Coming Q1 2019
(No, this is not the possible sequel to the American Praetorians series that I mentioned a year or so ago. That one probably isn’t happening; the AP series is words complete, and will likely stay that way. This is something new.)
Dave Reeder, from Breach-Bang-Clear (which I’ve written some articles for in the past), is a bit of a fan of the American Praetorians series. So much so, in fact, that he commissioned an American Praetorians Radical Firearms RF-15 for me.
Haven’t had a chance to shoot it yet, but it feels good, and it looks badass. Consider this your official Thank You, Dave. Continue reading “So, This Happened”
I’m reading Chris Fox’s book, Relaunch Your Novel: Breathe Life into Your Backlist. With The Unity Wars launched, and so far doing just about as well as Brannigan’s Blackhearts (rather than exponentially better, as I’d hoped), I’ve started thinking about the fact that my backlist isn’t quite earning as much as it should be.
I’ve already done a little bit along these lines, with the new cover for Kill Yuan. Reading Chris’ work, however, it could probably use some more tweaking, mainly in the blurb, keywords, and marketing aspect.
At this point, I think that a full relaunch of both series would be in order. Jed Horn hasn’t ever done as well as the Praetorian books, in no small part because I simply marketed it to my fans, such as there are, and they were looking for military action. It didn’t really make it in front of the more MHI/Repairman Jack sort of audience. So, in addition to new covers for the first two at least (and probably new type for all four), it would benefit from a full relaunch.
The Praetorian books get a little more complicated. Task Force Desperate was my first novel, and even going over it for the audiobook, I was seeing some of the rough spots. Even worse, it has become dated by my use of real organizations and a geopolitical situation that was current in 2011, but has faded into the past. It could do with a bit of a rewrite. Similar problems apply to Hunting in the Shadows and Alone and Unafraid, especially since Daesh is currently on the run. That problem wouldn’t be too hard to fix; simply rename ISIS in those novels to a fictional resurgent Sunni insurgency (which is inevitable, especially given the current Iranian domination of Baghdad). I was getting my feet under me by the next two, so they shouldn’t need much. The first two also definitely need new covers; Derrick was learning at the same time I was. All of them are definitely going to need new blurbs and keywords.
The trouble with this idea is the fact that it is going to take time, time which will have to be carved out of an already busy writing schedule. Not insurmountable, by any means, but it would take some extra scheduling.
What do you think, readers? Let me know your thoughts in the comments.
I know, I haven’t been posting here much. Need to get on that. Probably need to do some scheduling.
But I’ve been busy. Very. I’ve got another new series in the works, and it’s more than a little different from anything I’ve done before. I’ve played around with military action adventure, horror/fantasy, and heroic fantasy (though y’all haven’t seen that much of that yet). But this is going to be science fiction.
Now, the funny part is that I originally started tinkering with writing, back in high school, with science fiction. I still have notebooks (somewhere) of notes, starmaps, and starship diagrams from those days. I had an entire sweeping timeline of wars between alien empires and human-alien alliances. It was, to borrow a turn of phrase from Nick Cole and Jason Anspach, WingCommanderNotWingCommander with a leavening of StarWarsNotStarWars. In fact, Task Force Desperate started out as a mil-fic backstory leading into the “21st Century Chaos” that was part of the backstory of what that epic evolved into. (It isn’t anymore; the Praetorian Series became very much its own thing.)
What I’m working on now isn’t that particular epic. It’s much more “The Clone Wars meets The Horus Heresy with a leavening of Hammer’s Slammers and Lensmen.” It’s proving a bit more difficult than Brannigan’s Blackhearts; I’ve got to figure out more on the fly–there’s less that I can simply draw on from either quick research or personal experience. Still, it’s coming along, and the wider series is getting quite a bit of an arc (several arcs, actually). I’m pretty stoked about it, though it won’t be out for a few months (I’m planning on stacking the first several books before releasing the first, and I’ve got more Brannigan’s Blackhearts to write in between). There will be a website for the series, with background notes, some free fiction, and even concept drawings and suchlike. It’s not ready to go yet, but I’ll be spreading it around once it is.
The other thing about this series, since I’m genre-jumping, is that it won’t be released under my usual name. David J. West, with his “James Alderdice” pseudonym has had some success in getting to an audience that he wouldn’t have otherwise. Pen names are a long-standing tradition in pulp fiction (which, let’s face it, is what I write, regardless), and the way Amazon’s algorithm works, they are a useful tool. In the interests of that algorithm, I won’t say what the pen name is going to be just yet, but I will eventually.
Back to the word mines.
I got my start as a storyteller in the dark, around campfires, up at Camp Fife in Washington State, about eighteen years ago, now. In a real way, the Jed Horn series is simply a continuation of that old tradition.
There are two kinds of campfire story; the traditional ones that are passed down from fire to fire, for years, only changing in small details of the telling, flexible things that are simply the flavor the teller adds as he goes. The other kind are the ones I mostly told; the improvised scary stories.
My first was pretty simple. A wisp in the woods, a curious Scout, and a game of cat-and-mouse underground with a monster that could change shape at will. It wasn’t the best spook story ever told, but I had already learned a few things from it. Between that one and a couple of the later ones, I developed a few rules. Continue reading “Telling Spook Stories Around the Campfire”
In none of the stories I just mentioned, even stories where the image of Our Lord in His suffering nailed to a cross is what drives back vampires, is any mentioned made of the Christ. Is is always an Old Testament sort of God ruling Heaven, or no one at all is in charge.
So why in Heaven’s name is Heaven always so bland, unappealing, or evil in these spooky stories?
I can see the logic of the artistic decisions behind these choices, honestly, I can. If I were writing these series, I would have (had only I been gifted enough to do it) done the same and for the same reason.
It is the same question that George Orwell criticized in his review of THAT HIDEOUS STRENGTH by CS Lewis. In the Manchester Evening News, 16 August 1945, Orwell writes that the evil scientists in the NICE [the National Institute of Coordinated Experiments, who are the Black Hats of the yarn] are actually evil magicians of a modern, materialist bent, in communion with ‘evil spirits.’ Orwell comments:
Mr. Lewis appears to believe in the existence of such spirits, and of benevolent ones as well. He is entitled to his beliefs, but they weaken his story, not only because they offend the average reader’s sense of probability but because in effect they decide the issue in advance. [emphasis mine] When one is told that God and the Devil are in conflict one always knows which side is going to win. The whole drama of the struggle against evil lies in the fact that one does not have supernatural aid.
I myself happen to think Mr. Orwell’s criticism is utter rubbish.
Is Milton’s PARADISE LOST lacking in drama because one know which side is going to win? What about the story of the Passion of the Christ in any of its versions, including the child’s fairytale version as told in THE LION, THE WITCH, AND THE WARDROBE? Or what about any and every version of Dracula? While there may be modern versions where vampires are driven away by leather-clad vampiresses in shiny coats shooting explosive bullets while doing wire-fu backflips, in the older versions of the tale, it was the crucifix that drove off the evil spirits. Merely having God Almighty on your side does not remove the element of doubt nor the element of drama.
This is something that I’ve had to deal with with the Jed Horn series. Steve Tompkins said in his introduction to Kull: Exile of Atlantis, “a writer who avails himself of the name ‘Atlantis’ gives away his ending.” Similarly, the ending is already established by the mere presence of the Crucifix. THE sacrifice has been made, the war is already won. How can you tell a scary story with that backdrop?
The war is won, but battles may still be lost. And that is where the tension in the Jed Horn series ultimately lies, not only in the fear of being physically squished, tormented, or eaten by the monsters, but by the possibility that the characters might just fall, that this battle might be lost, regardless of the ultimate victory having already been won. The Battle of New Orleans was fought after the War of 1812 was officially over. Our own battles with the darkness are no different.
I tried to establish this in A Silver Cross and a Winchester, way back in 2013. The demons won’t succeed in bringing about the actual end of the world until God says otherwise. But they can still cause a great deal of harm in the meantime, which is why they must be opposed.
Go read the rest of John’s essay; as usual, he is rather more eloquent than I.
Jed Horn #4, Older and Fouler Things, is three weeks away. Go pre-order it.
ARCs. Advance Reader Copies/Advance Review Copies. How to work this?
According to what I’ve learned lately, in order to really put the Writer Master Plan into effect, I need more reviews in the first week. The way to do this seems to be ARC readers. The question at hand is, “How to handle the ARC readers?” Can’t just put the book up here. This is a business, after all. So, I’ve got three options, that I can think of.
Option A: A subscription service, like Nick Cole and Jason Anspach have put together on galacticoutlaws.com. For a small fee, subscribers get the content in intervals as it’s produced.
Option B: Put eARCs, PDF files of early copies of the book, up for sale right here (or on americanpraetorians.com, more precisely). They would cost more than the final release Kindle copy. This is something Baen has been doing for years now.
Option C: Set up a volunteer mailing list, limited to 25-30 people, who will get the early version of the story as I write it. The caveat being, to stay on the list means emailing a link to the Amazon review within a week of release.
So, good readers, what do you think?
I’d like to get this figured out soon, since production is about to go into full swing on Brannigan’s Bastards.