New Release: THEY KILL FOR GOLD

So, my first new book is out, a fantasy novella that plays heavily into the 80's style, tabletop fantasy role-playing games media tie-in novel fiction vibe. I'll cut-and-paste in here the Author's Note I wrote for the end of the book: 

I discovered tabletop role-playing games in 1993, when two of my friends acquired the “Big Black Box” edition of a certain “Basic” fantasy RPG which will remain nameless. My enthusiasm for tabletop gaming quickly outgrew theirs, and since I lived in a very rural part of Maine and didn’t have many friends who lived close by, I turned my interest in writing - which was very strong in me even as a teenager - towards an interest in gaming, specifically the world-building and character-creating aspects of it. I didn’t have much of an opportunity for playing adventures, so I filled my time by creating adventure stories.

Fast-forward a quarter of a century. I still play that certain role-playing game in its current edition, although now in the winter of 2021 my friends and I play it over video chat, because the COVID-19 pandemic is keeping us from hanging out together as we always did, laughing and teasing and bringing meals and having drinks. I’m a big nerd and most of my friends are big nerds as well, and this is one of the pastimes that keeps us together, some of us since the late-’90s. We’ve gotten older, some of us a little rounder, all of us a little greyer up top, but when the books and the dice and the character sheets come out, we’re all still kinda kids again.

This past year has been terrible on a global scale. The pandemic is far from over, all our lives have been on hold in one way or another for a year. We still try to get together online a couple of times a month to fight bad guys and go exploring, discover hidden places and earn fame and fortune in imaginary lands. It’s an old-fashioned style of play, and I try as the Game-Master to make sure the more problematic aspects are left out of the adventures. Still, we’re traditionalists in many ways. 

And so, this is what THEY KILL FOR GOLD is about. It’s a story of old-school fantasy adventure, hearkening back to those memories of a more “Basic” kind of game and gameplay. The plot isn’t fancy, the world isn’t unique or exceptional, the character motivations aren’t all that complicated. And yet, I enjoyed writing the story and bringing these characters to life. Hopefully, you enjoyed reading it. Maybe it’ll inspire you to go dig around in a drawer, find your dice, dust off your old rulebook and some graph paper, and go on an adventure.

So far, I've seen a slow but steady trickle of sales, and more interestingly, Kindle Unlimited "borrows" and reads. Very encouraging, as I haven't released anything in two years and this has gone out with very little fanfare. I already have an outline for the second book, and I am developing the story for the third. All in all, I think the idea of simple, fast-paced novellas that draw really heavily on old-school fantasy gaming tropes, but with a modern touch, may in fact find an audience with readers. I've gotten some really positive feedback from a couple of readers already, folks who know the genre I'm trying to fit into and whose opinions I definitely respect, and so that is extremely encouraging.

That's it for now, If you think this sounds interesting, you can click here to find the ebook on Amazon. A paperback edition should be along in a few weeks.

It's Been 84 Years

Well, okay, not exactly that long. But it's been a while. 14 months since our last blog post. If you haven't been living under a rock for the last year, you know that the COVID-19 pandemic turned the planet upside down, and especially for those of us in the US, where things, shall we say, have been a little tumultuous.

Back in Mid-March of 2020, my work went remote until August. I worked from home for 5 months, with only very rare, clandestine operation-style trips into work in order to pick up something or drop something off in another person's office. Since then, I've been on a 3 days a week schedule since September. Overall, it has been okay. My commute, which is via public transit, isn't so bad, mostly because there are very few people on the train going in either direction. At work, I interact with almost no one. There are days where over the course of 8 hours, the person I interact with most is the nice person handing me my Starbucks through a pickup window. I have become the Maytag repairman, sitting and waiting for a problem to happen, and it rarely occurs.

Well, most of you must be waving your arms around and saying, "Wait, that should be perfect for a novelist, right? You should be able to get all sorts of things done, right? Why haven't you written three or four novels by now?" Well, nah, not exactly. I'm sure it was great for some folks, but it was hard for me. Constant mental distraction between the pandemic news and worry, trouble with family (especially elder care stuff), troubles with friends and loved ones, national political crisis, and the stress of working-but-not-really working, in an environment that's both dull and stressful at the same time, it all became conditions that aren't great for the flow state necessary to write and complete long-form storytelling.

On the other hand, I wasn't idle. I did work on a number of projects, although some only made small amounts of progress. All in all, I think I wrote about 60,000 words over the course of 2020, which for me, isn't terrible. And the good news in all of that, is I did write a novella - 32,000 words - called THEY KILL FOR GOLD. I'll drop another post about it tomorrow, but in short, it is a fantasy novella that asks the question: Everyone wants to be the hero, but what if you're just the hireling? It's a story idea I've had for years, but never got around to writing it because there was always some greater, higher-stakes project that took precedence. Well, this year, I was just too stressed to work on the high-stakes stuff, so I finally settled down and wrote this novella, which will, I hope, be the first of many quick-read adventures.

Beyond that? I picked away at a few other ideas, but nothing I want to talk about here just yet. And I do owe you all my 2020 writing in review, which is usually a breakdown of sales and writing progress. It'll take a little more time this year, as my move to publish six of my novels through Wolfpack Publishing means I've got to consult two sets of spreadsheets, rather than one, but I do want to get you some numbers eventually. In short, it was...an okay decision. KILLER INSTINCTS and SAN FRANCISCO SLAUGHTER sold better in 2020 than they ever did before, but my Commando titles actually lost money with the move, and overall I think I either broke even or made less this past year than I did in 2019. Granted, given the situation over the past year, making a good estimate as to what my sales should have been is a little pointless, but I think the long and the short of it is, I should have held onto my Commando titles, and only given Wolfpack the other two novels. Live and learn.

That's going to be it for now - just a quick update. Now that THEY KILL FOR GOLD is out (link for those who are interested) I'm going to focus this spring on finally writing the second Hangman novel, BATTLE FOR THE BLACKTOP. I've had this idea half-formed in my mind for years, and I think now's the time to get it finished. On that note, I'll catch you all later, and thank you for dropping by.

Wargaming Wednesday: The Beards and Battleaxes RPG?

Cover art from one of the GW army books

Hello everyone, sorry for a lack of posts Friday and Monday, things were a little troubled on the home front. But here we are again, talking about gaming. After venting my frustration last week, I began thinking of a gaming project I could undertake, something simple, specific, and entertaining to me personally, while at the same time, viable as a product that can be shared to folks out there in the world at large.

So I settled on a game about dwarves.

I like dwarves. I've played them in various RPGs. The Dwarfs (not Dwarves, but Dwarfs) were my first Warhammer Fantasy Battle army. They're short, stout, and bearded, just like me, and although beer isn't my go-to form of alcohol these days, I can certainly appreciate a well-brewed pint of ale or stout. Dwarves are also usually portrayed as gruff, curmudgeonly little assholes who don't like taking shit from anyone and hold grudges far longer than rationally reasonable, and yes, guilty as charged on all counts.

A single player-race game might seem limiting, but it is also focused. It lessens the number of decisions during character creation and reduces the rules and word count, keeping the game tighter. Also, I would probably stick with tradition and limit any form of Dwarven magic to a kind of rune-crafting, coupled with perhaps some kind of holy boons or blessings from Dwarven gods. Again, it limits player choice, but also alleviates the need for a player-side spell catalogue (which in many games can be equivalent to all the other rules put together).

From a GW Dwarf infantry minis box

As for adventures, I think a lot of the major bases can be covered. Dungeon and underground exploration is an obvious go-to, but you can also have dwarves patrolling the areas around their strongholds, overland expeditions, trips to human (or non-human) lands and cities, long-distance explorations, diplomatic trips, monster hunts...with a little thought, almost any adventure type is possible.

As for the rules, I think I have a good foundation I want to build upon. Originally I thought of going with the core rules I developed for my stalled-out Tankards & Broadswords RPG, but I think for the moment I am going to set those aside and try something a little more basic, and if that doesn't seem to fit my needs, we'll reconsider. I think the rules should be simple, avoid a lot of math, and most difficult of all, not be just a generic system but an expression of the concept of the game. How we get there, we'll have to find out.

So, I'm going to leave this be for now. Next week I hope to have a few more details on this, and as time goes on, we'll build bit by bit. In the end, this is likely just going to be a downloadable PDF that anyone can enjoy, so we're keeping it as simple and straightforward as possible.

Fiction Friday: THE LAST WISH: Introducing the Witcher

If you follow video gaming at all, you've likely heard of The Witcher series of open-world RPG video games. They feature the monster-hunting Witcher, Geralt of Rivia, wandering the world and killing that which goes bump in the night. The world of the Witcher is based around Slavic folklore, a flavor of Western monster mythology that is a little removed from what most of us are used to unless you are really into the subject of bestiary folklore.

But fewer people realize that the Witcher and his world started out as a series of short stories and novels by Polish author Andrzej Sapkowski. Most of the stories were written in the 1990s, but it wasn't until the mid-oughts and later that they were given English translations. Coming at the end of this year, Netflix is releasing a television series based around the stories, and of course both fans of the books and the video games are howling over how the details shown in the trailer don't do the series justice.

Curious about both such a popular video game character and what might drive Netflix to pick up the IP, I grabbed the first (chronologically) anthology of short stories, THE LAST WISH. I was immediately hooked. For a book translated from a different language, the prose is evocative and pulls you right into the world, a very dark, late medieval-era feeling fantasy realm, very similar to the Ravenloft setting of Dungeons & Dragons. If you aren't familiar with Slavic folklore, some of the creatures might seem unusual to you, but that slightly alien nature just adds to the creepiness of the setting - this isn't some adventurer going after your usual orcs and goblins, this is a true monster hunter, for whom a blend of swords, sorcery, and dark knowledge is needed to take on the evils lurking in the deep forests and crumbling towers.

So if you like dark fairy-tale fantasy with an Eastern European bent to it, do yourself a favor and check out Sapkowski's fiction. I'll definitely find time this fall to work my way through more of Geralt's adventures.

Wargaming Wednesday: Not Just Dungeons and Dragons

Dungeons and Dragons was the first pen-and-paper tabletop role-playing game I ever encountered. I started playing in the summer of '93, when two of my friends had the "Big Black Box" edition of the DnD Basic Rules set. For those of you who know what the BBB version is...well I don't need to tell you anything. For all you newbies out there, this was a really big intro boxed set that had a ton of "rules cards", a big map adventure, tiny cardboard monsters and PCs...basically everything you'd need to play the first few levels of your characters - which is not unusual for the D&D boxed sets - but in a larger format, with full-color maps and cardboard counters.

Up until this point, I really hadn't been into "Fantasy", but I had read the first three Dragonlance books (that's a post for another day), and so I had some idea of what I was getting into. Needless to say, I was immediately hooked - in fact, far more than the two other people I was gaming with. I quickly bought the 2nd Edition Player's Handbook, Dungeon Master's Guide, and Monster Manual, and the over the next few years, I bought EVERYTHING that TSR produced - settings, Class handbooks, DM's guides...the works. The biggest problem, unfortunately, was lack of players, since I was living in a fairly rural small town in Maine, and my high school peers, for the most part, weren't interested in gaming.

When I moved off to college in 1995, I brought most of my gaming materials with me, certain that I'd be able to find a DnD group at a large urban university. But of course, as soon as I found some nerdy brethren and asked who played D&D, I received mocking laughter. "We don't play that game, you dork. We play White Wolf games. Those are real role-playing games".

I got sucked into a Werewolf: the Apocalypse game, and really enjoyed it, and I played a little Vampire and a little Mage as well. My RPG tastes began to grow, and I started buying other games, surprised that there were dozens of games put out by a wide variety of publishers in any genre you could think of. And of course, this was the late '90s, when the Internet gave us the ability to communicate around the world and share documents online with each other, enabling the explosion of what is commonly known as the "indie gaming" revolution. New voices emerged in the industry, edgy people with games that strayed far from the staid boundaries of D&D, GURPS, Rifts, World of Darkness, and other, more established platforms.

Fast-forward twenty years, and the more things change, the more they stay the same. Dungeons and Dragons is now well into its fifth - and most popular - edition, and most of the old guard are still around in one form or another. But smaller, indie presses and self-published games continue to arrive on the scene almost daily. In addition, the disdain most D&D folks had for the 4th edition rules, coupled with the death of D&D co-creator Gary Gygax back in 2008 sparked the "Old School Renaissance", where many gamers went back to the old editions of the game, breathing life back into them and using the bones of their rules sets to create a huge variety of different games.

Over the decades, I've collected a lot of role-playing games. Far more than I ever have, or ever could, play. I don't know what the current number is, but it is probably creeping up towards a hundred different RPGs and/or editions. And yet, that barely scratches the surface of what's out there, even from larger game companies, never mind "indie" developers. It's interesting that Dungeons and Dragons is more popular and more mainstream than it has ever been, and yet, most people have no idea of the immense variety of games out there - settings, play styles, rules types - whatever your interests might be, there is likely a game for you. And, just to give a minuscule taste, here's a YouTube video I watched last night, which dips a toe into the fathomless pool of games out there:

Yes, the video is a bit long, but if you have any curiosity about role-playing games, it is definitely worth your time to watch, and certainly better than me trying to pitch a bunch of different games. Oh, and it is worth noting that of the ten games they mention, I only own one of these - Call of Cthulhu - and it's an old edition. So if I own nearly a hundred RPGs, and only 1 of them is on this list, that gives you some idea of the variety out there.

My 2014 Writing in Review

Two years ago, I wrote a piece called "In 2013, Always be Closing". The year after that, I laid down a 2014 Short Story Challenge. This year, I want to take a look at the past twelve months, where it has brought me, and where I'm going from here.

In 2014, I sold a little over 7,600 copies of my various works, roughly half of everything I've ever sold in the past 3 1/2 years, and 800 more than in 2013. That figure averages out to a little under 21 sales a day over the course of the year. Granted, in the third quarter of the year my daily averages dropped to significantly less than that, but I had a strong opening to the year with the release of Operation Cannibal around Thanksgiving of 2013, as well as a couple of really strong Kindle Countdown Sales during the first quarter. In addition, I'm finishing off the year with a very strong past six weeks, thanks to the release of Operation Dervish, which has sold over 460 copies so far.

I lay out all of the above so that people can decide for themselves how successful I am, and do some comparative analysis with their own and others' sales figures. I was glad to see overall sales increase substantially, and royalties increase as well (I made about a thousand dollars more this year than last year), but it certainly wasn't a bowl-me-over sales year. Let's break it down...

The COMMANDO series made up about 81 percent of my total sales this year, utterly dominating all my other titles. With four novels and a short story, that's certainly understandable, but it is important to point out how much my sales figures depend on this series. Without it, I wouldn't be breaking a hundred sales a month on average. In addition, while I used to sell at least twice as many copies in the UK as in the US every month, the ratio is now mostly even, and with my new title in the series so far, I'm selling far more US copies. There are probably a variety of factors at play here, from the much larger Amazon customer base in the US, to what might be a more saturated genre market in the UK (there are several UK-based WW2 series that aren't available as ebooks in the US), the dominance of the UK sales region is now firmly over.

RENEGADE'S REVENGE was a surprise hit for me this year. I sold a little over 700 copies of this title in eight months, accounting for roughly nine percent of my total sales this year. Since a significant number of these were Kindle Unlimited borrows, I actually made pretty good money off of this title, especially given that it was originally written as a project that failed to launch. For many years, publishers and critics considered the Western genre one of the worst-selling, but there seems to be a resurgence in the last few years, both in re-releasing old titles as ebooks, as well as original content. I fully intend to write a sequel to RR at some point in the next year, and maybe a few other standalone Westerns as time goes on - it is certainly a fun genre to write in, with a great blend of action, adventure, and history.

SPIDERS & FLIES was released at the beginning of the year, and has gone nowhere since. It sold 28 copies in 12 months, 18 of those in the first month of its release. The few reviews it received were positive, and people seemed to like the cover art, but the title simply doesn't sell, even when I have tried free giveaways. Considering its poor performance, and that of NANOK, while I'm glad I finally got around to finishing and publishing this piece, I think even if I can write decent fantasy stories, it isn't worth my time or energy. I doubt I'd even write a sequel to this title, but while I do have several NANOK stories in mind, that's where they're going to stay for the foreseeable future, until I have enough "legroom" to take a chance on writing them.

HANGMAN #1: SAN FRANCISCO SLAUGHTER was also well received by both beta readers and those who've written reviews. However, it did not take off like I'd hoped it would. I sold about 130 copies in the six months it's been out, better than S&F but terrible even compared to RR. I have a number of sequels in mind for this series, and perhaps with an additional couple of titles it'll have more appeal, but so far, I'm not that hopeful. Still, I really enjoyed writing the book, especially since it allowed me to ramp up the "mature content" compared to the COMMANDO titles. SFS contains a lot of swearing, a little sex, and some very cruel violence. It is definitely a darker work, and getting out of my morally-cleaner mindspace was definitely interesting.

KILLER INSTINCTS continues to perform terribly. More than a few people still feel my first novel is the best thing I've written, and I certainly believe it is a good, solid story. I did a cover change for the ebook mid-year, and a couple of promotions helped bring in more sales, but of the roughly 350 copies sold in 2014 (~4.5% of my total sales), at least half were during promotions, meaning I made nowhere near the money I could have with those numbers. Next year I would like to get the title into a BookBub promotion, which would be amazing, but I don't have high hopes. In a market choked with thrillers of all stripes, KI goes largely unnoticed. I would still love to write a sequel to this book, but at this point in time, I feel it would fail to thrive just as KI did, a pointless gesture.

In conclusion, I face some tough choices. It is clear that my niche genre titles (WW2 and Westerns) sell much more than my more mainstream genre works (thrillers, crime, fantasy). COMMANDO titles and RENEGADE'S REVENGE make up ninety percent of my sales this year. Clearly, this is where my focus should lie, but on the other hand, I don't want to limit myself in terms of what to write. Writing is not my full-time job, nor will it be for the foreseeable future, meaning I am not as much a slave to the market as I could be were it my only income. And, in addition, I might stumble upon another genre with a title that's more popular than I'd imagined. Certainly, when I wrote both the first COMMANDO title, as well as RR, I never anticipated their degree of success.

In a few days, I hope to follow this column with one discussing my hopes for 2015. Until then, Happy New Year!

Dungeons and Dragons 5th Edition Player's Handbook - First Impressions

After all the waiting and anticipation of a new Dungeons and Dragons edition coming out, I'd completely forgotten that yesterday was the official release date. I'd intended to pick it up via Amazon for 40% off the cover price next month, but found myself near the local hobby store, and made the impulse decision to pick up the book at full price.

I'd only intended to give the book a cursory look last night, but I sat down with it about 6:30 or so, and didn't put it down until after 11:00.

I'm pretty impressed with the production values overall. I like the color of the paper, finding it a lot easier to read than the stark white of 4E, and not as dark (although I have to check) as 3E. The font is nice and readable even for me, and I like the use of Serif and Sans Serif fonts in certain places. A lot of thought was put into the overall typography and layout of the book, and it shows.

It took a bit, but I'm now completely sold on the artwork. I was never a fan of the 3E/4E art direction, finding it way too cartoonish and/or comic-bookish. There's nothing wrong with that on its own, but for a game that's supposed to be highly universal in the tones and settings it is applied towards, I think the overall look was too specific. The new art, on the other hand, does a good job of looking ahistorical, while at the same time, grounded in a "fantastical reality" - people actually look like people, creatures like actual creatures, and so forth. Art is terribly subjective and many will disagree with me, but I think it fits a perfect balance of the fantastical and the realistic, reminding me of some of the better 1E and 2E color art from back in the day (which, nostalgia aside, varied WIDELY in quality). Also, it was really great to see a lack of cheesecake art - no chain-mail bikinis or exaggerated "boob-plate" armor. All depictions of the female form were tasteful and again, grounded in a balance of fantasy and reality. This was a big win for me, as I feel it gives a very positive view of female PCs as something other than Black Widow-esque sexy femme fatales or nearly nude magical pixie maidens.

After a single skim through the whole rulebook, I spent most of my time reading the character creation material. I like the balance of the races and classes, some minor quibbles aside. Halflings are now much disengaged from their Hobbit origins, which is I suppose smart, but may alienate some purists. The Dragonborn and Tiefling races don't interest me at all, but since they are carry-overs from more recent editions, and I suppose were middilingly popular, I have no strong feelings either way. I suppose after 40 years, there's room for some original races! I also like that there's a lot of callbacks to how different D&D settings handled differences in the races, as well as discussions on how each race sees itself and other races interacting within the generic campaign setting framework.

As for classes, it was interesting to see how many and to how much of a degree characters have access to spells. Three different "arcane" classes, as well as Bards, Paladins, and Rangers getting much beefier spellcasting abilities (at least, as compared to what I remember). I might go so far as to say the pendulum has swung too far in giving too much access to spellcasting, but as so many multiclass combinations had to do with adding magic to a class, I suppose it makes sense.

I do feel as if the career paths start a little early at 3rd level, but in earlier editions by that point players already had a pretty firm grasp of what they wanted for their character. For the most part, I feel the paths are most reminiscent of 2E class kits, and while some of those back in the day were a little lame, others were really colorful and added a lot to the build. I've seen people complain that the paths are too binding, i.e., "Why can't I play just a plain old vanilla Fighter?", and I'm going to go out on a limb and guess the answers for this question - and many more - are to be found in the DMG.

There's a bunch more to comment on, but overall I'm definitely liking what I see. I felt 3E was too crunchy and bean-county for "Dungeons & Dragons", although I liked the move to a unified mechanic and a more modern (for the time) RPG design approach. I had little love for 4E, finding its attempt to make a tabletop RPG into a weird board game / video game just unappealing to my own personal sensibilities. 5E actually feels a lot like a blend of Castles & Crusades and Pathfinder, two games that were very well received, and I think overall that was a smart design choice. This game FEELS like "Dungeons & Dragons" should feel to me, after 40 years of game evolution.

SPIDERS AND FLIES Sword and Sorcery Fantasy Novella On Sale Now

Click the Cover to See on Amazon

Every writer has their “desk-drawer novel” written once upon a time but never brought out to see the light of day or the eyes of other readers. Spiders and Flies is my desk-drawer novel, or novella, rather, written in the spring and summer of 2001 as a means of establishing in my mind a world that would eventually become a role-playing game campaign setting. That campaign, which I named Year of the Blood Wolf, was one of my favorites as a game-master.

At the time, I wrote Spiders and Flies as an homage of sorts to the classic pulp tales of writers such as Robert E. Howard, Lin Carter, Karl Edward Wagner, and Gardner F. Fox. I wanted to create an exotic world of danger and adventure, swordplay and sorcery, hidden terrors and long-forgotten treasures. I wanted characters who lived somewhere in the grey area between hero and scoundrel, daring rogues who’d risk their lives for the thrill of adventure. 

Looking back on this story twelve years later, I’d like to think I’ve succeeded at that goal, although I leave it to the reader to decide on whether or not I was successful. Either way, I’m glad to be able to take this story out of the desk drawer, so to speak, and publish it at last.

Here's the product description for Spiders and Flies:

In a shady border-town tavern, the swordsman Rovan conspires with his old comrade Arvik Red-Hand to carry out a daring plan to pay off a blood-debt: ride deep into the desert and loot the abandoned temple of a long-dead spider god.

When old enemies come to collect Arvik's head, he and Rovan are rescued by Marquia, a mysterious sorceress, and Souvri, a cunning thief. Believing the two could prove valuable, Arvik and Rovan share the plan with their rescuers, who agree to join the adventure - for a healthy share of the spoils.

The four treasure-hunters face danger on every step of their journey, and finally they discover the spider god's temple might not be abandoned after all...

SPIDERS AND FLIES is a 20,000 word novella, written as an homage to classic Sword & Sorcery pulp fantasy stories filled with magic and monsters, thievery and swordplay, hidden horrors and forgotten treasures.

I'm working on the paperback version of S&F, which should be out in the next week or so. When it is, I'll let folks now.

Nanok and the Tower of Sorrows - Eighteen Months Later

Click the Cover to View on Amazon

Back in the early spring of 2012, I began working on a pulpy "Sword and Sorcery" short story involving a stereotypical barbarian swordsman duking it out against an evil wizard and his diabolical henchmen.

I'm a fan of not only Robert E. Howard's Conan, but the various "iron-thewed barbarians" that came much later, mostly in the late 60's through the 80's, created by authors who'd grown up reading Conan stories and wanted to pen stories of a similar vein. Of course, as well by this time Tolkien's Lord of the Rings was published, and while Hyboria is about as far from Middle Earth as you can get, I'm sure publishers were desperate to find anything they could slap a "fantasy" label on and throw at readers. As well, after 1974 the Dungeons and Dragons phenomenon began to take off, and in the early 80's Marvel comics also begain publishing Conan comics, and of course, there was the Schwarzenegger Conan movies, which although often reviled by Howard purists, were some of the better 80's fantasy fare, if you ask me.

So, this whole heterogeneous, multimedia soup stock of books, comics, games, artwork, movies, and hell, even barbarian-themed metal music helped me to brew up a short story that eventually became Nanok and the Tower of Sorrows. The premise is pretty simple: Midar, the Wizard King of the city-state of Urgh, hires Nanok - thief and barbarian swordsman of the Iron Wastes - to steal the Sunsword from Draaa'kon the Bleak, evil sorcerer and ruler of a dark citadel known as the Tower of Sorrows. Nanok steals the magical blade, only to be chased by Draaa'kon and his horde of vat-grown mutants. A battle ensues, and Nanok is apparently slain by Draaa'kon's dark magic, but he is saved by the power of the Sunsword. Nanok washes ashore miles away and with the help of a mysterious hermit, Nanok eventually returns to the Tower, and battles his way up through the citadel until he at last confronts Draaa'kon at the top of the Tower, just as the sorcerer conjures his deadliest ally...

Over the last eighteen months, Nanok has sold a whopping 41 copies at $0.99 cents apiece. I've probably given away a couple hundred copies in KDP Select promotions, but compared to my other works, even my other short stories, it seems like I can barely give the story away. In fact, after the first month, I had a three month period of time when I didn't sell a single copy of the story, period. I've sold maybe half a dozen print copies, which is a little surprising, but I don't know how many of those were purchases made because the buyer didn't realize how short the story actually was.

It's hard to pin down where exactly I went wrong with Nanok. My original cover was no gem, but it could have been worse, and sales certainly haven't spiked since I began selling the title with its new cover. I've had almost no returns, so I'm not sure if people are just reading the sample and not liking what they see, or if they even get that far. I've played around with the product description copy several times as well, but there doesn't seem to be anything that really sells the story.

And yet, those folks who read Nanok, seem to like it. There've been ample opportunities to tear it to shreds on Amazon, yet all my reviews are pretty solid. The worst review of the story I received on Goodreads, which said it was okay but "was a little like an SNL skit that went on too long", which I suppose is a fair criticism if the sense of humor in the story doesn't completely align with your own. Poking around the internet, I even found a short but positive review on a German-language Conan forum. I'm using Google to translate this page, but here goes:

This little volume contains just 51 pages and was therefore in one go by. Nanok and the Tower of Sorrows is a barbarian story in the tradition of the 60s and 70s. You get evil magician, disgusting mutants and demons. Everything you need for a good Sword and Sorcery cocktail. This story comes with no frills and are therefore of the first pages of full throttle. Light fare in between, but with a high entertainment potential. Both thumbs up!

I primarily put the failure to sell this story on two factors. The first is the over-saturation of fantasy fiction through KDP, especially short, often campy (and really badly written) fantasy stories. Shortly after I published Nanok I went around Amazon and read a bunch of stuff similar to my story, and the vast majority of it was just awful - not just the plots of the stories themselves, but the writing was often extremely amateurish, and perhaps an even greater sin, the books were usually very badly edited and formatted. I feel like a lot of people dusted off high-school era submissions to various fantasy fiction magazines and simply threw them up on Amazon. Because of this, I felt that people who'd run into one of these turds became gun shy of trying my own story, especially when they got a whiff of the "humorous" aspects of the story.

This, of course, leads to the second problem; the comedy/pastiche nature of the story. Writing comedy is hard - really hard - and trying to hit a broad swath of people's tastes in comedy just right is even harder. What one person finds to be a perfectly entertaining pastiche, another reader will find boorish or even insulting. To write a barbarian sword and sorcery story - a genre of fantasy that's almost a cliche unto itself these days - and then weave in a tone of lighthearted homage comedy and some "Easter Eggs" referencing various movies (there's a Commando reference in there, although many people miss it entirely) means that there's just too many land mines that are going to cause someone to take a hard pass on the story.

One day, I hope to return to Nanok's world and write another story. I actually have one outlined in my head, a story that doesn't involve Nanok at all but instead is a sort of Frankenstein's Monster meets Spartacus. It'll be much more serious, without any of the humorous gimmicks of Nanok. Only time will tell if it'll also sink to the bottom of the lake...

NANOK Gets a New Cover!

Ander Plana, the artist responsible for the excellent new cover gracing Operation Arrowhead has now provided me with a cover for my pastiche Swords & Sorcery short story, NANOK and the Tower of Sorrows.

Although it was a ton of fun to write, and I think it's a great read for fans of Sword & Sorcery-style fantasy fiction, NANOK hasn't been selling very well, so I decided to make the investment and get a new cover. I think Ander's creation is pretty damn awesome - true to the classic pulp fantasy cover feel, but with a more modern styling. I think he also does a good job of making the cover unique while tying it in to the general layout seen in my Commando covers.

If you have a chance, head over to DeviantArt.com and check out Ander's work - some great stuff (and I'm not just saying that because my commissioned works are there.

Movie Review: The Keep (1983)

Happy Halloween everyone! In honor of my favorite holiday, here's a little review of a diabolically underrated "Nazis and Demons" 80's horror flick.  Directed by Michael Mann - yup, the same guy who did Heat, and Last of the Mohicans - this adaptation of an F. Paul Wilson novel of the same name revolves around a mysterious keep in the Romanian mountains in 1941. A band of German soldiers is sent to garrison the keep, but when they start being killed off by a mysterious force, they have to turn to a Jewish scholar to help them figure out what's going on. Much demonic horror and gore ensues...

It is unfortunate that this film hasn't, as far as I can tell, had a DVD release, because although it does have its flaws, it is certainly a far better film than a lot of the direct-to-DVD schlock that have been vomited out over the last decade. I suppose Mann might be embarrassed by it's rather poor performance at the box office and general panning by critics at the time, but honestly I don't think it's that bad for an 80's supernatural horror film. Despite this being one of his earliest theatrical works, Mann's eye for direction and strong stylistic sensibilities give the film some very striking visuals, and the score - performed by Tangerine Dream - adds to the feeling of surreal supernatural horror.

Right now, I think the only place you'll be able to find this film is on Netflix, but fortunately the transfer looks very good - it's clear they didn't just dupe this off of an old VHS tape. Performances by Scott Glen, Gabriel Byrne, Jurgen Prochnow, Ian Mckellen, and William Morgan Sheppard, among many others, are quite strong. If you have Netflix Instant available to you, I really suggest you give this film a try.

Here's a poorly captured trailer for the film:

NANOK and the Tower of Sorrows is Free for Kindle Today

My Promotion Week continues today, with my Sword & Sorcery pastiche, NANOK and the Tower of Sorrows. Allow me to quote this review of the short story from the Amazon website:

One more sip of Michael Moorcock's too-absinthe-for-its-own-good Elric threatens to make you ill? Mix one part Marvel's old B&W Savage Sword of Conan with one part trash-talking Schwarzenegger action flick, add a splash of Lloyd Alexander's The Chronicles of Prydian and two splashes Sergio Aragones' Groo, shake violently to the consistency of frothy blood, and the resulting refreshing cocktail is Nanok and the Tower of Sorrows.

 The UK promotion figures for Killer Instincts were a little late, but they came in this morning. I had 219 free downloads, as well as 3 in Germany and 1 in Italy. Downloads from the US were 558 in total. 781 total free downloads in two days is pretty awesome, if you ask me, and I've already had purchases going out the door since the promotion ended, hopefully as a result of the increased visibility.

I also released Rivalry - A Ghost Story as a free promotion yesterday. Between the US and other countries, I had over 200 downloads in 24 hours. We'll see how Nanok does today, and tomorrow I'll be putting Hatchet Force Journal #1 out for free. So far, I've had over a thousand downloads of various titles this week; that's several times more than my total sales over the last 15 months. Being able to get copies of my work into the hands of hundreds more readers is an incredible thing.

Awesome New Review for NANOK!

I really wish Amazon had a feature for authors that allowed you to be alerted when a new review was posted of your works, because this one's a few days old. However, I just have to share with you the following review for NANOK and the Tower of Sorrows:

One more sip of Michael Moorcock's too-absinthe-for-its-own-good Elric threatens to make you ill? Mix one part Marvel's old B&W Savage Sword of Conan with one part trash-talking Schwarzenegger action flick, add a splash of Lloyd Alexander's The Chronicles of Prydian and two splashes Sergio Aragones' Groo, shake violently to the consistency of frothy blood, and the resulting refreshing cocktail is Nanok and the Tower of Sorrows. Will there be a chaser Mr. Badelaire? 

Mr. Molesworth, there will indeed be a followup to NatToS. I know the broad-brushstrokes version of the plot, I just don't know when it will be written. Once I get COMMANDO: Operation Arrowhead out the door, I want to write a sequel to Rivalry, then perhaps the Nanok sequel, before I work on the next novel.

Also of note, over on the right hand column, Nanok is available in a multi-format bundle (PDF, AZW3, EPUB, and MOBI) for $1 via Gumroad.com, and electronic media web-store. Gumroad offers a really great high-speed, low-drag portal for selling digital content. Check 'em out.

Book Review: Arron of the Black Forest Book 1 by Philip Athans & Mel Odom

I've stated numerous times that I think the future of ebook genre fiction isn't going to be massive, ponderous tomes written by folks like the late Robert Jordan or Tom Clancy (who's still kicking around). It's going to be a renaissance of short, easily digestible works that go for cheap bucks, and pack a lot of game time into a low page count. We'll be back to the days of the short novel / novella series, produced a volume every couple of months, and eagerly snapped up by readers as soon as they become available.

Arron of the Black Forest, Book 1: The Haunting of Dragon's Cliff, written by Philip Athans and Mel Odom, is the first volume in just such a series.  Although there's no word count, my guesstimate is the work clocks in somewhere around 30,000 words, or 116 pages as estimated by Amazon.  Our protagonist is - wait for it - Arron of the Black Forest, last of his people, a wandering adventurer and barbarian without a home. Arron's people were all killed when the magicians of the more civilized lands to the south conjured up an enormous glacier right on top of them, instantly encasing the entire population in a thousand-foot tall block of ice.  Arron is the only one who wasn't caught in this icy apocalypse, and now he wanders the lands, really pissed off.

In The Haunting of Dragon's Cliff, Arron has been spending the last month fleeing from a posse / band of bounty hunters tracking him down for killing a man in a bar fight. Arron is eventually driven to seek shelter within Dragon's Cliff, an enormous, abandoned mansion (on the edge of a cliff) shunned by all the locals because it is haunted. However, Arron isn't a local and even if he was, he's desperate enough to flee anywhere.  So into the Mansion he goes, and soon, the posse / band of bounty hunters follows him inside. I won't give away any spoilers, but let's just say that Arron & Co. have a terrifying adventure that's a whole lot weirder than anyone was expecting.

The Haunting of Dragon's Cliff was pretty entertaining. There's some good action and adventure, the Mansion and its "residents" are pretty cool, and I think this has definite promise as a new adventure series. The fights are pretty gory and the description of the Mansion itself, along with it's "special properties" was nicely done as well.

My biggest quibble, and it's really just a quibble, is with the character of Arron. Philip Athans speaks about his interpretation of the various sub-genres of fantasy in an article here. I agree with a lot of what he says, but I don't really agree with the Barbarian Hero as an "everyman". In some ways yes, the BH is the protagonist that the reader "relates" to in that we see the strange, exotic fantasy world more or less through their eyes, confronted with the strange and wonderful, the magical and the dangerous. But historically, the BH is in no way an "everyman".

In practically every depiction of a Barbarian Hero - and this has its roots deeply seated in Robert E. Howard's Conan and his other savage protagonists - the BH is a primordial ubermensch.  The BH's life has been one of unceasing danger and hardship, Darwinism at its finest, and as a result the BH is stronger, faster, and capable of enduring more punishment than any "civilized" man. Their senses are sharper, their survival instincts more keenly honed, and their will utterly indomitable.  We cheer for the Barbarian Hero, and we might react the same way he does to the exotic, degenerate world around him, but let's face it; we've got more in common with the soft, decadent, civilized folk the BH sneers at than we do with the Hero himself.

That having been said, I don't find Arron either an "everyman" hero or a primordial ubermensch.  He's more of a hearty yokel with an angsty chip on his shoulder and a capacity for absorbing a lot of punishment, and much of that capacity (mini spoiler here) is granted seemingly by the Mansion itself.  I feel like the writers wanted Arron to be more badass than your typical home town hero, but not as over-the-top as a Conan or Thongor.  I'm not really sure if the result works for me. This is compounded by the fact that although Arron is repeatedly referred to as a "barbarian" by the more "civilized" folk, the world itself doesn't seem exotic and ancient enough to have classical barbarians a la Conan or Kull. The setting seems to fall into a mid 1700's Western civilization time period; no one wears armor, swords seem more saber-like than a classic broadsword and battleaxe era, and the look and feel of the Mansion itself is very 18th century colonial mansion. If Arron were described more as a sort of wild, Scottish Highlander-esque sort of fellow, coming down into the civilized lands from the "glens" or the "moors" (the Black Forest is described as a "bogland" but that's about it), I think the reader could comfortably attach cultural and historical analogues here and there, which is, I feel, rather important to facilitate immersing oneself in the story when there's not much world-building to be done.

Hmmm, all the above seems far more negative than I intended. Like I said at the beginning, the story is a fast, fun, entertaining read well worth the price of admission, and I encourage everyone to give it a try. When the second issue comes out I'll be sure to snap it up and review it as well. Perhaps as time goes on, the issues I have with Arron and the world he lives in will iron themselves out.