the message during a late check-in on e-mail. Midnight rolled around. I now had four days in which to deal with the problem, and not five.
   Weekend days. If I replied on Saturday, would I see any response before Monday? It’s careless to load a book into the system and then disappear for two weeks to the Bahamas without reading e-mail. So…never do that. You might return to a ban. Of everything you’ve ever published.
   I had to respond, or else. Amazon KDP didn’t try to remove my book. But they totally tried to remove my book. This is publishing death by algorithm – selecting my title seemingly at random. It is removal by default – if I don’t respond in the five four days left to me.
   What to do? Sieve. Sift through the corporate speech and note the important points. Sadly, the important points were generic. We think you messed up, but we aren’t going to tell you how. Why not? Software selected you. Congratulations. You’ve lost this lottery.
   Had I published material that was already in the public domain?
   No.
   Had I published material that wasn’t mine to publish?
   No.
   Did Amazon contact me in error?
   Yes.
   I had to respond within five four days and tell them so.
   What was evidence? I wrote the material. True. But that wasn’t evidence. They couldn’t accept this on my say-so.
   Now an affidavit from a thunderstorm, or a few words on oath from a heavy shower, would meet with all the attention they deserve.
   Well, what else could I offer? I turned to the interwebs to find out how other people dealt with this. Oh no…
   A few examples proved…less than helpful. Unhelpful. Okay, fucking useless. A scammer or two dropped hot truth bombshells on a crater-infested landscape. They’d been caught out trying to sell the Kindle version of snake-oil and Amazon insta-killed their bare arses – which, incidentally, they were all showing on the High Street. And here’s how to get around the problem…
   No fucking use to me.
   I stared up at the Sword of Bezoscles dangling over my head by an electronic thread. What to do? Write myself out of a hole, obviously. How to say what needed to be said? Swearing wouldn’t cut it. I could ask for further clarification first, instead of arguing my case.
   But why bother, if my response cut the argument off at the knees? Save a lot of pointless e-mail tennis, back, forth, swish, goal, no, it’s offside, wait, that’s not cricket. Without swearing. Swearing wouldn’t cut those knees. I had to base my reply on the facts. Facts I had to back up somehow.
   And no swearing. Also, swear ye not. Oh, and don’t fucking swear.
   I wanted to say What the fuck, Amazon?! without swearing. The Amazon e-mail accused me of ONE of two things. Either, reading between the railway lines, I was up to some sort of scam by publishing material in the public domain…or I was publishing material belonging to someone else without permission.
   What is the public domain? There you’ll find material that is out of copyright. Don’t confuse this term with the public arena. They are not the same thing. I have placed my blog post in the public arena. You can read this post online, very publicly.
   But I haven’t relinquished, re-assigned, or surrendered the copyright in this text. The blog post you are reading is © to me and it is not in the public domain. The copyright is mine. It hasn’t expired. Barring further changes in copyright law, it won’t expire until 70 years after my death. So, as I sit typing, I’m glad it hasn’t expired – this tells me I am still alive.
   Amazon believed I’d published my book…but it was old material by someone else and it was out of copyright. Maybe I was scamming people with that. And there are plenty of scams that tried their luck on Amazon Kindle, based on stuff that’s out of copyright.
   Option two…
   Amazon thought I’d published my book…but it was material belonging to someone else and still in copyright to…whoever. I know a few Romance Writers. They’ve told me the romance industry is full of that shit.
   Grab someone else’s book, slap a cover of a rippling male torso out there under a new title, and…get exposed by an entire internet of romance readers polishing their magnifying glasses and sharpening their kitchen knives.
   Hunky Detective Dude becomes Spunky Mountain Rescue Dude. True to form, the mountain guy spends much of the book investigating a murder. Like a detective. Chad Bradley becomes Brad Chadley, and no one notices. Right?
   Fucking wrong, you fuck-muppets. Why do you keep doing this? Evil romance writers, for frock’s sake. Romance writers. You were meant to provide hope in the world. Damn it, Darth Bodice-Ripper. You were the chosen one. Lady Lace-Gusset threw over Lord Chinstrap’s country estate for…Duke Brad-Chadley the Detectionist?! And his horse. Buick!
   Fuckwits.
   Anyway. Amazon needs to confirm one or the other.
   One. I have put out material that’s from some other century, this is not a scam, and the copyright expired so here’s all my working.
   The other. My book really is my book and I haven’t published anyone else’s work as my own without permission signed in blood.
   Either it’s in the public domain and I’ve followed the rules, so Amazon can fuck off, or it’s in copyright and the copyright is mine. And Amazon can fuck right off. I’m forced to explain myself without swearing.
   And so…
   My response is to deny the first point and move on to the second point. Easy. My book is my book. Or, no, let’s look at this in detail…

We need to confirm one of the following:

• All underlying content is in the public domain
• The underlying content is under copyright and you have the rights to use it

All underlying content is in the public domain? No. Job done. First point denied. No evidence. Just flat-out denial. Moving on to deal with…the underlying content is under copyright and I have the rights to use it. Yes, the work is copyright, and yes I have the rights. Job done, bitches. But how to prove that?
   I turn the cogwheels in my mind, trying to work out what tripped the sensors. There’s an obvious point. Let’s open at the start. 

During our review, we found that the following book(s) appears to be a derivative work based on previously published content:

Is this it? INCOMPLETE UNCOLLECTED SHORT WORKS is a collection of short stories. There’s an earlier article in there. And I incorporated blog posts into the text. Those blog posts told the story of building up to publishing on Amazon Kindle.
   I own the copyright in this blog, and in the article I wrote, so I am fine with work published previously elsewhere. Yes, the blog posts were previously published – by me. I own the paperwork on the paperwork. Did I fall foul of an automated process?
   Amazon Kindle Direct Publishing.
   I can publish collected articles in one volume. They are mine. No big deal. But there’s also Amazon Kindle Direct Publishing Select.
   If I enrol a book in that programme, I agree the material is exclusive to Amazon – and hasn’t been published elsewhere, not even on a blog, so help me, Bezos.
   Of the books I published, two, and only two, were outside the KDP Select programme. One contained an introduction taken from a blog post: that book was MIRA E. Eventually I kept the material inside the book, and deleted the blog post so I could transfer MIRA E. to KDP Select. Removing the blog entry from the public arena made MIRA E. available as exclusive under the Select contract.
   Now I only have one book outside KDP Select. INCOMPLETE UNCOLLECTED SHORT WORKS still has the blog posts inside. Those posts are still live on this blog. There shouldn’t be a problem here. The rights are mine.
   Along with all the rest of my books, I published this book again. There was a hyperlink I had to deal with. And that was about it for the text. No other great changes.
   Did I somehow accidentally enrol the book in KDP Select when I republished? If I did that, I’d be in violation of the exclusivity agreement, as the blog posts are still in the public arena. Amazon could have run an internet check on the text and found portions of the text online in my blog. And slapped me. However…
   You must actively enrol in the Select programme. It’s not automatic. You choose. I was sure I hadn’t fucked up on that score. (Spoiler for this story: I didn’t fuck up on that score.)
   Okay. I hadn’t breached a Select agreement – there was no Select agreement to breach. I didn’t select Select. Yes, I’d previously published the content elsewhere…but I didn’t breach Amazon guidelines. Also, it was my content. No exclusivity contract could mess this up for me – if I didn’t sign it. I didn’t sign it.
   What the fuck else could it be, then? Bearing in mind, they never told me in detail. Just said I’d done a no-no. Oh no I hadn’t. What if this is about the first point? The public domain stuff? Is it the title? It’s a jokey title. Like writing an Unauthorised Autobiography.
   Maybe the detectors at Kindle HQ picked up on incomplete and uncollected and tried to match them to public domain collections. Collected letters. Complete collected poems. Along those lines. Short works. This seemed the more likely case.
   OR. Someone put out a public domain anthology and added essays that are copyright to them. And my title triggered a more complex conflict in the Amazon searchlight.
   So have I stumbled over a mutant hybrid combination of point one AND point two, leading to a case of mistaken identity?
   (I’m often confused with the Venezuelan rocket scientist of the same name.)
   My book is electronically mistaken for a work in the public domain based on a similar title, but there’s also new copyright material in this other work and I’ve been labelled in breach of that as well? Amazon isn’t bolting an arm to a torso, in the style of Frankenstein, surely?
   No. It’s all bullshit. This isn’t about point one and point two merging on the slab, down in the lab, fuelled by mistaken identity, unidentified flying conspiracies, or too much/too little booze.
   Get into tiny detail, then. It can’t be a title thing. For a start, there is no copyright protection in the title of a book. (Though there are other protections and remedies available. I won’t go into the finer details here. This blog post is long enough as it is.) Did they think a title of mine was too close to a title by someone else? Well, they never told me. So I don’t know.
   My opening defence would be…there is no copyright protection in the title of a book. Also, I check titles on Amazon to see if someone else has written a book with the words I intend to use. That’s at the start of the story writing process, not left to the end of the publishing process.
   I am puzzled. What have I done? Or…
   Wait, no. What has Amazon done? Down the Kindle years, I’ve become aware of all sorts of scams on Amazon. They flare up, are spotted, and then they are squashed. Was I caught in a net cast for another fish? Did I walk into someone else’s surveillance operation?
   The net tightens. Well, it’s always tightening. Amazon upped (or downgraded) its game and now the devil take the hindmost. Did they use Artificial Intelligence to save on a thimble of perspiration? Maybe. Are we going to see more of this bullshit? If it saves money, and it does, then as sure as night follows day…yes.
   On the topic of Artificial Intelligence, as I went to republish these books I was asked if I’d used any Artificial Intelligence in the creation of my works. No. More galling than that, when I went to check on my potential Amazon ban, I was hit with an advert for making money on Amazon.
   And it came across as the scammiest Amazon advert I’d seen. This woman offered me the secret of using Amazon to make money. Eventually, she told me about Amazon publishing. And, hell, I didn’t even need to write the books myself. I could use Artificially Intelligent tools…
   The only artificially intelligent tools I had to deal with were the robotic ones on Amazon trying to remove my work on a digital fucking whim. Okay. So. Leaving much subtlety and nuance in copyright law aside for the sake of fucking brevity…
   (It’s a bit late for that.)
   The only thing that matters is this: my human response squelches Amazon’s robotic objection.
   No swearing. I swear mentally as I type. The best position to start from was the one they threw at me. If I received their complaint in error, I should say so. And I open right there.
   I believe I have been sent this message in error.
   No shit, Sherlock. But, luckily, I HAVE been sent this message in error…and so I immediately channel their response in that direction. I follow up with the original publication date. So they know it’s been published on Amazon for years with no problems. Until now. And I tell them the book is a collection of my own short stories. All true.
   But wait a bit. They want evidence. 

Examples of documentation we cannot accept include:
• A personal statement by you that you have the publishing rights
• A copyright application for which registration has not been confirmed
• Contracts that have not been signed by all parties

Basically, I am telling them I have the publishing rights. They can’t accept that as evidence. But it is worth telling them. Assert ownership over your material. I tell them I wrote the fucking stories without swearing at them.
   What’s this next piece of legal nonsense? They won’t accept…a copyright application for which the registration has not been confirmed. That’s American copyright law: a quaint notion Robert Louis Stevenson hoped they’d get around to some day.
   As Scottish as Stevenson was, I needn’t register my copyright anywhere. (Oh, services exist for that purpose. For a fee, of course.) My copyright exists in the work from the moment of its creation. However, there is a place to lodge your work: a library of record. So I fire that salvo at them. I tell them the work is lodged as a matter of record…
   This is a quick e-mail, fired off under the stress of that sword hanging o’er my head. I don’t provide documentary evidence. But I tell them plain. And I can back that with documentary evidence if I really have to.
   Even the blurb – the Amazon product description – tells readers this is a collection of my own work. Is that evidence? Add it to the pile. Can’t harm to put it in. Wouldn’t think of leaving it out. Assert your ownership of the material.
   Then I really get into the part they won’t accept as evidence.
   Listen, fuckers. My fucking book is mine to do with as I fucking please. You’ve never fucked with it before. Well now you fucked around and you fucking found out.
   All the fucking times I fucking republished the fucker with minor emendations, and you come to me now, like an ungrateful cunt in a Mafia movie on a wedding day, and you don’t like a minor fucking update to the opening fucking text?
   Not even part of the fucking story. The fucking preamble. Don’t shit down my fucking neck and tell me it’s raining chocolate. How much do you love your pet horse, Jeffy? I’ll fucking see to it that Jeffy the horse gives you a big wet cuddle when you go to bed at night. Make you an offer you’ll never forget in a fucking hurry. And what’s with the cheese? I stick motherfucking provolone in my socks at night so they smell like your sister’s crotch in the morning.
   Yours, sincerely…
   Scotsman with a grievance. Ray of sunshine. P.G. Wodehouse. Google it.
   I didn’t phrase any of it that way. And I don’t recommend writing to Amazon with that level of spleen. I did all that without swearing. Out loud or in print. Mentally, though, the text was spot-on. In your head, that response is the only place for that response. I was calmer and more measured in the e-mail.
   Anyway, I told them the work was my copyright, it wasn’t in the public domain, and that was that. To them, it’s not evidence. But tell them, tell them again another way in the same response, and shuffle the words around to tell them a third time. Amazon says it isn’t evidence, but it’s fucking evidence to you, hell, and definitely to me.
   I looked for duplicate book titles, just in case. Nothing. Again, that’s no crime in copyright law anyway. I returned to the business of their error. A computer search lumped me in with another category by mistake. I invited them to look into this. And I asked them to state, explicitly, the nature of any passage that troubled them – given that they’d offered me a generic error message with nothing to go on.
   Then I ended with the accusation that an algorithm was at play. In other words, don’t come to me and tell me that it is up to me to prove my innocence over a vague issue. You tell me what I did wrong. And show evidence of that. You can’t? I knew that score the moment yon dreadful e-mail landed on my digital doorstep.
   But I didn’t swear. Aloud. Or in print. You’ve made a mistake, Amazon. Where’s your evidence, author? Come on, Amazon, you tell me where the evidence is. Shtrict rulesh of golf, Goldfingerrr. 

EMMA STONE: No, Jeff. You be trippin’.

Long story short, too late, as soon as this went in front of a human pair of eyes, the matter was resolved. 

The following book(s) you recently updated have been reviewed and were successfully passed:

I received a separate e-mail telling me the book was now live in the Kindle store, where it remains. Looks like they’ve added a glitch to the metadata, but that couldn’t have triggered the initial investigation.
   At least the book is there. I wonder if the page-count was a factor. Could be…they thought it was a public domain scam with the same 30 pages repeated many times over, for the page-turn farmers to click through, possibly. Doesn’t matter. They never said.
   Advice. If they come after you and you are a scammer, tough luck. But if they go after you purely as the result of tightening their steely grip on scammers, keep your cool. Gather the facts. Present them without swearing.
   If they come after you when you’ve made a genuine mistake and you’ve fallen foul of the regulations, hope it isn’t the end of your account. Try not to fall foul of the set-up in the first place.
   So much is published that they can’t check it all. They rely on automation. So. Put your complaint in front of a human being. Legitimise your case by simply turning up to argue that case. Scammers are less likely to put in an appearance. Assert your ownership of the material. Don’t swear in the e-mail.
   Much swearing went into the making of my response to Amazon. On the electronic page, the profanity was all in digital invisible ink.

Sunday, 26 January 2014

HAMLET OR NOT HAMLET. THAT IS THE QUESTION: A REPORT FROM A FUGITIVE.

When I was generating a final copy of my annual archive, I spent time on the Twitter describing that process. I invented new words for slow.
   Bleeeeeeeeeeeeeeeeeeeeeeeeeeeeeerrrrrrrrrrrrrrrgh wasn't one of those words.
   I sailed into the night, back and forth, between two computers. One machine, at least, had the internet. So I whiled away some of the time in random searching.
   The name of an actress came up.
   I thought I'd check out the internet's opinion of this actress. She gave excellent performances in a few movies I'd seen. I'd long-ago decided she'd serve as the model for a character in one of my books.

*

Which one? That character is in my Hamlet adaptation. To avoid confusion, the story's called not hamlet. And that's perfectly true...
   Better to say that it's not just Hamlet. Another story intrudes. One of the features of Hamlet that always interested me was the notion of a play within the play.
   Strolling players visit the castle. Hamlet manipulates them into putting on a particular play. He does this to drop heavy hints about his father's murder.
   Hamlet has no concrete proof - he's playing a hunch based on a chat with a ghost...
   But the play's the thing. Hamlet wants to see the murderer's reaction to the play.

*

I thought, suppose the strolling players have their own plot going on. A tale following the murderous trail of the clown, Pagliaccio. Anyway, in my mash-up, Pagliacci works with Hamlet.
   Deep into the night, my archive takes an age to sort out, and, internetting, I stumble on this actress. She's the one I think of when I imagine the character Columbina.
   I fix files. And I copy files. I use the Twitter to reveal the slowness of file-movery. At some point, it's 2.00 in the morning and I'm reading the blog of an actress.
   She has a blog? Worth checking out?
   As events showed, yes. There were insightful gems on that blog.
   The night before, I was writing until 1.00 in the morning. Odd hours? I don't think so. Normally I wouldn't go far beyond 1.00 if writing.
   Background archiving was looking after itself, but I had to look after that too. I owned that paranoid feeling. Must do this now. If I switch the computer off and wait until morning, the whole system might fritz.
   Of course, that paranoia stems from an actual event. HERE'S A BLOG POST ABOUT THAT.
   This is why I stayed up until 2.00. Archiving wasn't allowed to stop for mere sleep.

*

My Hamlet adaptation stalled after six chapters when no one wanted to publish it. After writing just six chapters, I decided I'd shop a story around unfinished.
   Confidence in the finished article, nestled in some futuristic world we'd reach one day.
   The future, though, was floating on the mighty Amazon. I published the first chapter of not hamlet in my INCOMPLETE UNCOLLECTED SHORT WORKS.
   Kindle's there to be used.
   I've been looking at that excerpt. And I'll let it stand as it is, in the collection. But for release into the wild as a full novel, I think my early attempt at Kindle formatting must go.
   Hamlet's adventures deserve shorter paragraphs. They'll be the same paragraphs - just chopped in half for ease of digital reading.
   Midnight descends. I'll finish this post another time. Sleep is considered essential by some. But only if you wish to function. No staying awake until 2.00 this time around.

*

Where were we? This is not a tale of evil kidney transplantation. (With regard to a non-functioning external hard drive, we're in the realms of dodgy transfusion.)
   Hamlet. I stayed up late, fixing the archive. And I read a blog. That actress was on my mind. Obviously, I thought of Columbina. In my tale, she's Pagliacci's second wife. She serves as inspiration for Pagliacci's move into Hamlet's world...

*

But this blog post isn't about any of that stuff. At 2.00 in the morning I'd read the woman's blog, archived my fiction, and had enough.
   Come morning, even though I was thinking of Shakespeare and Leoncavallo, my main thought was of the archive. I bring things forward each year, so my freshest vault contains the latest copies and updates of Kindle PRC files.
   That's in case I iron out a glitch or alter some blurb.
   Projects in progress as one year ends are archived within that year. Then they are copied to a new year for further work. The old archive is then left lying around on the off-chance that something catastrophic happens.
   Though for something catastrophic to happen to fresher chunks of files and NOT to me too, I'd have to be out of the building when that plane hits.

*

My thoughts went to Neon Gods Brought Down by Swords and all its sequels and offshoots. I knew I had to weed out that sub-archive. So that's what I've been doing. Weeding.
   The books that follow the first volume don't exactly follow the first volume. They exist at the same time. Same setting. A few scenes overlap.
   Old ground. Different viewpoints.
   It's a nightmare, juggling those characters. She's here, and hears that news. So she can't be there when that event happens, as she's come from yonder to be here.
   Like that. Multiplied.
   I can't let things fester beyond all rational and irrational control. With this in mind, I started destroying duplicate files. Devious ones.
   Files with different names containing duplicated text. I had to cap a lid on that bullshit.
   And I created a massive table, showing the first book's timeline, with the out-of-sequence flashbacks set down in chronological order.
   Yes. The fun part of writing. Continuity is important to some people. Maybe it's a phase readers are going through.
   So far, only part of the plot of book four felt the strain. Sorting out the action in books two and three should smooth the running for books four and five.
   Especially as she's here when she hears that news.

*

Lots of ideas. Plenty of books on the unwritten pile, waiting to go. Where does that leave Shakespeare, if I turn my attention to a sprawling series instead?
   I'll get to those assorted tales. Without rushing. Every year, my ambition is to write a whole bunch of books. And this year is no different.
   Every year I take interesting detours into reading, or experiencing stuff, or damn-well thinking through ideas that are no good and must be worked on. Sometimes, worked over. As in...
   Tied to a chair. Blowtorches are waved.
   Anyway. I published. And I'll go on publishing. Every detour into another project creates another project.
   I must away, to see to more archiving. There's a file (with chapter titles in it) that flies in the face of the plot of at least two books...







  
  



  

Sunday, 3 November 2013

AMAZON KINDLE COUNTDOWN.

Cut the red wire! No, the blue wire!
   Does it really matter, when the hero of our movie is the only colour-blind bomb disposal officer in the world?
   This isn't that sort of countdown. Since time out of mind, Kindle authors have been complaining...
   Well, that is the default setting.
   Kindle authors have been complaining about the difficulty of doing anything and everything for the Kindle arranging a discount at Amazon.
   The Kindle Countdown feature now does that discount thing. How well? Er...
   Glitches are expected. At the time of fevered typing, we're coming up on two years of Amazon's KDP Select plan for World Domination®.
   I mention that for a reason. Books enrolled in Select are now eligible for the discount scheme. Kindle books in Select are, by definition, Kindle books - digitally exclusive to Amazon for a 90-day stretch.
   Those books are free to read for Amazon Prime customers. And they are also free to read on five sale days within each 90-day period.
   Now the discount feature has been thrown at Kindle authors with products enrolled in Select. At the start of this offer, which will widen through a process of digital soil-erosion and computerised global thawing, two territories are available...
   Kindle Select books published on Amazon.uk, and the slightly larger Amazon.com, may be enrolled in the Countdown process. Territorial issues are for authors only - customers worldwide who access .com or .uk can purchase products. (I'll mention VAT in a moment.)
   The property in question is made available at a discount for a chosen period, with the option of using a sliding discount scale set against a ticking clock.
   Drop the price of your book to £/$1.99 for a one-day sale. Or run that discount for a week. Yes, there are terms and, glued to terms at the hip-joint, conditions. It is possible to run a sale for as little as an hour.
   As with standard sales, your work must have been available at the higher price for a given period prior to the sale. And your book will have to stay in Select for a set term after the sale, with some time- and price-based provisos.
   Good feature? The phased part of the sale. A book can start out at £/$1.99, then rise to 2.99 next day, 3.99 next day. Or you could run that by the hour if you wanted to cause a stampede.
   Get them while they're cheap.
   So how did my immediate experience go? I received the e-mail telling me of the feature late on Friday the 1st of November. On reading the Amazon FAQ list, I went straight to my bookshelf to check on two eligible books.
   Inside the dashboard I had the option to run free sale days, as usual under Select, or switch over to the Countdown. I decided I'd try the promotion immediately with one book, and hold the other back for a follow-up attempt.
   We're talking minutes after I received the e-mail.
   Nothing happened. I went to apply a phased sale to LYGHTNYNG STRYKES, which is available on Amazon.com at $9.99.
   Though if you buy my book on Amazon.com from anywhere in Scotland, VAT is added. Right now, that makes the book cost $10.32 to non-Americans.
   LYGHTNYNG STRYKES goes for £6.48 including digital VAT on Amazon.uk. VAT stands for Vampire Value Added Tax. The VAT replaced an unfair Purchase Tax with a new, improved, form of same. Improvement retained the sense of unfairness.
   Old-fashioned paper books are exempt from VAT. Shiny cutting-edge electronic books are not exempt, though the rate was reduced.
   Enough digression. I tried to apply a discount. A blank box came up with an X inside, allowing me to close the blank box. I shut the non-message. Then I tried setting the times for my discount sale. Couldn't access the calendar.
   I left that novel and tried Neon Gods Brought Down by Swords. Same thing. When I switched to setting free sale days, I found I could access the calendars without difficulty.
   All I could do then was contact Amazon for support. No discount for my books at all, it seemed.
   Saturday came around. Amazon confirmed that the non-message box contained a message I was supposed to see. This glitch was being fixed and should be sorted within the week.
   As soon as I read that e-mail, I jumped to my bookshelf - without a stuntman - and tried again. The fix was in, and I called up calendar details without any hassle.
   When it comes to Information Technology fixes, they'll take the stated week or they'll be fixed by the time someone tells you it'll take a week to see to the solution.
   I set my sale. As I was into Saturday by this time, the earliest I could run the discount was Monday. I thought, the hell with it. Run a Monday to Friday discount, stepping the price up each day.
   Self-publishing is an experiment. So, experiment. I could have run a heavy discount for a whole week. But I wanted to see what happened when I played with this shiny new toy.
   I'll start off at 0.99, and turn it up a notch each day.
   A few clicks of easily-clickable things, and the discount was set. I could still alter details up to a day before launch.
   But what did it all look like? I hit a few examples on Amazon, to see. The Amazon.com page was hellish. There was a clock, counting down. PRICE GOES UP TO XXXX IN XXXX. My first visit to the Amazon.com site was awful because...
   The clock was counting down second by second and THE PAGE REFRESHED EVERY SECOND, JUST TO COPE. Not a good experience for the customer.
   I immediately switched to Amazon.co.uk. The page didn't refresh. Instead, the clock animation worked as intended. Since then, I've revisited Amazon to see if that glitch persisted. The Amazon.com site now works just fine.
   It seemed important to me, in talking about the discount feature, to give you a taste of the glitches and gremlins I faced. So. Where now?
   The discount system does not destroy the value of the free sample. If you aren't sure about buying a Kindle book, check the free sample available on all Kindle books at Amazon.
   In the case of LYGHTNYNG STRYKES, you can read well into chapter three if I misremember correctly. That's 30,000 words, free. If I have you at 30,000 words, you may as well buy the damn thing.
   Buy it at a discount on Monday the 3rd of November 2013. It goes up in price the day after. And the day after that...
   Further thoughts? Yes. The discount system sits as an alternative to the free sale day option. Will discounting replace the free option?
   Free samples are fine. Check the Hallowe'en page on this blog for a free short story. Listen to a free audio version of a tale from INCOMPLETE UNCOLLECTED SHORT WORKS right here on this blog. If you are a DOCTOR WHO fan, there's a whole novel-length piece of fanfic right here on the blog. Not to come over all Guy N. Smith on you, but click, click, click.
   Of course, it's too soon to tell. Authors may make so much use of the ticking clock that the free option disappears under the weeds.
   We shall see.

*

Of all the things he expected to find inside the woman’s cupboard, this was the one thing so far off Johnny’s list that he thought he’d wandered into another house by mistake. Obviously, the next turn of events had to be even stranger than the last turn of events. Unless the next strange turn of events was a return to normality. That made perfect sense to Johnny.
   The only thing stranger than another strange turn of events would be a normal turn of events so normal that it would have to be classed as strange. He knew one thing. The town was well-named. Turning in response to the sound of voices, Johnny wondered how he’d explain his naked intrusion of the bedroom. The cute teddy covering his nether regions was no help at all.
   By night, Dick and Marnie are investigators of super-secret occult-based extra-terrestrial governmental cover-ups and conspiracies. During daylight hours, Dick sells gerbils to people who feel the need for pets. No one actually knows what Marnie does for a living.
   After years of hovering on the edge of uncovering THE ULTIMATE CONSPIRACY, Dick discovers that THE ULTIMATE CONSPIRACY has come looking for him. The consequences are far from cosy, and will lead Dick and Marnie to the strange town of LYGHTNYNG STRYKES. A town that’s about to turn ten degrees stranger.
   Join Dick, Marnie, Stealth Writer, the Man in Black, other Men in Black not related to the first Man in Black, Plausible Daniel, and a peculiar bunch of swans, in the search for the secret secret behind the real secret that isn’t the real secret.


296,000 words. Contains adult themes and blushworthy elements designed to frighten the horses. On hearing that there was a prize for writing bad sex scenes in fiction, I thought how hard can it be to win that? Though deliberately setting out to write such material may automatically disqualify me from the process…
 
http://www.amazon.co.uk/LYGHTNYNG-STRYKES-RLL-ebook/dp/B007H9VPRO/ref=sr_1_1?ie=UTF8&qid=1383495178&sr=8-1&keywords=lyghtnyng
 







Sunday, 1 September 2013

KAREN WOODWARD'S INTERVIEW WITH A CURMUDGEON.


This featured on a dedicated page, but I decided to move it into the blog archive.

Posted by RLL for REPORT FROM A FUGITIVE. © RLL, 2011.

Canadian writer Karen Woodward (pictured left), thought it would be a great idea to interview me. Wild horses dragged me to tame horses. Tame horses carried me to room 102. Room 101 was taken. Shining her spotlight on the face of the innocent dupe I’d hired to impersonate me, Karen began the interrogation…

KAREN WOODWARD: Please tell me a bit about your book.

RLL: Neon Gods Brought Down by Swords is my commentary on a disease-raddled, drug-addled, country known for its prominent blade culture. That country is a thinly-disguised Scotland. Drugs are plentiful. Violence is everywhere. Justice is in short supply. Lives are cheap. Alliances and allegiances are even cheaper. I try to ensure that my overly-optimistic view of the nation doesn’t get in the way of a rattling good story.
   My approach was to squash the sorcery element of the standard sword and sorcery tale, placing science in its stead. Not a new notion. On top of that, the war fought out in the book’s pages was a Cold War. The icing on the literary cake was always this idea that old heroes, from legendary tales, would pass through the modern stuff. Old heroes, and old villains.
   The strangeness of the mixture makes for a decidedly odd cake. That’s the beauty of self-publishing electronically. Every type of story is up for grabs. As author-publisher, the e-book writer can tackle a setting that might have limited appeal in a diminishing paper marketplace. So what. Appeal to that limit electronically, then publish the next story. Build a following. Or build several different followings. It’s all on the table, and it’s all to play for.
   Is Neon Gods a series? Not in the conventional sense. It’s not a story about quests. I make this quite clear in my notes at the end. A second book would run in the same timeframe as the first, featuring some of the first novel’s characters in scenes witnessed from alternative viewpoints.
   However, publishing a series is not my immediate plan. I have a small stack of unpublished novels and short stories sitting there, and I am formatting those for the Kindle before I return to the series. That doesn’t mean neglecting the story.
   I’ve written more of book three than of book two, as I must keep a deathly grip on continuity. Yes, I could simply introduce unreliable narrators and leave the audience to sift through inconsistent debris. But I’m in this game to do the job properly.
   The novel is an Amazon Kindle e-book. It was important to list story structure at the start, in a series of chapter links. A new thing for me. I want readers to see that the story ends with chapter 32. The book ends with the section ABOUT THIS BOOK.
   It’s a warning to wannabe e-authors. If you end the story halfway through the overall page-count, and pad the rest of your book with articles and off-cuts, have the decency to warn readers of this. Aim for transparency. Don’t just dump that on readers as they hit the next page. Bad form. (My story takes up 95% of the publication.)
   This peeve dates from all the research I did for a novel on comic books. Comic book readers judge the story by the thickness of the magazine. A sawn-off adventure featuring the main character doesn’t go down well if an unannounced back-up strip rears its head at the turn of a page. What happened to the hero? Who is this third-rate banana, drawn by a filler artist we’ve never heard of?
   Bluntly, authors depend on the kindness of stranglers. If I generate a vast audience, I know that’s a vast audience I’ll never meet. Is it possible to respect all these unknown and unknowable people? At the basic level, in applying professional standards to the work.
   I am reluctant to discuss the plot in an interview. Always leave ’em hungry.

KAREN WOODWARD: What is the best writing advice you ever received?

RLL: From the pen of C.S. Lewis. Read your work aloud. I must add that I do this in the voices of the characters I create. If they sound different as I’m typing, they will be different in the eyes and minds of my readers. Well, so I like to think.
   One of the best ideas I ever absorbed from a writer came from Hans Andersen. He’d travel with rope, so that he could escape from a strange house in the event of a fire in the middle of the night. I’ve only used the escape rope once, thus far. That’s another story.
   I’ll amplify on your original question, and give you the worst writing advice I ever received. This happened in school, no surprise, and was uttered by an English teacher. Again, hardly a shocker. “Never use and or but at the start of a sentence. It’s okay to do that in real life, but never in an exam.” The advice was seared into my mind, for all the wrong reasons.
   Indicating that exams had no bearing on real life, as far as that teacher felt. A skewed view. Hardly the meaning she was attempting to convey. There is nothing wrong in using and or but at the start of a sentence. Avoid overuse, to keep your style from being nauseatingly repetitive. I live in a part of the world in which it is grammatically acceptable to place but at the end of a sentence. That’s just the way local grammar developed, but.

KAREN WOODWARD: I understand that you have written for many years, although you have just begun self-publishing. What advice would you give to a new writer?

RLL: You mean a writer of fiction. Writing non-fiction lies in the same solar system, though is one planet over – with its own local conditions. Some of this doubtless applies to non-fiction too. For new writers, the advice is obvious. Read. Discover what you like, and what you don’t like. Learn from both types of writing. I learned as much from crappy books as I learned from excellent ones. (Sometimes I think I learned more…)
   Cut loose of the stuff you like reading. Be influenced by it, but don’t become it. Cut loose of the stuff you don’t like reading. Avoid spending your writing time hating that material. You have better things to do with your days. And tastes change, over time, in any case.
   Learn beyond writing itself. If you look for inspiration in non-written material, whether painted or sculpted, then that’s a good thing. Have interests and pursuits outwith literature. Apply every piece of experience to your writing. Good or ill.
   Read copyright law.
   Enjoy what you do, though understand that some of your best material might end up being written while in a foul old mood, with the odds stacked against you, your back to the fiery wall, and time running out.
   Be prepared to recycle ideas that fall apart. There’s no call to print a story, rip it up, and throw it away. (Unless it’s truly beyond saving. Even then, I’d think twice. And twice more.) I have stuff to get back to. Fragments. Snippets. Remnants. The ruins of stories. New writers should keep hold of everything. One rainy day, that neglected computer file will be dusted down…
   Put the hours in. I know I’m always banging on about that. If stories really wrote themselves, I’d be in the Bahamas right now as this interview saw to itself. That takes me back to reading. Consider the size of a book you liked…
   Calculate the number of words. Discover your typing speed. Work out how many hours you’d have to spend, to come up with a similar-sized book – based on typing alone. Now think about the number of hours you can spend a day, typing.
   You’ll see how many weeks it’ll take to work through a story similar in length to the one you enjoyed reading. I’ve made that sound like a mechanical process. Well, it is. Discipline is a cliché to writers. Often spoken of reverently, without further explanation.
   Get into the numbers. Develop a sense of scale. Set a goal, in words. How many? Do the basic arithmetic. If you want to write 100,000 words at 1,000 a day, every single day, you’ll spend 100 days marching to the last page. Not counting research, editing, medical emergencies, and all the other stuff life throws your way. If you type 10,000 words a day, it won’t take you 100 days. Doing the same job in just over a week is no crime.
   Discipline is all about the numbers. Nothing to do with quality, or art, or the creative muse. Discipline has no handy shortcut. I feel inclined to say the same to old writers, just in case you think I’m blaming youth for being young.
   If you want to be a writer, write. Stop wanting. Be. (No, kiddies, I’m not a little green alien living in a swamp.) A writer is always on the job. Even asleep. Wake, write the dream down. Type it up. Stuck in a queue? Observe. Play the game of faces, as you shop. That guy’s a rocket scientist. She’s a spy. He’s the stranger, come to town with a grudge.
   On the matter of self-publishing, learn, learn, learn. It doesn’t matter that I have written for many years. I still have much to learn. As a self-publisher, I have no one else to blame for my mistakes. I have learned so much about how to take my manuscript from its original state to the Kindle version.
   That’s not just relating to file format. Typing codes. Altering layouts. No. I had to rethink certain elements of storytelling. Some characters and symbols are unsupported in Kindle. Always worth checking. Here’s a shocker. The spacing of lines in a manuscript is no longer relevant. In Kindle, the reader determines the size of the font.
   Was there an upshot, on seeing this? Yes. In The Olden Times™, by Guttering Candlelight®, authors would insert news stories in a smaller font or single spacing. I have fond memories of doing this on a manual typewriter. (That is, of course, a lie. The only fond memory I have of the typewriter is ditching it. Excuse me while I relive that scene. Ah, nostalgia.) This use of mixed spacing has fallen by the wayside. There are semi-clever ways to resurrect it for Kindle, but I realise I don’t really have to. Kindle isn’t standing still. Characters and other features that are unsupported today are sure to be supported tomorrow.
   To publish an e-book, I had to learn how to read an e-book. I’m just scratching the surface. Much to do. Early days. I am prepared to experiment. There is a plan, and it’s flexible enough to allow for change. Inflexibility has its uses, if you are an iron bar. Learn. Stay flexible. Keep moving, even if you are moving into greater danger. Try to recognise greater danger, and avoid it.
   My blogs, and end-of-novel notes, contain these musings in another form, so I’ll try to avoid too much repetition here. Write for yourself. Recognise that writing for profit is for profit. It’s a business, and you are an entrepreneur. Oh, and read copyright law.
   I could have listed lots of don’t advice instead of do. Again, I’ll flip your question around. What shouldn’t new writers do? Don’t…follow my advice slavishly. I’m just starting out in this self-publishing lark, so I’m in no better-constructed a canoe than anyone else floating down the Amazon.
   Don’t…work in isolation. I made a list just now, of organisations I contacted in the run-up to publication. Either I contacted them directly, or made use of their resources. Some were contacted several times.
   Her Majesty’s Revenue & Customs. (Different departments.) Intellectual Property Office. British Library. Library of Congress. (I filled in a survey!) Other libraries of record, worldwide. Various banking organisations. Countless blogs. Amazon Kindle Direct Publishing’s help hit-squad. The American Embassy. Foreign and Commonwealth Office. Forums. Social Networking sites. Amazon’s shopping site. That was one of the most important places. It’s the shop I’ll be displaying my wares in, after all.
   There’s no one-stop shop for information – no, not even the web. Some stuff could only come through the post. I wasn’t shocked by that, but the young persons in the audience might be. What did all these organisations have in common? Me. I thought to ask questions.
   Don’t…think you are indestructible, simply because you are young. Old enough to make money from stories? Then you are old enough to plan the securing of your literary legacy. Almost all forms of © extend for a long, though limited, period after your death, permitting your inheritors to benefit from the sweat of your brow. Determine who those inheritors will be. MAKE A WILL.
   (There is one famous exception in the history of © law, extending the control of a property well beyond the death of the creator into near-endless time. The exception will never apply in your case. For you aren’t Sir J.M. Barrie, and you didn’t write Peter Pan.)
   Don’t…run with hot soup. Okay, it never did me any harm. That’s no guarantee of safety.

KAREN WOODWARD: What is the most important thing you have learned about writing?

RLL: This one stumped me. Do I give the answer that will astonish people, or the answer that will truly astonish people? In reading my work to small audiences, I rapidly determined that I didn’t care what people thought of my writing. I don’t care if you like my work, or if you don’t like my work. Opinions, good, bad, or indifferent, are all matters of taste. Not fact. Does that mean I am uncaring? You may have an opinion on that.
   Okay, the other answer. This is the most dangerous thing I’ve ever done. It was done on a daily basis for many years, and I never saw injury once. I’d go from kitchen to office, returning to my writing with a bowl of hot soup. Eager to race to the latest piece of scribble, I’d run upstairs. No reason for it. Extraordinarily dangerous. Foolish, beyond belief. The only meal I ever ran with. One day I stopped at the top of the stairs and had a double-realisation. I just ran upstairs with hot soup to hand. And I’ve been doing that for years without injury.
   I resolved never to run with hot soup again. Writing isn’t worth getting yourself injured for. This leads me to caution writers against Deep-Vein Thrombosis. Take health-related breaks from the chair. Empty your bladder. Check on the weather outside. Stretch your legs. Don’t run with scissors, or hot soup. No, it isn’t okay to run with scissors and hot soup…
   The most important thing in using language is to convey your meaning. As a duplicitous species, occasionally it becomes useful to conceal or cloud meaning. Survival sometimes depends as much on clouding meaning as conveying it. That view applies to writing fiction, especially fiction dealing with suspense. I still don’t care if you like or hate my work. Did I learn anything else that’s important? Yes. Copyright law.

KAREN WOODWARD: What was the most difficult challenge you faced when putting your book together?

RLL: Probably doing this interview. Publicity, in other words. I was just going to put the book out there once I’d jumped all the legal hurdles. Then I had a vague notion that I needed a business contact. I decided the contact should be recently-published on Kindle. Someone who could describe the process I was about to go through. An author who didn’t have a paper publisher calling the shots in the background. Someone who’d walked down the electronic path just before me.
   Digging into an article on paper publishers, I noted someone had made a comment. It took another, much later, look at that person’s comment to realise she was a blogger with a deep interest in publishing. Karen Woodward.
   As soon as I saw that you were an author who’d just published an e-book, I rushed…to vacillate for a week, on whether or not you were the business contact I was thinking of looking for. That contact led to your atomic-bomb-sized hints on the matter of blogging and other forms of shameless self-publicity. This interview. Someone wants to interview me? A sane person wants an interview?!
   I’ll say this of advertising. No one knows what works, what doesn’t. I’ve seen great adverts that told wonderful stories. Did I buy the advertised product? Hell, I couldn’t even remember the advertised product. People find their way to products whether advertising works or not. Galling, if anyone reading this works in advertising. Maybe a few of you are nodding, even so.
   For some wonderful reason, people feel the need to absorb stories. Writers cater to the needs of those people on an industrial scale. How do readers and writers connect? I’ve seen novels advertised on television, and never once thought to buy a single novel advertised in that way. And I’m a READER.
   Based on that wholly biased experience, I wouldn’t advertise a book on television. (True, with shallow pockets it’s unlikely to happen anyway.) What does that leave? As hinted to me, Twitter. Which acts as a signpost on my country road, pointing the tourists to GOOD EATS.
   Twitter is there to drive traffic to my blog, and my blog is meant to funnel the punters into the Olde Amazon Gifte Shoppe. At that point, rampant bestseller-ism is allegedly but a mouse-click away. Unless they really do introduce that head-nodding technology that does away with the mouse.
   Flip the question around. Look at the low hurdles I vaulted. What was easiest about putting the book together? Writing it. The more you write, the more you write. When I wrote the book, with a view to having it published in paper, I created a prototype cover. Going into self-publishing, the least of my worries was coming up with a cover – that had been done.
   I’ve always been interested in cover design. Probably from my days spent haunting libraries looking at truly atrocious covers. I read some great books that had covers which were memorable for all the wrong reasons.
   Maybe my covers will be viewed that way – but I come back to one of the central points of self-publishing. I’m the one who makes the mistakes. Experiment. Learn from mistakes. Continue to experiment. Learn some more. That approach was easy for me.
   Would-be authors might not see things that way. It’s worth emphasising. The least of my obstacles lay in being prepared to put the work out there myself. If you think of that as an obstacle, remember this. What’s the worst they can say of you? That writer. Lives in a fantasy world.

INTERVIEW WITH A CURMUDGEON © Karen Woodward and RLL, 2011. All rights reserved. The interview is collected in the forthcoming INCOMPLETE UNCOLLECTED SHORT WORKS by RLL, and appears on Karen Woodward’s blog.

Monday, 5 August 2013

INCOMPLETE UNCOLLECTED SHORT WORKS.

Welcome to my short story collection. Here you’ll encounter an atomic-powered crustacean named Albert, a nutty private eye tale, and my version of how an actress won a golden statuette – amongst other things.

This collection also gathers my three blog series – the NEON, INCOMPLETE, and LYGHTNYNG REPORTS FROM A FUGITIVE. Chronicles of my entry into the world of self-publishing, with serialised fiction and an author interview thrown into the mix. The REPORT FROM A FUGITIVE blog won’t be around for eternity. (Shocking, I know.) So bundling the content with short stories allows my readers to tackle the material in a Kindle-friendly manner.

I’ve included excerpts from the fragmentary novels curled*skin and ten tales of old japan*or lies if you prefer, as well as future projects slim*thriller and not hamlet. Step into my incomplete uncollected world, and savour the atmosphere.

*

The City. Colan’s Place stayed open late that night, but only for old friends. The CLOSED sign held would-be customers and city-street-cold at bay. Way in back, in one of those booths, an incorruptible foursome sat around an imaginary campfire, and reminisced.
   In the tradition of the girls powdering their noses, the girls powdered their noses. The guys groaned at the amount of food they couldn’t believe they’d just packed in. They had absolutely no good reason to groan at the quality.
   Adrienne and Rosalind finished powdering their noses and caught up on gossip-snippets concerning, who else, Judy Cosmic. Meanwhile, Gene and Kirb raised their glasses, and, satisfied each could still see through ’em, popped said spectacles back where they did most good. They trotted out toasts and grew all nostalgic.
   “Old superheroes never die.”
   “Nor should they.”
   “Here’s to the fallen, and to those what tripped.”
   “Hear hear.”
   “What were Visible Lad’s powers anyhow?”
   “Well he was fairly visible, had to hand him that much.”

*

INCOMPLETE UNCOLLECTED SHORT WORKS. This isn’t where it all began, but the book will pass for as-near-as-damn-it. Contains quite a lot of juvenile humour, and some rude words you wouldn’t necessarily use around the kitchen. Unless you’d matched hand to hotplate.

116,000 words. Blog-related material released prior to publication constitutes 30,000 words.
 
 

Monday, 28 January 2013

BLACK HOLE.

Events intrude. Life. You may be forced to write nothing for a week as you deal with hospitals, maintenance issues, or weird technical stuff that slows your world to the consistency of something that has fossils in it.
   Sound familiar? Go back one blog post. I crawled from a digital BLACK HOLE to write this entry. Not so long ago, I was handed a free computer. It wasn’t a great computer, but it was better than the one I had. Oh, and it was free.
   My office arrangements changed. I’d run two computers now. A whole computer as a back-up for the other. If one engine sputtered, I’d still have the reserve to keep me in the air. Cables and components were moved around. Chairs. Books. Notepaper. All the big things swirled with the little things.
   And, when the dust settled, I was more or less happy. The year 2012 drew to a close. There was no Maya Apocalypse to trouble me. Unbeknownst to me, a microscopic Maya shaman was chanting and dancing atop a peculiar pyramid inside my old computer.
   The great change, dawn of a new era, had come.
   I worked late into the night struggling to copy my archive. For some reason, this straightforward process was anything but. The forces of evil themselves were in deep array, preparing to march against my glorious cause of saving data.
   With back-ups done, I was closing in on the end-of-year sale. There was a temporary archive of the last few months. Now I wanted a full back-up of the latest changes. Putting another year to bed in the vaults.
   Good job I did all that the night before. Next morning, zap. Nothing. The machine wouldn’t start. I ran through the emergency checklist. Was this the result of a loose cable after migrating from office to library? Check the connections.
   Connections seem fine.
   In that case, are you missing something obvious? Perhaps you only think you flipped that switch over at the wall. Highly unlikely. See to socket.
   Socket and switch seem fine.
   The TV is on, so there’s no need to fall back to the electric light to check on failure of mains power.
   Power seems fine.
   Switch everything off and get into the workings of the computer. Check internal connections. You know by this time that you don’t want to. And that you have to.
   Internal connections seem fine.
   After each test, the button is pressed. No go.
   Bonus test. Unhook the umbilical. Atomic batteries to power. Turbines to speed. Disconnect the machine and cast your computer into space. Connect the new computer to the set-up and see what happens.
   New computer works just fine.
   Damn. It’s the old computer’s innards. Something went. You’ll likely never know what. Engage Plan B. That’s Brain Transplant. Shift the old hard drive over to the new machine. Some fiddly work is called for here…
   It’s all a bit too dense and technical for you. I say that as it’s all a bit too dense and technical for me. Things were unplugged. I invoked Cosmic Law. When removing something and placing it out of the way, that item automatically gets in the way of the next thing you move around.
   Repeat as required.
   I experimented with the computer brains. The new machine’s brain was set in charge of the old archive. That worked. For complicated reasons of the plot, I switched the old brain around so that it invaded the new computer and seized power.
   That worked too.
   A crisis was averted.
   Deep in the computing jungle, a digital shaman planned an evisceration. Days passed. I was staring at the near-empty shell of the old computer. There lay an item of equipment. It may have been faulty. Let us suppose it was.
   Something in the old machine had failed. I’m inclined to call this item the KIDNEY. An evil organ. I stared at the kidney. That kidney could have a new home in the working computer. Hey, I’d performed a brain transplant. I could handle a lowly kidney, right?
   My authorial sensibility tells me the audience can see where this story is headed. Into a BLACK HOLE. I moved the old DVD player over to the new computer. Now my machine would have two brains and two kidneys.
   Atop a pyramid hidden in the depths of the DVD jungle, the tiny Maya shaman raised his sacrificial blade and brought an end to civilisation.
   Bastard.
   With everything plugged in, I was raring to go. Nothing happened. As an author, I am prepared to construct a tale from this series of events. A bad thing stopped my computer from working. No big deal. The computer’s mind survived the infection. Nothing nasty passed across the blood-brain barrier.
   I then moved the faulty item of equipment over to the new body and the same shit happened again. BUT I couldn’t say that for certain. Many factors were at play. Anything could have gone wrong. I called in an expert.
   He’d given me the free computer, and remembered exactly how it was wired up to start with. In the process of investigating the problem, we blew a fuse. Something nasty had shorted in there, and the fuse took a bullet for the team.
   A fuse.
   Straight from the lone wall socket to the computer. No go. I had to visit my reserve stash of fuses – which hadn’t even been removed from the packet. That’s because, these days, no one blows a fuse. I can’t remember the last time I had to change one.
   The expert, parachuted in to help save the day, couldn’t remember ever blowing a fuse while running a computer. Ow. The Maya shaman must have been up all night sharpening that sacrificial knife. We concluded that something electrical went for the first computer’s guts.
   And with the transplanted brain working just fine, the culprit – lone suspect – looked like the KIDNEY. Though I stress other items could easily have been at fault. In electrical terms, I’m sure it’s obvious. But I’m going with storytelling terms.
   An evil kidney transplant of a digital Maya pyramid, complete with micro-sized sacrificial shaman, was responsible. I’m going with that.
   There was redundant computing equipment sloshing around, so my expert handed me a laptop to save me from a digital BLACK HOLE. I was in the BLACK HOLE for a while, and caught up on some reading. Aside from that, I wrote a story outline by hand.
   To minimise the risk of a third rat leaving a sunken ship, I reorganised many things. A fuse had blown. Perhaps cabling was damaged. I checked a lot of stuff. Then, in a mad experiment, I cloned the laptop’s screen to my TV via a safe cable.
   My reconstituted office flew along on one engine, again. I’d emerged from the darkness. Yes, my publishing plans were put back. And some plans changed. But I could type in a file once more. This almost affected blogging.
   My store of automated blogs wound down. The blog monster drained its egg-sac and threatened to vanish with little trace. I’d have fixed a temporary sign to the door, letting a few readers know that technical difficulties were to blame.
   Non-technical difficulties are harder to apportion.
   My plans must resume. But what are those plans? I didn’t see far beyond four collected editions of blog posts, truth be told. Allowing for eighteen blog posts in my INCOMPLETE UNCOLLECTED WORKS, that’s 90 blog entries plus the odd emergency blast of the horn.
   With assorted stops and starts to my plans, I’ve still managed to blog weekly. Publication dates for collected editions weren’t fixed in stone. They were fluid. And I’m glad of that. So now, after falling into a BLACK HOLE, I’m sitting here asking myself what happens next…
   Enough blog material gathers for collection in March. That would be the third volume. A fourth carries me through to Kacey Vanderkarr’s publishing launch in the summer of 2013 – which will be plugged here on this blog in some or other fashion.
   Not for the first time, I contemplate halting the blog. Perhaps temporarily, come summer’s end. By then I’ll have a surer picture of what’s coming out next, and where my fiction heads after all that. There’s a writerly duty to warn my 0.75 readers that the blog might wind down for a break.
   Or, who knows. I may keep writing blogs ahead of the game, and automating these reports from a fugitive.
   Today’s lesson, for writers? If you can’t type into a machine, use a pen and a piece of paper. Use a physical paper dictionary to check troublesome words while away from troublesome machines. Always have a back-up. And a back-up for that. If all else fails, be prepared to reconstruct from memory.
   And I thought I had troubles with the computer desk. It, at least, is still functioning more or less as intended. I’d say at the 98% level. Good enough for government work. The chair’s just fine, and that’s the main thing.

NEXT BLOG: KACEY VANDERKARR.