So the votes have been tallied: aside from a few suggestions that I might crowdfund or Patreon – I think sadly my reach is a bit limited to raise any significant funds in this manner and I’m loathe to take money off my friends – everyone who responded thinks that I should self-publish. So I shall. Or, at least, I’m planning to at this moment in time.
Self-publishing is not quick, or easy. Nor is it necessarily cheap, not for a relative pauper like myself. I shall have to go for budget options pretty much across the board. I’ll also – and this is the big thing for a ditherer like me – have to trust myself; to back my belief that New Gods truly is the best thing I’ve written so far.
I also don’t have much of an idea of what I’m doing – not at the moment, at least. I know things like an ISBN and legal declarations are needed. I know the novel has to be typeset and formatted properly for Amazon/Kindle (I’m assuming I’ll go with Kindle Direct Publishing as it has the widest reach, but that is something else to look into). I know how to do none of these things at the moment.
So my next task is to research and examine and explore. I have the product, that’s one thing I’m happy(ish) about. The rest is a mystery wrapped in an enigma.
Thankfully I have plenty of friends who have self-published and, like most authors, they’re eager to help. I’ve already had offers of assistance and a quote for a cover. I can do this.
So that’s the plan. And, in the meantime, I’ll keep working on my other writings and I’ll try and get my next novel published traditionally, because why not have both? Hybrid authors: the coming generation goes both ways, don’t you know?
Thank you to all who commented/advised/reached out to me after last week’s post. You’re all wonderful people and I look forwards to buying you all drinks when we can travel/meet up/go to places where they sell drinks safely.
Now the dust has settled, it’s time for me to consider what to do next in my writing career. And, specifically, what to do with New Gods, the third in my Antarctic trilogy.
Having been dropped by my publisher after two books, it’s not an easy decision to make. No publisher is going to take on a single book in a trilogy – they wouldn’t have any share in the intellectual property (so no potential film/television rights, though that’s a very distant dream) and, with diminishing sales a massive probability, really what’s in it for them?
So my choices seem to be pretty much one of four. I can:
Abandon the novel. This would be gutting, not only for me – I’ve put a lot of work into it and, as I’ve said before, I really regard it as the best in the series – but for the few fans who’ve persisted and really want to see the finale. But it’s perhaps the most realistic option
Wait seven years. In seven years’ time I regain the rights to the first two novels. I could then try and find a publisher willing to take the series (though heaven alone knows how) as a whole and issue the whole lot as a reprint. Or I could self-publish the trilogy as a whole
I could self-publish Book 3 now. There’s nothing to stop me doing this, as far as I’m aware – nothing except cold-hard economics. I’m under no illusions as to either my appeal or my abilities as an illustrator. I’d have commission someone – hell, I have to find someone – to do the cover art and that would cost money (all artists should be paid for their work. To hell with exposure). And even if I do all the typesetting and publishing and editing myself – a risky business, publishing without professional editorialness – there’d still doubtless be costs. I don’t believe that I’d ever cover these with sales as – at the end of the day – who am I? I’d sell maybe a dozen to family and friends, maybe a few more through this blog and via Twitter, and that’s all, folks
I could release it free of charge, possibly serialised through this blog. I haven’t really thought this option through, yet. But I want to get this novel out there. It’s good. And, if I spend anything I’ll lose. So why not just save the costs and let you lot read it anyway? One potential downside is that my seven-year plan of reclaiming my rights and then seeking a fresh publisher might be harmed by this; I will have shot my bolt somewhat
So what would you do? All opinions gratefully received – and any options not yet considered would be appreciated also.
In the meantime, what do I do? Well, I’ve got Oneiromancer to flog. I’ve got Our Kind of Bastard to edit. I’ve got an as-yet un-thought-through new novel to start thinking through.
In other words, I need to get back into the word-mines. It’s what I do.
How to talk about this without overstating or making this into a bigger thing than it is? First of all, the bald facts: I have been dropped by my publisher. They have decided that sales of Night Shift and Human Resources aren’t good enough to justify picking up the third novel in my Antarctic trilogy and have decided to move on from me.
This is perfectly fair and, really, it’s hard to argue against. I too have been disappointed with sales (of NS; I’ve not seen any for HR yet) and I suppose the writing has been on the wall. I bear no ill-will to the publishers and wish them well. They gave me my chance and – hey – there’s nothing to say I’ll never work with them in the future. I still want people to rush out and buy my books from them!
My publisher’s decision has nothing to do with the quality of writing; they were keen to emphasise that. It’s purely a business decision, and I respect that.
But it is heartbreaking. I feel like my career is done. I don’t know what to do with myself.
Most immediately, I have the third book in a trilogy that I desperately want to get out there. I feel it’s the best in the series and provides a neat, satisfying climax to the story of Anders Nordvelt. Without it I’ll always feel like my work is incomplete – because it is. I want readers to know that there is an ending; there is happiness, of a sort, for my protagonist.
I have also lost my safety net. I have another complete, ready-to-go novel that I’ve been unsuccessfully hawking to agents. This now becomes my primary weapon. I now should be putting it out to publishers as well – but now I feel a much greater vulnerability. Without the option of Flame Tree Press, I feel rejection to a much greater degree, especially if my primary choice, the company for whom I do most editorial work, should take a look and turn me down.
I don’t dare send it out. I can’t bear the pain.
So it feels like my career is over. And I just don’t know what to do with myself.
Just because I have a book out doesn’t mean I’m immune to rejection. I still regularly get turned down by agents – an agent is still what I desperately want – and now I’ve received an inkling as to why.
My most recent rejection came with actual feedback, which is very rare in the world of publishing and agency. It said that my writing is good, but they didn’t get a good enough idea of the story from my cover letter and synopsis. Too diffuse, were the words used: the story had too many competing elements and it was difficult to know where the story would sit.
I’m very grateful for this feedback, disappointing as it is. It’s clear I have more work to do in an area I felt I had down. What that work should be I’m not exactly sure at the moment. I have, after all, written an ensemble piece with a lot of voices; how do I simplify and still accurately communicate what the story’s about?
An agent’s opinion is subjective and what might turn one agent off might attract another. I know that. But being granted an insight into their thinking is a real plus. I’d be a fool to ignore it.
I’m also confident that I’ve written a quality novel. I just need someone to read the damn thing. So, after the high times of last week, it’s back to the grindstone: there’s work to be done and nobody’s going to do it for me.
It’s here! It’s now! It’s out! Hopefully, by the time you’ve read this, your copy will either have already reached you or be in some kind postie’s knapsack, rapidly approaching your doorstep.
If you’ve not got a copy on pre-order, let me assure you that Human Resources is very much available from all good booksellers – go indie if possible, but I’m not going to Amazon-shame anyone – and is not only an excellent read but also makes an excellent Christmas present for all.
Four days to go! It’s still not too late to pre-order; get your shiny new book on release day by asking of any good bookseller or, failing that, Amazon.
Normally I’d be desperately promoting my new release through the odd bookshop signing, convention attendance and as many radio interviews as I can possibly con my way onto. This time around there is much less for me to do.
Which is not to say that my publishers have been sitting on their thumbs all this time. There are review copies out in the wild; there is a blog-tour in the planning; there are many other things behind the scenes that I am barely aware of. All to sell my book. Bless them.
But it feels a little odd to be sitting here doing virtually nothing. I should be out there! I should be helping! My face – or at least voice – should be ubiquitous throughout the etherwaves. It’s an odd feeling, becalmed, itching to crack on and yet unable to do anything.
We live in interesting times. There are bigger things going on in the world. Nothing to do but suck it up.
Still: only four days to go before the release of some excellent lockdown reading. Don’t miss out!
Getting close now! Just 11 days until Human Resources is unleashed on an unsuspecting world! So here is the fourth and – unless popular demand makes me write more – the last in my special blog-posts on different aspects of the novel. If you missed the earlier parts you can read about my characters here, my ideas about plotting here, and all about the novel’s setting here.
This week we’re looking at point of view – POV. A bit more esoteric, perhaps, but hopefully just as interesting and with as many insights about my writing process as the other posts.
I really hope these articles have got you as excited as I am for Human Resources. As ever, if you want to comment please feel free, either below or on Twitter @RobinTriggs. I do my best to give good advice to all who ask.
Also, I suppose I’d best say that you can buy Human Resources from any half-decent bookshop, or even Amazon. But let me link you direct to the publishers, and also to Hive.co.uk which is like Amazon but without the evil, working with indie bookstores to hopefully benefit everyone.
There’s no getting away from it: Human Resources, like Night Shift before it and New Gods after, is in first person. It’s a pretty rigid first-person too: no sneakily popping out into someone else’s head for a crucial reveal or simply to provide a bit of variety. No, it’s stuck-with-the-same person all the way.
So why did I choose that, and what does it mean for the story and its telling? Well, the reason I originally chose it is because, without it, the payoff for the first book wouldn’t have worked. It really is as simple as that. And I suppose I feel a little guilty about it – like the whole device was just a cheap stunt.a
But first-person is a venerable tradition and works well for me. Previously I’d worked only in third person, but I made the shift to really get inside the head of Anders Nordvelt.
To be honest, the change wasn’t as great as all that: my third person writing had always been very tight, very limited in its perspective – no omniescentising for me. So the switch to first-person wasn’t that much of a jolt. Nor has it felt too weird going back to third person in its aftermath – yes, my post-Antarctic writing is back in third-person, if only to give myself a bit of a break.
*Emphatically doesn’t mention the brief snatches of second-person in the series finale*
What does writing in first-person mean for the story? Well, in being as strict as I have been for the Antarctic trilogy, it means that we’re going to become very intimate with a single personality and perspective. That puts a heavy weight on the main character to be interesting, to not alienate the reader with a whining, dull companion.
It also means you have to be aware of what other people are doing, that you don’t leave your other characters standing around and waiting for the main character to come around before they ‘switch on’. Indeed, there is, in a way, more potential for surprise with first-person as things happen off-stage, so to speak: the character is as ignorant of others’ actions as the readers are.
That, I suppose, means there may be more potential for jump-scares as opposed to a slow build-up of tension. But maintaining tension is part of the craft of the writer, and I find that different tellings merely encourage the writer to stretch themselves in different ways. Nothing is impossible, not with any mode of telling.
Of course, the difference in perspective makes a big difference to the reader; it’s not just a case of the same novel in different clothes. I have heard of people who won’t read a novel written in first-person (and I deeply hope this doesn’t include you, dear reader). I like to write in first person or third according to what feel I want to give a novel – it’s hard to quantify or to explain exactly why, but I feel like first-person gives more of a sense of the lone film-noir-esque gumshoe whilst third person is more cinematic with a cast you can check in and out of.
That might just be me, though. As I said – hard to quantify.
If you’re interested, I wrote more about point-of-view right back in 2015, which just goes to show for how long I’ve been a) keeping this blog, and b) gnawing away at the same subjects. Check that article out if, as I said, you’re at all interested.
And that’s me for now. Expect more ramblings about Human Resources through the next few weeks but that’s the end of these themed articles about the writing of the benighted thing. Hope you’ve enjoyed them; and stay happy and healthy in whatever you do.
Greetings, travellers! Just a quick note to let you know that Night Shift is on sale for this week only! At just 99p (or cents) for the ebook it is more of a bargain than ever, and should you be lacking a copy I obviously heartily recommend you take advantage.
Important news: Human Resources has been postponed. It will now be released in November, not July as originally advertised.
First off, I need to apologise to all you who have already pre-ordered it. What’s that, you say? You haven’t done that yet? Well, it’s still orderable from Flame Tree Press’ website and, presumably, all good bookshops. What are you hanging about here for?
The delay, I hasten to say, is nothing to do with me. My copy-edits were in on time and the editor was happy with my work. It was instead a business decision. I’m not allowed to give any details beyond that a new deal has led to Flame Tree’s release schedule being rejiggered and my book is amongst those affected.
I can also say that it should work out to be a positive move both for me and the company; this isn’t one of those ‘oh my god it’s all gone to shit’ moments; it’s a good thing, I’m assured (I know very little about the actual business of publishing, though I’m learning).
Good thing or not, it’s a disappointment to me personally. I was hoping for some sort of launch event at Edge-Lit and maybe take in one or two more cons as an author with something to talk about. Now I have nothing to declare but my incompetence.
It’s also a short-term blow financially. Like most authors, the advance I will/have received for Human Resources is split into three payments: one upon signing of the contract, one on receiving of the finished text (though I’m not entirely sure when that arrives; I’ve done my copy-edit but not received this payment yet) and the last upon publication. Obviously I won’t now be receiving this last part until November. Not that it’s a great deal of money, you understand. But it’s money I won’t now be getting when I thought.
Long-term it may well be better for me to wait. Depends how this deal pans out, though in any case it’ll be very hard to judge cause-and-effect. We shall see.
Of more concern to me, however, is that it now feels like my career’s on hold until November.
Normally I’d advise people to try and fill their downtime with either writing their next novel or trying to get other material published and that’s what I’m going to be doing myself. I’m somewhat limited, however. I’m not a writer of short fiction, which is bread-and-butter to a lot of writers, and I’m contractually unable to pitch my other big novel-hope out to publishers at the moment. I don’t have an agent (my perpetual refrain; sorry to go on about it) and so don’t have the benefit of their advice on how to take my career forwards.
So, although I will be continuing to write and my endless search for an agent goes on, I feel like I’ve nothing really to do until November. My career hangs in limbo, and has done ever since the release of Night Shift – a gap of two years between publications. Two years’ wasted time.
(It’s not wasted, of course it isn’t. I’ve been busy writing; I’ve edited two novels and a have a third on the way. But that’s how it feels. Like I’ve been twiddling my thumbs all this time.)
So what do I do? I fill my downtime with writing, of course. And trying to find an agent. And making more friends amongst the writing community. And getting better at what I do.
I just wish I had something to sell, something to get my name out there. Tiny steps; no miracle-hunter I.
Something to make me feel like I was making progress.
Ain’t it a beauty? Yes, it’s the cover no-one’s been waiting for: Human Resources is here!
It’s available now for pre-order before its official release date of 23rd July 2020. The link’s to Flame Tree Press’s site but you can also order it from all good bookshops or, failing that, Amazon.
Please feel free to harangue your local library into stocking a copy or two. We heart libraries here and most (all?) have online forms to put in stock requests.
I am overcome. I still can’t quite believe this is happening – Human Resources is the result of years of hard labour and to see it graced with such a magnificent cover kinda blows me away. I wish I had the name of someone to credit but I think it’s all done either in-house or by an agency.