Well, here’s my writer’s year in review. What have we got? Another year of nothing much, unfortunately. Another year of spinning the wheels. Six books in all, though I didn’t write one of them, and only partial for another. I’ve been doing this the last few year, trying to keep track of what I’ve been up to and how far along I’ve gotten. I went back and reviewed the last few roundups. It’s rather distressing – basically, plugging away hard, the same projects slowly advancing or not advancing year by year. Word counts piling up, but an uncertain sense of accomplishment. Anyway, let’s jump in.
Non-Fiction
STARLOST UNAUTHORIZED – Now Available
The giant Earthship Ark, drifting through deep space over eight hundred years into the far future, its passengers descendants of the last survivors of the dead planet earth, locked in separate worlds heading for destruction… The Starlost (1973)
Starlost, a Canadian television series, running sixteen episodes in 1973. The premise was interesting – Earth was long gone, the last survivors of humanity had fled in a giant generation ship composed of interlinked domes. But something had gone horribly wrong, an accident had taken out the bridge crew and locked the domes away from each other, and the ship had drifted out of control for four hundred years. Now it was heading on a collision course with a nearby star, and only Devon, Rachel and Garth, three exiles from a rural dome, understood the danger and faced the almost insurmountable task of trying to save what was left of humanity.
Originally, it got off to a great start with names like Harlan Ellison, Ben Bova, Doug Trumbull, Keir Dullea, Walter Koenig and Ursula K. LeGuin attached to it. But things went wrong – Harlan Ellison threw a tantrum, scripts weren’t ready, the revolutionary special effects system didn’t work. The big names departed, leaving the show in the hands of an inexperienced production crew who had no time, no money and no experience. The verdict was catastrophe, one of the worst series ever produced in the sci fi genre.
But was it? I just wrote a book saying different.
CONVENTIONS UPDATE
CONVENTION SCHEDULE
Well, even though I’m not able to attend the World Fantasy Convention in Niagara Falls, October 17 – 20, 2024, in person, I will be participating as an online member.
I’m confirmed for two panels:
STOLEN VALOR
World Fantasy Convention – Friday, October 18, 2024 – 10:00 a.m.
* Fiction is about creating believable and/or identifiable characters. But can an author write the “other” successfully without offending those they hope to portray? How has cultural appropriation impacted the genres? Do sensitivity readers help ensure real representation? How do we make sure that actual disenfranchised people get to the table?
Panelists
Maurice Broaddus
P Djeli Clark
Pat Murphy
Vanessa Phin
D.G. Valdron
CROSSING BOUNDARIES: BLENDED GENRES
Saturday, October 19, 2024 – 12:00 p.m.
* Blended genres such as romantasy have extended the boundaries of fantasy and horror. What boundaries are being crossed in today’s genre fiction? What new boundaries loom on the horizon?
Panelists
Casella Brookins, Moderator
Heather Graham, Guest of Honour
A. T. Greenblat
Mica Scotti Kole
D.G. Valdron
Assuming my eyes hold up and travel is permitted, I hope to be attending Can-Con Literary Festival in Ottawa, November 1-3, 2024.
I’m scheduled for one panel there:
TWISTING THE TROPES – OVERDONE?
Sunday, November 3, 2024 at 2:30
For a long time, one frequent piece of writing advice has been to take a common trope and turn it upside down: the chosen one is weak and useless, and their followers are the heroes; the surprise villain; the monster is just misunderstood. Is reversing or twisting a trope still solid advice, or is it rarer now to see a trope played straight? How are writers still using this strategy and standing out? How do we ensure there is still space to play, without excluding authors who haven’t had a chance to do so yet?
Panelists:
Claudie Arsenault
Aysha U Farah
Kari Maaren
D.G. Valdron.
In addition, I’ll be participating in a book launch at McNally Robinson:
TWILIGHT OF ECHELON BOOK LAUNCH
McNally Robinson, Winnipeg,
November 26, 2024, at 7:00 pm
At Bay Press hosts the Launch of the collaborative work based around the Twilight of Echelon painting series by famed artist Robert Pasternak, with collaborating writers Den Valdron, Loverne Kindzierski, Alex Passey and Blaize Moritz.
That should keep me busy. I did drop the ball a little bit, the Winnipeg Comic Con, October 25 to 27 was apparently looking for people to do panels. Sadly, I was distracted by vision problems in September, and a full work schedule, so I let that go by.
Still, I’ve already done 24 panels and workshops so far. This will bring me up to 28. And I have or will have attended six conventions and about eight other professional events. So I think I’m working it pretty hard.
STARLOST UNAUTHORIZED, Update
1st Draft done. 2nd Draft done, Currently reorganizing up to 3rd and hopefully final draft.
Waiting to do a few interviews. Doing the cut off.
NASFIC, DAYS 3 & 4, July 20 & 21
[photo from File 770, the Doctor Who Panel]
NASFIC DAY 3 AND 4
I AM A LOVECRAFTIAN HORROR… that was my throwaway intro on my first panel. But I liked it, it felt right, so I used it for the rest of my programming. I think I’ll make it my catch prhase. Sometimes I’d follow up with, ‘…. a lawyer’ or sometimes ‘…. and also a lawyer.’
The humans would laugh, I’d smile at them, and we’d just get on with things.
But I’ll tell you, there’s something really satisfying about beginning with this moment of honesty. It starts things off on the right foot.
NASFIC AND MARKETING
My last panel for NASFIC was on Marketing. I shared it with J.F. Holmes, former military guy, small press guy – Canon Publishing, a military SF publisher ; and Michael Green Jr., a well traveled data scientist.
Marketing is a tough subject. It doesn’t come instinctively to writers – the skills and mindset necessary to write a novel, are not necessarily the skills and mindset to go out into the marketplace. But appallingly, it’s being dumped on writers more and more.
Unless you’re a runaway best seller, or they sniff that about you, major publishers leave marketing to writers. So much so, that Amazon has a special program where traditionally published authors can buy advertising – imagine that, pouring your advance into advertising your own book, so that the publisher can make enough money to give you another book, and an advance that you can pour into advertising for them.
Small Presses, also mostly leave marketing to the writer, although some of them make efforts for you. I’m sympathetic mostly – running a small press is incredibly hard, requires all kinds of time, more skills than any one person has, and is typically a labour of love. They offload marketing to the writer because they have no time, no money and not the first clue about marketing in many cases.
Of course that makes me less interested in small presses. If they’re not doing anything that I can’t already do for myself, and the area that I’m weak in is the area that they’re weak in… what’s the point. A small press that partners and helps teach or educate you on marketing is great, I’ll sign up. If not, then why bother?
NASFIC DAY TWO, JULY 19, 2024
Picture – Electric Tower, Buffalo downtown. Steel frame art deco building built by the local utility company in the early era of electrification.
NASFIC – Day Two
No walking around exploring the City. Just no time. Went to a convenience store and stocked up on bottled water, that’s about it. Not much in the way of attending Panels. I sat in on a reading. Attended a panel on Anthologies, and another on Small Press. Mainly, activities were preparing for panels, re-reading, psyching up. There were a lot of them – I had six programming items, five panels and a reading, and I was moderating three panels. It took a lot of my focus.
* 11:00 am – Public Domain with Leigh Grossman and Vaughne Hansen. This went really well. We filled half the room on a friday morning, which was incredible to me. I moderated, we through a lot of information at the audience, people asked questions, everyone was engaged. Got along really well. I felt we were scattershot, but everyone seemed thrilled and happy to have learned stuff.
* 3:00 pm – Current SF on TV – Chuck Rothman, again Cameron Calkins, Fingers and Maria. I thought this would be my toughest one – there’s just so much SF on TV, it’s impossible to keep up. But it went well. We all just kept on talking.
* 5:00 pm – Impact of AI on SF Writing and Art – my second AI panel, this one I’m moderating. Neil Clarke again Ira Nayman, and Alex Shvartzman. The big one – we got the Grand Ballroom to work in. I moderated again. Went extremely well. Wide ranging discussion, at points we verged on conspiracy theory, but the reality is that the corps that are pushing this have an extralegal strategy. The message – keep watching, talking pushing back.
STARLOST KICKSTARTER – FINAL WEEK
Starlost Unauthorized by D.G. Valdron — Kickstarter
Hello Boys and Girls and Other, Children of all ages, Sapient beings of any description! Welcome to my Starlost Kickstarter!
I am thrilled to say, that we exceeded our initial goal in the first week! We are now into our Stretch Goal of $2000 – $2500.
It’s been a great experience, I want to thank everyone for their support. But now I want to do the final push. If you’ve pledged support, god bless you, and thank you so much. I’m not asking you for money. If you’d like to support, but don’t have money, that’s okay too. But what I am asking for every single one of you, is to help spread the message, pass the word, email, post, repost this, send it to friends, send it to groups you think might get into it.
This is going to be a hell of a book, I am passionate about it. Help me make it great!
STARLOST UNAUTHORIZED KICKSTARTER IS GOING LIVE
JUST WHAT IT SAYS. THE KICKSTARTER IS GOING LIVE, AS OF JUNE 18, 2024
TIPS AND TRICKS DOING BOOK COVERS
At this point, I have published well over two dozen books for myself and other writers, and as a writer, I can say that covers are a pain in the ass.
So I thought I’d jot down a few notes to maybe help out other writers, including self publishers and people working with small presses.
Apart from either doing book covers myself, or being an active participant in the design of covers, I have a few other qualifications. Back in the day, when newspapers were laid out by hand, I was a production manager on small newspapers and magazines. Following that, I went on to design posters and promotional materials for stage plays, short films and arts and cultural events. As this was going on, I maintained a steady interest in art and audited art history classes. I don’t pretend to be some great authority, but I do know enough to make my way around a page.
THE CANVAS
In the old days, book cover design was pretty simple. Broadly, you had two sizes – paperback or pocketbooks about 4.5 x 6.5 inches, and trade paperbacks – loosely around 6 x 9 inches. Both had a width to height ratio of around 2 x 3. There was lots of variation, but those were decent rules of thumb.
The point being that you had a good idea of the space you had to work with, and the ratio you needed to work with, and subject to a little fiddling, you were fine. This may seem like mechanics, but the scope of the canvas dictates what you can and can’t do, or what works and what doesn’t work.
Now, however, it’s gotten more complicated. For books, we still have that 2 x 3 ratio, and pocketbooks and trade paperbacks. But now book covers are being presented in a variety of sizes, only some of which involve the physical books.
If you are browsing online Amazon or Barnes & Noble for instance, your first sight of the cover will be a tiny thumbnail, maybe 1.5 x 2.5 inches, and that first sight will be accompanied by a whole bunch of other similarly sized book covers competing for attention. That’s on a computer screen, if its on your phone, it’s even worse.
The key take-away is that for random online book browsing, your cover will be presenting under the worst conditions – a tiny image, with lots of competition.