Flibber T. Gibbet, An Adventure on the Hermit’s Trail will be published this summer. Readers can crack open the cover online in the preview slideshow above.
Encourage online readers to take your book off the shelf
Imagine your newly released book face out on a bookstore shelf, just waiting for an avid reader to reach for it. What’s the first thing they are going to do?
Now reel back that opening scene and imagine your reader glancing at the cover of your book for the first time online.
How are you going to translate that website experience into something reminiscent of the in-store type of experience your audience is most familiar and comfortable with?
As illustrator and partner Diana Durrand and I ready our soon-to-be-released young readers’ story Flibber T. Gibbet, An Adventure on the Hermit’s Trail for launch, that’s a question that needs answering. What has emerged for me as an author/producer/publisher is a web slider modelled on the in-store experience of deciding whether or not to buy a book.
The first thing visitors to my craigspencewriter.ca/flibber-t-gibbet page will see is the book’s cover, not as a stand alone reproduction, but as the first image in the slider posted at the top of this post. In that frame they get to: meet the main troublemaker of the story, Flibber T. Gibbet; see protagonist Lincoln Cranston, running up the Hermit’s Trail, where the story is set; and gain a sense of the audience the book is written for.
What would they do next? My guess is an interested browser might flip the book over and look at the back cover for a description. The second slider image goes there, offering readers an overview of the book’s highlights. (Please note: If they’ve got this far they’re already readers, even if they aren’t yet buyers.) The back cover foreshadows the adventures they will experience in the tale and gives a flavour of the author’s writing stye.
At that point, I’d want to know a bit more about the author and illustrator. So slide three takes our audience (Note: as an internet era writer I am redefining the nature and habits of potential readers) to a very brief introductory page, describing Diana’s credentials and achievements as an artist and my own as an author.
If I had my marketing hat on straight, I would insert a final slide, linking visitors to options for purchasing copies of Flibber T. Gibbet. But determining a distribution and sales strategy is a work in progress, one that will be the subject of future Books Unbound posts. So for now I’ve inserted a placeholder announcing the anticipated release of the book in print.
Stay tuned by going to my Connect page for options. Thanks for visiting.
The Writers’ Trust of Canada asked in a survey that will be open until Jan. 18, 2022, how they could improve their mission statement. I have to confess, in my case that’s like asking a guy with a loaded pistol in his hand what you can do for him. I used up just about every one of the 200 words allowed in my response, and still hadn’t run out of bullets for my list of reasons they should include ‘Advocacy’ in their mandate. Here’s what I wrote…
‘Advocacy’ on behalf of writers should be explicitly included in the WT mission statement.
Rewarding individual writers through grants and prizes is a good thing, but it’s not enough. Writers’ incomes have been declining significantly over the last decade or more and measures need to be put in place to ensure payment for work done.
Most urgently, in this era of quick turn-around ‘used’ books, is the need for royalty payments to authors on the resale of their works.
Also needed are protocols and programs that assist writers and publishers tapping into the online market through ‘Direct to Web’ – that is, books as websites – or similarly formatted and targeted publications.
D2W enables writers to:
promote books more effectively on social media;
engage ‘audiences’ at every stage in the writing and publishing cycle;
reach global audiences;
explore new revenue options.
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Literature is foundational to the Arts & Cultural wellbeing of our society. It is a discipline that permits a unique blend of individual freedom of expression combined with the ability to critique and celebrate modernity in depth.
‘Advocacy’ should be a word that appears in the Writers’ Trust mission statement.
Ditto to other organizations whose overall mission is to foster and sustain literary excellence in this country.
“You’re a writer! Trust the imaginative magic of your words!…” And respect the genius of your readers and listeners to envision your storytelling.
After two years of brain wracking and image bank trolling for eye-catching graphics to go with my website and social media posts, I suddenly stopped, and asked: Why?
Why invest all that time and energy trying to match the fantastical and soulful imagery of storytelling with stock pictures and more or less random internet pulls?
The obvious answer – an excuse actually – is that media like Facebook et al require pictures (preferably moving pictures) to earn views, clicks, shares, etc. And without the ‘reach’, ‘engagements’ and ‘likes’ a high-traffic site reels in, you won’t even get a glimpse of the golden goose called ‘monetization’.
That’s all true, I suppose. But only in the sense that a matador’s cape is the true goal of his distracted victims. Time for a rethink.
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“You’re a writer! Trust the imaginative magic of your words!” I clattered in a recent Facebook share. And – I should add – respect the genius of your readers and listeners to envision your storytelling.
I’m not alone on this slippery slope, I’m sure. Many writers see the internet in general and social media in particular as essential modes for sharing literature, and so they should. What I am warning against is being lured off course by the marketing lingo most of us have learned to talk these days.
Own the medium. Use it in a way that doesn’t compromise the true strength of literature as an arts discipline.
Words, sentences, alliteration, simile, metaphor… these are the brushes authors use to conjure images for an audience. The true gift of a story delivered in a book, or from a podium, or round a campfire is the miracle of words that readers or listeners transform into scenes, characters, feelings, conflicts, each in their own imagination.
Like no other art, literature engages audiences in the creative process.
That’s not to say I won’t complement my online stories with images from now on – the same way every book has its cover. But when I make the quest for visuals to cloth my stories paramount, I’m revealing my own lack of confidence in the evocative power of creative writing.
My favourite place to read is an armchair, in the northeast corner of our living room, which has one window facing out on our suburban street, another with a peekaboo view of Stuart Channel and the Salish Sea.
Most often I have a hardcover or paperback opened in front of me, either held up in my hands or propped on my lap. It’s a comfortable portrait, most would recognize instantly, and most readers would sanction.
It fits our notion of what a book and, by extension, literature should be.
The Mural Gazer Direct to Web novel invites readers to ‘Buy-In’, an example of rethinking the concept of a ‘book’.
The flaw in that picture, however, is the word ‘most’. If most of the people show up most of the time for an activity that happens most every day, it won’t be long before most people aren’t showing up at all.
Literature is too important to allow incremental slippage. Books Unbound is not about denigrating what remains the most popular literary medium, a position printed books will occupy for a long time to come.
It’s about imagining new ways of writing and sharing, ways that broadcast storyteller’s voices and, by extension, the reach of literature.
Our stories have to unfold in places where readers go. To me that means books that are dynamic, interactive and versatile, presented to ‘audiences’ on social media, websites, in video readings and book trailers, episodically in eMagazines, and…
In ways that promote literature in its vital role as the art form that challenges readers to experience their worlds from new, diverse perspectives.
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Well into retirement age, it’s time for me to ask what I want to achieve in this final phase of my literary career? What it means to be a 21st Century writer? It’s never been an easy vocation; and that truism has never been more applicable than it is on the cusp of this New Year.
I began my working career as a reporter, hammering out stories on an Underwood typewriter; I’m writing this introspective on my laptop, standing up in my dining room, occasionally interrupted by the ‘Ding!’ of another email landing in my in-box; I could just as easily be thumb-writing in ‘Notes’ on my iPhone, in the middle of a busy intersection or at a socially distanced café.
Conclusion: The world has changed. If we writers don’t adapt to the blizzard of social and technological innovation that’s whipping round us, we will lose our vital role as voices in the storm. In a future post I want to go into more detail about just how vital the role of literature is, and how sorry a loss it will be, if we fail to rise to the challenges of the times, but for now I’m going to map out how I want to go about adapting to our new reality, not the why of it.
I’ll begin with my oft-repeated, favourite saying: Writing isn’t about writing. It’s about delving into meaningful experiences and sharing those adventures with appreciative audiences. And it’s not about ‘books’ in any clearly defined sense of the word, it’s about insinuating our ways into the minds of audiences.
Please note the use of the world ‘audience’ instead of ‘readers’ in that last paragraph. Ultimately literature comes down to books in some form or another, of course. But my minimalist definition of a book is: A code of squiggles and dots on a series of pages or screens; or a vocalization of those squiggles and dots into words and sentences, which any creature other than a human would interpret as the grunting and growling of an animal suffering terminal indigestion.
The allure of literature, its special place in the arts pantheon, is its symbolic delivery. Every reader or listener has to make up the presented story in his or her own imagination. Until then, books are inert lumps of masticated wood and ink on library and bookstore shelves, or confusing assemblages of wires and circuits in peoples briefcases and pockets. Reading and its derivatives are creative acts as much as the art of writing.
Alas, getting people to choose reading over the plethora of other media available to them has become an increasingly hard sell, especially if you define literature as a subset of entertainment. Think about it! A hundred and fifty years ago there were no radios, no televisions, computers, video games, the Internet, virtual realities, movie theatres – and so on. Candle light story-telling, live theatre, and parlour music or pub songs were the free-time activities people turned to, and books the only transportable repositories of thought and entertainment.
That unique portability has long-since been overwhelmed by powerful broadcast media, and I believe authors and publishers are increasingly going to have to seek out niche audiences, and find affordable, widely dispersed channels for sharing literature in this crazed new world. Books are going to have to connect seamlessly to digital media and keep up with the fast paced bursts of attention modern audiences give new ideas.
Learning how to effectively use new media has become part of my creative process, and I hope to share my successes and pratfalls as I go. I don’t see digital technology as a replacement for ‘books’, but as an essential adjunct. My upcoming edition of The Boy From Under is my third run at what I have dubbed Direct-to-Web publishing, the first edition (now offline) was my inaugural run. My second effort is a novel in progress, The Mural Gazer.
I’ll celebrate if, late in life, I can become a crotchety advocate of new media as the neural network for modern fiction and creative writing… Heck! I’ll celebrate even if my only achievement is to get literary types to stop using Underwood typewriters and quill pens as their trademark symbols in this frenetic here-and-now!
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Words are such fascinating things! So versatile. So nuanced. So ultimately… meaningless? That thought comes to mind as I attempt a review of my 50-plus years as a writer. I occasionally analyze what has become for me a habit, and as I begin a rewrite of my novel The Boy From Under, I feel it’s time for a look through the microscope and see where this impulse lives in my DNA.
There are two views through this microscope of mine: the pro and the con.
As a pro, I have achieved states of being I would never have experienced otherwise. I have surprised myself with inspired moments, and done my best to share emotional and intellectual highs and lows with readers. I’ve felt the verbal pyromaniac’s joy at igniting imaginations. I have made words work for me, pulling long trains of philosophical reasoning up steep hills and down dangerous grades. I have had meaningful fun.
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As a con, I have dragged my reluctant carcass to its work station, as if I had a ball and chain attached to my ankle. The urgent clatter of my keyboard has drowned out any real sense of celebration, as I hurried to file another story, making sure the facts fit whoever’s case I was trying to make. I have become lost in wildernesses of uninspired words drivelling toward ‘The End’ or, in forgotten journalistic jargon, -30-.
What I’m getting at, here, is writing for me as a way of life. Whether I’m up or down, I have no choice, I have to write, and in my more introspective moments, I do what I’m doing now: write about writing. I hope you won’t hurt yourself laughing, but the following image is a partial visualization of what I’m writing this moment. I sometimes sketch my thoughts before setting them to words, a reminder of why I chose literature rather than the visual arts as my goto discipline…
The point I’m trying to make, sharing that ‘idea map’, is: There should be way more spinning round in my head as I’m writing than I can possibly include in a story or article. My choices should be excruciatingly and wonderfully difficult. There should be plenty left over for future instalments!
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Surely there’s enough room in the universe for everyone who has died.
That’s a relief, I suppose. It means there might… just might… be a heaven out there, even a god, who only need occupy a tiny corner of the 13 billion light year breadth of measured space and time… and who knows what lies beyond the known, how far we’d have to travel in our transcendental spaceships to reach the ever expanding membrane of infinity.
Language can say things it’s impossible to comprehend. Thirteen billion light years, for example. Uncle Franklin tried to describe the speed of light for me once. “If I flicked on a light switch, here in Chemainus, say at the tip of Bare Point, you’d see the beam – it’s a wave, actually, but for the sake of argument, let’s say you’d see that beam in just over a second, if you were standing on the moon, say in the Sea of Tranquility… one-point-two-five-five seconds to be exact, that’s how long it would take.”
Uncky Frank couldn’t have understood that most nine year olds wouldn’t have a clue what the heck he was talking about, of course. Or what the speed of light had to do with my father’s coffin, making its slow progress down the centre aisle of our church, borne on the shoulders of six strong friends and relatives. He was just trying to describe, after the fact, the theoretical speed a soul could fly according to his own theory of special relativity.
Mum and Dad used to laugh at Uncky Frank and his ‘weirdo theories’. “He should leave the science to Einstein, and stick to building houses,” Dad said. “He’s good at that.”
“His inquiring mind takes him to strange places,” Mum agreed, as if Uncky Frank’s brain was a poorly trained Pitt bull yanking him around on its leash.
They loved him, though. He was everybody’s favourite uncle.
“Your dad isn’t very far away, once you know ‘C’,” he said, sitting beside me at the wake. “That’s the constant that stands for the speed of light in a vacuum,” he added, when I gave him a puzzled, pleading look. “Three hundred thousand kilometres per second.” He smiled benignly.
“How far is it from your head to your heart?” he persisted. “Show me.” I put my left hand over my heart; my right on top of my head. “That’s how far away your dad is from you, always,” Uncle Franklin said. “He’ll never leave, and – at the speed of light – he’ll be with you in an instant, whenever you need him.”
Uncky Frank had a complete set of the Encyclopedia Britannica, on a special shelf next to his favourite armchair. He’d read it every evening, as if it was the world’s longest novel, from A to Z with occasional side-steps to look up an incomprehensible word in another article, then another word in the explanatory article, and another, and another, and so on.
“Unless someone’s reading it, these are just lumps of masticated wood, glue and fake leather, gathering dust,” he told me once. “Knowledge doesn’t reside in books. Squiggles on a page don’t mean anything until someone reads them.”
To his dying day Uncky Frank claimed to be an atheist. I visited him near the end. Gaunt, pallid, and weak as he was, he still smiled and gazed at me with his pale blue eyes. He could tell what I was thinking, and put his left hand over his heart; his right on top of his head. “That’s how far away from you I’ll be, if you ever need me,” he said.
I tried not to show it, but he laughed. “Just cause I’m what you call an atheist, doesn’t mean I don’t believe something. A few more days, and I’ll be gone, but I’ll live on in your memory,” he smiled benignly.
“And when I die?”
“You’ll live on in the memories of your friends, your colleagues, your family. And I’ll be a smidgen of that, which is enough for me.”
Uncky Frank bequeathed me his set Encyclopedia Britannica. I browse them from time to time, but there’s no reference to any history of mine in there, just antecedents. The speed of light hasn’t changed, though, and the time it takes a beam to get from Bare Point to the Sea of Tranquility on the moon.
End Note:
Writing is rarely a linear process. For example, this video has a typical pedigree. Yesterday I was working on Episode 43 of The Mural Gazer. In this scene Buddy paddles out onto Cowichan Lake, teetering on the brink of suicide. There, he encounters the spirit of Hong Hing, the Chinese merchant, bootlegger and gambling den operator, depicted in Chemainus Mural #4, who is tying to dissuade him. Although he’s alive and talking, Hong Hing is decked out as a deceased, oriental patriarch, and he’s floating to the forever-after on the mirror-calm surface of the moonlit lake.
I’m on aqua incognito for this description, so I started researching Chinese funerary traditions online, a fascinating glimpse into the rites of an ancient culture.
At the same time, I have been trying to get my head around Immanuel Kant’s metaphysical theory of Transcendental Ideals. Although that’s not the kind of subject matter you can throw undiluted into a novel, as a thematic undercurrent, I believe speculative philosophy enriches stories. And the rites I was learning about the Chinese belief in an afterlife, particularly the burning of Joss Paper and representations of things the deceased need to be happy in their new world, evoked by association Kantian proofs of god, heaven and immortality.
There’s no logic to the sequence that lead to The Speed of Light, but its origins do trace back to The Mural Gazer.
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Thanks for checking out my first video post of Today’s Writes. This excerpt is taken from Episode 56 of my novel in progress, The Mural Gazer. At one level, it’s a philosophical but very personal take on suicide – not as a desperate act, but as the rational decision by a man who’s grown tired of living. So I don’t see it as a discussion of suicide per se, so much as an existential, inner conversation on the value of life without meaning.
Protagonist Buddy Hope is more sad than desperate. Sad, because purpose and meaning have drained out of is life, and the thought of continuing seems cowardly. He has arrived at this ‘to be or not to be’ moment, not in Shakespearean torment, but almost dutifully. The twisted irony of his circumstance is: his purpose in life has become to end it.
And what about those he’ll leave behind?
That becomes the real question. And Buddy doesn’t have an answer. He’s written his note. Said oblique goodbyes to his estranged wife, children, lover, and friends Bernice and Harry. But he knows his leaving will be a painful shock to them, and they will be left to struggle with the question: why? To wonder what they could have done to save him.
So another conundrum confronts him: Buddy realizes he has to commit a cowardly act, if he wants to discontinue his cowardly existence. His only consolation, if you can call it that? The belief that people will have to patch the fabric of their own consciousness with shared memories of him, and that mourning might, in a convoluted way, bring them together.
Is that a vain hope?
Today’s Writes are excerpts and reflections on some of my works in progress. They are an opportunity to share, and an invitation for people to participate in my story telling. Thank you for being here.
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Direct-to-Web is more than just a digital format that allows me to distribute and share books cost-effectively and in an environmentally sensible manner, it’s also a way of opening up the boundaries of literature to new possibilities.
I’ve written 35 episodes of the The Mural Gazer, now, and have developed a format that works. But I’m only just beginning to appreciate some of the possibilities D2W offers. The most immediate pluses for readers and authors:
A D2W book can be read on a mobile, a laptop or a desktop computer. No special devices or programs necessary, other than access to the internet and the web.
Audio readings of a D2W story can be bundled with the print edition, so audiences can read or listen depending on their situations or preferences.
The cost of a getting a D2W book into readers hands is a fraction of print or eBook editions because there are hardly any distribution and printing expenses.
A D2W novel can be the modern equivalent of a serial, published episode by episode on the fly.
Graphic elements can be incorporated into the Direct-to-Web experience.
For those who want to lessen the environmental impacts of producing and distributing books, Direct-to-Web offers a much more sensible format than conventional publishing.
Those are immediate benefits of Direct-to-Web. Some of the possibilities that go beyond what is normally expected of literature, and which I haven’t even begun to explore:
Audience interaction. An author can communicate with his audience while he’s writing a book, and remain in contact after a book is published.
Side-stories. Links can be included in a book that will take readers off on side journeys. The possibilities of this feature for subplots, or excursions to actual settings, or… are enticing.
Collaborative opportunities. Musicians, visual artists, photographers, actors, all kinds of arts disciplines can be brought to bear on a plot or theme. Again, the possibilities are limitless and fascinating.
So, much as I like to see The Mural Gazer as a direction literature needs to go in, I’m pretty sure my vision is dwarfed by the reality of the medium I’m so excited about! Of course print editions of books are going to be the mainstay of most readers for some time. But I’d be surprised if mid-21st Century readers are toting paper and hardcover editions around with them; in fact, I’d be surprised if literature occupies anything other more than a shrinking niche in public consciousness if authors and publishers don’t develop the potential of Direct-to-Web books.
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I’m not going to be able to pack everything we need to know about setting up to produce video readings and trailers into a single blog post, so if there are topics within this topic you’d like me to explore and expand on, get in touch and let me know.
And if you’re really interested in the subject, don’t take my word for it, go online and get other perspectives. My take on what makes an effective video reading or trailer for websites and social media is unique; there are plenty of other variations on the theme you’ll be able to find, conferring with Dr. Google.
That said, let’s get underway. Before you actually do anything in the physical realm, play and replay an imaginary version of your video in your head, and view each showing from a different seat in your mind’s-eye theatre.
Take one: an artist’s POV. Ask what you want people to take away from your video? And what you want them to do? Buy your book? Attend a reading? Absorb a philosophical perspective and share it? Change their attitude about something? Know who your viewer is, and what you want to say to him before you set out producing your video.
Take two: put yourself in the ‘average viewer’s’ seat. What’s going keep her there? What is it about your story you want to emphasize? Do you want to make her laugh? Arouse her sense of curiosity? Send chills up and down her spine? Disgust her? Get her to like you? Wax philosophical? Wonder what comes next?
Take three: now you’re sitting in the producer/director’s chair. You have to figure out what’s possible and how to make what’s possible happen in the final cut. As you play through the video, ask yourself what kind of equipment you’ll need to make each scene happen? What skills you might have to acquire? How long it’s going to take to produce your masterpiece? Who you’ll need to involve in the production?
Take four: You’re the Production Manager. Your job is to figure out who and what you will need to bring together, when and where in order to get the video trailer or reading done. Once your assessment is finished, you should have a pretty detailed, step-by-step chart of how to get from scene-one to your finished video.
Now you know what you want to do, it’s time to set your ‘system’ up so you can keep track of how you’re doing. Even a simple video project can generate dozens of files, sticky notes, emails, and so on. Having all that data stored in accessible, navigable locations is absolutely essential.
I use three Adobe programs to generate elements of a video production: Photoshop (composite photos and slides), Premier Pro (assembling the video), and Audition (sound production). I also use stock sound and image services to get material I can’t photograph or record myself. Most productions require dozens of photos, videos and sound clips. All those elements have to be organized and coordinated, if you don’t to lose your way.
Typically, I open a folder for the entire project in File Manager on my Mac. It will contain sub-folders, the Premier Pro project file; and the final MP4 video. The sub-folders will be labelled: Photos-Images, Video, Audio, Slides, Elements, Correspondence, Text, and so on. You get the idea.
Once I start assembling and editing the video in Premier Pro, I will create a similar set of folders for Photos-Images, Video, Slides, Elements and Audio. As I need materials, I import them into the mirrored Premier Pro project folders, and when they are placed in the video, I colour code them, so I’ll know what’s been used and what’s on deck.
Although Premier Pro lets you import whole folders from File Manager into a project, I don’t do that. I prefer to transfer them one at a time. If it’s a larger production, I will also colour code imported files in my Mac’s File Manager, so I can ignore them when I’m looking for materials later.
All this may sound bureaucratic and tedious, and if you’re among those who can keep a dozen balls in the air at the same time and grab them on the fly, you may be able to do without the bother. I’m not. I find a structured process for gathering, storing and retrieving materials during a video production allows me to focus on the aspects of a project I really enjoy, the creative activity of transcribing a vision from my imagination into the mind-space of an audience.
