Tag Archives: Scarab II

Amazon, Mon Amour!

Glances and hearts

Amazon Love:

In today’s post I want to pay a personal tribute to Amazon. Now, I do realise that it is sometimes unpopular to align one’s self with a large institution such as Amazon, an institution whose operational style might be seen, by some, as predatory. But, with all due respect to contrasting views, I make no apology for this.

No. I don’t own shares in the company, nor do I work for it—although, I do, in a real sense, work with Amazon to achieve my personal goals.

Let me explain.

Some fourteen years ago, whilst working as the resident screenwriter for Elmo De Witt Films in South Africa, I wrote a short novel called Scarab. A fellow South African writer read it, liked it, and recommended it to his publisher at Perscor. The book generated interest with the local branch of the company, but before it could go further, the branch closed down and some of its staff relocated to Cape Town to form a new company. The South African economy was shaky at the time, and businesses were folding one after another. This was during the early days of Nelson Mandela’s Apartheid-free South Africa and the country was excited, nervous and focused on more important things. I was advised to try to find another publisher, failing which, I should contact the Cape Town group and take it from there.

I never did.

I was eyeing Australia at the time, busy with my graphics and animation company, and somehow, I let things slide. I suppose the fear of rejection also played a role.

As time slipped by, I found myself teaching and studying in Australia, while a little device called the Kindle gathered in strength and popularity. The thought occurred to me that there was no harm in updating my novel (the pentium processors mentioned in my old revisions of Scarab were now passé), with the view to publishing it on Amazon.com as a Kindle ebook. And so I did.

I’d love to say that the rest is history, and offer some rags-to-riches story, but, sadly, that wouldn’t quite be the truth. What is true, however, is that since that day, I haven’t looked back. Scarab performed better than I had ever expected, hitting the #1 spot in the bestseller list in High-Tech Scifi, both at amazon.com and amazon.co.uk. And some two years later, the novel is still holding a place on the same bestseller list, while its off-spring, Scarab II: Reawakening, has staked its own bestseller claim on amazon.co.uk.

The effect of this small gift of success was to grant me confidence that with enough hard work, output and dedication, I could eventually earn a living solely through my writing. What a rush for any writer!

The truth is that without Amazon’s global reach and innovative vision for the future of books, its research and development, its success in making reading “cool” again for the younger generation through the introduction of its Kindle tablets and software, Scarab would have remained a pile of pages on my shelf, placed in a box, gotten lost, and Scarab II would never have seen the light of day. My dream of being a writer might never have materialised—not for me, and perhaps, not for many other authors who have trodden a similar path to mine. This has been an opportunity for which, I, for one, am deeply grateful.

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Inspiration

Lightbulb over head

Inspiration:

In this post I take time-out from my usual exploration of specific creative writing techniques to ruminate about a subject that I’ve been interested in since I started writing. At its core, it’s about the relationship between plotting and pantsing, the relationship between the left and right hemispheres of our brains.

I hold the view that a pre-determined plot is necessary prior to the commencement of the first draft, especially in a screenplay where there is limited space for things to fall into place. But I also maintain that magic often comes unexpectedly.

Certainly, our knowledge of structure, dialogue, pace, and the like—essentially a left brain activity, is necessary during the editing of the drafts to follow, but can this theoretical knowledge of the craft ever take the place of spontaneity, serendipity, and the efficacy of the muse—the activity stemming from the right side of our brain?

I think not. Nor should it have to. I think the purpose of theoretical knowledge is to saturate both hemispheres so that the level of practical knowledge (active skill) is seamlessly guided by the theoretical.

In writing Scarab II: Reawakening, for example, I meticulously plotted the shape of the story, using my knowledge of structure, before commencing work on the actual writing. Yet, perhaps the most interesting, and, in my opinion, gripping part of the novel, the expanded role of Dr. Kobus van Niekerk, the South African archeologist, occurred at the last moment, during the actual writing itself. This was quite unplanned for and was as much of a surprise to me as I hope it will be to the reader. This was a moment of inspiration that rode above the pre-planned plot—although it did significantly add to it.

My point is that large structural changes or additions can assail one at any time, and should be absorbed, if deemed fitting, at any stage of the writing process. They are perhaps the clearest sign of the two hemispheres working together in concert and, therefore, that plotting and pantsing are not rivals but co-conspirators in the craft of writing.

Summary

Insight often comes unexpectedly and seems, at first sight, to be at odds with our original direction. Integrating it into our creative process, however, often makes for a more original and inspired story.

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What is a Cover Reveal?

Red scarab
Cover reveals are an important part of marketing your forthcoming novel, short story collection, or non-fiction book, especially if you are an independent writer publishing on such sites as Amazon.com. Great covers spark interest in your work, and together with a release date (which may vary from days to a couple of weeks), help to create anticipation in your readership.

A well designed book cover seizes one’s immediate attention. At its very best, it captures, in an impactful and compelling way, the essence of your story, its central themes and elements, its chief conflict, and projects a defining emotion.

Opinions vary on specific styles, but obviously, genre and period have a lot to do with informing the look and feel of your cover. These considerations extend to the font used for the title and other text that appear on it.

My own preference is for simple bold images that rip through to the essence of the story. In my first novel, Scarab, a large red scarab, placed against a grey background to set it off, suggests the Egyptian link in the story, while the bright lights behind it variously suggest stars, or even, spacecraft lights, invoking the science fiction elements in the tale.

My follow-up novel, Scarab II: Reawakening, (which is being released on the 20th of June next month through Amazon), is based on roughly the same cast of characters as the first, and continues the established visual pattern, but introduces the images of a spherical object and a computer circuit board behind the now familiar red scarab, to highlight important elements in the tale.

The central thrust of Scarab II: Reawakening concerns a misinterpreted warning from an alien object found in the Drankensberg mountains of Natal, South Africa. A visual display from the orb seems to confirm the coming destruction of the earth by a super solar flare, as prophesised by various doomsday cults across the world, and the protagonist, Jack Wheeler’s, attempt to find and use the quantum computer, introduced in the first book of the series, to try and prevent it.

As illustrated above, a short summary of the story, and information about the author (if none is available elsewhere on the website), ought to accompany the cover reveal.

Once these elements are in place, you are ready to promote your cover reveal through as many mouthpieces as possible: certainly facebook, twitter, your website, fellow bloggers through announcements, author and character interviews, and blog-hops, and, last but not least, through the pre-sales option on sites such as amazon.com.

That done, sit back, have a cappuccino, or some Earl Grey tea, or something stronger if you must, cross your fingers, and wait for those first reviews and sales figures to come in.

And remember to breathe.

Summary

A cover reveal is an important part of your book’s marketing campaign. Use it judiciously, together with a release date, to help promote the launch of your book.

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How to Write Story Through Character

Chicken and eggs

The Chicken or the Egg?

What comes first, character or story? Does story lay the character, or character lay the story? This perennial chicken-or-the-egg question has many supporters on either side of the fence, or, road, if you prefer. Despite the levity implicit in the metaphor, however, the topic has serious implications for the way we approach writing a novel or screenplay.

A Character’s Story

One of the dangers facing an inexperienced writer writing what he considers to be a thrilling action-packed story is that he may loose sight of character motivation. One big event slams into another, and before he knows it, he’s written a story which uses characters like puppets in the hands of a novice puppeteer – their movement is trite, abrupt, and artificial.

So how do we avoid this without sacrificing pace and excitement in the stories we tell, or, without weighing down our thinking with reams of character traits and back-story? The simplest and most unobtrusive way to do so, I’ve found, is to take the central thought/philosophy/emotion of a character and keep it foremost in mind when writing her scenes.

Scarab II

In my forthcoming science-fiction novel, Scarab II, the protagonist, Jack Wheeler is drawn into a rerun of the cataclysmic events that unfolded in the North West Province of South Africa some five years previously. In Scarab I, Jack is swept along by events, forced to react to rather than to initiate action. But in the follow-up novel, Jack has a better understanding of what lies in store. He is also haunted by what occurred in the past and driven by one overpowering question: can he do anything to prevent the suffering and mayhem that is standard fare in the world today?

This question, born out of a troubled conscience and the knowledge that he may indeed have the power to intervene, motivates most of his underlying thoughts and actions. Understanding this essential aspect of Jack’s character has allowed me to write scenes that are powerfully motivated – an important part of fleshing out an inner journey that explains and fuels the outer one.

In Summary

Identifying the essential preoccupation of each character, and keeping this foremost in mind as you chart the outer journey, allows you to write scenes that are inwardly motivated and stay on track.

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If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.