Some days are just so good, you have to stand up and dance. Today is one of those days:
‘Yes, this book is different and weird and unlike anything else I’ve ever read. But that’s the point!If intelligent life exists on other planets, it’s going to be bizarre and foreign and at least semi-incomprehensible to human intellects. Reading this book really did feel like being transported to an alien world, and that was fantastic. I wish I’d read it sooner, because it really is a master-class in world-building. Vokhtah is a haunting, vividly-constructed depiction of a fascinating world—one I’d happily revisit.’
That quote comes from a wonderful review of Vokhtah that I stumbled across this morning. I know Vokhtah will never become a best seller, but so long as readers ‘get it’ every now and then, I’ll be happy.
You can read the entire review on Berthold Gambrel’s blog:
I just finished Duplicate Effort and left this review on Amazon. Can’t provide the link yet, but here’s a copy of what I wrote:
Not since C.J. Cherryh’s Foreigner series have I come across a saga with such great sci-fi, great storylines and great characters.
Why do I call the Retrieval Artist series a saga? Because each volume has it’s own, standalone story, but also adds to the character arc of some really interesting, no, fascinating characters. Characters like Miles Flint, Noelle DeRicci and even Ki Bowles. Bowles is not a ‘likable’ character, but she’s still 3 dimensional and human; someone we might not like but who deserves some compassion nonetheless.
And, of course, there’s Talia. 13, orphaned, traumatised, and a clone. Not a ‘real’ child. What happens to a living, breathing person who’s classified as a ‘thing’? Talia will change Miles Flint’s life. She will also make you think about what it really means to be human.
You can read Duplicate Effort as a standalone story. I guarantee you will enjoy it. But if you love deep, well thought out sci-fi and characters with a life of their own, I would very strongly recommend reading books 1 to 7 of this series in sequence. You won’t regret it.
If you’ve never read Rusch’s work before, this series is a good place to start.
Rusch began as a traditionally published author and became a very successful Indie. Some of her business knowledge and experience is distilled into a series of blog posts she calls Business Musings. She talks about everything from contracts and agents to IP [intellectual property] and copyright for Indie authors. A great resource.
For those who don’t know, Guttenberg is the name of the new[ish] WordPress editor, and unlike standard word processors, it isn’t based on a linear flow of text. Instead, posts are built from blocks of ‘things’, a bit like legos.
But what are blocks, and why should we care?
In Guttenberg, each block contains one type of ‘thing’ – i.e. you can have one block for the heading, a second block for the paragraph, a third block for the image and a fourth one for a list of things. You can also embed videos and audio etc in blocks.
Because each of these components is inside its own block, they’re kind of ‘self-contained’ and can be moved up or down using arrow keys.
This is what the arrow keys look like:
Each click of the up or down arrow moves the whole block up or down by one block.
Well, yes and no. If your posts are relatively short, and you only need to move a block a short distance, the arrow keys work just fine. But what if you realise that a block at the end of the post should really be at the beginning? And there are 20 or more paragraphs/blocks in between? That’s twenty clicks. 😦
Or what if you realise that a whole section of your post needs to be deleted?
I can tell you from bitter experience that deleting a whole series of blocks is a major pain in the proverbial. To delete a block you must:
click inside the block to be deleted,
click the three dots at the far right of the floating menu,
scroll down until you reach the ‘Remove block’ option, and
There is a slightly faster option which involves clicking inside the block to be deleted and then pressing SHIFT + ALT + Z on the keyboard. But…it gets real old real fast when you have 20 or more blocks to delete. If you open the post in the Classic Editor, you can select and delete paragraphs easily, but that kind of defeats the purpose, doesn’t it?
How do I know all this? I know because I’ve just spent a lot of woman hours looking for an easier way to update one of my How-to books. ‘How to Print your Novel with Kindle Direct Publishing’ was out-of-date in both the ebook and print book versions, so I thought I’d turn the whole thing into a series of posts and update it online.
It seemed so easy at first…-cough-
Copy/pasting the text into a series of posts was easy enough – Guttenberg automatically turned each paragraph into a block – but as KDP, Thorpe-Bowker and the National Library of Australia had all updated their websites quite dramatically, there were a lot of old, outdated blocks to remove.
Updating the relevant chapters also required that some parts be re-structured. And yes, you guessed it, there is no way of selecting a whole series of blocks and moving them as a group. There is a group function, but I couldn’t get it to work properly. Perhaps it was never designed for ‘group moves’.
In hindsight, I should have updated the Word file first, and then poured it into Guttenberg. But I didn’t know then what I know now, did I?
Sadly, the ‘Group’ function didn’t work as a ‘Reusable’ either. A reusable block is a sentence or image or whatever that can be plonked into a post without the need to copy something and then paste it.
As I wanted to create consistent navigation across something like 19 blog posts, I created some reusable blocks that I used for each post:
When I’m finished, all of the ‘Click here…’ blocks will be live navigation links to other posts in the series, so not having to copy/paste each one is nice. But is it nice enough to keep using Guttenberg?
I admit that most bloggers probably won’t try to publish a whole book on WordPress the way I have done, but I’m sure I can’t be the only person smashing my head against Guttenberg’s limitations…
If WordPress wants Guttenberg to make blogging easy for all bloggers, then it has to solve these core problems with blocks. If they can’t be solved, then the old ‘Classic’ editor has to be retained because it’s still head and shoulders more powerful than Guttenberg.
I’ve given Guttenberg as fair a trial as I know how, and it’s just not good enough. Not yet. For now I’m going back to the old Classic.
When D.Wallace Peach [Diana to her friends] said that she was going to read Vokhtah, I warned her. I said that the story was nothing like Innerscape. I told her that there were no humans in it, that it was all about these weird aliens on another planet…
And then I promptly forgot about it because I didn’t expect her to finish Vokhtah, and I certainly didn’t expect her to review it. But she did, she did. 🙂
Forgive me for posting Diana’s review in full, but Vokhtah is my firstborn, and I still think it’s the best thing I’ve ever written.
D.W.Peach – 4/5 stars
This is a hard book to describe. “Pure Alien” is a good start, and I’m impressed by the author’s ambition and execution. Vokhtah is an alien planet and the characters are insect-like (my impression) creatures who engage in their own sort of political intrigue, espionage, and social caste system. They’re clever, dastardly, selfless, and selfish – much like humans – but there the similarities end.
The world-building is rather amazing and humans won’t find much that’s familiar here. Even the speech is different. The iVokh and Vokh are genderless “its” and don’t have names, referred to by their role in society, their ranking, and their talents. Social norms are dictated by groups and reinforce variations in dominance and subservience. It takes about a third of the book to get used to.
The story unfolds from multiple points of view, all alien. Flory doesn’t pamper the reader with backstory or explanation, but tosses us right into the strange world – sink or swim. The experience is immersive, but it requires patience to figure out who these aliens are and what the heck they’re doing. I enjoyed the story-telling, the fascinating world, the author’s imagination and writing skills. The pace was excellent and kept my interest.
I did spend a fair amount of the book confused about the characters, though. This is primarily, I think, because they don’t have names and, in many cases, go by multiple designations. For example, there are a number of Sixths and Sevenths. A Blue is also a Messenger who is also a Healer. A Teller is also a Trader, and is sometimes an Apprentice, so sometimes they’re the same character, sometimes not. There are a lot of identically designated characters as each location/eyrie in the story has the same basic social structure, and the book involves travel. I struggled to keep them straight until about 50% through when the plot began to narrow down the action and further define the characters’ personalities and motivations.
But then, I struggled to keep Erikson’s Gardens of the Moon straight. That one I gave up on; this one I didn’t. And it was worth it. By the end, I was ready for the next book in the series. I highly recommend Vokhtah to readers who love pure alien sci-fi, love a reading challenge, and want to engage with the work of a wonderfully creative imagination.
For those not familiar with ‘Gardens of the Moon‘, the book is the first volume in Steven Erikson’s mammoth Malazan Book of the Fallen series. It has an eye watering 1,221 ratings and an overall ranking of 4/5 stars.
To have something I’ve written even mentioned in the same sentence as ‘Gardens of the Moon’ makes my heart swell to epic proportions. But to have Diana say that she didn’t give up on Vokhtah when she did give up on Erikson’s first book…gods, I think my heart is going to burst!
To Diana, and every one of the amazing readers who read Vokhtah, and left a review, thank you. From the bottom of my heart.
I gave Deborah Jay’s novel – The Prince’s Man – 5/5 stars and posted this review on both Goodreads and Amazon:
I’m not sure what I was expecting when I started reading ‘The Prince’s Man’, but the reality blew me away. The story is a grown up fantasy reminiscent of Robin Hobb’s Farseer series [which I also happen to love]. You’ll find Machiavellian politics, intrigue, loyalty, a hint of love, and a cast of characters you can relate to. Yes, they have their flaws, but don’t we all?
To my mind, watching the characters change and grow is at least half the fun. The other half is getting to know the world in which those characters live. In all types of speculative fiction, the world is as much of a ‘character’ as the characters themselves. Think how important the planet Arrakis is to the story of Dune.
As readers we want to step out of our everyday lives and get lost in another world. And the author does not disappoint. The otherness of The Prince’s Man is evident right from the start, but there are no boring info. dumps. We learn about the world in the same way we learn about the human characters, by watching the story unfold, a bit at a time.
And finally, I’d like to say something about the plot. It. Is. Not. Predictable. To me, that’s one of the book’s greatest strengths. I like to be surprised, and nothing puts me off more than ‘the same old same old’. In The Prince’s Man, the author kept me guessing right to the end.
I’m looking forward to reading the next book of the series, and I highly recommend this one to anyone who likes a story with real meat on its bones.
I’ve been horribly slack about posting reviews the last year or so, and for that I apologise. Diana Peach’s review of Nabatea reminded me of the impact our reviews have on the authors who write the books we read. I have posted some reviews on Amazon, but not enough. From here on out, I intend to update my Goodreads account with reviews of the books I’ve enjoyed the most. I read an awful lot so I can’t review everything, but I will do better than I have been doing todate. 🙂
I’m not a poetry person, at least not normally, but I’m sitting here crying as I read this poem by Frank Prem. It’s about the Black Saturday fires that claimed 173 lives here in Victoria.
I was at home in Warrandyte that day. I’d sent the Offspring away, but I was at home with Dad and the animals because Dad had mild dementia and…I don’t think any of us really believed. I listened to 774 radio all day and some horrific reports were being phoned in, but we had the best roof sprinklers money could buy, and fire-resistant shutters. I was sure we’d be fine. And we didn’t really believe.
The next day, the reports started coming in and finally, we believed. That’s the background. Here is the poem that’s brought me to tears.
evidence to the commission of enquiry: all in the ark for a while
you have to go back
to the chaos of that time
back to february
as the day got on
we realised we were in strife
because the thing was bigger and hotter
and faster and more unpredictable
it was more everything really
and we’d started to get word of huge losses
in other places around and about
so we were head-down-and-bum-up
about what was going to happen next
out of the smoke came a sort of convoy
led by a horse whose halter was held
by a woman driving a ute
in the back of the ute
a dog was running around
like a mad thing
after that came another car
with a float and two more horses
next was a vehicle that a police fellow
he’d been up in a chopper
trying to winch people out
but the wind got too big
so he dropped down and helped
by driving the car
with whoever he could get into it
then there were a couple of deer
that jumped out of the bush
when the cavalcade went past a clearing
and a pair of koalas
and three kangaroos
and some lizards
all running as part of the convoy
they scattered pretty quick
when the procession of them
emerged from the smoke
and the flames
but it was all in together
for a while
It was ‘all in together’ for a while after Black Saturday too. We grieved, and donated food, and money, and hay because the animals were starving, and because we were alive and so many were not.
The love has disappeared now, but for a while we had it and I thank Frank Prem for helping me remember. Parts of this post will become my review on Amazon because this is my memory of the devil-wind.
I don’t think I can define the difference between a craftsman and an artist, but I know it when I see it, and Audrey Driscoll is an artist. I know, because I am a craftsman, a good one, but not an artist.
So, enough navel gazing. What is it about ‘Hunting the Phoenix’ that’s so special?
Simple answer: everything.
‘Hunting the Phoenix’ is the fourth and last book of the Herbert West series, but it is also the climax of the preceding three books. Imagine the steps of a pyramid with the Phoenix as its apex. Or if music is more your thing, imagine a classical symphony in which each movement builds upon the last to achieve the soaring notes that grab your heart and lift you out of yourself. That is the Phoenix.
At its core, every work of fiction strives for just one thing – to persuade the reader to suspend disbelief, to become part of the story, and the Herbert West series is no different. Written in a style that is reminiscent of classical literature, the story lulls the reader into a pleasant sense of security. ‘Oh, this is what the story is about…’ And then the surprises begin. Small ones at first, as you realise the author is more daring than you thought, then more profound as the truly shocking events begin to unfold.
Each book in the series is like this, but in the Phoenix the shocks go deep. I admit, there were a couple of spots where I had to stop and shake my head in disbelief. Such careful, restrained, beautiful writing and she takes it there?
Yet ‘there’ is exactly where the story needs to go in order for the ending, the climax, to feel both unexpected and absolutely right.
I’m sure no one will be surprised when I say that the quality of the writing is superb. What may surprise some people is that it is written in the First Person POV [point-of-view], and I don’t usually like First Person POV. This time, however, I barely noticed because Driscoll effortlessly avoids every single pitfall that goes with First Person POV. As with C.J.Cherryh’s Foreigner series, the POV is perfect and exactly what the story requires.
I wish I could give ‘Hunting the Phoenix’ a 10 out of 5 but even my limited math knows that’s impossible. Suffice to say that this book, in fact the whole series, is as close to perfect as a story can get. It joins a relatively short list of books, including Dostoevsky’s ‘Crime and Punishment’, that I consider to be exceptional, and I would recommend it to anyone who wants more.
I’m just about to use parts of this post as a review on Amazon. If you want to read the series, the order of the books is:
The Friendship of Mortals
The Journey: Islands of the Gulf, Volume 1
The Treasure: Islands of the Gulf, Volume 2
Hunting the Phoenix
And please, leave a review on Amazon because these books truly do deserve to become modern classics.
Cage Dunn is an Australian writer who answered my recent call for beta readers. Cage not only tested my latest how-to book, she introduced it to two groups of potential writers at her local library. Their combined feedback was so much more than I could ever have hoped for.
Curious, I decided to read one of Cage’s books. That book was ‘Not on the Cards’, and this is the review I just left for it on Amazon:
At its heart, Not on the Cards is a story of love and responsibility: Gate Keeper to Key Master, mother to child, Gate Keeper to multiverse, yet for much of the time, its set in a carpark near Camberwell Junction. On the weekends, that humble carpark becomes a Trash & Treasure market with a deliciously bohemian atmosphere. I know, because the market is in my home town of Melbourne [Australia], and I’ve been there many times.
In Not on the Cards, that market atmosphere becomes something else, something more like a Carnival and Freak Show combined. It’s the perfect setting for Chiri, a Reader of Cards who also happens to be the Gate Keeper of the Icosa, a construct spanning multiple universes within the multiverse.
Chiri should not be in Camberwell Junction. She should not be living Saturday, over and over again. She should not be lost, unable to find her way back to the place and time where her daughter may or may not be alive.
And then the Thief arrives with a Key that isn’t really a key, but it’s the closest thing to a Key Chiri has felt in a lifetime of waiting. Trouble is, following this Key that isn’t a Key could lead to the destruction of the Icosa, the construct she has sworn to protect.
Do not expect this story to be a comfortable read that you can skim while waiting for the train or standing in a queue. Not on the Cards will challenge you, but oh how lovely it is when you ‘get it’.
The last time my brain received such a workout was when I read Firefall by Peter Watts. Very different stories and storytellers, but the same result – a reward commensurate with the challenge.
Just finished a long conversation with a very nice lady from IngramSpark Australia, and I thought I’d share what I learned with other Australian self-publishers.
First and foremost, IngramSpark have a print facility right here in Australia. That translates to massive savings on shipping costs for Australian authors.
How massive? Roughly $4.90 for 1 to 28 medium sized paperbacks if you live in Melbourne. That’s because the IngramSpark print facility is located in Melbourne. Delivery charges to other states will obviously be higher. Nonetheless, I doubt those charges would come close to the cost of shipping books in from overseas.
Secondly, IngramSpark printing costs are a bit higher than CreateSpace but lower than Lulu. They also have:
a full range of trim sizes
hardbacks if required
global distribution to countries not available through Amazon.
Amazon distribution has become a sore point with Australians as they cannot buy print books on Amazon Australia. In the past, they would have to order print books from Amazon US or UK and pay shipping costs that often doubled or tripled the cost of the book. Now that we’ve been geo-blocked from Amazon international, print books will no longer be available at all. Unless…
And this brings me to my conversation with IngramSpark today. I rang to clarify whether I could use IngramSpark to provide print books to Amazon Australia. The question was complicated by the fact that I wanted non-Australian Amazon markets to continue selling paperbacks printed via CreateSpace and KDP.
Aussie authors will be pleased to know that the answer from IngramSpark was ‘yes’. 🙂
Basically what happens is that my book[s] will be available for world wide distribution – to countries not covered by Amazon as well as markets already covered by Amazon. When someone buys one of my print books from Amazon US, UK or EU, Amazon will fulfil the order from their own ‘feed’. In other words, if they can supply from CreateSpace OR KDP they’ll do so.
But…for markets such as Australia, Amazon will source the print book from IngramSpark. That means my paperback will be available to Australian readers from Amazon.com.au, and it’ll cost readers a heck of a lot less in shipping.
Apart from availability and shipping, there is one more reason to print books with IngramSpark here in Australia, and that harks back to their distribution capabilities. If I can persuade a local bookshop to give my book[s] a try, the bookshop can order direct from IngramSpark at wholesale prices. Wholesale discounts range from 30% to 55%, which puts self-publishers/small publishers on a more even footing with large, traditional publishers.
Okay, I’ll stop high-fiving myself now and get serious again because there are also disadvantages to printing with IngramSpark. The two biggest disincentives are:
the setup cost of $53 AUD per book, and
the need to have an ABN [Australian Business Number].
If you’ve never run a small business before – for example as a sole trader – the idea of getting an ABN can be daunting. The truth, however, is that it’s both free and relatively painfree to apply for one.
For detailed, step-by-step information about getting an ABN see this post. And see this one about why you should NOT pay for that ABN [because it’s free].
Now for a word about the cost. $53 AUD is a steep price to pay when you’ve got more than one book to setup. I have 7 to-date, so that would have been an upfront charge of $371 AUD. Luckily, I managed to setup all 7 books during a free promotion run by IngramSpark.
I’m not sure exactly when or why IngramSpark runs these promotions, but from what I can gather, they seem to happen once, or maybe twice a year. I have two more how-to books in the pipeline, so I’ll have to pay the full setup charge for those, but at least the cost will be staggered for them.
Oh, and one more disadvantage – once a book has been approved [by the author] and is available for sale, any changes will incur a $25 fee. So…be very sure your book is as ready as it’ll ever be before you approve it for publishing/sale.
Okay, that’s it for now. I’ll be ordering proof copies of all 7 books in the next day or three. Once they arrive I’ll take pics and write an update on the quality, timing etc.
So far, I’ve only used CreateSpace for my print-on-demand needs, but today I thought I’d check out the new, Amazon KDP print option as well.
To access the KDP print option, you have to be registered with KDP. If you’ve already published your ebook[s] with them, simply log in and click on your Bookshelf. Click the book you want to print and you will see an option to create a paperback for that book:
The next bit is pretty slick. If your book is already available as an ebook, most of the setup information will be inserted automatically [taken from the ebook setup]. The bits that aren’t are fairly self-explanatory. But what if you’re a brand new author thinking of printing a book for the very first time?
Not knowing where to start, I decided to watch some videos provided by KDP. I can only assume the makers of the videos assumed new authors would already know about trim sizes etc., because they skipped a whole heap of stuff to do with the pre-print part of the process.
Next, I decided to check out the two templates offered by KDP. One template only had the formatting instructions, the other had dummy text to make it easier to see what went where. As with the CreateSpace templates, everything is manual with lots of copy-pasting. Meh. A bigger problem I found was with section breaks etc. There are only about 10 example chapters in the template. So what do you do if you’ve got more than 10 chapters in your own book? You can keep adding chapters, of course, but if you accidentally delete the section break [which is not visible] the whole thing falls apart.
Finally, I had a look at the written instructions for the Basics. It’s pretty bare bones and assumes that authors will be familiar with Word processes and formatting, but otherwise they were okay until the section on page numbers. The following is copied straight from the website:
Go to the first page of your first chapter.
Depending on whether you want your page numbers in the header or footer, double-click on the header or footer. This will open the Design tab.
In the “Navigation section,” click Link to Previous. This will prevent page numbers from showing up on your title, copyright, and table of contents pages.
In the “Header & Footer” section, click Page Number and choose where you want the page numbers to be.
For Steps 3 and 4 to work, the manuscript must already contain a section break separating the chapters from the front matter [Title, Copyright, Table of Contents etc]. I checked back over all the previous instructions to make sure I hadn’t missed something, but no, none of them even mentioned a section break much less instructions on how, and why, to add one.
This is a glaring and costly mistake because, if there is no section break:
the ‘Link to Previous’ option will be greyed out, i.e. unavailable,
a page number applied at any point in the manuscript will cause page numbers to be displayed on each and every page…including the front matter.
any Headers – e.g. Author Name, Book Title etc – will also appear on each and every page…including the front matter.
If you are going to provide instructions for something, those instructions have to be as clear as possible and accurate. My guess is that the instructions conflated the section breaks in the templates with the instructions on doing everything from scratch. Unfortunately, this kind of slip can lead to massive frustration on the part of authors, and a failed project.
A little further down, the instruction for creating a PDF of the Word file suggested authors use the File/Save As option. This is one of the ways of creating a PDF, but it assumes the author will know about file types and how and where to change them. In Word 2016, it’s a lot easier to use the File/Export option which takes you straight there.
Next, I thought I’d check out the cover creator option on KDP. First I watched the video walkthrough. From what I could see, the Cover Creator app. is very similar to the one used by CreateSpace. The video tutorial, however, is more of an overview than a real guide, so I decided to give it a try myself.
The layout and some of the functions are definitely slicker than the Cover Creator app provided by CreateSpace. But. It soon became obvious that KDP’s version is still a beta. The following are the problems I found after just a few minutes of play:
there are only 11 templates to choose from [CreateSpace provides 30],
if you choose one of the free, KDP images as the first step in the process, you can ‘start over’ and choose another template, but you can’t go back and choose another picture,
if you do want to choose another picture, using the Back button on the browser will take you back to the KDP bookshelf, and yes, you have to go through the first page of the setup all over again,
if you exit via the Cover Creator ‘Close’ button, you exit all the way out of KDP and have to log back in,
if you decide to use your own image, there is no template that allows for a ‘free’ cover [in the CreateSpace version there are 2]. This is what I mean:
As you can see, my cover image includes interesting fonts and colour choices. When I brought it into Cover Creator, however, I ended up with the default template version plastered over the top. And there was no way I could get rid of it. Horrible. If you are going to use your own cover image, make sure it’s the correct size for the trim size and contains NO WRITING.
Overall? I think the KDP print-on-demand process needs more work. I’ll give it a skip, at least for now.