Stories Going Forward

I thought I might, for a change, use this week's post to talk about my writing. (That's a joke, son.*) The fact is that 've been talking about my current writing focus in a number of posts over the last several months - in connection with Chateau Clare and Passage to Jarpara. However, I thought I might as well pull all my thoughts together and set them down in one post. A manifesto, of sorts.

I should say at the top, that you should not expect to see any radical change in my style. What has been changing, over the last year or two, is the focus of my stories. This is largely due to that fact that I find that I want to write novels. Full stop. Not genre fiction. Rather, light fiction novels without the expectations of any particular genre. Just novels.

In the past, most of my novels could be described as either romances and/or adventure stories and marketed as either science fiction or fantast (or both), which is to say, genre fiction. What is changing is my emphasis on adventure. It's mostly gone. I consider an unpleasant situation in real life to be an adventure, but only when it is viewed as a pasted event. In stories, adventure is putting your poor characters into situations where there's a real danger of them getting killed. In my case, this often involved travel as well. I hate to travel, so it's also a "adventure" for me. Going forward, don't see myself crafting a story around extreme danger and travel. I won't absolutely rule out deadly danger, or travel, but it will not be an integral feature of my stories. In short, my days of writing adventure stories are likely over. 

All my stories will continue to be set in the future, either on distant planets or far future Earth. In this respect they could be considered science fiction, or fantasy. I may list them in one of the fantasy categories, because fantasy outsells science fiction, but I will also list them on other categories as well. For example, The Girl on the Kerb has done very well as a espionage thriller. Lesson learned. Expand my potential readership.

I won't be listing them as SF because they don't fit the story mode of science fiction. Almost all of my SF stories feature societies that have an early 20th century vibe to them, since that is my favorite time period. Thus, even when I've set stories in the future, the stories are looking back, which makes them more akin to fantasy than to science fiction. That being the case, they're fantasy, low, mundane fantasy. But fantasy.

As for the setting, the future setting is just that - a setting, a backdrop, and a cheat that allows me to invent everything I want to, without having to do any research into the known past.

As I mentioned above, my stories have been, and will continue to be light fiction, with a bit of humor. I have nothing to say about humanity or the real world. My goal is to take myself, and my readers, to a different world for a while. Escapist literature. They will be as character focused as I can write them, with a first person narrator like every other novel of mine. They will likely feature a romance of some sort. I blame that on my early love of Edgar Rice Burroughs stories, which always had a romance element to them - John Carter & the incomparable Dejah Thoris, Tarzan and Jane.

They may well have a thread of mystery or little mysteries to solve, most of which will likely involve something science-fiction-y, since the worlds I set these stories on will either be a future Earth, or a world settled by Earth in the past. There may be some incidental danger. However the basic plot will be based on an unusual, but still commonplace, series of events, and the characters will be ordinary people facing this out-of-the-ordinary situation. That said, for the most part, they will be very much slice-of-mundane-life stories. Hopefully, the fact that they are set somewhere else, will add to their appeal. All of them going forward will be stand alone novels, though they may share a world or setting between them.

If you've read Chateau Clare, you've read a perfect example of my new (old) approach to novels. Both A Summer in Amber, and Some Day Days, where also very much in this mold, and so I feel that my current approach is more of a return to my original story telling concept, than a whole new approach. I think this approach offers me the flexibility to write a variety of stories. Indeed, I have several story ideas -Project 2026 & even Project 2027 - in mind. But at this point, they are still birds in the bush.

So to sum it up, Chateau Clare is the type of story I see myself writing in the future - a story with a bit of romance, a bit of mystery, maybe a little danger, all set in an early 20th century-era setting.

Stay tuned.

* Just in case you're not ancient and/or not an American, that's the tag line of an old cartoon character, a rooster named Foghorn Leghorn as in: This Clip  However, from googling it, it seems that it was a phrase used widely prior to these cartoons.

The Saturday Morning Post (No. 80)

 

I came across this week's book while browsing the library's catalog for historical fiction ebooks. It's another Victorian era mystery set in London. Let's see how this one fares.

My reviewer criteria. I like light, entertaining novels. I like smaller scale stories rather than epics. I like character focused novels featuring pleasant characters, with a minimum number of unpleasant ones. I greatly value clever and witty writing. I like first person, or close third person narratives. I dislike a lot of "head jumping" between POVs and flashbacks. I want a story, not a puzzle. While I am not opposed to violence, I dislike gore for the sake of gore. I find long and elaborate fight, action, and battle sequences tedious. Plot holes and things that happen for the convenience of the author annoy me. And I fear I'm a born critic in that I don't mind pointing out what I don't like in a story. However, I lay no claim to be the final arbitrator of style and taste, you need to decide for yourself what you like or dislike in a book.

Your opinions are always welcome. Comment below. 

The Spy in the House  by Y S Lee   B

I'm going to be honest right up front. This is a penny dreadful novel with a loosey-goosey premise and a rather ramshackle plot, to say the least. The motivations of most of the characters are hard to take seriously, their actions stretch credibility. And yet, it is well written and features a pleasant, interesting main character with a subtle, but knowing sense of place and time. This is not surprising since the author has a PhD in Victorian literature and culture. As a result, I was able to overlook all the things that, in other hands, I would've, and previously have, criticized in past reviews. Thus I was able to enjoyed the book, hence its grade of B. Good writing and good characters go a long way with me.

As for the plot, this is the first book in a series of four, featuring Mary Quinn, who, as a child of 12 was caught stealing and sentence to be hung. Just before her execution she is whisked away to a school for girls where she is trained to make an independent living, and, become an agent for a detective agency run by the school's founders. The premise is that women are so overlooked and underrated in Victorian society, that they can be placed in situations where they could ferret out, without suspicion, the information that a male agent could not. Her first assignment is to act as a companion for the daughter of a family suspected of being smugglers and insurance frauds. As I said, the premise and plot are pretty loosey-goosey, but it clips along regardless.

I have complained in the past about contemporary historical fiction that likes to impress the reader with the author's skill at using for their research Wikipedia, by including all sorts of factoids dropped in here and there in the story. One of the things that elevated this story above the others I've read, was that the historical period was presented without resorting to overt info dumps. Except in one case. The story is set in the year 1858, and describes the how bad the river Thames smelled. This was part of the story's backdrop setting. I happened to have come across the fact that there was one year when the river's smell was so strong that it resulted in a massive rebuilding of the river and London's sewer system. I would've looked it up once I finished the book, but Lee felt the need to tell the reader a little about the Great Stink in a conversation. I was disappointed, but for the most part she was able to convey little facets of London life in 1858 without calling attention to the fact that she was doing so, unlike the other books of this period that I've read recently. So I turned a blind eye to this infraction. 

So, the bottom line - an entertaining adventure story. Not much of a mystery, you can figure out the culprit pretty early on, and the "detecting" is pretty basic. Nothing clever. You're here for the characters, not the plot or mystery. If the library has the second volume, I'll order it up, which is more than I can say for the other Victorian London mysteries I've read.

Words

English words, to be precise. The little tools I use to create little worlds for my amusement. What about them? Well in this post, I'm going to talk about how they came to be so annoying to write them "properly." We're talking about spelling here. I promise not to make this into a rant about how English words are spelled seemingly randomly, though I will have to keep a tight rain reign - rein on my temper.

I will readily admit that I am a terrible speller, but then, English is a terribly spelled language. In one of the videos I'm going to mention, the fellow said that fully 70% of English words actually follow some sort of rule. Wow! That, folks, is a "D" grade in English. It seems that I spelled as well at the English language does itself. He goes on to say that a lot of the "rules" are known only to those who specialize in the study of the language. In short, unless you get an university degree in the study of words and language (I'm too lazy to look up the term) you have to learn to spell correctly by rote memorization. A deep knowledge of phonetics may help, but it's hardly a surefire method. I have neither the talent to rote memorize, nor any training in phonetics - I doubt they taught it sixty years ago, like they may do today. I am, therefore a terrible speller, but thanks to the computer, I can overcome that handicap.

However, there is a cost. My handwriting, never elegant, is now almost unreadable, and I've developed a fear of using it for anything more than a shopping list. I've become so reliant on my computer's spell checking, that I just don't trust myself to spell anything correctly without it. This is also true: in several of the jobs I've had, I had to make shelf signs, advertising specials, etc., and found that if I stared any length of time at a word as simple as "The" I would began to feel uneasy, as to if I spelled it right. It would begin to look wrong, even though I couldn't think of another way to spell the word. Anyway, this is just the intro to what I really want to talk about, and that is the YouTube video channels that talk about words and the English language which I find interesting. I find a lot of things interesting that I never have any interest in doing.

The first video I what to highlight is this one from Let Them Talk TV which you can find HERE In this video the host, Gideon outlines the events of the last 1500 years that have gone into making English spelling such a chaotic mess. Briefly, the people of Britain had their own alphabet, a variation of the runic ones found across Northern Europe. My other word  channel Robwords recently had a whole episode on this topic HERE that you can watch to learn more them. In any event, the short story is that in the sixth century the Catholic church wanted its scribes in England to use the Latin alphabet rather than the runic one. The problem was that the runic one had letters for sounds that the English used, but Romans didn't, so that over time, combinations of Roman letters came to be used to make these sounds. But then the Normans conquered England and brought their French spellings into English. Plus, the monks who copied text used a form of the text that was almost all straight vertical lines, making them almost unreadable, so they added some letters to words to distinguish them. And then printing came along, and in order to justify the line of text left and right, the printers would add letters to some words just to make the line even on the right. And then the way the English pronounced their language changed over the course of two centuries, while the spelling did not. And then the renaissance happened and scholars wanted the words to better reflect what they thought was the Latin root word so they added letters that were not pronounced to look like the Latin root word... And so it goes. 

Robwords also posted a recent video on all the words Shakespeare is said to have invented HERE.  There are some 1,700 of them, made by more or less creatively combining words, or using them in unaccustomed ways. Ah, those were the days. And in some ways, they are still those days, at least on social media where English is evolving or decaying, quite happily. But the fact is that these videos show that the English language has always been changing, generation to generation, century to century, as society changes. This fact seems to be lost on some people. The people in particular who were able to master the rules and proper uses and spelling - 20 or 30 years ago. And unless they have changed with time and English usage, (Unlikely) they've become out of step with current English. Still, especially in the early self-published ebook days, you'd frequently find them in book reviews pointing out all the errors in English usage and spelling, and bemoaning the ignorance of the writers, if only to make a point of exhibiting their superior knowledge of the supposedly "right" way to use the language. It was a hill they seemed happy to die on. And die on it they will. Phuc'em.

Not that it really bothered me. My early efforts did have more typos then I realized, so I can only thank them for pointing them out. As for grammar, well my stories are written from within the story itself by a character in the story and in the vernacular, a much more loose version of English. A third person narrator, on the other hand, is a professional novelist telling the story from the outside, and can be expected to use more proper English. That's my story, anyways.

In any event, both of these channels offer many interesting stories about words - how they came to be, were used, and where they originally came from and meant. All very interesting.

Back in the day, it was thought that the internet would open up the world to knowledge, and it does. But I've found that YouTube makes all that knowledge much more entertaining to learn. These days, I have too much time during the day, and so I spend too much time on YouTube. However, if I learn something new, I can justify it. In a future post I think I might go through the YouTube channels that I watch, and all the stuff that I learn about but will never use.

Next week, however, more thoughts on my 2026 Project. Stay tuned.

The Saturday Morning Post (No. 79)

Where did this book come from? To be honest, I don't remember. Having finished my last book, I opened up my Fire tablet's Kindle page, and found this week's book in my library. By the look of it, I suspect I downloaded it several years ago when I first started reading again. At that time I was going through the Kindle store looking for free books in several categories, one of them was historical fiction, which this book would fall into. I don't know if I sampled it back then and gave it a miss, or if I never got around to trying it. If I did, I didn't read more than a page. But I've read more than a page this week, so on with the show.

My reviewer criteria. I like light, entertaining novels. I like smaller scale stories rather than epics. I like character focused novels featuring pleasant characters, with a minimum number of unpleasant ones. I greatly value clever and witty writing. I like first person, or close third person narratives. I dislike a lot of "head jumping" between POVs and flashbacks. I want a story, not a puzzle. While I am not opposed to violence, I dislike gore for the sake of gore. I find long and elaborate fight, action, and battle sequences tedious. Plot holes and things that happen for the convenience of the author annoy me. And I fear I'm a born critic in that I don't mind pointing out what I don't like in a story. However, I lay no claim to be the final arbitrator of style and taste, you need to decide for yourself what you like or dislike in a book.

Your opinions are always welcome. Comment below. 

The Ops Room Girls  by Vicki Beeby  C+

This is "An uplifting and romantic WW2 saga" or in other words, a cozy World War ll romance novel, the first of a three book series. Now, I am likely not the target audience for this book, so that any reader who's into (tame) romances, will probably rate this book higher than I did. That said there is nothing to dislike about this story and things to like about it.

I would call it a cozy story, as there is no sex to speak of, just romance, friendships, and happy endings, with little violence, no blood and gore. It is set in the summer of 1940, my favorite summer, and recounts the story of Evie, who's mother turned down Evie's scholarship to Oxford upon the death of her father. She who wants Evie to take a job at a bank. Evie is determined to do something more with her life, and on a whim of defiance, joints the WAAF, the Woman's Auxiliary Air Force. She is trained to work in one of the fighter control's centers which were used to direct British fighters to intercept raiding German air forces during the summer leading to the famous Blitz. 

Here she meets and bonds with two other woman becoming the good friends she never had before. And of course, being a romance, she meets and falls in love a handsome pilot, who is constantly in danger. The author has done her homework as to how her job worked, and the operation of the base. However, this it the year and the place, as I said in another post about a book from this period, that is my favorite time in history, and having read a variety of accounts, I've developed my own "sense" of the time and place, and, alas, I've never found a novel that captures my sense of that time and place. I think that despite being about the war, the larger war outside of her job, with England waiting for a Nazi invasion, is hardly touched upon in this book. Indeed, the beginning of the blitz on 7 Sept 1940 with the mass bombing of East London is not even mentioned. It is a minor quibble, and not something the target audience would ever notice nor likely care about. My one other quibble with this book is that while competently written, it has no authorial voice to speak of. I found it rather bland reading. Not bad, just bland.

I also found the structure of the story a bit strange, in that it is told from point of view of the two major romantically linked characters, Evie and Alex, her pilot, with an occasional aside  with another character, here and there. This may be common in romances, for all I know. In any event, we see the thoughts of both of these people, so we, as the reader, know that each is in love with the other, long before they reveal it to each other. Knowing what we know, are we meant to root for them to get together? The same thing applies to the secret Nazi saboteur in the story. The author tips her hand right from the beginning who the saboteur is, so there is no surprise ending. It's him from first to last. Is this suppose to keep the reader on the edge of their seats, waiting for everyone in the book to discover what we know?  I suppose it's not a mystery story, and doesn't pretend to be, but knowing all these secrets, the story seems to substitute one sort of suspense for another, the tension is not within the story, but between the reader and the story, if you get my meaning. We, the reader know everything, but we have to watch the characters waiting for them to discover what we know. 

There are two other books in this series, and Beeby has written several other series featuring women in British military service in WWll. If it sounds like your jam, I wouldn't hesitate to suggest that you give them a try. I was happy to find it in my kindle library, however it got there.

December Writing Update

As anyone who have been following this blog knows, I felt some trepidation about the release of Chateau Clare. I wondered if it might be too different from what I had written in the past for it to be well received by my readers. I am happy to say that, at least so far, early readers seem to have enjoyed it. The earliest ratings likely come from my most loyal readers, the choir, so to speak, and so its rating average will inevitably fall as it makes it into the hands of readers less familiar with my writing. Still, it's off to a very good start indeed. Between my sales on Amazon.com for $3.99 and the free sales on Amazon.uk.co, I've sold over 50 copies on Amazon which has generated 7 ratings, with one very kind review by acflory. This is an amazing 14% response, with all but one a 5 star rating. Thank you all! Its over all sales on all my markets combined currently exceed 840 copies of the ebook and audiobook, along with some 20 ratings, all but 3 of them being 5 star. All in all, it's off to a (surprising) great start.

Now, with my 2025 novel out a few months early, it's time to turn my attention to my "Project 2026" i.e. my 2026 novel. Like all my books it's creation is being sparked by the various stories I've read, shows I've seen, songs I've heard, viewed with the attitude of "but this is how I would do it instead." Usually each story is a mix of a variety of inspirations. For example, one inspiration for A Summer in Amber, was the first two seasons of Downton Abbey that I watched 15 years ago on Netflix, specifically the romance plot. I took the premise of an outsider with a romantic interest in one of the daughters of an upper class family as one element of my story. In addition, there I found a lot of inspiration in the stories of Scotland from the likes of Compton Mackenzie and John Buchan. 

It's early yet, but I thought I might tease one ingredient that I've chosen to be part of crafting Project 2026. As an inciting incident for the story, I am drawing on the premise of a P G Wodehouse's Jeeves and Bertie Wooster short story, that being Jeeves Takes Charge. I'm not writing a Wodehouse type of story, but I am going to "borrow" that story's premise.  

In Jeeves Takes Charge, Bertie is ordered by his fiancée Florence Craye to steal or destroy the manuscript of his Uncle Willoughy's reminiscences, "Recollections of a Long Life."  It turns out that in his youth Uncle Willoughy was something "on the tobasco side" and his reminiscences are full of stories about how he and half of the now respectable ruling class of England were being thrown out of music halls for their scandalous behavior in the year 1887, including the father of Florence. She is determined that his reminiscences never reach the publisher. ( I seem to recall that Wodehouse uses this premise again in a Blandings Castle story.) AIn any event, I think I'll use a similar mission to launch my Project 2026 narrator into the story, though in his case without Jeeves, and it will be his great aunt who is writing her memoirs of her scandalous youth and her son who would like it suppressed for several reasons.

There are many other elements, including locations, songs, and fly fishing that I'm going to weave into creating my next novel. I'll talk more about those down the road. But god willing and the creek don't rise, there looks to be a 2026 novel in the offing. We live in an age of miracles.

The Saturday Morning Post (No. 78)

u

A reread this week. I first read this book probably in the late 1970's. It's a sea story and something of a spy story as well. My Penguin copy calls it "The Classic Spy Thriller."

My reviewer criteria. I like light, entertaining novels. I like smaller scale stories rather than epics. I like character focused novels featuring pleasant characters, with a minimum number of unpleasant ones. I greatly value clever and witty writing. I like first person, or close third person narratives. I dislike a lot of "head jumping" between POVs and flashbacks. I want a story, not a puzzle. While I am not opposed to violence, I dislike gore for the sake of gore. I find long and elaborate fight, action, and battle sequences tedious. Plot holes and things that happen for the convenience of the author annoy me. And I fear I'm a born critic in that I don't mind pointing out what I don't like in a story. However, I lay no claim to be the final arbitrator of style and taste, you need to decide for yourself what you like or dislike in a book.

Your opinions are always welcome. Comment below. 

The Riddle of the Sands by Erskine Childers  A-

I have very fond memories of this book. This is probably the third time I've read the entire book. I've read the first chapter several more times, as I feel that it is a quintessential example of what I most enjoy in British writing - cleaver and witty, and at least to me, it makes the London of the last century come alive.

This is the only novel Erskine Childers wrote. I was written in 1903 as propaganda disguised as fiction. It was meant as a warning to a complacent Great Britain about the growing ambitions of Imperial Germany, and the vulnerability of the country to a German invasion in a near future war. Ironically, Childers was executed in 1922 by a British firing squad despite being awarded a Distinguished Service Cross for his services to intelligence in the air and on the sea in World War I.  He was executed during the Irish Troubles as an active advocate of Irish independence for possession of small revolver, after he shock the hands of each man of the firing party. Suffice to say he was an interesting man.

The story involves the first person narrator, Carruthers, being invited to join an old university friend, Arthur Davies, on his "yacht" then residing in on the German Baltic coast. Carruthers, working for the British Foreign Office, had his holiday plans disrupted, and stuck in the dead season of London, was unable to attend the house parties he had been invited to. When he was finally able to get away, he had no place to go, so he took up Davies' offer and decamped for the Baltic. What he finds is something unexpected. The yacht is not what he expected. It turns out that Davies had hidden reasons for inviting him, including a theory that he had almost stumbled upon something so secret that the German agents would stop at nothing to keep him from finding out the secret in the sands. 

There are four maps in my addition of the book, and I always love books with maps. The one above shows the general area where most of the action takes place. This is very much a sea story. Childers in real life loved to mess around in boats, and his expertise is on full display in this story of Davies and Carruthers' adventures exploring the tidal sands behind the offshore islands shown on the map, looking for the secret the Germans wanted to keep from Davies when he was first visited there without Carruthers.

I will say this, on this reread, at my age, and knowing the story as I do, this read slower than my first read. And I have since read a number of authors with similar pro-British Empire sentiments from that time period. There is a certain ethos in the writing that has the heroes careless of their lives - it's the doing of it for whatever reason that it's important, and they don't care a snap of their fingers if they die doing it. I guess I've grown too old and cynical these days for me to fully buy that idea anymore. 

I don't know just who I can recommend this to. It is a mystery/adventure/sea story, written 120 years ago, and that shows. But I would recommend looking it up on Amazon and reading the first chapter of the Kindle version. I think that's a masterpiece of British writing.

The New Gatekeepers

I’ve watched a number of videos over the last year where established indie authors urge authors interested in self publishing to go about it in the proper way. Which is to say, the traditional publishing way. By this they mean authors should hire professionals to produce their books, professionals ranging from developmental editors to punch up the story, plus line editors and/or proofreaders, professional cover artists, and even professional cover designers, as well as professionals to format the book, and human narrators to narrate audiobooks. This process costs thousands of dollars. Indeed, I’ve heard $5,000 to $10,000 figures tossed around as the cost of self publishing a book these days, though I have to assume that includes ebooks, paper, and audio versions of the book. While these authors may acknowledge that this may cost more than some authors can readily afford, and may mention in passing, some cheaper alternatives, the thrust of their advice is that authors owe it to their readers to produce as professionally produced book as they can afford to spend. Moreover, they imply that authors owe it to the self publishing industry to produce traditional publishing quality books, in order to raise the perceived level of quality in self published books. To do any less is to let the side down.

Well, yes and no. Yes is likely a given in that most, of not all, self-published authors try to put out the best book they can, if only as it is a reflection of their expertise. However, publishing is a business and should be approached as a business. The chances of making back even $1,000 are statistically very slim. An author would need to sell at least 200 to 270 ebooks at full price to cover every $1,000 they spend on a book. The average self-published book is said to sell a 100 copies. Just say’n. 

Moreover, no matter how much professional help is hired, indie authors can only charge self-published prices for their books, if they expect to sell it. Thus, all these professional services add no tangible financial benefit to the books. Finally, it's not the quality of the book that limits the sale of most self-published books. Its visibility, or rather, the lack of visibility. A developmental editor can't increase the chances of a book being discovered. Even a professionally designed cover can’t pay for itself if the book is rarely or never seen by a receptive audience. Unless we can get our books seen and talked about, these expensive professional services just don’t matter in the end. Money wasted.

There are a number of reasons why this proposed method is wrong. First, look at  the proposed business model. Only one book out of three in traditional publishing ends up making the publisher any money. Indeed, the industry is largely dependent on a relatively small number of bestselling authors and books to make most of their money. Is this really a successful business model that solo authors should imitate in their self-publishing business, especially if their publishing business has yet to start minting money needed to support it? It is a system that works only for best selling authors, traditional or self-published.

Next, let’s look at the market, or rather the markets. While there is some overlap of readers, the traditional publishing market and the ebook/Kindle Unlimited market are very different beasts, in both expectations and priorities. The ebook market is largely made up of avid, story-orientated genre readers who will overlook nondescript writing and a certain amount of typos, if the story is compelling enough. I speak with experience here. On the other hand, the readers of traditional published books are more likely bookish readers who place a greater emphasis on style and writing quality. There are few, if any, grammar connoisseurs reading self-published ebooks, so there’s no need to spend thousands of dollars to please them. Beta readers are sufficient.

So, all in all, I see promoting this expensive method of producing a self published book as the best, and most ethical way of producing a book, as a form of gatekeeping. 

By setting such a very high financial bar for entry into the self publishing market it discourages many would-be author/publishers from even attempting to publish their work, unless they already have the six figure income necessary to spend, and likely lose, on their publishing project. And even if these authors did mentioned less expensive ways, the clear implication was that you needed to spend as much as you could scrape together to publish your book in a manner as close to the right and proper way as possible.

The reason, we are told, that these services are expensive is that these editors, artist, and such need to make a living. Most authors, traditionally published or self-published rarely make a living writing. But now we self-published authors are being told that we need to pay a living wage to these self-employed professionals, before the we ever have a chance to earn any money from our book at all. There is something wrong in the traditional book business where the the very basis of the business - the writer of the book - is paid the least. And so those promoting this unfair system for the self-publishing business, earn my wrath.

I view this message as a subtle method of gatekeeping. A way of keeping self-publishing to an exclusive group of would-be self-published authors - the well heeled and well connected. They want to close the gate behind them. 

There’s always been people selling authors all sorts of schemes and services to sell books. Would-be authors are some of the greatest chumps in the world. It’s like shooting trout in a barrow. So this pitch, in a way, is just the same old thing. But it is also different in that it is being promoted by people who are not trying to make money from selling their secret to success. They might even be well meaning, and believe this is the right way to go about self-publishing a book. Anything is possible.

But still, the cynic in me sees it as a subtle way to discourage the competition in a field were there is way too much competition – at least from an author’s point of view. For the readers, well, it’s a wonderful opportunity. I’m for the readers. The more books there are, the merrier.