Literary Fiction

Were Ernest Hemingway alive today, would he make it as an independent author/publisher? I don’t think so.

Why do I write that? Because literary fiction is a tough sell to the indie reader. Not that a reader of indie books won’t read literary fiction, because some do. I for one.

However, Lit Fic is not the main diet of the indie reader. Genre fiction is. And genre fiction written in serials. 

When we look at Literary Fiction in comparison to genre fiction, we see the problem immediately: most Lit Fic is standalone, and how the heck do you categorize it to get a reader’s eyes on it?

With genre fiction, it’s easy. There are all manner of tags one can use. For mysteries there are: crime fiction, serial killer, detective fiction, police procedural, cozy, amateur sleuth, along with the general mystery and murder mystery.

But what category does a book like The Remains of the Day fall into? Or The Old Man and the Sea?

Amazon does put The Old Man and the Sea into the Sea Stories category, but is it really a sea story? It certainly isn’t what I think of when I think of the sea story category. I think of Patrick O’Brian, and the Horatio Hornblower books. I might think of Moby Dick, or a book by Joseph Conrad. But Moby Dick isn’t really about the sea or whales, and while many Conrad stories involve the sea, they aren’t actually sea stories either.

The Remains of the Day is in an even more difficult place. Classic British Fiction. Now that tells me a lot. And therein lies the problem with indies selling Lit Fic — what the heck do you call it?

Since the indie reader basically demands genres and serial fiction, I think therein lies the answer. And the indie writer of Literary Fiction has no better a model than Anthony Trollope.

Trollope invented the novel series with his Barchester Chronicles: six novels that take place in and around the cathedral town of Barchester.

The six novels loosely follow each other. Although they can be read as standalone books. What they share is a locale and a set of characters that show up in each of the books, but with each novel having a different main character.

Because Trollope touches on so many different aspects of mid-nineteenth century British society, we can fit these books into many categories.

The books are historical fiction and religious fiction. They could possibly be called Christian fiction, although they aren’t evangelical in nature. They are about small town life, church politics and specifically Anglican Church politics, middle-class life, and married life. There is a fair amount of romance, always a campaign for Parliament, so we could call them mildly political novels. They could also be called comedies of manners. And they are filled with humor.

Trollope, as if he had foreseen Twitter, made it easy of us to tweet his books. And therein lies the key to an indie author’s success in writing Literary Fiction: write a series of standalone novels that involve the same locale and a general set of characters.

The old format for the TV series works well here: a main trio of characters, a supporting cast of around nine, and a uniform locale; each week one character is the focal point of the episode. Gunsmoke ran for years on such a formula, as did every other series when I was growing up.

And Anthony Trollope gave us the formula over a century ago.

Comments are always welcome! And until next time, happy reading (and writing)!

#IndieApril

April on Twitter is #IndieApril month. All month long we celebrate independent authors/publishers — indies. It is a self-publishing extravaganza.

I regularly read self-published books. In fact, the majority of my reading is of self-published authors. In this day and age democracy reigns in the publishing world. The artificial gatekeepers of editors and agents and publishing house rules are dinosaurs on the evolutionary path to extinction.

Two thousand and many more years ago there were no agents, no editors, no publishers. If Sophocles wanted to write a play, he wrote one. The audience was the only arbiter. If Seneca, wanted to write a book on moral philosophy, he wrote one. Only the audience mattered.

When the printing press was invented, self-publishing — which was the only kind of publishing there was — could reach much larger audiences with the new printed books than it ever could with the old handwritten manuscripts of previous generations. A win for publishing democracy.

Today, with ebooks, there are no limits. Not selling enough on Amazon? BookFunnel can create a code for your ebook that allows you to give it away or sell it. The reader then redeems the code on the BookFunnel site and gets the book.

You can literally stand on a street corner and give away or sell your ebook to any number of takers. All you do is give them a card with your book code on it.

You’re on the bus or an airplane. The person next to you is interested in your book — you can make a sale right then and there.

I haven’t used BookFunnel’s new program yet (it’s not offered on my current plan), but I’ve been thinking of ways I could use it. Because it sure beats the heck out of hauling around cartons of paperbacks.

Democracy has returned to writers and readers in a way, Aeschylus, Plato, Seneca, Plotinus, and other ancients never dreamed of. And I, for one, love it.

Each #IndieApril I try to read several brand new authors. So far this month I’ve read two new to me authors: Caleb Pirtle III and Lex Allen.

Lonely Night To Die by Caleb Pirtle III is a collection of three noir thrillers. I prefer to see them as three episodes in the life of the Quiet Assassin, Roland Sand. Lonely Night To Die is a thrilling, suspenseful read by international bestselling and award winning author Caleb Pirtle III. Do add it to your reading list.

Lovably Dead is a collection of tales of terror by Lex Allen. Awesomely scary reads by a superb writer. If you love being scared to death, get Lovably Dead. Just make sure your life insurance is paid up.

I also like to revisit favorite authors during #IndieApril. So far I’ve revisited Ray Zacek and Andy Graham.

Cosecha by Ray Zacek is a novella of terror you won’t soon forget. A monster is prowling the US-Mexico border. A monster that only catches — never releases. If Zacek writes it, you need to buy it.

Andy Graham is a writer who is quite literary in his style. However, that doesn’t mean he won’t scare the bejesus out of you. Because he will. I’m currently reading A Crow’s Game. And, yes, all the lights are on. And I do mean all.

Indie writers are turning out fabulous books and stories. There are so many talented people out there that the gatekeepers would have denied an audience. And that ain’t right.

April isn’t over. I urge you to buy, read, and review a self-published book. Let me know in the comments if you need suggestions.

Comments are always welcome! And until next time, happy reading!

Investigators of the Paranormal

Fear is one of our oldest emotions — if not the oldest. And fear of the unknown is one of our greatest fears.

I don’t know what I don’t know, and that lack of knowing scares us. It is primal, that fear of the unknown.

Fear, playing on our fears, is the stock in trade of the writer of the macabre. Those spinners of stories that parade our fears before us and scare us to death —  and we love it.

For all of our façade of sophistication, biologically speaking we are no different than our ancestors from 300,000 years ago. We may no longer be afraid of thunder and lightning, and we may have outgrown our fear of what’s under our beds — we are, however, still controlled by our fears.

Just look at the nightly news. Listen to David Muir’s tone of voice. He’s playing into our fears. And how often do we say, “I’m afraid…” — no matter the context?

Is it any wonder that the tale of terror, the horror story, has never lost its appeal with readers?

Today, interest in the paranormal — our modern term for what used to be called the supernatural and the occult — is hot. Genre fiction has pretty much a paranormal version of every genre. Some of it’s silly, and some of it is pretty doggone scary.

Paranormal fiction has made quite a few of its writers a boatload of money. And while much of the paranormal genre fiction is formulaic trope-filled tripe, some of it is quite good.

When I conceived of my Pierce Mostyn Paranormal Investigations series, I wanted something that moved in the world of the Cthulhu Mythos and also appealed to viewers of The X-Files.

From comments I’ve received and from the reviews of the books, I believe I’ve succeeded.

What’s more, since his introduction, Pierce Mostyn has been my top selling series. Therefore, it’s only natural to revisit the paranormal as I contemplate starting a new series.

However, I wanted something a bit different from the Cosmic Horror, Cthulhu Mythos, focus of Mostyn. And since my first love as a reader is detective fiction (ever since discovering Nero Wolfe in the early 80s), what would be more natural than to blend detective fiction with the paranormal?

Thank goodness I don’t have to reinvent the wheel. The occult detective has a long and time-honored lineage and is alive and well today.

Therefore, my new series, which will most likely debut next year, will be a brother and sister team of occult detectives, or, in contemporary parlance, paranormal investigators.

Taking a page from the exploits of Flaxman Low, Thomas Carnacki, and Jules de Grandin, my investigators will explore those things that go bump in the night and scare the bejeebers out of people.

Haunted houses, demons, assorted monsters, arcane and occult magic. Twisted tales about two normal (well, mostly normal) young adults battling the ageless fears that underlie the veneer of our contemporary scientific sophistication.

As all good occult detectives have done, my hero and heroine will allay our fears of the unknown. Of course, such fears can never truly be put to rest. Can they?

Comments are always welcome! And until next time, happy reading!

The Piranha Pandemic

Matthew Cormack is one in a legion of virtually unknown writers who are producing excellent fiction. Much of it better than what the big corporate publishers are giving the public to read. 

These independent author/publishers, indies for short, publish some doggone good stuff. Fiction that truly deserves a much wider audience. Fiction that is frequently far better than the best selling drivel being forced upon readers’s eyeballs.

Last week I introduced you to one such writer: Matthew Cormack. This week, I’d like to tell you a bit about two of his three books. Only two, because I haven’t read the third one yet.

The Piranha Pandemic Universe

Mr. Cormack has created a fictional universe that is incredibly believable. Starting with a mysterious and fast-acting virus that eventually wipes out most of humanity, Cormack then extrapolates what the world would be like for those who survived the pandemic — and, more importantly, how they would deal with being a survivor.

This form of the post-apocalyptic sub-genre is called a cozy catastrophe.

The term was coined by Brian Aldiss as a pejorative to describe the plot of Wyndham’s The Day of the Triffids.

In spite of Aldiss, the point of the cozy catastrophe is not a celebration of bourgeois values — it’s a celebration of hope in the indomitable human spirit.

Not dystopian in tone, the cozy catastrophe is utopian. Given the chance, we can indeed fix the mess we ourselves made of society and culture. At last, at long last, a broken world gets to be fixed.

The “fix”, of course, depends on the worldview of the writer of the story.

In my own cozy catastrophe, The Rocheport Saga, the protagonist, Bill Arthur, pursues his anarcho-capitalist libertarian dream. Very utopian indeed!

On the other hand, Matthew Cormack takes a much more realistic view of things: nothing will change, because people are people.

Don’t Dream It’s Over

The first novel set in the Piranha Pandemic universe is Don’t Dream It’s Over. It’s the story of Peter, who is not the most savory of protagonists. He’s pretty much like everyone we know: he has good points and bad points and sometimes the bad points do outnumber the good points. Although, through the course of the story, we see the dross slowly burned away to reveal a pretty doggone good guy. A good guy who’d been corrupted by modern society.

Peter decides to leave London, leave England. At first, his only goal is to reach the Mediterranean. However, as he meets other survivors along the way, and sees how they are coping or not coping with the aftermath of the plague, his own goal begins to change. And by the end of the book, Peter truly is the hero of the story.

Cormack is a cracker jack writer. He makes the epistolary novel form come alive. And he does this by giving us real people in very lifelike situations. That is Cormack’s gift: an eye for people. He’s a canny observer of life and puts those observations into his books.

Don’t Dream It’s Over is a long book: over 250,000 words. Long books aren’t my cup of tea. Yet once I started Don’t Dream, I was hooked. The story was compelling and the book didn’t lag as so many long novels do.

Perhaps what I enjoyed most about Don’t Dream was the realism. No dystopia or utopia here. Although there are dystopian and utopian groups encountered by Peter on his journey to find himself. Which is just another way of saying that we find here real people in real situations.

As one reviewer wrote: “…boy does this book stay with you long after you have finally put it down.” And it does.

Ganbaru

Ganbaru is the second book set in the Piranha Pandemic universe. The story revolves around a completely different set of characters then we encountered in Don’t Dream.

The setting is England. Rural England. And here we have utopia meets dystopia. A small group of survivors intent on making the world a better place, collide with a much larger group led by a real bad egg named Baz. The story line revolves around how the small group can become free from the large group, after Baz’s group takes them over.

I don’t want to spoil the story. You’ll have to read it on your own — and I definitely encourage you to do so.

Once again, Cormack gives us real people in realistic settings which results in a very believable story. A story so believable you tend to forget you’re reading a novel.

Ganbaru is a cozy catastrophe that is largely a thriller laced with a heaping helping of suspense. In my opinion, Cormack has taken the cozy catastrophe and made it a genre for today, yet keeping true to the sub-genre’s roots.

Here’s my review from Amazon:

Matthew Cormack’s Piranha Pandemic Universe is a scary place. The survivors are fighting nature, dwindling resources, and themselves.

Don’t Dream It’s Over is the first book set in this universe. The story is superbly told, for Mr Cormack is a superb storyteller.

Ganbaru gives us a look at a different part of the Piranha Pandemic Universe. A small group of survivors, who are principled persons, want to start rebuilding a better world, and have begun their project in an old abandoned priory.

As fate would have it, they meet a larger group that is pragmatically ruthless. The clash of civilizations, as it were, makes for exciting reading.

Ganbaru is a realistic post-apocalyptic tale. There are no zombies or aliens or monsters — unless we, ourselves, qualify as the monsters.

The story is told well and peopled with real-life characters in real-life situations who must make difficult decisions.

A fabulous story by a fabulous writer.

A fabulous writer indeed.

In these days of pandemic, I encourage you to read Matthew Cormack’s books. Because, at the end of the day, he’ll give you hope — and that’s exactly what we need.

Don’t Dream It’s Over is available from Amazon US and UK.

Ganbaru is available from Amazon US and UK.

The Piranha Pandemic: From Small Acorns… is available from Amazon US and UK.

Comments are always welcome! And until next time, happy reading!