The Nameless Horror

Crawling Back

A year or so ago I delisted everything self-published I had on Amazon on the grounds that I didn’t like what they were doing to the publishing industry as a whole, the whole drive-price-down issue, etc. etc., in the interests of sticking primarily to the direct market on grounds of principle.

I still think all that, but with Submission Thing looking increasingly unlikely to find a home, I also have - to borrow a quote from Serenity - a powerful need to eat, and pragmatically I can’t afford to ignore the 95% of the market that Amazon represents if I’m going to be relying increasingly on self-published sales. (Assuming, that is, I manage to continue scraping a living as a writer in the first place.)

So stuff is up over there too, with just HBJC waiting in review still. If it shifts a little, we might, as the saying goes, be OK. (It’s also around on Kobo, and will eventually appear elsewhere via Smashwords when I summon up the enthusiasm to turn my perfectly good epub files into Word documents so they can be converted to epub files. I also need to update my own store versions with the new editions, and that too involves Work, but it’ll happen in the end.)

To Charity And Beyond!

There are nearly 50 writers contributing to this, all of whom are on Twitter and Facebook and InternationalPigFanciers.com and all the rest, so I imagine many of you will have seen a billion posts on this today - sorry - but all-proceeds-to-charity antho Off The Record 2: At The Movies is out today. According to Luca it clocks in at nearly 120,000 words so it’s a proper e-brick of a thing for a mere couple of quid, and features stories from a raft of awesome writers including but not limited to Steve Mosby, Will Carver, Claire McGowan, Matt Hilton, Helen Fitzgerald, Stav Sherez, Andrez Bergen and some chancer going under the name Sean Cregan. Every story, so the theme goes, has to be the title of a movie, and there’s some cool ones picked.

We got copies to proof-read a few days ago and the stuff I’ve read so far has been absolutely top notch. There’s some really strong work in there. And mine.

My contribution - which will obviously be THE BEST ONE - is The City Of Lost Children (I was tempted by Surf Nazis Must Die but went all serious instead). The opening paragraph is:

It is 11:05. Jenny stands at the junction near the little row of empty cafés. The big clock on the tower across Evergreen Park tells her it is 11:05, and since neither she nor most of the other kids in the City have a watch, she has come to rely on it. As she does at 11:05 every day, in this place without true days, she stands there and watches the ghosts, hoping with all her heart, as she does at 11:05 every day, that this time she will see her parents.

To read the rest, buy the book. Everything it makes after the distributor’s cut goes to two children’s literacy charities. And it’s good. Relentlessly grim, but good.

Yet, although the literary community – in the broadest sense – is part of this paradigm shift, it is odd, and slightly baffling, how little reference is made to it in poetry, drama or fiction. Jeanette Winterson published The Powerbook in 2000, exploiting emails as a genre. In India, Chetan Bhagat (One Night @ the Call Center) and Aravind Adiga (The White Tiger) have flirted with the socio-economic impact of the new technology on Indian life. Otherwise, I cannot think (perhaps readers can help out here) of a contemporary scene or character whose narrative or development owes much, if anything, to the new technology.

Apparently, Robert McCrum is reading very different books than I am.

And ignoring the here/gone dynamic in online services making mentions dated overnight (MySpace, anyone?).

And quoting Baroness Greenfield on computers, which is a bit like asking a frothing Puritan to give sensible, considered opinion about fornication.

It’s an accident that I’m alive. Every day since this was burned in my eye at age 13 has been, as they say where I come from, lagniappe:

Mrs. Reese’s First Period Reading class. Roll call. Settling noises. I’m drawing Aquaman’s new costume on the marble-textured inside flap of my green folder. I have drawn it four times, when a firecracker goes off behind me and my hair stands on end and my neck feels hot.

http://www.youtube.com/watch?v=gcR1B-48lK4

Book trailers are, as Chuck points out, mostly failures. This, the second one for his Miriam Black series (the first one at the link above is worth a chuckle-y watch too), is, IMO, very, very good. Completely the way to go. (His choice explained at the link above.)

Helps to have a friend with a gravelly voice, of course.