Authors and the Indie Supply Chain

Photo Courtesy of Ford Motor Company via Creative Commons
[Ford Europe]I’m really hoping that this post isn’t as boring as the title suggests. I wanted to accomplish two things today—tell you where I am with Book Three and talk a little about indie authors who are responsible for controlling their own publishing supply chain. I’ll keep it short, I promise.

If you are a longtime visitor to the site, you’ll know that a couple of years ago I wrote a horror-thriller called Tell Me When I’m Dead. Last year, I followed that up with Book Two, Dead Is All You Get. I’m happy to report that both novels have been getting excellent reviews. This year, I plan to publish the third and final book in the series. Sorry, no title today. I will let you know that when I do the cover reveal in the next month or so.

What Is a Supply Chain, Anyway?
Investopedia defines a supply chain as …

The network created amongst different companies producing, handling and/or distributing a specific product. Specifically, the supply chain encompasses the steps it takes to get a good or service from the supplier to the customer.

In publishing, the supply chain is made up of all of the steps involved in bringing out a book. For print, that includes the actual manufacturing and distribution. For eBooks, it’s mostly focused on editing, formatting and cover design.

Does Self-Publishing Mean Faster?
You bet. I’ve heard other traditionally published authors squawk about the lag between submitting their manuscript to the publisher and actually seeing the thing appear on the book store shelves. We’re talking eighteen months to two years, people. Unacceptable!

Aside from the fact that, potentially, I can make more money selling my own books, shrinking the window from pen to Amazon is a huge plus.

But …
It’s not all chocolate and roses, though. As an indie author, I am essentially in business for myself. And until I can afford to hire an intern, I am pretty much doing everything myself—including marketing. What does that mean? Well, I am a terrible artist. And I don’t know jack about PhotoShop. So I must rely on a cover designer. My choice is Deborah Bradseth over at Tugboat Design.

When it comes to editing, my manuscripts are generally in pretty good shape when I am finished. But editors are a critical and necessary part of the supply chain. They always find things you missed. I’m not talking typos—I mean problems having to do with consistency in character behavior, unresolved storylines, and just plain clunky sentence structure. Currently, I work with a number of editors.

Then there’s the formatting. I tried doing this myself, but there are so many subtleties around eBooks and the devices that display them, it’s not worth it to me to mess with that crap. So I use a professional formatter, JW Manus. She’s smart and efficient, and she delivers a quality product every time.

What’s in It for You?
Back to my new novel. I plan to get Book Three out before the end of the year. In addition, I have asked my artist friend, Kevin Asmus, to create new images for all three books. These will be more cohesive, series-wise, and I really hope you like them. And as if that isn’t enough, I am rebranding the series. Whew!

Sometime in the spring, I plan to finally publish the print versions of these books. Yay! But that is yet another step in the supply chain that requires even more planning. I’ll be doing this through CreateSpace. Stay tuned.

In the meantime, I am currently offering Books One and Two for 99 cents. They normally sell for $3.99 each. If you haven’t picked them up yet, now’s your chance to save a little cash. Happy reading!

Tell Me When I’m Dead

[Tell Me When I’m Dead Cover]

Available at Amazon

Thanks to his wife, Holly, recovering alcoholic Dave Pulaski is getting his life back. Then a contagion decimates the town, turning its victims into shrieking flesh-eaters. Now Dave and Holly must find a way to survive. But Dave is this close to drinking again. A woman he cheated with—and no longer human—is after him. The hordes of undead are growing and security forces are outnumbered. Hell has arrived in Tres Marias.

Tell Me When I’m Dead (Book One of THE DEAD SERIES) is about an antihero haunted by all the mistakes of his life. Facing a terrifying future, Dave must decide whether to die drunk or fight for those he cares about most. And strength alone won’t be enough—he’ll need Faith. If you like your thrillers dark and fast-paced, then follow Dave and Holly as they fight against looters, paramilitary crazies and the undead. “A hard-hitting splattergore zombie thriller, told by the ultimate antihero” (Travis Luedke).

Dead Is All You Get

[Dead Is All You Get Cover]

Available at Amazon

After months of fighting the undead ravaging the town of Tres Marias, Dave Pulaski and his wife, Holly, catch a break when Black Dragon Security suddenly shows up to rescue them. But things are about to get worse. The virus is mutating. Now, driven to discover the truth behind the contagion while struggling to protect Holly and those closest to him, Dave is pushed beyond the limits of faith and reason.

Dead Is All You Get (Book Two of THE DEAD SERIES) combines the best elements of horror, dark fantasy and sci-fi, taking the reader on a relentless, tortured journey of survival that tests the strength of one man’s character and delves into the role Faith plays when he is confronted by the worst kind of evil—the evil in humans. If you like your thrillers dark and fast-paced, then read this mind-blowing sequel. And leave the lights on. “A shoot first then shoot again horror thriller of the highest order” (Simon Oneill).

Interview with Alan M. Clark

[Alan M. Clark]Okay, this is exciting, people! I am privileged to have as my guest this week, Alan M. Clark, author of the new historical thriller, The Door That Faced West. In this extensive interview, Alan discusses his work as both an artist and author, and provides some interesting background on his new novel. As a bonus, Alan shares some of his illustrations with us—two of which have never been seen publicly!

Hi, Alan. Welcome to the show. It’s great having you here.
A pleasure. Thank you for the invitation.

You are blessed to be both an amazing writer and artist. How long have you been writing and drawing, and which came first?
Thank you for the praise! The answer depends on what you mean, I suppose. For the art, painting and drawing—I’ve been aware of a desire to produce art since about age five, so over fifty years now, but I didn’t think about doing it professionally until my teens. I was lucky to have parents who never discouraged me from considering a career in art. Even so, I went to art college largely to put off for another four years what I thought would be a life in some sort of work I’d do to make money but for which I’d have no real feeling or pride.

I didn’t expect to have a reasonably good business sense that would see me into a life of creative pursuits, but that’s what I had and what happened. Again, I’m lucky. Here’s a link to one of several galleries of my artwork on my website: http://bit.ly/1rj7Hiu

Concerning writing, I started creating fiction in high school, mostly for fun, doing it with friends. Sounds like a gateway to some sort of addiction, doesn’t it? Well, perhaps it was. The collaborations were a lot of fun. We laughed a lot, reveled in weird imaginings, but, like the artwork, I didn’t really believe I had a future in it. Still, I kept at it because I loved it. As an adult, I’ve had several groups that met to share creative process. The members of the groups have been a variety of people with different creative pursuits; writers, graphics artists, painters, photographers, song writers, poets, comic book artists, etc. We shared unfinished work primarily, talking about the processes of our individual creative endeavors. We collaborated some. I was getting good responses for the writing I presented to the groups and started submitting short fiction.

In 1995, I made my first professional sale to a paperback anthology, More Phobias, edited by Martin Greenberg, Wendy Webb, Richard Gilliam, and Edward E. Kramer. Since then, I’ve been more deliberate about getting my writing to an audience and it’s grown. Now, I’ve had four collections and seven novels published. Here’s a link to information about most of my fiction: http://bit.ly/1rj8ksa

Being creative, I imagine ideas come to you in all sorts of ways. When something strikes you, do you typically see it first as an image, then a story? Or does it happen the other away around?
As you suggest, ideas come to me several ways, usually not a clear picture as an image or story. In two-dimensional visual art, I get a rough image that isn’t a composition. If the idea is good, if I like what I see in my mind’s eye, I still have to work at presenting it as part of a composition that includes the rectangle of a picture plane.

In storytelling, it’s the emotional environment that comes first. I develop characters that struggle against the circumstances of their lives, the people in their lives, even those they love, and the conflicting emotions that the characters, themselves, experience. I like working with characters that are emotionally conflicted because they are more like real human beings. They make mistakes they have to live with or struggle to amend. The decisions they make often cause them pain, create conflict with others, alter their core values and motivations, take them in surprising new directions, ultimately change who they are emotionally. The rest: the setting, the time period, the genre, is all just window dressing.

It constantly surprises me when people ask where my ideas come from. Over the years I’ve learned there’s no answer to that. So where do your ideas come from?
Experience, life, free association, the subconscious soup, from practicing the use of imagination, exercising that “muscle” by using it frequently. My blog is called the “Imagination Fully Dilated” Blog. The title comes from a series of anthologies I helped edit. The anthologies are of stories based on my artwork by writers from all over: Ramsey Campbell, Poppy Z, Brite, Jack Ketchum, F. Paul Wilson, and many others.

When I had to come up with a title for the series, I tried to give a sense of how I felt about the process of developing ideas. I thought of an eye, the mind’s eye, that can grab what we know, what we have in the way of experience, and recombine it in new ways to project possible futures, scenarios involving action and conversations, great vistas, curious mechanisms, alien worlds—but not just for fantasy, for practical function of necessity as well—hell, the whole of human invention.

So what prevents us from inventing what we want at a moment’s notice, at least within the imagination? Complacency, lack of urgency, laziness, fear of failure, fear of success and having to maintain that success? Okay, so those are some of the things that have gotten in my way. But imagine a mind’s eye that isn’t lazy, afraid, self-conscious and self-absorbed, one that dilates freely to allow in more experience, more ideas, more color, more light! The title appealed to me also because there’s something of birth in the idea of an organ dilating, opening, not just to let in, but to give forth, to allow to come into existence the products of our creativity.

So, I sound a little crazy, but all of this just to say that I think that if you exercise your imagination, just as with the muscles of your frame, it will be there for you when you need it. Perhaps your mind’s eye opens more freely with use. It seems that way to me.

Your new book, The Door That Faced West, is a work of historical fiction and a thriller, with a healthy dose of violence. What drew you to the Harpe Brothers?
I grew up in Tennessee and learned over time about the history of the State. It has a wild and wooly past. Interesting stuff. I’d read about the Harpes long ago and was fascinated by their story. They are some of the earliest American mass murderers. Perhaps they were serial killers. They were at least spree killers. Over the years their story has stuck with me, but particularly one aspect that most seem to overlook. With the three wives they shared between them, these men lived on the trail in the wilderness of very early Tennessee and Kentucky for months at a time.

It’s difficult to imagine today how foreboding that wilderness must have been and the myriad dangers that existed there. The Harpe brothers killed primarily to gain supplies since most of their victims did not have much money. For extended periods of time, that’s how the group of five survived. It must have been extremely rough living. Yet when the wives got separated from the men at one point, they traveled over one hundred miles to the agreed upon rendezvous. That seems extraordinary to me. What must these brutes have been providing the women that they’d be willing to do that, I wondered. One was the teenage daughter of a minister. How had a young woman, who presumably had some sort of spiritual upbringing, ended up with such dangerous men, been party to forty or more murders from which she benefitted materially, and decided they were worth sticking with despite great hardship?

What history tells us is that when finally the wives were separated from the men for good, they were tried and acquitted. One never remarried and lived out her life working on a plantation. The other two remarried, had children, and lived the rest of their lives in ways that were unremarkable. One of the latter two was the minister’s daughter. I wondered how she’d handled all that emotionally. That became the emotional arc of the novel. The story is told from her POV. The Harpes were extremely violent and while that’s fascinating, it’s not something we aren’t familiar with in serial killer drama. But her story set within the context of their deeds and the early American frontier—as I said, that seemed extraordinary to me.

Did you find it difficult to capture the mood and character of the period? I’m thinking specifically of the way people spoke, the idioms they used.
I like history and have a pretty good sense of when things came into existence in human experience, society and technology. I worked in a living history museum after college, a replica of the first settlement of Nashville called Fort Nashboro. I told of the history of Tennessee to tourist for several years and read a lot about the time period in the state. Tennessee had its first permanent settlements of those of European descent in the 1700s.

I have a sense of how people spoke in that time. In creating dialogue for the characters, I’ve made a compromise between giving a feel for the period and making the language accessible to the audience of today. If I’d really stuck with the sorts of language construction the Harpes and their wives might have used, I’d have tried the patience of many readers. My goal was to tell a good tale, not adhere so strictly to history that my readers might not relate to the characters. I think the flavor of the period I’ve provided helps put the audience there.

You grew up in Tennessee, a state with its own rich history. Do you feel a real connection to it’s past? If so, how does that affect your writing?
I do like Tennessee history, but perhaps no more so than that of other parts of the world. I’ve been writing about Victorian London quite a bit for my Jack the Ripper Victim series. My historical fiction novel about the life of Catherine Eddowes, Of Thimble and Threat: The Life of a Ripper Victim is the first novel in the series. The second novel about the life of Elizabeth Stride should come out later this year. Victorian London is endlessly fascinating.

Can you tell me who some of your favorite writers and artists are?
Writers: Kurt Vonnegut, Joe Lansdale, William Faulkner, Simon Clark, Phillip Jose Farmer, Patrick Suskind, Bruno Schultz, James Tiptree, Jr. (Alice B. Sheldon).

Visual artists: Max Ernst, Leonardo da Vinci, Rick Berry, Richard Powers, Johannes Vermeer, Roberto Matta, Robert Williams, Phil Hale, Gerald Brom.

Thank you, Alan. I wish you the greatest success with your book, and I look forward to chatting with you again.
Thanks. I enjoyed it.

Alan’s Illustrations

[Harpe Party]
Interior illustration for the novel, The Door That Faced West.
[The Old Woman's Crooked Hand]
Interior illustration for the upcoming novel, Say Anything But Your Prayers: The Life of A Ripper Victim.
[Still In Its Hiding Place]
Interior illustration for the novel, Of Thimble and Threat: The Life of a Ripper Victim.
About The Door That Faced West
In the beginning of the nineteenth century, the two murderous Harpe brothers, loyal to one another but violently at odds, go on a year-long killing spree in the American frontier, dragging with them the three wives they share between them; women who form a triangle of dependency, loyalty, jealousy, hatred, betrayal, and love.

“It is not hyperbole to say that Alan M. Clark’s The Door That Faced West left me absolutely stunned. A thoughtfully haunting blend of historical fiction and thriller, this is one of Clark’s best works to date, across any medium. Simply amazing, and undoubtedly one of the best books you’ll read this year.”

—Brian Keene, bestselling author of The Rising and Ghoul

 [The Door That Faced West Cover]

Paperback
Amazon US
Amazon UK
Amazon CA

About the Author
Alan M. Clark obtained his Bachelor of Fine Arts Degree from the San Francisco Art Institute. He is an artist, author, publisher and founder of The Bovine Smoke Society, Bovine Smoke West and The Creative Process Committee. He currently resides in Eugene, Oregon with wife, Melody.

You can find more information about Alan at www.alanmclark.com and on Facebook.