I have a plan

 

I'm working to "rescue" the Athena Fox series, not because I'm in love with it, but because that's six years of back catalog and having more books out there always benefits the writer. There's a lot of things to be done, which is why I wasn't able to attempt this before.

Identify market and approach with an outside advisor. I have one now and have some confidence this one will work out.

Revisions. I'm still collating notes from two beta readers and of course myself, so I can get The Early Fox fixed up. It is actually in pretty good shape but could benefit from a bit of tightening. I am rather less looking forward to working on the others, but will probably go through beta readers again; weighing the potential value of an already-written book against time that could be spent writing a better one.

Editing. Yeah, I want a human edit pass. I haven't figured out yet if I can afford it.

Possible new titles, definitely new covers to fit the identified market approach. I have a stack of Shutterstock pulls for the latter and intend to mock up my own consistent set of recovers for the whole series, then hand those off as concepts to an artist -- preferably a solo human artist, not the front end of a cover mill. Which is also expensive, and I'm on fixed income now.

A release scheme. Probably staged, under new ISBNs. I might purchase my own ISBNs this time. I'd love to do ARCs for reviews, but I don't know if I'm up for that, too.

More cooking at home, because I want to be conservative with my expenses, and I've been meaning to get back to that. But I don't want to be too ambitious with it yet. I need to clear out more space in the kitchen. And that means cooking has to stand behind general cleaning and re-organization.

I have plans but they basically require I lose from thirty to forty percent (by bulk) of what I own. I've done most of the obvious. Now it is down to sorting out old cables and electronics, clothing I don't wear, books I've been keeping in the closet...and then increasingly challenging questions, like do I want to get rid of the musical instrument parts (including a half-built ukulele)?

My hope is to lose the two big bookshelves, shift the two small bookshelves and add a matching third, both opening up more bare wall for space and light and also freeing an entire wall to rack up some musical instruments. In the kitchen, even more ambitious; completely clear one end and stick acoustic material up there so I am less self-conscious about practicing musical instruments at home.

Revisions on The Early Fox are probably going to take a week. Deliverable on the marketing plan is seven days as well. So that's probably the focus for at least a week and, especially if I get into editing and/or revisions on other books immediately, at least the rest of the month.

That thing about making a solid back-catalog is in context of writing stuff that isn't another Athena Fox adventure. I have a floating list of potential books, with two currently close to the top and ready to go.

Those two are a weird contrast. All Systems Blue (working title) is robust in the structure; technology, philosophical ideas, structures of society, etc. But as yet I've done very little on the surface look and feel.

The Tiki Stars is all about the surface. There's really nothing under it. But since the surface is so vivid and mostly already constructed for me, writing it is likely to be easier and it is also (plotting concerns aside) closer to being ready to write.

Or my marketing consultant might convince me to throw more behind Athena Fox.

(I really do want to do another American episode, specifically, a blue highway adventure; dropping off a Greyhound bus into some small town and discovering a big problem. The stumbling block is while I've thought of half of dozen plot hooks already, I can't seem to get archaeology into the mix.)

Football and Knife

I'd heard somewhere that it had been suggested there be a pistol in the Nuclear Football, so before "pressing the red button" and killing millions, the President would have to look one man in the eye and kill him.

Well, turns out the original story is weirder. Roger Fisher, of Harvard Law School and a major thinker in Conflict Management, suggested in the March 1981 Bulletin of the Atomic Scientists, that this be implemented -- in the form of an implanted capsule containing the launch codes, and a butcher knife. The President would have to gut one of his own aides in order to launch those weapons.

That is way too good not to be in the novel. Not because it is a strikingly weird tidbit of history, but because that tension between the remote-control deaths of millions and the twist of a knife up close is what drives the central conflict and resolution of the book.

Anyhow. My knee didn't reach football size, but I had an episode of cellulitis that got caught maybe twenty-four hours before the danger window. Spend two days in hospital getting antibiotics on an IV drip. That, and still being on oral antibiotics and a tight Ace bandage wrap, means I haven't been up for getting my place straightened up properly.

Now that I'm retired and all. Not that I've exactly stopped working. My old work has had me on the phone or coming down to drop off keys for at least a week, they still have me on the roster as a consultant, and I interviewed to light Earnest in July.

So I guess this blog is coming back into its name. I'll be doing theatre again. And I'll be on a more limited budget.

So I've been poking around at new writing projects, plans to go forwards, market analysis...and I'm finally ready to go hit the revisions on The Early Fox. Or The Drake Equation, which is a problem I'm looking at seeing if Fiverrr can help with. Should I re-stage? Probably. Should I extensively revise? Probably not. Should I re-name? I...don't know.

My confidence in Fiverrrrr is low at the moment. I started looking at the beta readers, and one that jumped out advertised: "I will a service of beta reading." Clicking on the details, she claims to be an English speaker, and goes on to inform that, "Over the years, Ive developed a sharp, detail-oriented eye..." 

Ah, yes. Details other than apostrophes.

As usual, it is a futile project. What I want is someone to A) look at the series as currently presented at KDP, including reading sample chapters, B) confirm or disagree with my current understanding of the correct market, and C) give an opinion on changing the titles.

What I am looking at is people who want me to define genre and hand them all the operational keywords, at which point they will then as efficiently as possible (quite possibly using AI) throw into some boiler-plate blurbs and SEO. With this desire of theirs for maximum return and minimum variation strongly supported by a vendor (Fiverrrr) framework that wants to turn every transaction into a Set Menu.

At least one thing is solved. I have a basic idea for new covers for the whole series, and I've started hauling assets into Affinity Photo. I'll rough them up, then go out to a proper cover artist (possible Miblart again) for a package deal of taking my mock-up and doing their magic on it.

Ben Franklin was not an alien spy

I was thinking this morning about urban fantasy. And then I wondered if there was a way of using magic to break history.

And not with the usual hidden history garbage. Something that happens now, in the contemporary world, that makes the fun stuff of pseudo-history --  the mysterious secrets of the ancients, glowing swords, and multi-level ancient tombs -- possible now when it wasn't how history unfolded then.

Well, I did think of one. "The Fae Lords."

I'd just read the first book of an urban fantasy series that very much did not have a masquerade (as TVTropes calls it). In this series, the magic came back, and was so deeply antithetical to tech it made a ruin of Atlanta. Well, the whole world, but the setting is Atlanta. What I mean is an urban ruin; the kind of charm of big city urban decay that got people so riled up when lead additives to gasoline were still a thing.

Life goes mostly on but the usual underfunded infrastructure is now dealing with lycanthropes and necromancy in addition to car crashes and fentanyl.

Well, that's an idea I like. 

So here goes; "The Fae" (whatever they are) show up suddenly in the modern world, complete with most of the powers and attitudes you'd expect in many contemporary depictions. And they fit right into the existing power struggles and other issues. Humans don't suddenly get the ability to throw magic around. Tech doesn't stop working (the Fae would like you to think that, but mostly they just like to hang wifi jammers around their spaces).

And they are fascinated by human history (there's some reason I haven't figured out yet). But this is the shallow fascination of cheap AI YouTube channels, pushing the fast-and-fun myths (water was so foul medieval people lived on beer) over anything with more substance.

The Fae love that kind of stuff (and maybe other aspects of pop culture...haven't gotten that far). And...this is something that has been going on for a long time already anyhow in this our real world...rich dilettantes are buying up historical things in order to more fully realize their fantasy version of that history. Only these particular arrogant, ultra-rich, strangely popular tech-bros can work magic.

The whole point of this (something that seems like a sideline, and almost certainly is a sideline to what they are doing to economics, politics, etc.) is that space I was trying to explore with Athena Fox; both having the real history of the Palais Garnier, and having an actual living breathing ghost-haunted Paris Opera House complete with hidden passages, half-masked weirdo in the basement, and a non-OSHA chandelier.

Basically, a mad wizard did it.

Anyhow.

I gave up on the plan of kicking another novel out in six months while I continued to work and put money into the 401K. Had a chance encounter of my own (plus a couple of other things). So it was time to quite the day job and go back to contracting. For the moment, I actually have time to write.

Which was great, because the more I looked at it, there was no way in hell of getting any book kicked out in six months. "Blue" is coming along (now with the subtitle "tales of the Fairy Ring." Probably). I was spending time on energy mostly to nail down the easy stuff first, and have a firm foundation to grow the rest of the world-building.

Now, I've got several books and at least one TTRPG campaign under my belt to know better than to succumb to world-builder's disease. But that doesn't mean there isn't work to do, and I may have underestimate how much work.

Which makes two reasons why the Tiki book might be what I should be aiming to write next.

The world-building of the tiki book seems simpler, as it isn't attempting to make sense of the used furniture. Also, as I realized taking notes today, it comes out of pulp, which doesn't delve into structural reasons (what set SF aside, at least as argued by Campbell and others). There's a revolution, but who really cares what the true causes were, or who is in the right, or even who wins. Instead it is a situation where adventure can ensue. We may have a rebel character who has their own strong emotional reasons for what they do, but this is character, not world-building.

The other reason, though, being the tasks of writing a story that isn't a linear whodunnit in a single POV. I have to re-learn how to construct different kinds of plots and different ways to present them. Now, the Tiki book is episodic. So more like a string of short stories. Blue adds the complexity of more continuity with these episodes being parts of a long continuous story.

But basically the one is like a story-board; a form that lays out the writing problems in a way that is simpler to understand.

Cooking

I am looking forward to getting back to cooking. I was gifted a wok. And I found a new cookbook.

 I have a grocery store next door with a great selection of fresh produce, bulk produce, and harder-to-find ethnic items. And if that always fails, I have a few of these:

I hope I don't regret not taking the whole box.

I'm also hoping to finally get some cleaning done. And, well, writing. Less money coming in, though -- a lot less. But it was time to make the move. For that, too, I hope I don't regret it.

Turnip Tesseract

So you are hiring an editor and want to know if they are as familiar with science fiction as they claim. Or you are hiring an artist and want to know if they are familiar with ligne claire.

Well, between Google, Wikipedia, and now AI, all you need is an insulating layer of text between the questioner and the target. Now any hungry slop merchant can pretend expertise long enough to get you to fork over the money.

I've got two beta readers on hire right now, several developmental editors I've been talking to, and new art needs in the future and I am in dire need of a Turing Test. How do you hold an oral, a books-closed exam, a calculator-free test, when you can't see if the person at the other end is answering out of their own expertise or is frantically typing away in the background to let Claude answer for them?

Before you drop $2K to $6K on an editor?

Think of say SF. In my lifetime, there was a time when you had to have read the stuff. There were some Cliff's Notes and the like but basically you could ask them if they knew the book that put powered armor on the map (Starship Troopers), or the name of the protagonist (Johnny Rico).

When things first became searchable online, the data was there but not the associations. Ask them to compare two "big dumb objects" and they'd have to go into their own memory to realize that both Ringworld and Rendezvous with Rama had suitable examples.

Now Wikipedia has much more associational and analytical pages which fill in the connections between the raw data. And increasingly, you can ask AI, which can very quickly do some very subtle associations based on questions created on-the-fly.

When you get the work back, then you have the volume and the leisure and the real-world application of those promised skills, and that is where failure will show (and AI will become obvious). But what do we do in the hire?

I got the beta read back and I am in an uncomfortable position. It was detailed and echoes many of my own thoughts and that's given me some actionable stuff to do. 

Yet, the beta reader is aggressively asking me to post a rating. Not comment or critique, just stars. And there are so many weird little not-quite-red but certainly-not-green flags about her work and her presentation.

I am very sensitive to cadence. The cadence of her speech in all (but one) text communications is different from the cadence of her report. This isn't just the formality level. It feels different in a way that word choice and grammar wouldn't cover.

I've never had a beta read before. I had the impression that they should spend their energies in top-level impressions. Did the story hang together, did the ending feel deserved and complete, was the protagonist sufficiently something to keep the reader interested in them.

This report seemed to get down in the weeds very quickly. Sentence level corrections, down to typographical errors. Organized in bullet points. Too much praise. Now, there are things that feel like a human hand was involved, but I'm still getting the smell of AI off it.

The positive reviews for this beta reader on Reedsy are...strange. In fact, some of them have the same cadence. The negative reviews are clearly human and one of them (there's not that many reviews overall) questions whether this reader understood the assignment. This switching back and forth from business-speak to something very idiomatic feels to me like someone who isn't comfortable with English and is using artificial tools to bridge that gap.

If she is using AI, it is part of a process. I can't tell what percentage of that process is hers, however.

I'm not comfortable leaving a good review. I also am not comfortable confronting her on this. And as I said, she is being very aggressive about asking for those stars.

The next million words

I finished the New Mexico book. I think the series went sideways, and it never went as commercial as I intended, and I don't seem to be able to find my readership for it.

But this what I've been doing since 2019. Six years of work (and change). A series, five books and counting (and that's another half a million words there). That's a bit too much of my writing life and output to shelve it.

So now I'm back in that terrible limbo I was in when I finished Shirato (my actual trunk novel, now) as I shopped it around to publishers and never heard back. 

I have a vague plan forward, which is multiple steps of scouting expedition. Get some beta readers to tell me if I'm writing books, or absolute crap (and I should go back to fanfiction and stop tricking people into paying for it).

Depending on that, both see if I can learn what I'm doing badly and should work on going forward (in hopefully more commercial work), and potentially, do some developmental editing on the way to revising the books. And, simultaneously, get opinions on how to best place these books in genre and towards audience.

And depending on how good I feel at that point, spend the money and time for more robust editing.

And then, depending on what I might have changed in order to find a market, change titles, covers, re-issue under different ISBN and so on.

What hurts, though, is that during all of this, the book isn't being read. It doesn't really "exist" because it is only on my own computers right now. There's no way for someone else to encounter it. I think I might be less attached to this one than any of the others. Hard to tell; I've been feeling very detached from everything lately. 

Failure

I finished the New Mexico book. Most of the things I was trying for...didn't happen.

I wanted in this one to fill the pages with empty desert and open road. I wanted to luxuriate in those descriptions, and give Penny space to clear her head. On the mystery itself, I didn't want her usual friends and supporters (or her increasingly complicated back story). I wanted her isolated emotionally as well as physically.

It didn't happen.

First off, backing away from her expertise meant I was trying to describe desert when she couldn't even name or recognize a Saguaro cactus. And she couldn't talk as much about the complex and fascinating history, because, well, she didn't know enough of it.

Worse, having her in an unfamiliar place meant I fell right back into having people explain it to her.

I made the people she interacted with unfriendly but they still ended up helping despite themselves, because that's the nature of a mystery. You have to get the clues somehow. And turns out, not being supportive and friendly is not the same thing as not having an emotional connection. Lon is annoying, Mary angry and sarcastic, and Dylan blissed out but she's still emotionally involved with them. There's even an arc.

As usual, the space was too big. All I wanted at the central core was to juxtapose nuclear secrets with the first humans in the Americas. But I couldn't leave the Native Americans out of either story. And that brings in frontier history and the cowboy stuff is something parts of New Mexico wears on its sleeve anyhow.

And set loose someone who still has to be weaned from snarky internal monologue crammed with pop-cultural references, and there are gonna be a lot of cracks being made about, well, everything. (Besides that, "be mean to Penny" for the characters Lon and Mary ended up being a lot of "be snarky," so I've got pop culture and trivia coming from three directions or more.)

The mystery didn't chunk as well as it should have, either. My idea was to make each clue a distinct moment that drops hard, that feels like the plot advances, and that often changes the ground. I mean, there are places it sort of worked. Realizing UFO nuts were yapping about the radioactive body in the desert changed the mystery of that body, and sent Penny on a road trip towards Roswell.

But the mystery wasn't quite deep enough to provide many of those moments. Same problem with using the mystery for the long drives; there wasn't enough to puzzle over. Worse, the changes in how the story plays out, like Penny having to go walk through an illegal dump site with a Geiger counter, or getting side-swiped by a Hummer and fleeing in near-panic, were constrained by the mechanics of plot and geography.

I spent weeks trying out different combinations, and none of them really made the plot clunk along like the intermittent gear I wanted it to be. Instead the physical aspect, the change in the world, the emotional moment and, oh yeah, the progress in the mystery didn't track that well.

But it is done. Or at least, the second or third draft is done (I revise as I go).

I've been looking for developmental editors and/or beta readers. Finally dropped a hundred on Fiverr for one of the latter, because it costs almost as much to use ProWritingAid's AI. So at worst case...I'm overpaying. A weird one. Her communications were exceedingly casual (as in, not even trying to spell simple words).

But not as weird as the Dev I'm talking to at Reedsy. Reedsy requires a sample, he told me he was going to mark that up as an example of his work. That's more than what was expected. However; he returned an rtf without tracking, highlighting, or other marks of what he did. It took me a while to notice he'd gone and added a scene break, and a chapter break. It took me longer to find out he'd added one sentence (again, without marking it in any way). A sentence explaining the joke (or possibly being really literal-minded) about one of Penny's pop-culture drops.

This is not what developmental edit usually is. On the scale where proofreading is at one end, this is about as close to the other as you can get. Developmental is looking at the big picture, of story arcs and character arcs, of plot and theme, of world-building. Moving around chapter breaks might come out of it, but that's not really what it is about. Also, editing is about discussion. Editors mark their changes, or suggest a change be made. They don't insert a new sentence.

It seems to me I've been through this before. There are reasons other than being stubborn or stingy as to why I've ended up doing my own so often.

(I told my cover artist to stop trying to understand the difference between Mexico and New Mexico, and I'd try to draft something myself. Yeah.)