I’m taking a break from werewordin’. I’m torn – part of me (namely the part of my butt that registers the varying fatness of my wallet) is screaming O GOD I GOTTA FINISH AND PUBLISH NEED $$$ NOW NEW KU IS THE END OF DAYS.
But another part of me knows that I need to step back for a few days. If this flies, there will be more in the series-we-don’t-call-series-anymore-because-then-nobody-buys-the-first-book. And Duke Daniel, the villain of this book, is calling to me via this photo seen here. He’s been corrupted, but there’s a reason for it, and I don’t know that reason yet, but he’s more complicated than the Snidely Whiplashery I originally had in mind for him. So I can’t just kill him off, either. So I need to think. Shit. Thinking costs time costs money. Fuck!
But, my diversification project proceeds apace. $40 so far on Bradiobook income, 8 copies sold in the first two days, and no technical hitches on the users’ end. Hey, my KU income for those days was $40 a day, so I’m happy. I’m going to go over the manuscript for “A Little Too Broken” and make the usual changes to script it – e.g., “Blah blah,” he snorted, you don’t say he snorted, you just snort. Or Tom said or Jamie said when you’re using the character voices to accentuate that.
I had huge fun recording “Sam.” Sam’s voice came out deep, masculine, but not too “hefty.” I did Derek a little haughty, kinda fey, except when he was turned on or angry, then I relied on my own Imperial Command/Bene Gesserit Voice. I channeled a light R. Lee Ermey for Sam’s SERE commander, and used my Movietone News/Right Wing Radio Fat Guy Voice for the excerpts from the FM 21-76. I’m learning to carry the variances lightly, so as not to blow out the volume levels (though when a guy’s getting ass-pounded he’s definitely not gonna whisper O FUCK, THAT HURTS MY ASS!).
A fan suggested I hire myself out on Audible as a narrator (you flatter me!), but I’m loathe to do it for a few reasons. I’m good at what I’m doing now because they’re my characters, I wrote them, I’ve read these stories over and over, the narrative is in my voice, and I know nobody can do me better than I do me. (Go ahead, make that joke.)
To do somebody else’s work would require that A, I really love the book. B, I’ve got believable dialogue to work with (none of that, you know, “I am going to sex you, Tyler Skylerton, up and down and all around, until you know that you are mine!”). C, I’d have to have a level of creative control that only a fool of an author would give me – the whole reason I’m doing all this is to *work for myself* to *answer to nobody* and not have someone second-guess all my decisions or, worse, tell me to do it my way and then want to change it. And change it again. And again. I’ve been through that mill in a day job, working for people who changed their mind sixty times before coming back to decision #1. No. No. No.
I’m also repubbing another out of print “Orland” book from 2004, “A Serious Person.” This one is much lighter and sillier than “Different People,” so I may flog it more than I’ve done with DP. It’s about a bipolar songwriter who writes songs for a Britney Spears type, then ends up on a singer/songwriter reality TV contest up against Herselfness – she must now write her own songs and he must now perform his. Silliness. This won’t take long, I’m scanning the pages now and the edit will be far less of a slog than it was going through the heavy darkness of DP.
So, the Gay Agenda for the near future is:
Publish “A Serious Person.”
Finish “Werewolves of Brooklyn.”
Write Adam Vance’s next science fiction series installment, “Artifice.”
Record “A Little Too Broken – The Bradiobook.”
Start on “Strength in Numbers,” Marc and Jesse’s Bitcoin adventure.
And that’s all I’ll predict. This business can change so fast, as we learned in June with two weeks’ notice from Amazon on the KU changes. The ability to throw plans out the window on a moment’s notice is a core skill in this biz.