You’ve been reading a lot about it here because it’s been dominating my time and my thoughts a lot lately. In case you somehow aren’t aware, I’ve been podcasting my fiction and poetry via the Modern Evil Podcast, and simultaneously releasing my podcast novels over at Podiobooks.com in sync with my personal feed. My feed (the Modern Evil Podcast) has also included (in addition to the weekly, half-hour episodes roughly identical to the Podiobooks release) poetry and short fiction in mid-week episodes.

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What this means, for my time, is that I have effectively been running three weekly podcasts: The podiobooks feed, with just the novel, the Modern Evil Podcast Friday episodes, with the novel and alternate introduction and closing, and the Modern Evil Podcast mid-week episodes, with my poetry and short fiction. ~2.2x the recording and editing, 3x the mixing, converting, and uploading vs. doing one weekly podcast. It’s been a lot of work, and time and thought consuming.
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So, along with the upcoming release of my new book, Forget What You Can’t Remember (now targeting a January release), I’m going to be starting podcasting it. In fact, I’m planning to overlap the two novels’ releases, so that people who listen to the final episode of Lost and Not Found on Podiobooks can immediately go subscribe to Forget What You Can’t Remember and so that people who subscribe to the Modern Evil Podcast will -instead of going for a while without episodes- get an extra episode or two during the overlap. Now, here’s the lazy part:

I’m going to continue releasing on the MEPodcast at the same time as Podiobooks, but Forget What You Can’t Remember is already broken into chapters of roughly even length, each of which should be around 15 minutes long. I’m going to release one chapter at a time, twice a week, into each feed. No poetry or short stories in the MEPodcast during the run, just chapter after chapter of the novel. Also: because of the structure of Forget What You Can’t Remember, the majority of chapters have no “breaks” in them, and thus will have a somewhat reduced editing time and effort - a savings then multiplied by the double feeds.

The Forget What You Can’t Remember podcast should wrap up around mid-April, 2009, according to this release schedule. Hopefully by then I’ll have another book or two written.

(This post was originally created for and posted on the Modern Evil News (& Podcast) feed.)

Monday night I finished typing up the first draft of my new novel. (I’m still working on a name - what do you think of “Forget What You Can’t Remember”?) I wrote the entire thing on a manual typewriter, an Olivetti TROPICAL, which is to say ‘on paper, with ink.’ In between other projects and errands in the last two days, I’ve read the entire thing from start to finish. Out loud. Mostly to myself and to the cat. But it sounds pretty good, and I think it’s self-consistent, well-resolved, and perhaps yet another novel without an easy answer to the question “What’s it about?”

Briefly: It’s a followon to Lost and Not Found, though not a direct sequel. There are roughly two characters in common between the two books, and the main character from Lost and Not Found does not appear at all in this new one; it has an entirely new cast of characters and settings. It begins with the event that changed the world at the end of Lost and Not Found, and with zombies, but soon the story follows the characters to the flying city of Skythia while delving into the ways these various characters respond to both what has happened to them and the strange environment they now find themselves in. Going back to their old ways, moving on with their lives, lashing out against a system and a world they don’t understand, falling in love, or simply going a bit mad in a mad, mad world - the several interconnected characters’ journeys are really the heart of the story.

I’m about to start re-typing the whole thing into my computer. I haven’t decided how and when to first make it available, but I know for sure that it’ll be available in all the formats I have to offer: Paperback, eBook, and audiobook. I’m also planning on writing a companion book in November (for NaNoWriMo, actually), a collection of short stories which will tell stories somewhat perpendicular to the main thread of this novel. That is, where the novel follows closely the lives of its ensemble cast, especially re: the main progression of events, the short stories will help to build out the world the story takes place in, adding richness in the periphery of that story by telling stories that intersect with it. So, for example, in one chapter of the novel a superhero interrupts a mysterious, murderous heist at a Kwytzwyk Temple, and it changes his outlook on justice and ethics - and I want to write the story of the thieves, their previous exploits, and to give a lot more detail on the specifics of the Kwytzwyk religious practices and beliefs; all things that weren’t relevant to the main story of the novel, but which is a narrative with details worth exploring. (Playing around with a title for that gives me things like “More To Forget” and “More Memories For Forgetting”…)

I’ve begun work on recording the audio version of Lost and Not Found this month. I recorded the first 14 pages or so, though I need to re-listen to them … I think I may have been reading a little too quickly. I want to set a good pace, speak clearly, and really create a professional product. The current plan is to record at least half a dozen episodes and at least one promo and get it started online on Podiobooks.com under their “normal model” - which is to say, one episode a week until it’s done, somewhere between a normal podcast and a limited run series. They require 5 episodes done before they’ll start you, anyway, so that’s easy enough. Theoretically I could record them all in a week or so and get started as soon as they get the book started online. Due to some system changes they happened to be putting into effect at the exact time I submitted it, it was several weeks after I submitted it that they put Dragons’ Truth online. Since I’m known, since I’m already set up in the system, and especially because I hold myself to such a high personal quality standard (I really want to be putting out as professional quality of work as I can), it shouldn’t take as long with Lost and Not Found.

Depending on how recording goes and how quickly I read and how long each episode is (there are no chapter breaks in Lost and Not Found, so I have to find places in the story where it makes sense to stop), I expect to have somewhere in the vicinity of fifteen to twenty-five episodes for the full book. This puts the length of time for the serialized release at roughly three to six months. I would like to have the novel I’m currently working on come out concurrent with or prior to the completion of that audio program, since it is almost -but not quite- a sequel to Lost and Not Found, and the cross-promotion should probably be helpful. Also, since I expect to be able to do most or all of the recording of the audio version of this new novel during that period as well, so that people could start listening to one immediately after finishing the other. I’m trying to build an audience, see?

In order to get even a single episode of the audio book ready for publication I need both the text of the book recorded and to [select|compose] a [piece|pieces] of music for the opening, closing, and as a bridge in between different sections of the same episode. There is also the question of “bed music,” which I understand means music which plays softly in the background of the entire audiobook. Bed music has the benefit of covering the tiny amount of background noise which cannot be avoided without [buying thousands of dollars of gear plus building a soundproof recording booth | removing it in post-production and somewhat distorting the sound of your voice in the process], but also represents the challenge of finding music which relates to the story and setting without becoming distracting or annoying to readers, plus that of finding thirty to sixty minutes’ worth of it for each episode (depending on the length of your episodes). On one hand, I’d like to have bed music, to create the perception of a better recording. On the other hand…

Well, on the other hand, I don’t like to select music, I like to compose it myself. Not that I have any experience composing music - I’m certainly not trained, and I’d pause before describing myself as self-taught. I haven’t even looked up a basic how-to online. I just like to screw around once in a while, whistling, with an instrument, or in GarageBand on my iBook - and I’ve only spent perhaps a total of a few weeks in my life (a day here, a couple days there) doing anything musical at all before this year. On the other hand, I sit in front of an piano or pick up an accordion or a guitar and, after a few minutes of re-acquainting myself with the interface, music comes out. I sit down with an instrument and melodies build from my fingers. Not proper songs, usually, but in opposition to what I’ve seen happen with other people at untrained instruments (how do they get it to sound so bad?), something musical. Anyway, starting with Dragons’ Truth I began composing my own music and I plan to do so for my future audio releases.

For the purpose of opening, closing, and bridge music I only need about sixty seconds of music, max. For podcasts it’s a good idea not to put more than about thirty seconds of anything in before getting to the story itself, or more than about sixty seconds of anything at the end. More than that, and people tend to skip it. For some listeners, even sixty seconds it pushing it for a closing. Most promos (which theoretically I could get other podcasts to play in their episodes) are sixty seconds or less, as well. So for these things you don’t need more music than this. Easy, right?

Would you believe I spent the better part of last week (nearly four full days) working on the music I want to use for Lost and Not Found, and the end result -at four thirty in the morning yesterday- was a sixty second audio file? What if I told you it was just a first draft? That I spent the first three days scrawling in a notebook, obsessively crunching non-base10 math by hand, creating page after page of numbers, up to 24 digits in length (so far), and that I spent the fourth day transcoding the results into the computer as music? Music that I couldn’t guess the sound of before I was finished entering it in and hit play. Music that I think I like with a little faster tempo so maybe I’ll have to do another several hours’ math to get to a full minute again. Oh, and incidentally, music the math for which also creates the possibility of a generic sort of non-repeating but boundless melody, which I may be able to use as bed music? Which simple mathematical variations on could change the tone to match the four different stories in the novel that I’d like to each have individualized music? Hooray, crazy! Hooray, math! Maybe.

I’ll have to spend a couple more days entering the numbers into the system in various configurations to see if the calculations continue to sound good or if I’ll need to start from scratch (or worse, just modify this melody system heavily - I prefer the beauty of math right now) to create working music. And once the music is ready, it can be combined with the spoken word recordings of the book’s text and the book’s promos, and once that’s done I can submit it and start serializing it. Which reminds me, I really need to write a promo for Lost and Not Found. If you’ve read it, how do you think I could sell it to new [readers|listeners]?

One other little thing on the subject of the audiobook - since we don’t really have the room (or the money) to create a dedicated (or even isolated) recording space, I’ve set up in the bedroom. The other day while trying to adjust after working so that people could get by, a piece of equipment fell down and the jack on my headphones broke. These are relatively nice, closed ear headphones of sufficient quality to do near-professional quality audio work (really, my ears aren’t trained to do well enough to know the difference between these headphones and the ones that cost 5x-10x), and the only thing wrong with them right now is they can’t plug in to an audio source. All they need is the jack cut off and a new one spliced/soldered on, though I don’t trust myself to do a good enough job repairing them to end up with quality sound. So I took them to a local repair shop Monday (and called a second one) and the cost to have a professional repair it is the same as the cost to order another set online (depending on shipping cost). Sigh. I can’t really record any more until I have [new|repaired] headphones. So in reality it’s a good thing I’m spending days and weeks on the musical portion of this project right now, since I can’t get any more done on the spoken portion.

I’m sure I’ll post again when I have a promo. Oh, and when I have a site design for lostandnotfound.com, which I would like to be able to launch simultaneously with the Podiobook, and whose design should allow for the new book to be advertised along side it. Sigh. What should that look like? What should it do?

So last month, July, I decided to try to focus on writing. The goal was to try to get a new novel written before the end of the month. According to my calendar, I started on July 9th. I made reasonably good progress for about a week, and then my undisciplined nature began rearing its ugly head and progress slowed. Days would go by without writing anything. Writing a single chapter sometimes took several days instead of a few hours. I know I can write quickly, and during the first week of work I was estimating that I should be able to finish the first draft in under two weeks, second draft, layout, cover design, copy editing, and the rest done by the end of the month, and maybe have the new book submitted to my printer by August 1st.

Alas, it is now August 12th and I am only 120 pages into a manuscript I’m aiming for 300 pages with. And while I almost never know where one of my books is going until it gets there, the nagging feeling that I don’t know where this book is going just keeps pounding away at the inside of my mind. A couple of weeks ago I noticed that the book has no conflict. No antagonist. No plot, that I am aware of, so far. This is not a new problem; most of what I write seems to have these [features|problems]. Dragons’ Truth didn’t really have a plot, an antagonist, or much in the way of meaningful conflict until chapters 13 and 14 (of 15) - and many readers agree with me that it doesn’t really have a good ending; it just stops, after an anticlimactic confrontation of only words. Lost and Not Found has four main stories in it, none of which have any real conflict or antagonist beyond the protagonist’s internal struggles and a couple of catty women who serve as little more than a foil to same. The Untrue Tales series was my attempt to write what I thought people wanted, and is chock full of conflict, sex, and a wide variety of antagonists — and frankly, I don’t like writing it, much, though there are several more books required to finish what I’ve started there.

This new novel is actually set in the same world as Lost and Not Found, and one of its main characters is featured prominently in the first couple dozen pages of that book. Everyone else is new. The setting is new. The theme may very well be the same, though I am not the best judge of such things - in my books or in anyone else’s. If you’ve read Lost and Not Found (which is available at modernevil.com as a free eBook in, like, eight different eBook formats -including the Kindle, if you own one- so what’s your excuse for not reading it? Paying is just one of your options), the story starts with Paul, who was predicting a sort of a doomsday at the beginning of Lost and Not Found. If you read the whole book, you’ll see that his doomsday comes, right on schedule - in a way. This book follows Paul, shows where he went to try to escape that world-changing event, and the lives of some of the other people who survived it and who live where he retreated to. Since some of Lost and Not Found’s timeline overlaps this new book’s timeline (and some occurs years later) and most of the characters are not (at least, not yet) in this book, I’m wary to call it a sequel. But it’s definitely in the same world.

Okay, a little more info about that: In early drafts of the book which turned into Lost and Not Found, there was another section after what is currently the end of that book. Like, twenty-two thousand words. After leaving Haven, ten years after the main story of Lost and Not Found, the main characters travel on to a flying city called Skythia and take up residence. They find Paul living there, among other things. That part of the story was cut out -in its entirety- from Lost and Not Found. This new book takes place in between the first section of Lost and Not Found (ie: the last place we hear about Paul in that book) and the section that was cut. So far, we’re within a few months’ time, so nowhere near the point where Lost and Not Found’s main characters would enter the story - though I won’t rule that out at this point, since I have no idea where this story is going.

Anyway, mentally, the presence of Skythia in a part of Lost and Not Found that was cut completely puts a few restraints on what can happen in this novel. Not in a bad way, necessarily. More like, I know vaguely where Paul -and Skythia- will be in ten years, as though this was all something that had actually happened and I’m merely documenting it with these books. Maybe I’ll work the cut part of that book into the end of this one. Maybe I’ll start a future sequel with it. Maybe it’ll remain cut out forever (or until I’ve died and someone decides to publish a new “more complete” version of Lost and Not Found containing the “lost ending” … bleh. Oooh, or maybe when I feel I’ve got enough readers that it would be profitable to put out such an edition, like the ‘anniversary’ editions of The Princess Bride with a new foreward here and a new chapter five years later and a new cover and a new afterward ten years later and so on…). Any way it ends up, the presence of that part of the story in my mind, in the universe of my imagination, creates a constraint on this novel. Even if I introduce the supervillain character I’ve been trying to wedge in, the city cannot be destroyed (not without being rebuilt) and Paul cannot be killed (not without being resurrected) nor politically ruined (I’m not telling). The utopian nature of Skythia and the basics of their government cannot change significantly. Et cetera, et cetera.

So, that’s what I’m not writing right now. It doesn’t yet have a title, but it does have zombies, robots, a utopian flying city, drama, politics, many fantasy races (elves, faeries, Kwytzwyk, centaur, &c.), ooh, and maybe dinosaurs soon. I’m not sure when it’ll be done, but I’m now trying to aim for it to come out in paperback around the same time the Podiobook release of the Lost and Not Found audiobook is complete.