It Takes A Village (To Raise A Book)

You there, about to load a first or second draft to a publishing platform. Yes, you. Don’t you hit that upload button. Back away from the keyboard nice and slow. That’s it, sit back, relax, we need to have a chat. Look, I know you’re excited about getting your baby out in the world, of having it read and getting those sales, but is it the best version of your baby? Or, are you sending it out half-formed and with shitty clothes? I said back away from the keyboard.

Okay, I understand that writing is mostly a solitary endeavour but the processes of getting your book out to readers is not. Doing that alone is a fool’s errand. I’ve listened (somewhat) patiently to authors telling me they don’t need beta readers or an editor or a cover artist or a cover designer or layout artist – they can do that all themselves and not have to worry about expenditure. Technically they’re right. With the advent of self-publishing and the associated platforms you most certainly can do this alone. The question is: should you? The answer is: no.

Expenditure is an issue, I get it, but if you don’t invest in your book, don’t expect readers to invest in it either. With the traditional route, your publisher will take care of this: the editing, the cover, the proofreading et al. (Note: with traditional publishing you shouldn’t pay for any of this – money flows to the author, not away – but that’s a subject for another post.) Author-publishers? Yeah, you need to pay for this yourself.

So let’s take a look at the processes you need to put out the best damn book you can. So you’ve finished the eleventy-first draft of your story and you’re pretty happy with where it is – characters are on point, plot is kicking-arse, sub-plots are woven nicely, narrative is killer. Time to get that baby out in the world! Yeah… no. What you have in your hands is a ‘rough draft’, the foundation upon which you will build. A strong foundation it may well be, but a foundation is what it is. Write, edit, redraft. Rinse and repeat.

You’ve spent a good lot of time and effort to get to this point, so you’re well past being able to see any issues with it. You don’t just hammer out a first draft and upload it. I suppose you can do that if you like (plenty of people have), but be prepared for any reviews to point out exactly where you went wrong. Plot holes? You got them. Spelling and grammar issues? Kill me now. Point-of-view hops? What’s happening! Layout all over the place? My eyes!

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It’s bad reviews for you. And bad reviews, especially when it comes to poor spelling and grammar, clichéd story, Mary-Sue/Marty-Stu characters will guarantee low-to-zero sales. Readers take note of bad reviews, especially those that cite all of the above. Remember, there’s that ‘look inside’ option, and you’ll lose that potential sale right there. Not only will you not get sales, readers tend to not give you a second chance. Why would they when there are plenty of other authors doing it the right way.

Because I love the point form, here’s a breakdown of who you need in your village (just step over the books strewn about the place):

  • Beta readers: the unsung heroes of the writing/publishing process. You’ll need at least two (but no more than five), and ones with differing skill sets ‒ someone who reads in your genre, and someone who doesn’t (librarian, book reviewer), someone who has an understanding of grammar and/or story mechanics. Not your nanna. She may be lovely, but… no.
  • Editor. And by editor I mean someone with qualifications (ask to see these), industry experience, and one who understands the genre in which you write. Beta readers are not editors. Editors know structure and syntax and speech, they know consistency, cohesion, and characterisation. They understand foreshadowing, and herrings, and Chekov’s rifle. They know subjects and predicates, showing versus telling, and they know dangling participles and why you shouldn’t have them. They know language, and they will tighten the crap out of your narrative.
  • Cover artist/cover designer. These can be two different people, so make sure you know what you’re getting. I won’t go into too much detail here as I’ve covered this in my previous post: Art of the Cover.
  • Layout artist. Yes, you need someone who understands desktop publishing and has the right tools for the job. No, you should not load a Microsoft Word document to a publishing platform ‒ the internals will be off-kilter, as will your kerning and typography. You don’t want bland and vanilla internals. With the right desktop publishing tools, your book becomes a reading experience. Layout is only noticeable when done poorly. And if someone tells you differently, run far and run fast.
  • Proofreader. This will be the final point at which you can catch any small issues eg. errant spaces, widows and orphans, correct page numbering etc. This is usually done with a PDF file called a galley proof. Best suggestion is to have someone other than your editor do the proof. New set of eyes means they’ll pick up any missed issues.

Now you’re probably bemoaning the processes and the associated costs, but if you want to put out professional product and be taken seriously then it needs to be done. Some editors will be happy to work with a  payment plan (and if asked will provide a sample edit), beta readers may ask for reciprocity, you can find reasonably-priced good cover artists and stock images, cover designers as well. These are processes you can’t skimp on if you want to do self-publishing right.

Check out Devin Madson’s episode on ‘Storywork’ about the 5 Steps to Professional Publishing. As a self-publisher, Devin has gone about this the right way. She gathered a village of beta readers, editor, cover artist, cover designer, layout artist around her and put out a book that rivals any published by the Big 5. Just take a look at one of the covers for her Vengeance Trilogy.

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This is author-publishing done right. Devin talks about your reputation as an author, and she’s not wrong. As I mentioned earlier, if you put out sub-par work don’t expect readers to return to your books, to buy them. Reputation can make or break you. Have it ‘make’ you.

Now before I let you return to your keyboard, think about all I’ve said, and think about the work you want the world to see. Professionally done books will bring readers back; the poorly done books will not. First impressions last.

It really does take a village to raise a book, a good book, a professional book… and when done right, you get a whole other village – readers, fans, those who will market upcoming releases for you, and who are willing to party with you for every book to come.

** Special shout-out to Adrian Collins of Grimdark Magazine for the suggestion for blog-post fodder — you rock, dude! Oh, and check out Grimdark Mag, they know their stuff!

Art of the Cover

Let’s talk about book covers. Yes, let’s. Because if my Facebook feed is anything to go by, then of late cover art has been more miss than hit. No, seriously. If I see another book cover that looks like the “artist” went at it with Microsoft Paint, I will lose my goddamn mind.

Now before I get my ranty-pants well and truly on, I won’t be filling this post with shite covers, but excellent ones by the amazing artist Dean Samed, who does all Cohesion Press covers. I’ll be talking about artists as well, because this is as much about the author as it is the artist – each is as responsible (or complicit) for the end product. I’ll get to publishers later in the piece… yep, no one gets out unscathed here!

Okay, authors, listen up. Covers matter. They matter a whole lot. It is the visual representation of the work within, and the first (yes, FIRST) point-of-contact for a potential reader (and buyer) of your book. A great cover will stop a reader in their tracks and have them pick up your book or click that link, and that’s half the battle won right there. And make no mistake, this is a battle. You’re competing with gazillions of other authors out there for potential readers, and a cover – a GOOD cover – will entice.

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A shit cover? Well, move along, folks – nothing to see here. Readers are discerning; it’s their money they’re parting with, and if you haven’t put the effort into obtaining the best cover you can, why should they believe you’ve made the effort with the writing? Now I know people will be jumping up and down spouting: “you can’t judge a book by its cover!” Well I call bullshit. I most certainly will judge your book by its cover. And so will a whooooole bunch of others. That’s income. Your potential income you’re wagering on the hope that readers will forgive that shite cover and buy your book. But why would they when there’s a plethora of other great covers out there? Know that your crap cover will not find a place on my bookshelf. I’m not alone in this thinking.

A great cover will generate interest. It has the potential to be shared on social media platforms that will increase your reach and garner readers. It will put you and your book(s) on readers’ radar. You seeing the positives here?

But what makes a good cover, I hear you ask. A few things. A few very simple things.

  • It must represent what’s inside. Hit your genre; don’t be putting a zombie on historical romance (unless it’s a zombie historical romance tale).
  • Fonting should be clean, simple, and easy to read. Just because you’re writing horror, doesn’t mean your fonting has to be red… or dripping blood… (please stop doing that).
  • Watch your elements. This is something I see quite a bit – filling the cover with too much stuff. Ooh, there’s a castle in the story, and an elf, and a magical sword…ooh, ooh, ooh, and a horse and a dragon, and, and, and… Don’t make it busy. It doesn’t draw the eye, it confuses it. Singularity is your friend here – one major element with one or two smaller complementary elements. It’s all about balance.
  • Watch your colour. Background colour has to work with font colour. And the busier the palette, the harder it’s going to be to get that right.
  • Do not, I repeat, DO NOT put ‘A Novel’ on the cover of a novel. We’re not idiots.

Now don’t get me wrong, there’s a bit more that goes into it than the above five points, but those ↑ up there are some pretty straightforward things to keep in mind when engaging a cover artist. You will be the one providing the artist the brief (some artists won’t have time to read your novel, so they rely on you to give them the information they need), so don’t overload them with every single piece of the plot and every character, but give them the main focus points and trust them – they’re the artist, they know what they’re doing.

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And therein can sometimes lie the rub. Not all who claim to be cover artists, actually are. I’ve seen sites popping up on my social media pages with people proclaiming they’re cover artists and offering their ‘work’ for either a pittance, or way too much for the end product. Just because you can mock up a cover and throw some fancy fonting (not always a good choice) over it, doesn’t make you a cover designer. Really, it doesn’t.

Thing is, there are plenty of fantastic cover artists/designers out there who offer amazing work for reasonable prices. You invested in editing (please, tell me you invested in editing), so invest in the coat your baby is going to wear. It doesn’t have to be original art (although there’s something extraordinarily special about those covers), but there are designers out there who work wonders with stock photography who know how to blend the hell out of it to make it seamless.

Dean Samed of NeoStock is a brilliant creative who knows his shit. He understands books and the power of covers, he knows how to blend and manipulate and manoeuvre images to create some mind-blowing covers. Dean understands the market, he understands covers, and he knows his art. He’s also seen a gap in the market when it comes to stock photography, and has started NeoStock – check it out if you’re looking for original stock art that kills what’s currently on offer around the web.

So how do you find a good artist? Again, this is simple. Ask. Get on your social media platforms, send out a request. Sure, you’re going to get contacted by some crap “artists” that’s par for the course, but you could find that gem you’re looking for. Chat to other authors, get recommendations from them. Check out other book covers, and if you find a cover you love check the front matter to see if the artist is listed (they usually are), or get in touch with the author and ask. Deviantart is also a great place to scope artists. While they may not be able to mock up a cover for you, they will provide you with art that doesn’t look like a toddler went at it with crayons.

And if you think readers don’t mind what a cover looks likes, think again. There are whole websites dedicated to the shittiest of shittest covers (see here and here for some examples). Trust me, you don’t want to end up on these websites, it will be nothing but scorn and derision. And that pretty much sucks for you re sales.

So think about the cover you’re wanting to put on your book, find an artist who knows what they’re doing (look at their portfolio or ask to see previous work, and don’t be afraid to say ‘thanks, but no thanks’ – you can do that, you know), and get yourself the best cover you possibly can. You’ll be proud of the end-product, and your readers will thank you for putting in the effort to make your book awesome both inside and out. Don’t short-change your book, and don’t short-change the reader.

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And if you’re a publisher don’t short-change your author or their work. If you want to be taken seriously in this industry, if you want to make a go of this business then you have to take this seriously, too. Don’t hire your friend’s kid’s uncle’s intern to do the work – INVEST in the cover like you’re investing in the author. The Big Five are as guilty of this as mid-to-small presses and author-publishers. Of late, the Big Five have been seriously dropping the ball when it comes to cover art. So do better. Be better. If you, as a publisher, want to see a return on your investment, then you need to offer a product that hits the mark on all fronts. That means kick-arse covers.

For those of you thinking this isn’t as important as I’m telling you it is, you’re wrong, so very wrong. Social-media marketing will definitely help with sales, but if you’re doing that with a shite or mediocre cover, you’re limiting your reach. Yes, family, friends and colleagues will buy your book, but if you want to be successful, then you have to reach those who wouldn’t normally know of you, and the best way to do that is to have a cover that makes them sit up and take notice. They’ll share it, then their friends will share it. Covers can do that. They’re magical if done well. And who doesn’t love a bit of magic? It’s why we write.

Oh, and for the love of all things holy and unholy DON’T DO IT YOURSELF. NO. I DON’T CARE IF YOU THINK YOU CAN, YOU CAN’T. LEAVE IT TO THE PROFESSIONALS! YOU THERE, PUT DOWN THAT MICROSOFT PAINT AND STEP AWAAAY FROM THE PC!

Remember, just because you can doesn’t mean you should.

Primordial HR

 

Book Review: The Wheel of Osheim by Mark Lawrence

I once described Mark Lawrence thus: thief of slumber, time trafficker, broker of the dawn. Many a night I have sacrificed sleep and my ability to function as an adulting adult, so immersed have I been in Lawrence’s worlds. This holds true with his last book in the Red Queen’s War series – The Wheel of Osheim.

It’s taken me longer than I’d have liked to get to this book, but it was damn well worth the wait. The Wheel of Osheim continues the epic tale of Prince Jalan Kendeth of the Red March and gargantuan Viking Snorri Ver Snagason. Fated to stop the ‘Wheel’ and save the world, these two characters are polar opposites but more alike than perhaps Kendeth would care to admit. Snorri? I’m sure he saw the kindred in Jalan early.

While I bought this huge tome in its beautiful print edition, I read it on my Kindle (because I am in love with my Kindle, and that’s a revelation that still hurts sometimes, but what’s one to do?). And while my husband has adjusted to the dim reading glow from my side of the bed, I haven’t quite adjusted to his: “it’s two in the morning… it’s three in the morning… no amount of coffee is going to make you human.” (He’s wrong, so very wrong.)

Ooh, would you look at that. Three paragraphs in, it must be spoiler alert time.

SPOILER WARNING… … SPOILER WARN… … SPOILER… … … FIRE BAD, TREE PRETTY. (Shut up.)

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So where to begin? Well, with Jalan being spat from Hell (or Hel) and back into a quest he wants nothing to do with. All he wants is to go home and forget about the whole sorry mess – those are the words he speaks, yes, but Jal is the quintessential character of juxtaposition – he is both brave and cowardly, cruel and kind, indifferent and devoted. Human. That’s his appeal; he’s tremendously flawed, but when push comes to shove (and that’s often a literal shove), he surprises himself by doing the right thing, because despite his protestations to the contrary, that sense of righteousness within has grown to a formidable force.

A lot of that, I think, has to do with Snorri and the friendship the two have forged. While Snorri is quite open with his admiration (and remonstration) of Jalan, there’s a vulnerability in the Viking that perfectly balances the violence within. It’s that balance that’s slowly working its way through Jal. Though demonstrably different, the two are cut from the same cloth. Something Snorri sees far more than Jalan.

It’s an intricate world Lawrence has woven, and intricate players he’s put within. We see more of Jalan’s brothers – the two he’s hated most his life. But as with all relationships, it’s complex and we see the contempt Jal has had for his brothers superseded by the familial ties none of us can escape. In The Wheel of Osheim we see the depth and growth of Jalan more than in the previous books – we see the humanity he’s always tried to cover, to shield from the world. It’s achingly brutal.

The same can be said for Snorri’s ventures through Hel to find and rescue his wife and children. This melding of faiths – Jalan’s Christian Hell, and Snorri’s Norse Hel – showcases the layering Lawrence has put into each character. Snorri is a Viking on a mission, and nothing will stand in his way – not demons, not undead, not Hel’s warriors… that battle scene where Snorri finds his son is one of the best I’ve read. It’s bloody, it’s cruel, it’s heart-wrenchingly incapacitating – all that it should have been.

As with any final book in a trilogy, there’s much to tie up – both long game and short. This is a story that needs investing from the reader. You can’t half-arse it through this. The foreshadowing is there, and it’s subtle, but it all comes to play as you head into the final battle – the saving of the world… or rather, the saving of it for just that little bit longer.

Past, present and future all lay their cards on the table in The Wheel of Osheim, and fate, oh what a fickle mistress she is. The gods (whichever you choose them to be) have had their hands in this from the beginning. Which beginning? From the time of The Builders – the gods that never were – the world has been ticking so very quickly down. And magic, she is tearing apart the fabric of this universe faster than anyone realised.

It’s this urgency Lawrence plays to throughout this book, while still taking the time to address all that’s been built into the previous two books: the Red Queen, the Silent Sister, Garyus (by far one of the most interesting and underplayed characters), Lady Blue… it’s quite a cast. And while not everything is concluded (possibly leaving it open for more stories in Jalan’s world), there was enough to make the ending satisfying.

Look, I could go on and on about the different aspects, the plots and sub-plots, the narrative, mechanics, architecture of the book, but I’ve no time to write a dissertation on how good this book is. Yes, sometimes it does fall into cliché (the usurpation of the throne by the Red Queen’s brother, and the subsequent death), but this can be forgiven based on the prose alone. As with The Red Queen’s War, and The Broken Empire series, Lawrence can take and twist words into the most sublime of writing. When the ‘wordsmith’ is used, I’m sure Lawrence is one of the authors meant to wear this moniker.

Overall, The Wheel of Osheim is a dark, gritty, often humorous storytelling of a world in its dying days. Of political machinations, of haunting past deeds and the price one pays. And monsters, oooh, there be monsters. A totally immersive, roller-coaster ride to tie the series off.

On a Goodreads scale, I give it five stars.

Movie Review – Kong: Skull Island

Yeah, yeah, I know. I’ve never previously reviewed a movie, but… KONG! Seriously. KONG! It’s been a while since I’ve been this excited over a movie, and when that final trailer dropped… oh, it’s a thing of beauty. It does everything a trailer should. Are you excited yet? You should be.

I’ll be the first to say it: I’m no aficionado when it comes to movies. I know what I like and what I don’t, and that pretty much covers it. As a writer and editor, it’s sometimes hard to remove those hats when screen-watching (and my husband hates that I can predict dialogue – ‘stop ruining movies for me!’). So there’s always that small part of me that worries over my excitement for seeing something and the possibility the trailer is the best part of what I’m about to see.

Not so here. Sure, there are small issues with plot, and the under-development of Tom Hiddleston’s character (ex-SAS soldier now tracker, James Conrad), and the over-act that now seems to be Samuel L Jackson’s (Preston Packard) go to, but Kong: Skull Island (Legendary Pictures and Warner Bros) hits all the right marks for a ‘monsterverse’ movie.

The studio was kind enough to release on my birthday, so off hubby and I went to the first showing. Yep, mid-morning, and we were the youngest people in the audience. No kidding. And just a very cool aside, when in the bathroom after the movie, one of the older ladies was waxing lyrical about how she’d seen every Kong movie on the big screen since she was a kid, and she’d loved this one. Now that is a fan of epic proportions, and puts a smile on my face every time I think of it. Be this Nanna!

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SPOILER WARNING. LIKE HUGE, KING-KONG SIZE SPOILER WARNING. READ ON AT YOUR OWN SPOILERY RISK.

Set in 1973 at the tail-end of the Vietnam War, this is a Kong origin story that will no doubt spawn future ‘Kong vs…’ movies. (Note: stay for the after-credits end-scene). And while some may boo-hoo this, I’m all for a re-emergence, re-imagining of the creature-feature universe. Done well, of course, but I’m fully aware you don’t always get what you want.

There’s no doubt the director/writers/producers wanted a particular feel for Kong: Skull Island, and there are clear cinematography-elements that draw on that ‘Apocalypse Now’ atmosphere (with the killer score to go with it), as well as the many Vietnam War movies of my youth (and for me, that’s never a bad thing) – the camaraderie of the soldiers is reminiscent of such, and works well.

There are factions within the crew sent to Skull Island: scientists, military, government agents, and a war correspondent (Brie Larson’s ‘Mason Weaver), each with their own agenda. Although to be fair, the soldiers just want go home, way before Kong makes his entrance. And it’s a hell of an entrance. Kong swats the helos out of the air with ease, a nod to the original Kong swatting planes from his spot atop the Empire State Building.

Now spread thin on the ground, each party must find their way to the exfil spot on the other side of the island, and battle monsters along the way. Yeah, it’s a pretty standard plot/theme for monster-military madness, but don’t be fooled into thinking this is anywhere near ‘standard’. The monsters, giants by any standard, and terrifyingly monstrous, definitely make this a survival of the fittest scenario. The fight and action scenes are jarring and gruesome and a hell of a lot of fun.

And that’s the thing with this movie, it knows what it is and it doesn’t take itself seriously. John C Reilly’s character (Captain Hank Marlow) provides the ‘comic relief’, but has more depth than you’d expect – his is a backstory that’s explored, where Hiddleston’s character is more hinted at than evolved (coulda done more with just a little, but I’ll give that a pass if it’s indulged in future movies). Reilly’s character top and tails this story – beginning with him being shot-down in WWII to his return to civilisation and the family he left behind. So in a way, you could say this is Marlow’s story, and he tells it well. Kong’s backstory is given via Reilly and the native inhabitants of the island (the Iwi people), who do not speak. Not really okay with that as it would have provided more depth.

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The one real issue I did have (as did my husband) was Jackson’s portrayal of Preston Packard. That shit needed to be underplayed, not overacted. Subtlety and nuance would have done the trick here – villain the writers may have wanted him to be, avenger for the deaths of his men a great motivator, but Jackson cocked it up (I’m looking at you, director and script-writers).

As with every Kong movie, there’s the female protagonist (I won’t say lead, as she’s not), and making Larson a war-correspondent/photographer gives her more play in the arena of death she’s used to seeing (but this in no way passes the Bechdel Test— Larson and the female scientist [Tian Jing’s ‘San’] barely speak two words to each other), and can hold her own in a firefight.

Oh, and monsters, there are aplenty! From Skull Crawlers awoken from the caverns beneath the ground (and their link to the demise of Kong’s family, and a grudge that ain’t going away any time soon), to a giant Kraken-like creature, big mofo of a spider, cannibal birds, giant bats, and the ever adorable moss-covered ox.

There’s a lot to like about this movie, and some things that could have been done better, but overall I loved it. It’s my kind of movie. A perfect storm of monsters, military, mayhem, and a killer score.

As my husband said, it’s not going to win an Academy Award, but it was a helluva lot of fun.

My rating: 8/10. You’ll want to see this on the big screen, and it’s definitely a movie I’ll be adding to my home collection.

Oh, and for readers out there, writer Tim Lebbon has written the movie novelisation of Kong: Skull Island. I’ve pre-ordered mine – you should too.

 

Book Review: The Tide by Anthony J Melchiorri

Aaaand, we’re back! Two posts in two days? If this keeps up the world will spin off its axis…unless you’re a Flat-Earther, then it’s more a tilt of the space turtle and four careening elephants. Ahem. Where was I?

It’s review time! We love review time. Well, I love review time, especially when I come across a new author (or rather a new author to me). It was only a couple of weeks ago that I was introduced to Anthony J Melchiorri’s work, and what a fun and frightening introduction it’s been. Melchiorri’s stories drag you in and don’t let you go. And yes, that was a deliberate plural. While I’m only reviewing the first book in The Tide series, I’m currently halfway through the third.

Two things before we go forward: 1) big shout out to Geoff Brown for putting me onto the series – you rock, dude; and 2)…

SPOILER ALERT! HERE THERE BE SPOILERS. THERE, THERE BE SPOILERS. THERE’S A SPOILER BENEATH THAT CUSHION, AND ANOTHER UNDER THE CAT. BECAUSE CATS, MAN.

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The Tide, as you can probably tell by the cover, is apocalyptic military horror – one of my favourite genres. It’s also a genre that can be difficult to get right, but Melchiorri hits all the right notes with this first book. What he doesn’t do, is bog down the beginning with over-explanation and character introduction but rather drops the reader right into the horror of what’s to come.

The prelude gives the reader a graphic understanding of the potential of a genetically-engineered bioweapon crudely developed during WWII by the Japanese. It ain’t pretty, and I was hooked. Fast forward to current times and we’re introduced to Captain Dominic Holland and his ‘Hunters’, a group of covert operatives who work for the CIA off-the-books. And these Hunters have some serious firepower and a kick-arse ship at their disposal. Not to mention hackers and scientists that complete the diverse bunch.

Melchiorri is a bioengineer by trade, and it’s abundantly clear with the monsters he creates in the books, that he knows his stuff (as an aside, please don’t give the man free-rein with pathogens without a steady stream of caffeine). There’s a good deal of science involved in the story, but if you’re like me and have a rudimentary understanding of it, you’re not going to get lost when it comes to the biology et al. And biology it is. The monsters in The Tide are some of the best I’ve read. The virus developed back in WWII has been expanded upon, and what it turns humanity into is… hell. Called ‘Skulls’ due to the victims’ human skeleton becoming an exo-skeleton of disturbing sorts, this is nightmare fuel for all involved. And fast, these monsters are fast and voraciously hungry.

While Melchiorri doesn’t let up on the action, there’s a good balance in the peaks and troughs he’s worked throughout the story. Just when you’re getting some downtime (reader and characters alike), the tension ramps up and you’re back into the thick of things. When you add in Holland’s daughters needing to be rescued as the world turns to shit (although eldest daughter Kara can hold her own), the stakes are raised even higher. It’s this type of storytelling that can literally be called a page-turner.  I finished this book in four days… well nights, as I read before bed, and Melchiorri seriously owes me some nap time.

This is some seriously good storytelling with well-rounded characters, high action, and intense tension. And monsters, damn but Melchiorri’s monsters are unique and unnerving. You won’t be disappointed.

On a Goodreads scale, I give The Tide five stars.

Shenanigans to resume shortly

Well we’re in March, and this is the first chance I’ve had to get back to the blogosphere. I’d aimed to do better with the blogging this year but life, in all its middle-finger goodness, decided it had other ideas. Not that 2017 has been worthy of the middle-finger for me, but rather best laid plans and all…

It’s been a hectic couple of months, with family staying with us (mine and my partner’s – his coming all the way from Uruguay), a marriage (not mine and my partner’s), kids heading reluctantly back to school, and getting back into the groove with work, which is always difficult after a month away. But back I am.

There’s quite a lot happening on the work front with Cohesion Press, with some killer novels coming out this year – military horror kick-arsery (so a word) and creature-feature deliciousness. Have I told you how much I love my job?  Seriously, reading killer stories before unleashing them on the world is like crack – book crack.

But there are other big things happening on the Cohesion front, and while it’s too early to give away the details (well that, and an ‘on pain of death’ clause), it’s damn exciting. Like super, uber, surreal exciting. Details will be forthcoming. Later. Down the track. Sometime. Shhh.

Oh, and if you were unaware, the submission window for SNAFU: Judgement Day has about two months left in it. Check out the guidelines, follow the guidelines, and send your best work. The series is going epically strong, and really… apocalyptic fiction? How can you not write it?

On the writing front, things are moving a little slower than I’ve wanted this year, but I’ve also learned to be kinder to myself when it comes to the putting down ink. I’m reworking a story I’m extremely excited about, and I am going to submit that bitch until it finds a home. It deserves to find a home – the characters told me so, and they’ve got weapons and magic and an army of the dead, so I’m gonna listen to them.

Reading… oh, how I love thee. I’m ahead of my pretty low schedule of books to read this year – about a quarter of my way through my sixth novel. And despite my absolute reluctance, I will readily admit this is due to now owning a Kindle. Yes, Geoff, I have finally publicly admitted my love of the Kindle. Those screams you hear are my print books howling at the betrayal. But, but, but… it’s not complete and utter betrayal, as a print book was purchased the other day that is now nestled in my new bookcase, so ner!

So that above paragraph means book reviews will start hitting the blog (the first probably tomorrow), and I’ll have a Women in Horror Month article up soonish too. Then normal shenanigans will resume fairly regularly.

/stream-of-consciousness

Festivus Book Pimping – Fathomless by Greig Beck

 

The countdown to Christmas is well and truly on, but pimp on I must! Today, it’s multi-award-winning author Greig Beck and his wickedly frightening Fathomless. Yeah, we’re all gonna need a bigger boat.

Duuun-dun… duuun-dun… dun-dun-dun-dun-dun-dun-dun…

What?

fathomless

Okay, so from the cover alone (‘nother shout-out to Dean Samed of NeoStock), it’s clear we’re talking shark story here – think Megalodon. Yep, you know, that’s been instinct for millions of years… but have they?

That’s the premise of Fathomless (Cohesion Press), and Beck kicks it out of the park with his tale. Now before we go further, full disclosure. As I’ve mentioned, my reading for pleasure took a back seat to work this year, so a lot of what I’ve read has involved novels I’ve worked on, and Fathomless was one of them. But here’s the thing, it’s not often that I’ve had to get up from my desk and take a breather because the story was freaking me the hell out. With Fathomless, I did that three or four times. Nope, can’t handle the tension, time to take a break and calm the hell down. Three passes I made of this story, and each time, even when I knew what was coming, my pulse quickened and the voices in my head (yes, there are many) were yelling at the characters to swim faster, dammit! (Actually, there were a lot more swear words, but you get the picture.)

So despite me having edited Fathomless, it’s one of my picks of the year for horror books.

From the back cover:

Jim Granger is searching for a place of legend. Known as ‘Bad Water’ by the island’s elders, it’s reputed to be home to many dangerous creatures. Through a seam in a cliff face, Jim finds what he seeks. He also finds, too late, that the water demon he was warned about is horrifyingly real.

Today, Cate Granger is following in her grandfather’s footsteps. Along with a team of scientists and crew, she accidentally releases a creature from Earth’s primordial past into today’s oceans. Nothing is safe on or below the water.
The story essentially has two parts. The first being Cate and her crews trek deep beneath the Earth’s crust to an immense underwater ocean that’s been suspended in time. Traversing the sea in a damn small sub, they discover marine life once thought extinct. They also discover the Megaladon.

Beck uses that instinctual fear that’s been loaded into our DNA from the beginning of time – fear of Alpha predators (and boy, is the Meg one hell of an Alpha), and added a touch of claustrophobia into this first section, because… why not? And there’s no natural light down there, so much of what’s happening does so in complete darkness.

There are at least three scenes in this section that had me freaking out. Yeah, sharks are one of my biggest fears. Living in Australia can do that to a person. The second part takes place once the Megalodon has been released into today’s oceans, with Cate and part of her crew (plus some newbies), going out to hunt the shark. Not all goes according to plan.

This is a killer book, and if you’re looking for a tale that will amp up your tension, and have you questioning whether you really should go back into the water, then Fathomless is the book you need to be reading. Or gift it to someone who loves that spinchter-clenching form of thriller and terror.

You can read a review of Fathomless here.

Recommended for lovers of horror, suspense, thrillers, and plain ol’ ‘holy crap, swim faster, swim faster!’

 

 

 

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