I’m considering entering a short story into the Sword&Laser Anthology, and I’ve been throwing the handful I’m considering up on my FB page for feedback.
Here’s a master post of all the ones in contention. The theme of the anthology is ‘unusual or unlikely’ stories within the science fiction or fantasy genre. Thoughts on these? Do you think I can whip one of these into shape, or should I start from scratch?
The Book of Teon – A demi-god records his final words and remembers an age of wonder.
Knight of the Scroll – A follow up to ‘Book of Teon’ a contemporary scholar studies the recording from the previous tale.
[I’m also considering combining these two into one story.]
You Can Call Me Isaac – 80’s period psychic soldiers battle for supremacy amidst the backdrop of Aaron Sorkin’s A Few Good Men. [yes, really.]
Star Prophet – My submission for ‘The New Yorker.’ Purposefully strange.
[This is a work in progress, to be updated and amended as curious folk ask questions that I haven’t answered here. Let me know what questions you have or clarifications needed in the comments below.]
So, you can now buy my book on Amazon — in Kindle and Paperback format. Just like a ‘real’ book! Or rather, just like a traditionally published novel. My book is sitting on the same virtual shelf as books published by Tor, Daw, and Random House. It’s a cool feeling. Maybe if I’d published five years ago I would be bothered by the fact that Spell/Sword will never appear on a shelf at a physical bookstore — but with paper going the way of the utahraptor or dodo it doesn’t bother me in the slightest.
So how did I get here? A lot of research, a lot of trial and error — there’s a lot of navigation and study required when you’re piloting the ship all on your own. When I first got started I spent a lot of time reading other author’s posts on publishing and found them tremendously informative.
Joe Peacock’s The Absolute No-Bulls**t Guide To Writing, Publishing And Selling A Bookwas incredibly helpful and motivating. I strongly recommend you take some time and give it a read — it’s straightforward, concise and utilitarian. It de-mystifies the entire process, which was invaluable for me at the beginning. I’m going to try to not go over the same ground here, but focus more on my specific experiences with CreateSpace and Kindle Direct Publishing. I’ve begun to think of Joe as the Older Brother to the Internet — can be an overbearing prick, and he’ll kick over your GI Joes — but he always has your best interest at heart.
This guide is going to be part step-by-step How To — and partly me pontificating about my rationale for making the decisions I did. I hope it’s reasonably helpful.
Level One: Write a Book. [Grasslands]
In whatever manner you prefer. It took me about nine months to bang out the rough draft in between day job, nerd pursuits, other creative endeavors and various life calamities. I’ve only done this once, so I’m in no position to offer advice on how you get this step done. Just some paltry bullet-points.
Self-imposed deadlines were invaluable to me.
Now that I’ve gone through the entire process, I CAN say that this is the most fun part. Remember that and enjoy it.
Level Two: Edit a Book. [Ice Cavern]
To the greatest level that your pocketbook and Friend’s List will permit. I employed over 20 Alpha Draft and Beta Draft readers to catch all my bonehead grammar mistakes and weak narrative. I know that this can never truly equal a professional copy editor — but I am completely confident that I’m extremely close. I have some serious heavy hitters in my rolodex: college professors, Shakespearean scholars, creative writing savants, genre nerds, gnomes. Depending on how my finances fare, I may consider going the pro route next time around. I can’t stress enough how important this step is.
To put it in perspective, I wrote the draft in 9 months. I edited for 13 months. Thirteen long, grueling months of Not-Fun.
It sucks. It’s boring. It’s frustrating.
Level Three: Prepare to Publish a Book [Fire Volcano]
Paper Version — I did a fair amount of research onto several online presses. The other main one I considered was Lulu.com. They are really great if you want to order in bulk and warehouse the product yourself. They have tons of paper and trim options – soft cover and hard back. But that’s a pretty big if – especially when you’re in my position. A total unknown pushing some wacky genre fiction. As much as I would love to have a hard cover of my book, it just didn’t make sense to lay out the startup money for something that was going to sit stacked in my breakfast nook.
I slowly shifted my thinking towards CreateSpace as they print on demand, and sell directly through Amazon.
You establish the cost of your book through the size, page count, etc. — then you set the list price at whatever you want. Anything above cost is your profit. [Pro Tip]: The cost of your book increases if its sold through Amazon, instead of bought directly through CreateSpace. This wasn’t an issue for me, as I really wanted the legitimacy of an Amazon storefront, but it may be something to take into account if you have your own webstore.
Finally, the website was easy to navigate, except for a few minor snags — I’ll talk more about that later.
Kindle Version – Or rather – Why not on Nook, Kobo, Smashwords, etc. etc.?
One reason: the Kindle Lending Library. It makes my book free to the thousands and thousands of Amazon Prime members. At this phase it is far more important that people read my book than people buy my book.
I know there’s a lot of discussion about Amazon’s draconian domination of the e-book Wild West — but from my perspective it’s hard to argue with that kind of market share. The Kindle is the dominant e-reader on the market, and anyone with a smartphone or tablet can read just as easily using their free app.
Level Four: CreateSpace [ Sky Platforms]
Okay. You’ve got the book all edited and shiny, now it’s time to set everything up with CreateSpace for the paperback. The site is very user-friendly if you are reasonably proficient with the internet and simple online interfaces. I’m a giant dork so I had little trouble, only occasionally having to use the forums, Help section, and one quick phone call to Customer Service. It leads you step by step through the process.
1. Birth Certificate – Name of your book, author name, synopsis, all that sort of thing. Pretty self-explanatory.
2. Print Specifications – Selecting the size of your book, whether or not you have color images to print inside, etc. I didn’t have any interior artwork for Spell/Sword so I selected Black and White printing — and the smallest book size, because my novel isn’t particularly long. I’m sure there’s a lot of reasons for all the different sizes, but I didn’t put much thought into it. I like the size my book is, end of story. Take that reasons.
3. ISBN Number – This is a little complicated. And once you decide your book is locked to that number [oversimplification, I know] so give this some serious thought and research.
CreateSpace owned ISBN: Free! But…it sets the publisher of your book as CreateSpace, and limits your distribution options later. There is a little bit of a stigma to services like CreateSpace and Lulu, and if in the very remote chance that you want to sell your book to a traditional publisher later you can’t just move your ISBN, you’d have to make a whole new edition with a new ISBN number.
CreateSpace licensed ISBN: $10.00. Same problems as above, but frees up most of your distribution options.
Personal ISBN purchased through CreateSpace: $100.00. But you personally own the ISBN number for your book, and can set the publisher of record. My book is published by me under the name Lodestar — which is the small business I’ll be setting up to handle my paltry revenue. It also means that I can move my book to any other printing service, or use another service concurrently with CreateSpace whenever I need. I’m also thinking about having it tattooed on me somewhere.
Personal ISBN purchased directly: I…didn’t do much research on this. You can get it cheaper buying it yourself, then inputting it into CreateSpace . But it meant using another site, and another process so I just went ahead and bought my personal ISBN through CreateSpace. To me, the convenience was worth whatever markup they have.
4. Cover – Now, CreateSpace does offer a free cover generator as well as professional design services. I used neither. Don’t be a chump and use the free cover generator — it’s fine if you only want your mom to read the book. I’m sure the professional services they offer are fine, but I’d much rather give the artists that I know personally my money.
The layout of the cover is extremely important as CreateSpace needs it to match exactly with the specifications for the cover — most importantly the spine which is a function of page total. There were lots of numbers and jargon, my designer knew what they meant and put it all together for me. I’ve noticed that many self-publishers take the DIY part of this route a little too much to heart. I recognized that I knew virtually nothing about layout and graphic design and paid a skilled friend to handle it, same goes for the actual cover design.
5. Setting up the Template – Okay, this part was a little convoluted.
You need to have your book laid out on a PDF to upload to CreateSpace for review. When I first started playing around, I just exported a PDF from my Google Drive and uploaded it to see what it would look like.
It was a hot mess.
My mother is a graphic designer and printer, so I have a vague understanding of margins — but clearly not enough for these purposes.
Luckily, CreateSpace offers Word document templates. It took some grunt work copy and pasting each part of my book, chapter by chapter into the template — but it ensures that the printed page comes out correctly. Also, print is set with a ‘justified’ margin as a default. I had to go through several times to find all the places where the spacing was weird and correct.
Review the template again and again … then five more times. You’ll never catch everything, but you have to put in the sweat equity to get as close to flawless as possible.
Once the template is complete, you save it as a PDF, then you’re ready for upload.
6. File Review with CreateSpace
Once the files are uploaded, you’ll be able to view the book page by page online.
You can’t directly adjust anything at this step. Anything you want to change, you have to go back to your template — make the change — then upload a new PDF.
Spell/Sword doesn’t have any interior images — so I’m no help there.
Once you submit everything for review [Interior and Cover], CreateSpace takes 24 Hours to review and make your book ready for proofing.
You have two options here:
Paper Proof: This is what you want to get the first time around. An actual, honest to god copy of your book. You get it, you hold it in your hand. You get to go through it with a colorful marker, hunting for every typo and spacing issue that you missed on the template. It’s truly a wonderful moment. [You do have to purchase your proof, it’s the established cost of your book plus shipping. ]
Online Proof: It’s identical to the Interior Reviewer you used earlier.
If you need to make changes after reviewing your proof, you have to back to the template and resubmit it all again, and wait 24 Hours again. For Spell/Sword I got the paper proof first, then after making all the corrections I felt confident that the Online Proof was sufficient.
PRO TIP: Even after your book is published you can ALWAYS make corrections and go through the process again — it will just mean that your book is not available for sale while it’s being reviewed and proofed again.
8. Final Thoughts/ Issues
After you approve your proof, your book becomes available for sale within 24 Hours. In my case it was up on CreateSpace itself within an hour — than on Amazon later that night. The site was very helpful guiding you through the rest, deciding on distribution channels, etc. I freely admit I kind of glazed my eyes and picked the standard options.
Now, some grousing!
Shipping through CreateSpace is a little stupidly expensive — especially when you’re an Amazon Prime member, used to getting 2 day shipping for free. I understand that it probably has something to do with preventing you from purchasing too freely through them instead of Amazon, their parent company — but still! Spell/Sword is 8.99 on Amazon — if I want to buy someone a copy and send it to them, it’s actually cheaper and quicker to buy through Amazon then get copies at cost through CreateSpace.
Friends have ordered copies through Amazon, and they arrive in a standard Amazon box – but the books are completely loose. None have been damaged so far, but it made me raise an eyebrow.
Royalties: I actually haven’t been published long enough to get my first check — I’ll update this when I have more experience.
Level Five: Kindle Direct Publishing [Ghost Carnival]
Almost as an afterthought, CreateSpace guides you into the warm clutches of KDP. They export all of your information about the book, the interior, and the cover all in one go. All of the info and cover exported fine — but I quickly discovered that the layout for the print version looked crazy weird on the Kindle.
I actually found an easy workaround – I directly uploaded my CreateSpace Word document to KDP, and it looked fine. I’ve experienced a fair amount of paranoia, because the Kindle comes in so many sizes [including native apps on iPad and PC] that making sure that there were zero formatting issues. I’ve read the book on my 3rd gen Kindle and it reads just fine at various sizes, and none of my E-Readers have complained YET. YET.
When you start obsessively searching your book on Amazon [not that I did, that would be silly] you may notice that the Kindle and Paperback versions initially have different pages — just give Amazon 48 hours, they automatically group them together. I also noticed that initially when searching my book titile, it came up fifth — but after a few days of sales, it populated first. Admittedly I picked a weird ass name for the book — that slash in Spell/Sword plays hell with some search algorithms.
Yowza! This thing got involved . I think I’ll keep this going as I plunge further and further into Self-Publishing RPG. Let me know if you have any questions in the comments below!
Spell/Sword is now available in print and e-book exclusively on Amazon.com. Follow the image above to order. I’m linking the digital version first because:
Amazon Prime members can borrow and read it for free.
Anyone can sample the first couple of chapters using the ‘Look Inside’ feature.
It’s the future!
If this is your first time visiting the site, please poke around. Plenty of my various ramblings in the archives, and several examples of my fiction through the Short Stories and Scenes/Microfiction links above. I know you’re taking a chance on me — thank you for even considering it.
More information about Spell/Sword itself is available on the [Buy the Book] button above.
That’s not to say that it is a falsehood, or a pure fabrication. Certainly there are many who call themselves salesmen that deal in outright deceit, but they’re just liars. Plain ordinary liars.
No, salesmanship is all about awareness. Complete knowledge of the product: it’s particulars, benefits, problems, logistics and idiosyncrasies and your most reliable perception of the character of your customer. Everything you say, everything you withhold is an attempt to calmly weave the product into the customer’s needs and desires. You concentrate on what you know about the product, and carefully present only the parts that you intuit will be attractive to your mark. You are creating a narrative, a workaday tale — a story with purpose. To make the sale. To win.
This is antithetical to the creation of art. An act of art should always be an act of truth. Individual truth — the opening of the inner eye and allowing the energy of your private whirlwind to express into your medium:something. Anything. As long as it’s true. Or real. Or important.
I’m still a ways from publishing Spell/Sword — but I’m already thinking about how I am going to sell it. The plan remains to self-publish, then grassroots my ass up the zeitgeist to something more than a blip. Financially and culturally. So I need to be able to sell the book. To other artists, to family, to friends, to total strangers, to people who love fantasy, to people who hate it, to people who never read. But every time I approach the problem in my head, I feel this enormous lassitude. It feels wrong.
In my day job, I am a salesman. I’m extremely good at it. But the key seems to be my total lack of concern. Apathy towards the product, and disinterest in actually making the sale. It allows you to be dispassionate and objective — truly focused on reading the situation and the customer. But with the book, where I’m hopelessly invested in the product and emotionally overwraught in the sale – it’s much more difficult.
It doesn’t help that I’m specifically trying to find my own little niche in the genre. It feels cheap to say “Oh, it’s just like ‘X’ and nothing like ‘Y’, and if you like ‘Z’ then buy, buy, buy!” But when I try to pitch it on its own terms, it just sounds hollow and uninteresting.
There’s a guy, and he has a sword. And there’s a girl and she’s got magic. They don’t like each other, then some shit happens and then they do. Also: hi-jinks.
I could do a laundry list of the random things in the book.
Electric-Eel Powered Jukebox. Prescience. Dwarven ghosts. Lesbian bards. Sweaty wyverns. Hangovers. Friendship. Mailboxes. A devil-spawned assassin. Fairy tales. Horse euthanasia. Wizard duels. Mysterious backstories. Prophetic dreams. Cheese. Plot-holes. Garden plots. Sorcerer bondage. Magic swords. An ogre with red boots. A blue fish. A white bridge. A first kiss. A last breath. Hyper-intelligent frogs with steam-powered roller skates. Banter.
Okay, I wound up kind of liking that one. But still, the problem remains. All that sounds fun, but I don’t know how convincing it is. Part of me wants to sell the book the same way that I wrote it. Honestly, with great love and with no artifice. Well, maybe a teensy bit of artifice.
This is important. This is true. This book is real. It matters. Or at the very least, I need it to matter.
So, yeah. Buy it or whatever.
Oh, my. This question is in bold. On WordPress, that’s like a Tumblr post dissing Doctor Who — it demands a response. What do you look for on the back of the book, or in a sales pitch for a book, when you’re considering reading something from an unknown author?
A recurring complaint from my Alpha Readers — and now one of my Beta Readers, is that I don’t tell them enough. They want more details about the world, more about the history of the characters.
I have two main characters, and I sort of summarily dump them into the plot together. They both have Dark Pasts and Important Backstories [tm], but…and this is the crux, their backstory doesn’t have anything to do with the plot du jour. The amorphous goals that I am moving Spell/Sword towards are pace, energy, and involvement. I don’t want to put any woolgathering or world history navel gazing — just accept the tropes and characters as presented, and show me a little trust. Epic fantasy tends to frontload all of the exposition and world detail, I just want the reader to strap in and go along for the ride. This is episodic structure, not an epic trilogy.
A good example of this would be the pilot episode of Firefly. Admittedly, not a perfect example — that’s a vast ensemble. You’re only shown enough about the world and the character to serve the plot of the episode.
Okay, it’s in space. Mal was in a battle, his side lost. Okay, time passed. Oh, it’s the Civil War. I get it. Hmmm, Asian influences have become culturally dominant. Evil Empire, band of mercenaries and thieves. Okay, Mal’s a rogue with a conscience, Zoe’s a devoted soldier, Wash is comic-relief — oh hey, he and Zoe are married. Jane’s a thug, Kaylee’s an innocent mechanic, Inara’s a diplomatic courtesan, Book’s a priest, Simon is a rich kid doctor on the run, and River’s nuts. Oh, she’s super powerful/insane/government project — the empire is going to hunt her the entire show, hook set for the arc of the first season. Ooh, Reapers are nasty.
You don’t get the description of every major location in the ‘Verse. You don’t learn anything about the actual setup of the Alliance government, or the name of it’s ruling body. You don’t know how Mal got from being a defeated solider to captain of Serenity, you don’t know anything about Zoe and Wash’s courtship. Book has about eighteen arrows pointing towards him that say MYSTERIOUS SECRET — but, none of that resolves in the first episode. Whedon throws all these tropes into a ship, lets them rattle around a little, then unmasks the sleeper agent who tries to capture River. The character and world exposition always takes a backseat to the action of each scene — and more importantly, the character relationships. The family dynamic of the crew and the budding connections between the new passengers — and their reaction to the imminent danger at hand is what makes that episode work.
We all know right off the bat that Book used to be an assassin. That’s a trope, the holy man who put down the sword. It appears again and again. Whedon could have spent 10 minutes explaining about the Alliance Death Squad and their memorable exploits, but that’s now what makes a work of fiction interesting or memorable. What makes Book more than a trope is his relationships — his seeking out of wisdom from Inara, his antagonistic mentoring of Mal, his almost paternal relationship with Jane.
That’s how I’m trying to view this first book. It’s the first episode. Here’s my wacky duo, here’s their powers, here’s a little sniff of their past, here’s some action, here’s some villains, here’s some crazy, there’s some weird, and hey, book’s over.
One of my favorite episodic novels. The Dresden Files is a good example. I almost stopped reading after the first one, because so many pages were devoted to explaining exactly who Harry was, the various supernatural forces around Chicago, how magic worked, how making potions worked, the backstory of his cat, the backstory of his car,etc. etc. — only when I picked up book two, and all of those details were read did the kick-assery truly begin.
So — to sum up. My goal is to write my very first book and have it be just as good as Firefly and Book Two of The Dresden Files. And I’m going to self-publish. And this doesn’t sound very likely does it?
I have been listening to my Alpha Readers — there was a significant increase/clarification of world and character information in the Beta Draft. But, there’s got to be a line. There is an argument to be made that leaving my readers wanting to know more is a good thing — but I’m a little terrified of leaving them annoyed, instead of motivated.
I am courting my readers, dammit. And I’m just not the sort of girl to throw up my skirts on the first date.
Ultimately, I’m in the weird position of being beholden to no one as a self-publisher. I don’t have an agent or a publishing house demanding that I add more romantic tension between the main characters, or insisting that I cut out the Steam-Skating Frogs as nonsensical. But I also don’t have the advantage of their experience either. I can write it however I want, and no one can stop me from spending a few days on Amazon putting it into print.
Man, it must be relaxing to have an editor.
I’m just starting to get weary of eighteenth-guessing everything in the book. I have a legitimate fear of totally abandoning my own judgement and just cramming in every possible thing into the book that anyone could ever want to see. And winding up with a big ungainly, craven mess. OR not doing that, and putting out an austere, confusing desert.
You are in the enviable position of having formed a habit that most aspiring writers would kill to obtain. Or pay untold amounts of money on tuition for Creative Writing degrees, or workshops, or storytelling camps.
For the past two years, you have written, on average, 1374 words every week. Rain, shine, babies, heartbreak, plays, shows, gigs, arguments, new games, new books, new lives….every week. That means each of you wrote 142,896 words. Three novels or one massive tome.
Just by not stopping. By continuing to go.
For most humans, it takes 10 weeks of uninterrupted routine to form a habit. The habit is there. Don’t break it.
Right now, like me, you’re starting to feel the itch. A vague restlessness, an unease. A vacancy.
I have Spell/Sword to work on. What are you working on?
Open a Word Doc. Open a Google Doc. Open a notepad. Open napkin. Open your phone and email it to yourself.
Today, not tomorrow. Now, not later.
And start. Don’t stop.
It helped me to have a schedule. It helped me to have this blog. It helped me [eventually] to own the task, to admit to myself what I was making. Do all of those things, or none.
Just don’t stop.
Because, as unbelievable as it may sound. No one but us will truly ever read Lodestar. No one will ever hear your voices.
Unless you keep singing.
I can hear them. I have heard them for two years. It would be a great loss for them to fall silent.
Those are the two driving forces, theinspirado of a grand bulk of the genre. Either the writer has a really neat system of magic, combat or dragon-sex and they hammer a plot and some characters into a framework to hold it — OR the writer has a really neat world, or character, or setting for dragon-sex and they hammer a plot and some less interesting characters into a framework to hold it.
I’m not really complaining that these forces exist. [Especially about the dragon-sex.] I’ve invested a massive amount of geek-hours into consuming as much of this content as I can, and I never plan to stop. My complaint derives from the endless mimicry, and the bone-certain belief that these two masters are the only ones that the genre can serve.
That is not the case, more on that shortly. But first, a primer.
In general, there are two types of fantasy authors. Nerds and Dungeon Masters.
Nerds love their shining rules, and Dungeon Masters love their precious backstory.
So when you are reading a fantasy novel and realize you’ve just spent two pages reading about how Flame-aligned Slaughter Wizards cannot use their Flambe attack when Ice-aligned Tempest Mages have spent a fortnight attuning their Ava-crystals to the Fourteenth Ley Line —- then the author is a Nerd.
Uh, thanks Mr. Sanderson.
And when you finish a blistering passage on the Archduke Sargasso and the five-year conflict he endured developing the Draconian Congress, including the Riddle-Game played in the jaws of Tyrinel the Inferno, Red Dragon Lord – with exacting minutes provided, including three water breaks and a complete rundown of the Inaugural Dylithic Council’s attire, facial hair and a five stanza limerick sung by Jargon the Time-Sworder — ALL of this read by the protagonist on a discarded scroll in the waiting room of his dentist’s office. Then, my friend, your author is a Dungeon Master.
Both of these ideas sound pretty awesome, and both of the authors above are titanium-plated awesome. There’s nothing wrong with either approach, and in a skilled scribe’s meaty grip each style can keep you patently enthralled. I’ve spent more than a few minutes thinking about everyday applications of Allomancy from Sanderson’s Mistborn series — and you better believe I’m far more concerned about the fate of the Iron Throne of Westeros than the outcome of the 2012 Presidential Race.
This isn’t about what those authors have already written. It’s about the fantasy that hasn’t been written yet.
The fantasy that you and I are writing. The new fantasy, which is also old fantasy — as opposed to the middle fantasy that we’re currently sitting in. The new/old fantasy where we basically don’t give a shit.
What am I talking about?
I have chosen this term because:
a) It sounds cool.
b) Fuck you, that’s why.
Are there rules? Yes, of course. But they are to be like a kindly sour-smelling uncle. You send them a card on their birthday, a sincere hug at Christmas — but you’re not inviting them over when it’s time to party.
Is there backstory? As long as there is linear time there shall be Stuff That Happened Before. But we shouldn’t drag it with us like those creepy dudes wearing their high school letter jacket to English 101. Leave that shit behind.
And world building? Of course, building your own little bolt-hole from reality is the bleedin’ point. But why do we need to reinvent the wheel every time? Tolkien did it and generations of fantasy writers have been doing their best to ape him ever since. Too many fantasy writers think like Carl Sagan:” If you wish to make an apple pie from scratch, you must first invent the universe”.
How about we just have apple pie? You know, the apple pie that is at the store and we’ve all had it and we all know what it is?
Swordpunk is all about just eating the fucking pie.
I think the fear that fantasy writers have is that if they don’t reinvent the wheel, they won’t be taken seriously. Like Tad Williams is going to roll up and revoke their Fantasy License. [I’m imagining him in a lime green golf cart and wearing a jaunty scarf. Are you imagining it that way? Just me? Okay.]
The worlds are there. The tropes are there. It’s all in how you use them. I think there can be more power in connecting to the old stories, then running down the street and trying to start up your own Disneyland. “Oh, no — this ain’t Mickey Mouse, this is my own character Mouselord McQueen. He’s totally different.”
I don’t want to waste energy convincing you that my world is more clever or more original or ‘waaaaaay fucking different” [WFD] from any other fantasy author’s world. That’s a fool’s errand, and honestly more than a little outside of my skillset.
When I have a hero step forth and raise his sword, I don’t want to try to sell you on how he’s different than the inumerable sword-slingers in the genre. I want you to think of them. I want you to think of Sturm Bright-blade, Simon Mooncalf, Logen the Bloody-Nine, Brienne of Tarth, Lancelot, Garet Jax, Neville Longbottom, Reepicheep, Paksenarrion Dorthansdotter and Conan the Barbarian,
himself. I want you to think of them all. I want to connect to that resonance, that legacy of character.
Is it getting a little Joseph Campbell-y in here?
Beyond that, fantasy needs to be more of a wackadoo fever dream. I want more Fritz Lieber and Michael Moorcock – more Fafhrd and the Grey Mouser, more Elric of Melnibone. Beautiful little offshoots of the genre, grand and strange, bizarre and gleefully weird.
That’s what I’m trying to do at least, with Spell/Sword, my first novel. And if I can keep going, I’ll keep trying.
My book has rules. My book has backstory. [Shit, you better bring some Post-It Notes, dog.] I’m a Nerd and a Dungeon Master, just like all of you.
But thinking about these things, and giving them a silly name made me feel free. It made me feel empowered, it made me write the book I wanted to write — not the one that I thought would ever sell.
I hope it makes you feel the same.
1. Eating the pie is more fun than making the pie.
2. No one cares about about your character’s grandfather.
3. Only trot out the Rules on special occasions.
4. Don’t let anyone tell you how to make your art. Make it. Make it scream and bleed, make it shine and shatter. Be true to the moment, to the beauty of it — and make no excuses for putting it on the page.
5. There should always be more minotaurs. Preferable riding on cherry-red mopeds.
And if Brandon Sanderson wants to start an internet feud, he can GET IN LINE.
Thanks for reading my ramblings. This is what happens when I’m not editing.
I’m temporarily finished with my short story, Star Prophet. I’m really ambivalent about it — part of it I like, parts of it I don’t — but I’m trying something really outside of my comfort zone/style. I have lost all perspective on how well it’s working.
Looking for some feedback, follow the link for the full text, so you don’t need to read it piecemeal on the blog. Comments here, or on the page itself would be much appreciated!