Showing posts with label tips. Show all posts
Showing posts with label tips. Show all posts

Friday, October 18, 2013

Digital Publishing, Quality Control.

Like that sullen Alex look.










Quality control is important in digital publishing because very often one person is doing everything themselves. If you haven’t done it too many times, it can be a murky process. More than anything, I want to be fresh and with a rational time slot available. I can upload to Smashwords or Kindle in about ten minutes, but if there is a problem, you don’t want to be running out the door to get a box of diapers or whatever right in the middle of fixing a problem with a book

When uploading to Smashwords, you need a clean .doc file as per the Smashwords Style Guide. As soon as it’s done converting, I download Epub and Kindle versions onto my desktop where I have the desktop Nook and Kindle reading apps. What I am looking for is good formatting. I want to see clean scene breaks, with the blocks of text above and below set at the right distance apart. Generally speaking, if the Kindle version looks good my Epub usually will too, but I flip through both of them right to the end. Then I go back to Smashwords and assign an ISBN, submit the converted file and have some fair degree of assurance that it will make it into the Premium Distribution Calalogue.

You want to read the chapter numbers on that Kindle version—recently I read : Chapter Four, Chapter Four, Chapter Five, Chapter Six…Chapter Seventeen, Chapter Nineteen…this is the time to fix it, right?

You want the right number of chapters!
What you are hoping for is a clean upload. Sooner or later the book will pop out onto the home page as a new release, and this puts a little pressure on the new author to do it right.

Before uploading to Kindle Direct Publishing, I take out the Smashwords standard disclaimer, as I have my own anyway, and Kindle certainly doesn’t require the Smashwords disclaimer!

On Kindle Direct Publishing, there is now spell-check for English-language titles. I always read this report. If you have a lot of made-up words, alien names or planets or whatever, those will always be ‘errors’ to the computer program, so make sure you proofread those for spelling thoroughly.

Fix all the ‘real’ errors and upload a corrected file. Use the digital previewer, and go right through to the end, as this is exactly how your book is going to look in a Kindle device. This is useful in helping an author to sleep at night—one or two reviews have mentioned “well-edited,” and good formatting, et cetera. (They also liked the story.)

I never use Digital Rights Management, as on Smashwords there is no provision for it anyway. If someone wants to pirate the book, they can do it easily enough. Since I give away thousands of books in a year, there’s not much demand for pirated books. I click ‘enable lending,’ and MatchBook since I have PODs.

There was a site once that had a free download of a title that I had been giving away for free. It was an old version, with an old and not very good cover. You can try and find a contact form, or an email address on the site. Generally speaking, they do take it down. If it’s just a ‘cheap ebooks’ site, and if all that is there is an image and buy link going back to Amazon or something don’t worry about it. Hope that they sell a few copies for you, as most likely they have an affiliate account and they’re making a small commission. It is not necessary to thank them.

Be glad someone thought they could make money on the book.

Uploading to Createspace is easy enough. For that I use the ebook file, format it, then save it as TitlePOD or whatever, and if I update a version I’ll put Oct13 or something on the end of the file name.

I wrote a blog post on version control, because after a while you just spawn so many files. In my case I tend to back them up like a squirrel, all over the place. I’m sort of worried the computer will crash, and every so often there is an odd-ball glitch that just locks up a file on me.

Another thing is to e-mail those files to yourself at the end of every working day. For that you need maybe two accounts.

My chapter number is six 12-pt spaces down.
A paperback is obviously formatted differently than an ebook. You can and should have page numbers for example. But also, I put section breaks in for the front matter and end matter, so the page numbers are only in the actual book. If you have a foreword, stuff like a dedication, acknowledgements, that’s front matter too—no page numbers, no headers, etc.

The free cover templates on Createspace are easy to use with a little fiddling around, and like many other self-publishing sites there are professional cover and formatting services available.

Learning to do everything myself keeps the cost down and gives me a bit of power in a sense—now I can write how-to articles and post them on my blog, and it might be helpful to someone else along the line.

Before uploading my next two ebooks and five more POD files, I will proof each file at least one more time, take a look at the covers again, get a marketing image (and maybe a better title for Collection # 4 Dark Satires) and ISBNs, write blurbs for new titles, and stuff all that into a folder on the desktop. For one thing, 

I’ve been thinking of a new image for Core Values. It’s not ready to upload until I have a cover.

The books will be uploaded in order of priority:

Third World > my new science fiction novel > ebook > Smashwrods > Kindle > POD

Collection # 4 > ebook SW > K > POD

Engines of Creation > POD after ebook published around Dec 1. The ebook is already on the platform, it’s just been unpublished after uploading. (That one had a small error which I think has been fixed as well.) 

But the Kindle version is not fixed. That’s why I make lists in the first place.)

Ghost Planet > upload POD file and cover to Createspace as the ebook is already published.

Core Values > POD this book has been out for three years so it’s high time I made the POD, however it’s not my highest priority in uploading. During the POD file creation process, I noticed one error, so after this is done I will go back, fix the .doc file, upload to SW and then upload an .html file, a corrected one, to Kindle.

During the POD process I might have to go back and forth between Createspace and my desktop via tabs to fiddle with marketing images; as often the name and title are off-center a wee bit, and sometimes it can’t be adjusted properly with the free templates that I use.

Once your POD goes live on Createspace, it will be automatically linked to your ebook on Amazon after about a week, but you have to check and if it doesn’t show up, contact them through the form on the site and tell them. On Smashwords you can also link to a print version from the ‘manage links’button on the right side of your book’s page.

Notes: on Kindle, as long as you haven’t completed the second of the two publishing pages, you can quit and the thing will be saved as a draft. You can trouble-shoot and go back later with no harm done. On SW, you can always unpublish and when you come back a few minutes later, uploading begins the conversion and submission process again. Simply do the coversion and proof them puppies one more time.

On Createspace and other platforms there are digital proofers, human review, and in many sites you can download PDFs to your computer and see how your book turned out.

Since it takes about a week for a POD to pop up on Amazon, presumably you could do PODs first and then upload your ebook. As an experiment, I loaded up to Amazon and used their spell-check as it saves me the time of scrolling through fifteen times. Then I fixed the .doc file and published it first on Smashwords. Over time, I have evolved a process, and yet if you haven’t done it in a while, or if you’re nodding off to sleep, it can definitely still be irritating. That’s why I like to have a bit of time—enough time and forsight and it’s just less stressful.

Ebooks and paperbacks of the same title must have different ISBNs, and if you even change the colour of paper, (I read this on Createspace) you will need a new ISBN.

With a Createspace assigned ISBN, (free) they are the publisher of record.

With a Smashwords-assigned ISBN, they are the publisher of record, with your own ISBN, you are the publisher of record.

POD tips: Use mirrored margins, and use the format header and footer feature to raise your header and lower your page numbers away from the text. There is a minimum gutter depending on the number of pages. A wider page margin at the top lowers the top of the text.

You can stop the process and go back to the document in order to fiddle with that. Upload it as many times as necessary to get it as good as you can get it.

As things stand right now, (Friday, October 18,) I have had to ‘nuke’ my new collection Dark Satires, but Third World went through just fine. The collection has stories that go back some years and have been through two or three computers and two or three crashes. So now I upload Dark Satires to Amazon, and this evening I’ll put them up on Createspace as PODs.

After that, I have another several PODs to do, but no more ebooks for a while.

Nuking a File.

To nuke a file, save it as a .txt document. Highlight the whole .txt document and then copy and paste that into a fresh, blank .doc file. Now re-format the thing from scratch, although the .txt saves scene breaks and indents. It will strip out bold, italics, bigger fonts for titles, stuff like that. Comb through the file carefully, and if it takes an hour to redo it, it’s better than releasing a badly-formatted product.

Here’s my new science-fiction novel Third World on Smashwords.

END



Tuesday, October 2, 2012

Tips for laundering money.

(Morguefile.)

The best way to launder money is very, very slowly. It can be likened to the old ‘hot water/cold water debate.’

You don’t want to find yourself in hot water, right?

Buying a bunch of shitty little things every day is better than buying one nice big thing and blowing your cover. It’s a question of quality of life, right? That’s all that really matters here.

What you need to do is to get it all into small bills. Using a hundred at a roadside lemonade stand will just draw attention to yourself and you don’t want to do that. Hundreds are what you pay the rent with, right? No one knows if you can actually afford the place, right?

So, once you got her all in fives, tens and twenties, you need to buy a lot of little stuff. No one thing is a big-ticket item. It’s not like you drove up in a brand-new Winnebago, right? Someone will ask how you got it, right? Like a neighbour or something. Or even your crazy brother-in-law. Whatever.

Sign up for a lot of magazines. Sign up for every news rag in town. In a similar vein, you can buy a lot of used books. Your town probably has a used bookstore or two. They might have thrift stores, like the Salvation Army, or the International Daughters of the Revolution Thrift Shoppe, or whatever. Right?

Buy everything at Ikea, I really can't stress that enough. You want to be a loner. It's a kind of high-security lifestyle, and not everyone is cut out for it. Bear that in mind.

Go in once a month and put some major cash on your credit card, that’s always good. Slide a couple of hundred-dollar bills in there. The bank don’t care where you got it.

Never go to the same liquor store twice. Think about it. You show up the same place every day, get a twenty-sixer or whatever size of the liquor of your choice. Sooner or later, they think they’re getting to know you. You’re an old and trusted friend, right? And then, they ask what you do for a living, and you ain’t got no job, right? So never go to the same liquor store twice in a row. It only makes sense. (Don’t tell them you’re a writer either, it’s the most suspicious claim you can make. Writers can’t afford to buy anything at all.)

Another thing you can do is to buy a shitty old car. A big old gas-guzzler will take care of a few of them hundreds every month. You can take it to every garage in town. There’s always something wrong with it, right? Them guys are such crooks, they’ll never suspect. They will laugh at you behind your back, but you know something they don’t, right? Just let it slide, my brother. They’re just jealous anyway, ‘cause you go out to bingo every night. Anyhow, it’s like the Purloined Letter, it’s hiding in plain sight. You don’t want to disturb the pattern of living in your immediate vicinity, right? (All them fuckin’ drones.)

What I like is them Royal Dalton figurines, and them Norman Rockwell plates, but there’s a hundred other things you can collect. Anything with Elvis, pigs, or frogs painted on it is good for that. Anything with Princess Di is good, even now. Trade or sell on Ebay. It’s a visible means of support. You can talk a lot about your ‘online business.’ Try to sign them up for water-filtration affiliate schemes. Trust me on that one. Bore the fuckers to death, it’s legal and everything. I wouldn’t steer you wrong. The real problem arises if you are actually any good at it, and begin to make money on your own. This happened to a friend of mine, quite by accident I assure you. He has the right to privacy, right?

I like having a lot of cold and sinus medicine in the cupboard. That’s always good. You could do comic books or baseball cards, whatever you can turn into cash real quick. Say it’s an investment, people will understand that.

Oh, another good one, buy all of your clothes at Wal-Mart. Have a lot of shoes, and I don’t know, maybe a chair that you can ride around in. You can be like Seinfeld, and have every brand and flavour of cereal in your cupboard.

Just remember, everything you bought was on sale. That’s your story. All you have to do is stick to it.

Then plastic cards are good. Same as cash, right? Leave a couple of bucks on them and then just throw them away on the sidewalk in front of the candy store. Little kids live for found money. They’ll pick it up, try and see if there’s any money left on it, and then your ass is covered. Right? ‘Chain of custody,’ bro. Look it up online somewhere. It works two ways, brother. It works two ways.

Vending machines are another good one. If you follow my advice, you’ll end up with a lot of loose change anyways, and that’s good because there are no serial numbers. How are they going to prove it? Just tell ‘em you looked under the cushions of your couch, and you should be okay on that one as long as you’re not going overboard with the egg salad sandwiches and the candy bars and stuff. You can never have enough cans of Coke in the fridge, right? Follow my advice, and you’ll never have to cook again.

If anyone gives you a rough time, break down and tell them you’ve had a problem with hoarding for years, hug them a lot and then ask if they wouldn’t mind coming over and helping you with a garage sale some weekend.

If that don’t put them off, I don’t know what will.

Take lots of empties back to the beer store. That accounts for a major part of your income, what can you say? You were hurtin’. Right?

The only other thing I can think of is e-books. You can have hundreds of them, some of them are quite expensive, and you can always say you pirated them off the internet.

Think about it: you can always plead guilty to the lesser charge, right, but your main concern right now is the IRS, right? And them guys are inexorable. They never quit. They’ll fuckin’ follow you to your grave, bro. You have to admit I’m a fuckin’ genius. Go ahead: say it.

“Louis is a fuckin’ genius.”

That wasn’t so hard now, was it? Right.

Whereas if it’s just some criminal thing, the judge gives you a slap on the wrist, you get your name in the paper, and off you go, no one the wiser. Lawyers accept cash, trust me on that one.

“Hey everybody, look at me! I’m an online shoplifter. Now fuck off.”

It don’t mean nothing. Anyways, that’s just a few ideas, I thought I’d throw them out there 'cause I just like helping people.

You know how it is. We got the love, bro.

Sunday, September 9, 2012

Become a better writer. Learn how to edit.





Presently I’m editing two books at a time. This involves my new mystery, ‘The Art of Murder,’ which is the second in a series, and ‘Horse Catcher,’ a science fiction novel originally written in the spring of 2008.

It’s good to be able to go back and forth between two different projects. I just finished the mystery, and I can only look at it so many times before the page starts to swim in front of my eyes. After leaving it for two or three weeks, I opened it up and started work, and within the first thirty pages I made numerous minor changes to the text. Because I didn’t know it off by heart any more, I was forced to read it with fresh eyes rather than just skim through with my attention wandering.

When I published my first two e-books in 2010, I spent ten months editing them side by side. I started writing sometime before September 1983, when I went back to school at about age 25. For most of those years I just puttered around, but I submitted my first few books about a hundred and twenty-five times. A couple of vanity publishers were interested, and a couple of the books got some interest from a respectable Canadian publisher. I guess I just wasn’t ready for it.

I had plenty of insecurity about the work. By this time, I had surrounded myself with all kinds of writers on Facebook, some of them pretty famous, and I suppose some diffidence is understandable.

The fact is, the books needed a lot of work. Now I can edit a book in about a month, but at some point the attention begins to wander, and so I go off and do other things. In terms of man-hours, at least a hundred or a hundred and fifty hours of editing go into one of my books. It doesn’t all have to be in the same month.

There are times when I read an opinion, and the person is talking about all the ‘unedited’ independently-published works out there, and while most of the time I can take it in proper spirit, there are times when it really does bug me.

If you want a well-edited book, you either pay someone else to do it, or you do it yourself. If you can’t afford to pay, or if you simply don’t have the skill or the aptitude, then you really are up a creek. Your only choice then is to either learn how or live with the results. Incidentally, paying money for professional editing is no guarantee of big sales. You can write badly, pay a ton of cash for editing, do the work, and someone will read your books and tell you that you’re ‘a great writer.’ Maybe that’s true. It’s also true that you might succeed. It might go ballistic.

In my case, I wanted to learn anyway. I don’t hang up a shingle as an editor, because I really don’t have a long list of qualifications or publishing credits to establish my credentials. There are plenty of editors out there. It’s very competitive, and I would still have to charge $35.00 an hour. $70.00 an hour would be better, and the fact is I don’t want to do it anyway. Think of what I would be letting myself in for. I would edit someone’s book, and then maybe they get a few bad reviews, and I’m not interested in all the angst that might go along with all of that.

We learn by listening. We learn by reading, and we learn by doing. We learn by any number of means. However, I am far better off to be able to edit my own work, even though I really don’t claim to be an editor.

What happens, is that I am becoming a better writer—a much better writer. That’s all I really want out of the editing skills.

It is a way to become a better writer.

And if you want to learn how to write, then by all means, write. If you want to learn how to edit, you either go to school, get a job as a junior editor, or edit your own stuff. If you want to learn how to write well, set very high standards for yourself.

If you want to learn how to edit, grab a manuscript, any manuscript, and start editing. The first thing that you will find is that you don’t automatically know the answer to every question that an observant person can come up with. And so you look it up, ask a question, Google a few key words and phrases. Then you go back and look at that danged book again.

You submit a few short stories around, enter a few contests, and take every bit of criticism and rejection as a positive thing. It can really hurt sometimes. It is the path to learning.

Anything can be criticized. And anything can be improved. While some may quibble that I could have done a little more of this, and taken out some of that, I am pleased with the results in terms of subsequent writings. My ninth novel was better-written than my first two, right out of the box, and this was before I ever started ‘editing.’

Will everybody love ‘The Art of Murder?’ Probably not, and I can still think of one or two valid criticisms myself. It’s fairly short at around 62,000 words, and any book could be made longer and more complex. By the standards of the genre, it holds up well enough when compared to famous and long-dead writers of genre fiction.

There will be valid criticisms of ‘Horse Catcher.’ It goes with the territory.

When I write a book, it is a unique artistic achievement. No one else could have written that book.

There are no acknowledgements in the front of my books.

Here is an example of 'Dense Prose.'

http://shalakopublishing.blogspot.ca/2012/02/have-you-ever-heard-someone-absolutely.html

Here is a before and after edit of one scene from 'Horse Catcher.' < (Note: Louis re-read this later and added the final apostrophe. -ed.)

http://shalakopublishing.blogspot.ca/2012/09/excerpt-horse-catcher.html

Comments are always welcome. I don't have a donate button on this site. The best thing anyone could do to help an independent author is to buy one of their books.

Incidentally, if you need help with editing, or have a question, the best people to ask are the ones making all the blanket statements and disparaging reviews on Amazon and other sites. They know what they're talking about, assuming you can penetrate their identity or locate them or whatever. I'm sure they'd be glad to help.



Wednesday, May 23, 2012

Simple E-Book Formatting Tips.

Photos by Louis.






Formatting an e-book is relatively simple. It just takes a little time. It consists of a number of repetitive operations, for example checking every scene break and chapter heading for centering. They do not need an indent, and should not have an indent.

All lines should be set at a trailing space of 0. I can’t really tell you what style to use or exactly how you should format your e-book. What I can say is that some try to format it exactly as a print book would look, and that includes title pages, blank pages, and section breaks to keep page numbers out of the front and end matter. It includes page breaks between chapters. There is no white space in an e-book by conventional standards. It’s not meant for human hands, only an electronic operating system.

In the Smashwords style guide, it says, ‘Do not put more than four lines between sections of text.’ I use three for a margin of safety. There are no section breaks, there are no page breaks, there is no page mirroring, there are no page numbers, and therefore no page number mirroring from left to right. It is designed for either scrolling, like on a blog, or page flipping electronically.

It has no gutter, which keeps the text from being buried in the spine, or the glue, or being unreadable because the book is a physical object and it’s buried down in a tight corner.

None of that applies.

Now, in paragraph styles, I set the indentation at 0 left and 0 right. I set line spacing before and after at 0. I use a 0.25” indent, on Word the default is 0.5”. I have used 0.3 in a book or two, but you can do it any way you want as long as it is consistent throughout the book. In that dialog box is the option for block paragraphs, indents, line spacing etc.

On the bottom right side of Word's toolbar there is something called styles, and if you click the tiny little black button, up pops styles. You want to use the minimum number of styles, as Smashwords’ meatgrinder will reject you otherwise. Other systems are different, but Smashwords is important because they have so many distribution channels, all going to online bookstores. They use different operating systems, including Sony Reader, Epub, Kindle, etc. That’s why the system is so picky. It has to operate across a greater number of systems, and since Smashwords is doing the conversion for you, you have to go through the meatgrinder autovetter process. After that there is a human review.

If you just want to produce pdf’s on Smashwords, no problem. A pdf can be formatted to look just like any paper and ink book. I made pdf’s at first myself, using Free Pdf Convert. You never have to go near Smashwords, Amazon or any major bookseller if you just want to send it to a buddy by e-mail. But if our goal is to make it into Premium Distribution then it has to meet criteria set by the service providers.

Many operating systems can read pdfs, and pdf’s can be converted into other file types.

So, when I hit control + a, the entire text from front to back is highlighted. What I want is to click on ‘styles’ and see it reads ‘normal’ throughout the book. You can’t use too many styles. If it is blank, or if something else is showing, the meatgrinder will probably reject it. If not, a human vetter will reject it. I’ve been caught out once, and in fact I had never used the ‘styles’ feature on Word. I was totally mystified by the notice in my inbox, until I followed a Smashwords employee’s instructions to click on styles. Honestly, I e-mailed them back and asked what they were talking about. She sent me pictures, although these are my own on this blog. Then I had to go back through my entire book and format every single thing in there until every paragraph read normal in the styles dialog box. That book is now in Premium Distribution.

My computer is finicky. It’s been acting up lately. I had to re-do chapter eight about five times, and now it’s okay. When I highlight the chapter, it shows ‘normal’ in the styles dialog box and that is the way it should be.

Print on Demand Proofs.

When I produce a print on demand paperback novel, just like in the Beatles song, ‘Paperback Writer,’ the thing has to be proofed. I order a copy of the book at a reduced cost, as I don’t get royalties, and Createspace lets it go at $4.88 plus shipping and handling.

They have a digital proofer. If your book has been published before and you are absolutely convinced it is a clean file, that might be one thing. I was looking through a proof copy and I found any number of things that needed to be fixed. The digital proofer is small. So far I have a list of about thirteen items which needed to be fixed, and there are still a few pages left to go in the book. It’s kind of a weird feeling to go to bed with a glass of milk, a bowl of cookies and start reading your own book, but clearly for a new file, still not finalized, eh, maybe it’s not such a bad idea.

This is what my E-Book front matter looks like:

Time-Storm on Althea
by Louis Bertrand Shalako
Copyright 2012 Shalako Publishing
Marketing Image Copyright 2012 Louis Bertrand Shalako
ISBN 978-0-9879723-5-4
This Smashwords Edition is published by Shalako Publishing

This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author.

The following is a work of fiction. Any resemblance to any person living or deceased; or to any places or events, is purely coincidental. Names, places, settings, characters and incidents are the product of the author’s imagination.

Here is an excerpt from the book I am doing now, 'Time-Storm on Althea.' This version may change before publication, and the title isn't final until it is final. The excerpt is formatted in blog style, in the photos above, the reader can see how the actual book might look. E-Books have 'flowing text' in order to be readable on the gretaest number of screen sizes as well as different operating systems. Note the minimal number of lines between bits--not a lot of white space, but then these would be readable on a telephone.

Chapter One

A bad day in the executive dining room…


Oil paintings of the Company fathers, each under its own intimate little light, frowned down in fastidious disdain at the ruckus Mickey was making. Unwavering, he held the gun pointed straight at Freddie’s heart.

Seated at the long table in the senior management dining room, Melissa and Tom Deloussian were on his right, while Freddie Smith sat across from him.

The newcomers, the strangers, sat at the head and foot of the polished ebony-like slab of fake walnut.

Blond-haired, blue-eyed and slender, about thirty years old, the always slightly-disheveled Melissa was deferential, apologetic. She didn’t understand the problem. Mellissa was a soft-spoken and non-confrontational person.

In the background, dark oaken panels and warmly gleaming brass fixtures contributed to the stark contrast between their immediate environment and Mickey’s erratic behavior.

Barely knowing Melissa and Tom, Mick couldn’t help but be aware of her scent. Even though they seemed happily married her tousled mop kept troubling the fringes of his highly-alert state. He was very young, just twenty-three three years old. There weren’t that many women on the planet at the best of times. He couldn’t escape the logic of her scent, and his own glands. As chief of the maintenance department, he was outside the loop, both as regards to management and the contract employees, which made him a very lonely young man around here.

“We just want to understand. Mickey is upset about something, after all, and no one thinks, well, no one thinks you’re crazy, Mick.” Melissa gave Mick’s arm a friendly and non-judgmental squeeze.

Very reassuring, but he knew what he knew and saw what he saw, as the saying went.

“Just do it.” An angry Mickey watched the lady on the left side, and then glared at the man at the other end of the table.

The two newcomers exchanged a long look. Silent communication passed between them, but as yet no decision had been made. Tom, Melissa’s hulky, hundred-ten kilogram hubby, built like a barrel and not much smarter, or so all the contract employees said, made as if to speak, which as often as not began with a thorough throat-clearing.

Tom wasn’t a bad guy, just cautious, and always the doubts. Thomas was a doubter.

Tom was an engineer, with all of their virtues and all of their faults, right down to a ‘T.’ Always needing to consult, always seeking clarification, or even just approval, from some higher authority. They didn’t have time for all that right now. They weren’t going to get it.

The pistol pointed unwaveringly at the casually slouching Fred, whose boyish, open face, puppy-dog blue eyes—dogs rarely had blue eyes in Mick’s estimation, but there you have it—just stayed on his own. There was no sign of fear in them and as far as he was concerned that was real bad. But how do you explain, when everyone thinks you’re nuts? When no one ever listens? Fred was about thirty-two years old. He had straight blonde hair, with one lock always hanging down over his forehead. Mickey just wasn’t buying the youthful innocence act any longer. He felt betrayed in some irrational fashion, yet it wasn’t poor Fred’s fault. He was about the closest thing Mickey had to a friend around here.

Poor Fred. Poor fucking Freddie. Jesus forgive me.

Months ago, someone had accused the tall, dark, and quiet Mickey of something he didn’t do. Give a dog a bad name, it will stick. Someone had taken real trouble to set him up, to make him out to be a bad one, and it was coming back to haunt them now. He could see that as plain as day.

“Just do it, Fred.” His glittering hazel eyes bored into Freddie’s.

“It will all become clear soon enough.” Freddie lifted his hands calmly off the table, turning them up so they could see the palms, as if that would make everything go away.

“I know you can do it, Fred.” Mickey’s voice echoed off the walls.

Again that silent, speculative look passed down the table, but Fred’s eyes just flicked to Melissa and Tom. The pistol was a curious device, a survival gun, and probably very good at any one job. It was too short for long-range accuracy, too small for big game, and it only held one little .410 cartridge in each of its double barrels. Freddie could try to bluster and dominate Melissa and Tom all he wanted, but Mickey was the one with the gun. It was a cross between an old ball-butted dueling pistol and a sawed-off shotgun, and deadly enough at close range. The only concern he had right now was not enough bullets for the job in hand. It was a big derringer, nothing more.

“I’ll do you, Fred.” Mick used the left hand to gently release one of the triggers so only one cartridge would fire.

Solid slugs nestled snugly inside in little brass and plastic tubes. He knew absolutely for certain it would fire when he pulled the trigger. The right-hand barrel was still cocked. They just didn’t think he would do it. He had no doubts of his own.

“I have exactly two shots. Who wants to be next?” He asked the stranger-lady, with a lift of his left eyebrow. “I can save it for you, or your goofy buddy. Which would you prefer?”

The eyebrow-twitch was one of his little idiosyncrasies.

“Oh, hell, why not?” The man had been silent until now.

His deep, rich, brown voice should have been trained for the opera. A quick glance confirmed that his eyes were twinkling in humorous bonhomie.

“They got to you, didn’t they, Fred?” Mick murmured in sadness.

Fred wasn’t his best friend. But he was the only friend Mickey had on this stinking, rinky-dink little planet Althea, where for some reason piezo-temporal crystals oozed out of pores in the rocks and washed down into the lowlands, where it re-crystallized, making it easy to scoop the stuff up and bulldoze it into the hoppers. It was a real bad time, as far as he was concerned, with all the work crews gone and their replacements not due in for another few moon-cycles. It was a time for routine maintenance, and repetitious report-writing.

It was also a time for punishment. Under normal circumstances he would have gone with them, but he had been convicted of theft, and so the management tribunal assigned him an administrative punishment. They’d accused him of stealing an entire crate of stuff meant for the crews, snacks and candy for the on-base store, where the Company could take back from them some of the hard-earned money they had risked their lives for on this Godforsaken rock.

A time to sit and wait for a psychiatric assessment, and if he failed, well, he wouldn’t get paid. It was all nice and legal according to the contract. Worse, with no money to pay the fare home, he would be indentured to the Company for seven years.

He would be paying room and board, charged through the nose for everything, and trying to save the pennies left over so he could make the ticket price and go home. Mickey was technically a mechanical engineer, and so he would be paying executive rates. The Contract was rock-solid and airtight. Otherwise he would be indentured for another seven years. Nice set-up indeed. Set aside the old contract, and write a new one for you. No recourse to the law, no appeals, no lawyers, no advocates, no time to prepare a defense or call any witnesses. He had a funny feeling he was going to fail that test, no matter what he said or did. Who did they even have onsite to administer it?

“I saw what they did, Fred.” Everyone waited to see what he would do next. “I came in here looking for the doctor, remember? And that little bone-headed, piss-ant McNulty was standing there by the cabinet, trying not to laugh his damn-fool head off…I knew it then, Fred. He slammed the door just a little too hard when he saw me come in.”

McNulty wanted him to know. For some reason the cowards are always cruel, in Mick’s experience.

“Very intuitive, Mickey.” Freddie gave a little shake of the head and shoulders as he indulged himself.

Fred’s mouth gaped in a grin, as if he were about to laugh out loud, to laugh at the futility of it all, the sheer nonsensical ribaldry of life in a galaxy where everyone thought they knew everything all the time. Freddie had told him his sad story, over one of a thousand drinks together.

“They set you up.” The admission came easily. “They pick the most biggest new guy, and you are unusually tall. Johnson is heavier, but he’s such a screw-up, they figured he might be useless. Or if you prefer, he never asked any questions…you ask a lot of questions. And you’re a pretty good mechanic.”

“You asked one too many questions.” Again it was the tall handsome stranger. “It’s a good way to keep discipline.”

Three of them and only two bullets…Mick’s thoughts raced.

“I will kill you, Fred.” He raised the gun and pointed it, right hand and forearm rock steady. “Is that why they did it, because I ask too many questions?”

Freddie gave no answer, but then Mickey really didn’t expect one.

“I’m running out of patience with you people.” Freddie’s newfound friends didn’t seem too impressed.

Melissa’s breath hissed out of her in disbelief. Tom stared at him.

“You promised we were going to ask questions, just a few, ah, questions, and listen to what they had to say.” Tom’s reminder left Mickey unmoved.

The gun was staring straight into Fred’s eyes. Those eyes were widening in shock, yet there was a calmness in them as well, no outrage, and no surprise. He wasn’t quite scared enough for Mickey’s liking.

“All right then.” The lady on his left was not an exact copy, but her blonde head, with the shock of thick locks a near-enough copy of Melissa’s to fool someone, but who?

The foreman of the next crew? She nodded in Fred’s direction, and his foolhardy grin got even bigger. The bastard was enjoying this. Mickey’s guts sank, and it felt real hollow inside right about now, as if everything he had ever eaten in his life was going to fall out his asshole with nothing to stop it.

Freddie’s eyes got about four times the size of normal human eyes, big, slanted, almond-shaped orbs of glittering-sparkling blue, surrounding one-inch pupils that were black as coals. Those horrible eyes scintillated, yet that frightening grin just kept on grinning.

You could have heard a pin drop, or a mosquito fart right about then, even though Melissa’s left hand was digging into his right forearm. Her long, sharp, pale pink nails cut into him through the thin, one-piece Company-issued insul-suit. Many people habitually wore them when off duty and inside the weather-dome.

She was so intent, she didn’t try to pull on his gun arm, or it would have really been a problem. He shrugged her off and she didn’t resist. Her mouth opened, and he could hear the barely audible gasp, the quick little intake of breath she made as Fred’s head and especially his face and neck began to stretch, and bulge, and God, now the other two began to do it, all three of them. Mickey’s head was going back and forth like a cobra trying to take them all in at once, and Tom was half out of his chair, frozen in time like a statue of something or other. His chair fell over, and hit the brown neo-wool of the dining room carpet with a soft, dull, thud-thud-thud as it skittered away and came to rest three or four feet back of him.

“I told you, but you just didn’t believe me.” Mickey had some kind of irrational anger at his companions.

Melissa and Tom were nice enough people, but no one ever listened to Mick. That was one reason why he left home, and signed up with the Company. At a later date it occurred to Mickey that the Company had probably seen him coming, a nice, idealistic and lonely young man with no place to go except somewhere else. That thought helped his decision-making process in some way. He had nothing to lose, and perhaps everything to gain.

Mickey pulled the trigger right. Everything happened so fast after that, but he must have shot Fred right about then, and then they were all backing up from the table as Fred stared dumbfounded at the new hole in his chest. The two strangers began shouting at once. Fred looked up at him in sad, sick disbelief, and his grin began to fade into nothingness. He stared deep into Mickey’s eyes.

Freddie had the strangest look of curiosity on his face. It’s something Mickey would never forget. He had a look of awe on his face. He still couldn’t believe it, just couldn’t believe it. Terribly, his head had returned to normal and Mick wondered just what exactly what there was left to believe in.

Mick was having a hard time believing it himself.

“Stay where you are.” He pushed in front of Melissa and Tom, swinging the gun from side to side to try to cover them both.

He cocked the other trigger. It seemed like somebody else was doing it, but he saw it for sure—he took the time to double-check.

“I’ll get one of you for sure, you stinking bastards.” Mickey sure sounded mean right then. If the gun had been better, a repeater with some kind of magazine, he would have killed them both right then and there with no questions asked.

Their heads were really flickering now, as if they were about to change shape. He pulled open one of the cupboard doors. He pointed the gun at the woman stranger, moving to the left so it was easier to watch them both. Those two weren’t smiling anymore, but discretion being the better part of valor, they kept their mouths shut.

“Grab as much as you can.” He ordered Tom, as Melissa hovered by the door in shock and confusion.

A quick glance showed she needed direction. Her hands fluttered around on the ends of her arms, as she gasped and gulped like a fresh-landed fish. She was transfixed, an adrenalin rush stalled at the takeoff.

“Grab a bag, a box, a frigging pillowcase. Grab the tablecloth.” She scrambled to comply.

The crazy man had a gun, after all.

It took but a moment, as Fred suddenly slumped down in his chair, and then went over sideways, hitting the floor like a jute sack full of beans or something small and loose.

Poor Fred was out of sight, for the most part, just barely visible on the far side, under the table, surrounded by high-backed chairs pushed out of the way by his fall.

Mick reached in with his left hand, and grabbed packets of M & M’s and Smarties, and shoved them in the pockets of the utility coveralls, awkwardly trying to fill the right-hand pockets with his left hand, and at the same time cover the freaking aliens or whatever they were.

“I’ll kill your lady friend deader than dead.” He faced the quasi-male alien, who was rising from his seat, his features out of control, his head now twice the size of a human being’s.

An inarticulate growl came out of his distended throat and vicious, gaping red maw of a mouth. It was all Greek to Mickey.

Mickey jammed in a couple of chocolate bars, and then the kicker, a huge Toblerone, a triangular bar of chocolate in a stiff yellowy-buff cardboard tube. It was some kind of huge Christmas-gift type of confection. The damned thing must have weighed in at two kilos, and he one-handedly smashed it against a countertop, and broke it in three and jammed it into his left side pocket.

“Don’t try to follow us.” There was a sudden rush of silence as the male alien subsided back into his chair in the awful realization that they had blown their cover.

They really didn’t have to do that. They could have waited it out…maybe? His mind was going full blast, and there wasn’t time to think it through. Everything was happening so quickly, and so very, very slowly…Mick’s mind was crystallized from adrenalin.

“Let’s go.” He gave one more wave of the gun at the two aliens, and they pelted down the two flights of stairs of the Administration building then out across the parking lot.

The heat of mid-autumn hit like the mouth of a blast-furnace, oblique rays of the late afternoon star-shine stinging their cheeks with its radiation. The last thing he recalled from that flight, was McElroy, sitting stiff as a doorknob at the desk in the control room, sightless eyes gazing at the dials and displays on the console in front of him. What they did to him, Mick had no idea. But he was dead for sure, from what he could see in a quick glimpse through the window. Tom was running along close beside Melissa, as she struggled along with the bundle in the tablecloth, with his hand in the small of her back.

Mickey brought up the rear, ears agape and eyes agog for any hint of pursuit, fearfully wondering what they would find in the dormitory habitat. They slammed open the door of the building and pelted up the stairs, the rest of the place eerily quiet as their thumping footsteps clamored up and down the stairwell. Running purely on instinct, predictably enough they found themselves in the married quarters. Tom and Melissa lived on the second floor.

With a different kind of shock, he saw they had a kitchenette, but Mick lived in the bachelor’s quarters. He had never really thought about it.

“We can’t stay very long.” Mick was firm.

The two of them stood there in stark, naked, unadulterated fear. Their shock and confusion and the run made the breath ragged in their throats, as they stared wild-eyed at Mickey.

“Pots and pans, knives and forks, stuff like that.” Melissa nodded at the command.

Tom would be useless for this kind of thing. He’d have to make a list or something.

There were beads of sweat on Tom’s forehead, and he was breathing pretty hard. Melissa just kind of stood there, rocking left and right on the balls of her feet. Tom’s dark, straight hair was plastered down his forehead. He huffed and puffed, and stared at Mickey with wild eyes.

Big balls of sweat were running down Mickey’s ribcage under the arms.

“Five minutes. You’ve got five minutes.” Melissa’s eyes were wide with horror, and awe-stricken with new knowledge.

She got it quick, but Tom began to bluster. His numbed brain was beginning to ask a few questions.

“What—what? Why do we have to go anywhere?” Tom wasn’t so dumb, he just didn’t get it.

“I really don’t have time to build a consensus. You stand by this window and watch that fucking door, okay?” Mickey was angry with the whole damned galaxy right then, but he had to get control of these two right quickly.

He ripped open the curtains and pointed at the door they had just come out of, seventy-five metres across the way.

“There must be more than them two. I don’t know if you noticed, but the fire curtains on the control room door were open. They were closed before, when we went up!”

Tom shook his head.

“McElroy’s dead.” Mickey gave them the news, as they needed to know and it was as good a time as any.

“What, what?” Tom babbled as Mick pushed him forward.

Thank God, Mickey could hear Melissa behind them, pulling stuff out of the cupboards like a whirlwind.

“Grab all the food you can carry.” She was at least useful. “Make up five or six bags. Don’t grab a frozen turkey, okay?”

She was still shaky and confused.

“Dry, packaged foods, as much as you got.” Giving her a little push, he kept going.

“I’m going to search a couple of the rooms, see if I can come up with some more ammo.”

Mickey headed for the door.

“Bisson has a weapon. It might be in his bed table.” He nodded encouragement at this rapid re-framing of Tom’s head-space. “Thanks, Tom.”

He bolted from the room and up the stairs to the penthouse suites. As for swiping a vehicle, he had all that figured out ahead of time. He knew what he knew, and had seen what he’d seen. The blue four-wheel-drive pickup, with a crew cab, the one usually taken by Site Manager Guy Bisson on his daily inspection tours, was right outside with the keys in it and three-quarters of a tank of gas. Mick had stolen the gun from under the seat earlier that day.

End


This is a rough idea of what the markting image might look like.

http://www.amazon.com/Louis-Bertrand-Shalako/e/B005GHIF86 




Saturday, March 24, 2012

Tips for Writing Novels.

The big first step.

The big first step is to finish a basic manuscript. The most important thing in writing a first draft is to get to the end of the plot. What this entails is simply chasing the idea until it gets to its most logical conclusion, and then some kind of resolution. In a previous post I sort of referred to this as 'the wedding,' which is a basic problem in time, speed, distance, and a large number of characters, all of whom have different requirements of their own and are capable of acting independently on their own initiative.

Sight, smell, taste, touch, sound.

The second most important thing is to layer in details of sight, smell, taste, touch, and sound. Heat and warmth are important, in fact my novel 'The Shape-Shifters' was written in winter time, and it has all kinds of winter scenes, both indoors and out. How important is it for a character to stop and put on a coat before leaving the house? That depends on the weather in your book.

Who, what, when, why, where, how?

Everything in the book has to be accounted for in some fashion, or the logic will not hold together, and the reader will just shake their head and walk away, even taking into account, 'the willing suspension of disbelief,' which is integral to the fiction experience, in a book, on film, or any other show.

Any environment has extraneous details that don't necessarily help to develop the plot, the conflict or the characterization. What they might help with is world-building. Our environment has a lot of detail which is almost beneath our consciousness, unless we choose to notice the blue of the sky and the green of the grass, and the brilliant yellow of forsythia or daffodils in spring. Take another look at the world your story happens in. The reader hasn't seen into your brain, into your vision, and so you have to pencil in enough detail so they get the idea.

This works differently in different genres. A historical, multi-generational sweeping saga can go to 300,000 words, and so there is more room.

What kind of room is a given scene happening in? What is the light like in there? What kind of furnishings does it have?

Do some of your characters stand around in a scene while two characters have a long and involved discussion? Give them something to do, even if it's just raise their eyebrows, fart, or interrupt the conversation.

Every so often, I am re-reading something and I wonder if I have reversed or inverted the character names, in other words, used the exact opposite name attached to a sentence of dialogue. There are times to take confusing things out of the book, or anything you have said twice, or repeated in any way.

Fact Checking.

Fact checking is important. I've checked the spelling on words I thought I knew, and while sometimes the computer spell-checker doesn't actually know how to spell a word, never assume this to be the case--I thought the machine couldn't spell 'embarassment,' but it turned out to have two 'r's,' and by persistently chasing the spelling of that word, I saved myself some 'embarrassment.'

And that's a good thing. If I say an 1896 Mauser takes 7.63 ball ammunition, (a technical term familiar to gunnies,) then I have checked that fact. While many will assume a typo or that I am mistaken; and that in fact it takes 7.65 mm ammunition, the facts are still on my side, and afficionados will appreciate accuracy of fact and statement.

Another case in point. In my new story, 'On the Nature of the Gods,' I use the word 'verklempt.' The first thing I did after putting it in the book was to Google it and checking the spelling and definition.

Let it sit.

The best thing you can do sometimes is to let it sit. Think of any objections that a reader or critic might have, and try to answer them or even just explain things in your head. There's no doubt the writer must know more about the world he or she has built than the reader. Not all of that gets in the story. But you should be able to account for the things in the story in some way, or why did you put it in? Again, there is a time to take things out, if they don't advance the story in some way.

I often have the urge to add things in to a novel. While a couple of good lines might not hurt, at some point you should save them for another time...and put them in your next book or story.