7th Son: Descent – book review

7th Son: Descent, the novel by J.C. Hutchins, has a whole backstory and life of its own, most of which I won’t try to document for you. Go to jchutchins.net, ask around the Podiobooks scene, see what his fans are saying, and you’ll get a better version of it than I can give. Basically, as I recall it (ie: without going back and re-reading stories I’ve heard dozens of times in the last couple years), he wrote a book that was too long and which he couldn’t find a publisher for (both are common problems, and not necessarily a measure of quality), and decided to join the few people (at the time) who were podcasting audio versions of their books for free, breaking his book into a trilogy and putting it online. J.C. Hutchins is excellent at marketing and self-promotion and, over several years, built a very large following and used that platform to get a publishing deal with St. Martin’s Press, which has so far put out two of his books, this one and Personal Effects: Dark Art.

In 2008 I tried listening to 7th Son, as read by J.C. Hutchins for Podiobooks.com, and couldn’t even finish the first episode. This was partially because I was trying, for the first time, to listen to podcasts while working at home  – when working at my last day job, I could listen literally all day without trouble; I found in 2008 that my current work mostly doesn’t allow for it. (I’ve recently been changing my working conditions somewhat, and have listened to a podcast audiobook or two while painting, so maybe I’ll get back to all the podcasts & audiobooks I paused in March, 2008.) It was partially because J.C. Hutchins’ voice is difficult for me to listen to. It was partially because the hook (4-year-old psychopath assassinates the president & uses swears!) didn’t hook me (actually, it was almost silly enough I quit in the first few minutes). It was partially because of the writing quality & tone of the next 25 minutes of the first episode. Anyway, I didn’t finish it and never managed to go back to it.

When Personal Effects: Dark Art was about to come out, in summer 2009, buying into the hype and all the rave reviews from the army of adoring fans that J.C. Hutchins was a good writer, not to mention that I’ve been following ARGs since I was a Cloudmaker from day 1 of The Beast, I pre-ordered a copy of PE:DA. I listened to the episodes of the Personal Effects: Sword of Blood prequel podcast story which were available at the time of PE:DA’s release with my wife, then read PE:DA aloud to her and went through the materials and websites with her, then asked J.C. Hutchins whether he would prefer me to avoid writing a 2-star review, since I didn’t want to hurt the sales of a fellow podcast author (or damage my standing in the very clique-ish podcasting community). Then I didn’t write a review.

Based on my experience with PE:DA, I decided not to pay for 7th Son: Descent until/unless I’d read and/or listened to it. So I requested that my library buy a copy, and I checked it out. And I let it sit on my shelf for a couple of months, renewing it without picking it up until someone else in town placed a request for it & I couldn’t renew it any more. It’s due back tomorrow, so, today I read the whole book. As I read it, I updated my progress on Goodreads. (warning: spoilers) Here are my updates:

  • @ page 1/356: Trying to keep my expectations super-low, to avoid nigh-inevitable disappointment & frustration
  • @ page 62/356: Time to stop for breakfast.
  • (on twitter, probably on page 62): Have I mentioned I don’t like thrillers?
  • @ page 106/356: As a fan of Dollhouse, it’s hard to like this, even knowing it came first.
  • (on twitter, page 184/356): @rkalajian Note: It is distracting to see names of people I know, like yours, peppering the book.
  • @ page 216/356: Lunch break.
  • @ page 261/356: I feel like I’ve finally gotten past the prologue & into Act 1. Or into Act 2 of a 5-Act, if you like. Yet almost finished… 🙁
  • @ page 279/356: Literally *just* got the stakes, ie: so far we didn’t know more than “villain is probably planning something.” This is ridiculous.
  • @ page 319/356: Really? A Nazi? Sigh.
  • @ page 356/356: Well, that was something. Most of the writing was better than expected & better than PE:DA, but I’m glad I didn’t pay for it. Continue reading 7th Son: Descent – book review

thinking about galleries

It’s always come up, from time to time, but I’ve been noticing it more in the last few months, that people want to know what galleries I’m showing at. Years ago, it was uncommon – I would tell people I was an artist, and they would ask about the art: “What style of art do you do?” … “What medium do you work in?” … “What is your art about?” … that sort of thing (which I almost never had a good answer for, either) but now when I tell people I’m an artist, a larger and larger share have a first question of “What galleries do you show at?” I’ve even begun to get it at the Phoenix First Fridays Art Walk, where I am a street vendor. People see me standing in front of my art, hear me talking about my art, watch me trying to sell my art, and ask what galleries they can see it in. If my work was in a gallery, don’t you think I’d be there, rather than standing in the road, competing with myself?

My website, wretchedcreature.com, is my gallery, I say. I do most of my sales online, I say, and a fair amount through the First Fridays Art Walk.

Then, about half the time, they want to talk about what other local artists I know, show with, and/or work with.

Sigh. Continue reading thinking about galleries

Working with other people

The people who do it insist that it’s better. Are shocked that I don’t. In fact, usually don’t know the extent to which I do everything myself. Over and over and over they ask “Who does your…” this, or “Where do you get your…” that? The answer being “I do it myself,” 9 times out of ten. Maybe more.

They tell me that if I’d just let other people do B, C, D, E, et cetera, then I’d be able to focus on A. Depending on who I’m talking to, and what they think should be my focus, feel free to shuffle those random placeholder letters. Often without first-hand knowledge of my work, they assume that the quality of B, C, D, E, et cetera are insufficient – in fact, they also often assume that whatever A they’ve picked as my focus is also not up to par, on account of my spending so much time & effort on the rest of the alphabet.

Alas, I have an aversion to working with other people, and I never bought into the idea that any one human could only do one thing well.

So I spend most of my time alone. And I do most everything on my own. When I farm out part of my work to another entity, I try to farm it out to robots and other automated systems; when I put together a new book, it goes from a set of digital files to a book both in my hands and for sale anywhere without my having to communicate directly with even one other human. Even that, I’ve been considering doing myself. A few months ago I was looking into acquiring a small offset printer (& looking into binding solutions) so that I could print and bind my own books. It’s still something I’m considering. I like doing things myself. (Not to an extreme, such as making my own paper, weaving & stretching my own canvas, or creating my own pigments, but most of the way there.)

I write my books. I edit my books. I create the layouts. I design the covers. I write the copy and design the web sites. I record and edit the audiobooks. I compose the music for the podcasts. I sell most of the books by hand, standing in the street. When orders come through my web site, I pack and ship the books; I hand-address the envelopes. I paint my paintings. I photograph them. I put them online. I sell most of them by hand, often standing in the street. I am the creator. I do all the creating, then I personally put my creations into the hands of the readers and art lovers who want them.

In the few areas where my control ends and a human’s control begins, I have found that rather than getting excellence I get delays, complications, mistakes, and disappointment. I have come to accept that, for example, Podiobooks.com is not fully automated, so that whether my episodes go up on time is based on what’s happening in a particular human being’s life – a particular human being with no personal stake in their timing. So I stopped caring whether they went up on time there, and started my own podcast/site where I have full control over when episodes are posted. I have to work with people in order to participate in the First Friday Art Walk, where a significant portion of my sales take place each month. After the first few months doing it, I came to accept that things would never go as planned and to simply expect  and accept that some new problem will crop up every single month. The problems are always, always because of human error, and usually because of people with “no skin in the game” being the ones making the plans and decisions. Oh, and although I don’t usually talk to them, there are humans involved in the process of getting a book set up at my printer – so I’ve come to understand that it’s unreasonable to expect the book to be ready to print or available for sale on time, or even within the time periods contractually promised me.

I heard or read something recently that I felt clarified a point about goals I wasn’t well able to express in my long post about it. The idea was that anything you hoped to achieve, if it required someone other than yourself to do even as little as say yes, or say no, wasn’t a goal, but a dream. Things you could potentially achieve without relying on someone else are goals. But you can’t count on other people, you can’t force other people, you can’t know what other people are going to do before they do it. So things you hope to achieve that rely on someone else doing something particular, those are just dreams. Those are, at least partially, not achievable by you. Part of the point of making such a distinction is to set personal expectations appropriately. To recognize that sometimes other people don’t come through. Sometimes they do. People achieve their dreams every day. But not always. (I would say, not often.)

As easily as I can set (and achieve) the goal of writing another book, of doing everything to go from an idea in my head to a digital/physical product I can share with other readers, the getting someone to buy and/or read that book is just a dream. In the same way, every part of my work I hand off to another person to accomplish goes from being a goal I can achieve to something I have to hope & dream another person (or company, or group of people) will do their part to help me achieve. My time tables, my quality expectations, my creative vision, they go out the window and are replaced by those of the other people involved. (And the more I insist on any one of those aspects getting closer to what I want, the farther the other two get.)

The unreliability and inconsistency of other people isn’t the only (or even the primary) reason I don’t like other people, but it has a lot to do with why I don’t like working with other people. I’m anti-social, misanthropic, and -some would say- nihilistic. I don’t loathe everyone, and I’m aware that many people do excellent work – I’m also aware that it tends to be when they are working on something they care about and believe in, rather than “for money” or “for other people,” that people tend to do their best work. So… theoretically all I need to do, if I wanted to work with other people (aside from somehow overcoming my being generally anti-social), is to somehow find people who are passionate about and care about my creations, as much as or more than I do. Let me know if you see any.

Podcast Numbers addendum (2008, 2009)

So, I put together that long post about numbers the other day, but I left out some of the numbers. Because I consider them to be less valid. But gosh, do they look more impressive! So, here are the TOTAL downloads for my various podcast novels. So for a book like Lost and Not Found, broken into 18 parts, the number is probably over 18x the number of actual listeners. And for books like Forget What You Can’t Remember and Cheating, Death where I intentionally made the episodes half as long (15min average, instead of 30), the numbers look even more impressive than that! And yet, still so much less impressive than the numbers for the actually popular podiobook authors, whose downloads are hundreds of thousands per book.

  • Dragons’ Truth – 11,458 downloads in 2008, 15,985 downloads in 2009: 27,443 total downloads
  • Lost and Not Found – 2,906 downloads in 2008, 18,251 downloads in 2009: 21,157 total downloads
  • Forget What You Can’t Remember – 43,218 downloads in 2009
  • Untrue Tales… Book One – 35,704 downloads in 2009 (~9 months)
  • Untrue Tales… Book Two – 27,178 downloads in 2009 (~6 months)
  • Untrue Tales… Book Three – 13,502 downloads in 2009 (~4 months)
  • Cheating, Death – 11,899 downloads in 2009 (~2 months)
  • Total downloads in 2008: 14,364
  • Total downloads in 2009: 165,737
  • Total of all my Podiobooks’ downloads as of 12/31/09: 180,101
  • Total downloads of MEPod as of 1/8/2010: 24,229
  • Grand total of Podiobooks + MEPod: 204,330

So there’s some bigger numbers. Still long-tail sized numbers. Even within podcast audiobooks, I’m a small fish. But 204,330 looks a lot better than the 11,119 downloads of just the final episodes of my podiobooks. Puts the donations in perspective; for every ~6005 downloads of my Podiobooks, $1 is donated. Podiobooks.com’s $0.25 cut wouldn’t cover the bandwidth cost of those 150Gb+ of downloads, so I suppose it’s a good thing they aren’t being charged for bandwidth.

Thoughts on ‘new year,’ ‘old decade’

I suppose we’re a week into the new year now, it’s getting “late” for one of those year-end/new-year type of posts. Especially in internet time. New Year’s memes were born, blossomed, and wilted in the space of hours – I watched a few of them come and go and get replaced by newer, even-shorter-lived ones on Twitter over the weekend. A few of them drew my interest, got me thinking, but my thinking lasts longer than online conversations. I’m sure I’m not finished thinking, yet.

One of the thoughts was related to the apparent ‘new decade’ (no need to get into technical definitions and ‘counting starts at 1’ – my beliefs about time are far and away less specific, & more meaningful and orderly) and the question of what one was doing 10 years prior. On Twitter this was often read as 10 years ago to the minute; I suppose it was fun for people to think about a 10-year-old party on New Year’s Eve. But a lot can happen in ten years. A lot happened in mine. Ten years ago…  Ten years ago I’d already begun painting again, a bit, though I still hadn’t re-started my writing.  Ten years ago I’d just begun creating online comics for the first time. Ten years ago I was living in Tempe. Ten years ago I cut my hair off: New Year’s Eve 1999 I had hair so long I could sit on it, New Year’s Day 2000 I had “normal” short hair.  Ten years ago this month I was getting fired (technically I quit) from MicroAge for insubordination for calling out my boss’s incompetence in front of the other employees (he & I & his boss & HR all agreed he was incompetent and that I was right about everything except saying so where the other employees could hear), and later that day I was getting hired at Realink. It was nearly ten years ago that Sara said yes. (Did you know she said yes, once?) Continue reading Thoughts on ‘new year,’ ‘old decade’