Heart front cover

March 9th 2012

Posted by: in: From the Author, Heart, News and Updates
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Will look a lot like this.

Heart - front cover

 

 

 

 

 

 

 

 

 

I did debate just leaving it like this – no title, no name. In the end I went for a minimal HEART at the top, and a Simon Morden at the bottom.

What the symbol actually is, and what it represents, becomes clear in the novel.

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Heart – an update

March 7th 2012

Posted by: in: From the Author, Heart, News and Updates
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I’ve now received two versions of the hard copy, and am able to make comparisons. I’ve got to weigh up between Blurb and Lulu, and there are several competing criteria I need to consider.

Ease of use isn’t one of them, but for the record, both were relatively straight forward to deal with from a prospective publisher’s end. You would assume that the companies involved would want to make it easy to upload files and design a cover – and you’d be right. To access the high-end Blurb functions, you need to be able to produce a specific pdf format known as x-3, which I couldn’t. Lulu were more forgiving about their upload formats and styles. I’m also wondering if I found Lulu easier because I’d already done the book on Blurb, but all in all, a bit fiddly on occasions though eminently usable if you have a good base knowledge of producing pdf files.

Quality now – exterior first. I went for trade paperback size for both, and that’s exactly the size I got. Visually, the copies are identical. The covers are printed on good quality white card stock, though the Blurb card stock is slightly thicker. The printing is nice and clear, the artwork (such as it is…) is faithfully reproduced. The Blurb copy is slightly better finished, overall, and just edges the Lulu copy – but both are good, which is a step-up from earlier pod offerings I’ve got, which were a bit on the ropy side.

What does it look like inside? Blurb print on a good quality almost-white paper. Lulu’s interior pages are, for the standard cost, a cream ‘paperback’ quality. What’s important is the legibility: does the print from one side obscure the words you’re trying to read? In both cases, no. Again, Blurb have produced the better book, but Lulu have produced a more-than-acceptable book.

However – and this is where ambition meets cost – I have to consider what are known as ‘price points’. Essentially, pod companies price their services so that they can advertise “Your book for only £x.xx!” And they’re right, of course. If you want to produce a slim chapbook or a collection of poetry in paperback with none of the bells and whistles, it will cost only £x.xx. But if you want to put together a decent length novel (Heart is 125,000 words), you break through several price points simply on the way to getting the page count. One of Blurb’s price hikes was at the 280 page mark. Coupled with the problem of not being able to produce pdf/x-3 files (which meant I couldn’t change the interior format from the default – there are header and footer regions I can’t put text in: footers contain the page number, headers are blank because you know who wrote the book and what it’s called, and you don’t need reminding at the top of Every Single Page, do you now?), I had to cut the font size down to 10 point in order to squeeze it in under 280 pages. Lulu are much more forgiving both on the page count and the interior design. I scrapped the header space, upped the font to 11 point and still got it all in for 282 pages. The difference between 10 and 11 point text is subtle, but there’s no doubting that to my ageing eyes at least, 11 point is easier to read, and the pages in the Lulu-produced copy are better-laid out because I had more control.

So – now comes the kicker. The price to you. Lulu are undeniably cheaper, by a good margin. But hang on – that’s just the production. I need to factor in delivery too. This is where I get cross about Blurb. To print one copy of Heart and send it to you, Blurb essentially double the price. If you want it priority shipping, it’s not quite three times the cost. No. Just no. That seems to be a wrong, if not simply unethical, business model. Having said they’d produce one (1) copy of the book for one price, to then load extra cost on actually getting the thing in your hand? It came as a very unwelcome surprise. Now, I do appreciate that Blurb and Lulu are catering for slightly different markets – Blurb probably do expect me to buy multiple books at once and sell them on myself, but that’s not what I intend to do. Lulu’s standard postage is relatively cheap – it came through the regular mail in a cardboard sleeve a la Amazon. Also, if I understand it correctly, a book on Lulu is available everywhere there’s a Lulu press. Uploading it to the UK site means that you can have it printed in the UK, European mainland and the US, pay for it with local currency and have it shipped within your jurisdiction (sorry Canada, but the border is long and porous, and I’m sure you’re used to buying stuff from the US).

I’ve investigated the hardback option too – I haven’t received that yet. There’s also the possibility of buying an ISBN and selling through Amazon – I’m not sure I want to do that, because it’d bump the price up further. As it is, I’m looking at £8 for the paperback, which is almost exactly what we’d pay normally. The hardback is going to be somewhere between £12 and £15.

I also have to consider what folk want to do about signed copies.

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Heart

March 2nd 2012

Posted by: in: From the Author, Heart, News and Updates
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*wavy lines*

Many moons ago – 10 whole years, in fact, which is a lot of moons – my first ever novel came out. I was exceptionally pleased to have it accepted by Razorblade Press, awed by the Chris Nurse artwork, and hoped that this was indeed it: my foot on the ladder, a springboard to greater things, a mixed-metaphor on my way to becoming an established author.

It didn’t turn out quite that way. The book was badly typeset – legible, but annoying all the same, and then there were publisher problems far above and beyond the usual. Without descending into libel, let’s just say I took my rights back. Which meant that not very many people got to read Heart, despite it getting some really good reviews in several of the right places. It simply wasn’t there to find.

*/wavy lines*

It so happens that after 2011′s splurge of Morden-related bookage, 2012 will see precisely nothing from me in print. The Curve of the Earth is due out 2013, and Ignite most likely in 2014. Which seems a shame – for me, I lose some of the momentum the Metrozone has managed to create, and for you because, mad fools that you are, you seem to like what I write.

So this is what I propose to do.

At some point in the near-future (the next couple of months at the latest), I’ll be releasing the full, unaltered text of Heart as .pdf, .epub and .mobi files. These will be for everyone, free and gratis. The reasons for simply giving these away are twofold. Firstly, this book owes me nothing. It was professionally proof-read at the time, I made the artwork that goes with it myself, and having read it through again, and I know I write better now than I did then. Secondly, as a bit of an experiment: I want to see what happens. Because the book doesn’t owe me anything, I can afford to see whether or not it boosts my profile, my sales of other books, or both. I may put up a ‘tips jar’ button on the site.

At the same time, I’m going to make a print edition available through a pod publisher (I’m currently looking at two, to check on quality. I’ve received one so far, and I’m pleasantly surprised – actually impressed – at what I’ve got). I’ll try and price these sensibly, and may even do a paperback and a hardback option, so that if people really like the book, they can own a physical copy (the price point will probably be around UK£10 for the paperback: 280-odd pages, trade paperback size). I don’t want to hold onto stock myself, because I simply don’t have the storage space, or the will to stare at a big pile of books that may well end up going nowhere. Besides, I’m supposed to be WRITING THE DAMN NOVEL, because that’s what I get paid to do.

How does that sound? Is there anything else you’d like to see while I’m still at the planning stage? Do you think I’m mad for doing this? Is it a good mad, or a ‘brave’ mad? I look forward to hearing your responses.

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In which I am not Richard Morgan

March 1st 2012

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Of course, our surnames are very close to each other, and we are often therefore shelved next to each other – but we are manifestly not the same person. All of which is preamble to discussing this review of Equations of Life. Actually, I’m not going to discuss the review (though being given 9/10 and the reviewer risking life and limb to wrestle Theories of Flight from the tbr pile is very gratifying), but this comment here:

As for the idea that Simon Morden is the next Richard Morgan – hm, I’m not convinced. Morden might get bleaker as the series progresses, but throughout Equations of Life there is just too much rollicking joie de vivre bouncing through the chaos and destruction for any true Morganesque comparisons. Kovacs is capable of flashes of savage humour – but the breathless pace of Morden’s storytelling, with the constant plot twists corkscrewing off in all sorts of unpredictable directions without a pause for any sort of info-dump, or tastelessly graphic sex scene, gives Morden’s work an original charm all of its own. In fact, I think Petrovitch’s adventures have more in common with the early Harry Dresden stories…

I’m not exactly certain who’s been suggesting that I’m the next Richard Morgan. Or the next anyone, for that matter, when I pour heart and soul (see the artist suffer!) into being the first me. I am, as I readily admit, the sum total of all the stories I’ve ever read, plus whatever I bring to the table as specifically me. I’m reasonably certain most other authors, unless they’re being explicitly paid to be otherwise, are in the same boat. Or not the same boat – their own individual boats, in fact. The ‘author of the week’ pastiches as played out on Radio 4′s The Write Stuff are incredibly clever and astute, but acknowledged as pastiches. Anthony Horowitz’s latest Sherlock Holmes is both in the style of Conan Doyle, and undeniably Horowitz. So to say author X is the next author Y, is I think a disservice. Yes, of course I’m aware that marketing comes into it: every YA author has (I understand it’s compulsory) to be compared to either JK Rowling or Stephanie Meyer, and every fantasy tome has “The next JRR Tolkien” on the cover. But I wish they’d stop doing that.

What they mean, of course, is “Do you enjoy famous author Y? Buy this book from complete unknown X! There is a vague similarity in subject and/or style.” Which is fair enough, but it does somewhat indicate that the advance review copies didn’t yield quite enough quotable material to fill out the back cover. It’s obviously tough at the start of a career – if there is such a thing in writing these days – to get noticed. Been there, done that. And am probably still there and still doing that: I’m nowhere near out of the woods yet. Where I’m happier with comparisons is between books – there are a couple of reviews where Equations is likened to Altered Carbon, in that they have a hard-boiled crime-cum-dystopian feel to them, and they both fairly zip along. But even then, according to the Brainfluff review above, I singularly fail at being Richard Morgan.

It would be incredibly sad if, to make it in SF, you had to write as someone else. Richard is very much alive and well and still writing. I don’t plan on going anywhere for the moment. Plenty of room for both Morden and Morgan on those shelves. Just remember to put my books face out, okay?

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Piracy 2: the pirates strike back

January 30th 2012

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(Hell’s teeth, Morden – you’re such a nerd)

Well, that was interesting. Having fumed righteously against piracy in all its forms, I was contacted by a real live pirate (arrrr!) who put his side of the story. And I’m such a bleeding heart liberal, I not only took the time and trouble to read what he had to say, but also think seriously about the points he made.

And surprisingly (to me, at least) I am partly convinced: it’s certainly more nuanced than I allowed for. So I’ll try and go through some of the issues raised again, but this time with my special They Live glasses on. And yes, I do have plenty of gum.

Do I own the copyright to my work?   Yes. Yes I do. And yes, my ability to charge for my art depends on me being able to assert that right. As the original creator of a piece of fiction, I can choose to do one of several things with it: I can give it away for free (under a Creative Commons licence) like I have done with Thy Kingdom Come, for example. This way, the work can be distributed freely without alteration, but also without allowing anyone else to attach their name to that work. I’m happy to do that with older pieces of work – and one of the things I have to think about next is whether I do the same thing with Heart. I can also release excerpts of my work as ‘tasters’ (or advertising, if you like). If you like what you’ve read so far, you can then continue to read when you purchase a copy.

Do I need paying for my work?   Again, need is relative. Which is something I’ll touch on later. But for the moment, I live in a scarcity-driven capitalist economy. The future is not going to come and save me, supplying me and my family with fabbers and a Mr Fusion for all my energy needs. Likewise, I cannot eat a good reputation. One day I will. I have worked in a Gift Economy before, when I was a research scientist at a university. I provided not just my employers (the Natural Environment Research Council) with original research, but the whole world. In return, I was given enough money to live on: for the length of my contract, it didn’t matter if I produced one paper in a peer-reviewed journal, or half a dozen, but whether my contract was renewed at the end of it did depend on the quality of what I’d done already, that is to say, my reputation. I believe this is also a workable model for artists. But we’re not there yet. Click to read the rest of this item…

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Piracy and SOPA

January 20th 2012

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Right then. Piracy. SOPA/PIPA. Stuff like that.

I have very mixed feelings about the whole thing. On one hand, people who download music, films, books and audio that they would have ordinarily had to buy in order to listen to/see/read are stealing copyrighted material from their copyright holders. Downloaders make it increasingly difficult for artists to firstly, earn anything from their work, and secondly, make a living from their work so they can give up the day job and concentrate solely on their art.

In the case of the Metrozone books, they were pirated within a couple of days of being released as ebooks. Orbit (and their parent companies LittleBrown and Hachette) try and get those copies removed from file-sharing sites as soon as they can: they do so because the person uploading those files has no right to make them publicly available without the copyright holder’s consent.

And that copyright holder is not Orbit, or some faceless megacorp. It’s me. I’m the creator of the work, and it’s my copyright. By torrenting my work, you’re denying me income which I could put to good use – like repairing my roof and walls, which badly need doing, or saving for my children’s education.

Furthermore, because I’m losing digital sales, the next time I sell a book to Orbit, my advance goes down. Lost sales for the publisher results directly in lower advances for authors. Which means that fewer authors will be able to support themselves, and perhaps their families, with their work – and the vast majority of writers make peanuts as it is. With long, long hours and little pay, they’ll have to do something else instead of dedicating the time and effort into producing good prose.

Click to read the rest of this item…

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Spirituality and Creativity

January 15th 2012

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Someone on a forum I’m part of posted the following question: “Is there a link between being spiritual and being creative?” This was my response:

Creativity is part of us, and part of us all whether we are specifically Christian, generally spiritual, or completely materialistic. Story-telling (the bit I’m most concerned with), like music or representative art, transcends both time and geography – people tell each other stories, make music together and daub pigments on things throughout history and across wildly different cultures.

The question arises, does spirituality feed creativity? The answer is sublimely simple – yes, of course it does, but then so does pretty much everything else. Certainly, a great deal of creativity can be expressed within a formal religious context (providing that isn’t taboo), and a society’s religion provides a context for creativity.

A further question, though, is whether spirituality can inspire sublime works of art in an individual who otherwise would be mediocre? This is a much trickier claim to pin down: if you pick some of history’s greatest artists, it’s often individual genius and a large sack of cash that’s the potent combination, rather than anything else more numinous. Despite the popular image, there’s nothing more likely to depress creativity than starving in a garret or being so dog-tired from the day job that all feelings of creativity are sapped. Patrons are critically important to the production of great art – and it’s often the patron who decides on the subject matter. You could even argue that it’s the spirituality of the patron that’s important here.

I’m lucky in this respect. My wife earned enough that when we were divvying up child-care duties, it made much more sense for her to keep going to work and for me to stay at home. When the kids got older and were at school during the day, it meant I had time to write – in the warm, with a full belly. And even luckier, no one tells me what I have to write except the publishers, and even they realise they don’t have me over the same barrel that a lot of authors find themselves bent over: I don’t rely on them for a roof over my head.

So I’m sorry to be so prosaic, but those are often the realities.

Which was pretty much an off-the-cuff response, but does include Morden’s 3rd Law of Writing “Marry someone rich”, so clearly I’ve been thinking along those lines before. I’m just wondering if part of the new publishing model that’s always just around the corner might include, how shall we term them, stipends for writers, rather than an advance?

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Vibrating with happiness

January 10th 2012

Posted by: in: From the Author, Metrozone, News and Updates
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No, not that sort of vibrating…

The Metrozone series – all three books, no less – have been nominated for this year’s Philip K Dick award. I am properly stunned. Dick is one of the authors I not only enjoy, but admire: big concept stuff, played out at the personal level.

Congratulations to all the nominees – I’ll be dining out on this for a while!

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We’re going to need a bigger rabbit

December 31st 2011

Posted by: in: From the Author, Ignite, Metrozone, News and Updates
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When someone emails you (hi, Frank!) a highly complimentary note regarding the Metrozone books, and ends it with “I have some giant rabbits to make”, you just know you’re reaching the right people.

Frank's rabbit

2011 has been an extraordinary year – I’ve sold some books, I’ve got some more lined up, people have (mostly) liked what I’ve done so far. 2012 looks as if it’s going be be really hard work – Ignite is rich seam to mine but oy, that seam runs deep – but I wouldn’t miss it for the world. It’s probably going to be hard work for you, too. There’s an awful lot of things in the world that could really do with fixing, so if you don’t already, can I suggest you volunteer some of your time, doing something you feel passionate about, in your local community? The world starts just outside our front doors.

Here’s to you, and the difference you make. Happy New Year.

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A Petrovitch under the Christmas tree

December 26th 2011

Posted by: in: From the Author, Metrozone, News and Updates
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Hello.

Just a quick note to those lucky, lucky people who found one or more Metrozone books all carefully wrapped up in shiny paper and bows this Christmas. Once you’ve got over the eye-searing covers and read the expertly-written blurb on the back covers, you’ll be ready to start heading down the mean streets of post-Apocalypse London.

Two things to say at this stage:

Firstly, enjoy. Whilst the Metrozone is serious business (or srs bsns, as the kids say), the books are meant to be fun. If you find yourself snorting inappropriately as something terrible happens, don’t worry. You’re in good company.

Secondly, the Russian. None of it is translated. Just go with it – get the sense of it by reading it (it’s mostly phonetic), and if you’re desperate to find out what Petrovitch says, feel free to look it up on the internet. It is mostly absolute filth, though, as the guttersnipe was dragged up on the streets and paint-peeling insults are simply stock-in-trade for the man.

Other than that, welcome. Have a look around here for extra content, and if you’ve got any questions, don’t be afraid to ask!

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