David Mark Brown's Blog, page 5

Indie Vs. Traditional Publishing: Who Wins? The Reader.

Posted in Sustainable Storytelling

As a writer, I’m constantly embroiled in and barraged by the border-style warfare currently within the publishing industry. From one side, insurgent/terrorist indies fire ebook RPG’s indiscriminately. While from the other side, authorities mount lightning-strike Caterpillar (the big, yellow earth-movers) excursions through the offending shanty towns to demonstrate who is still in control.

In the name of full disclosure, I’m an indie. A Browncoat to the core, I just can’t stomach extensive contracts with large corporate entities with the power to put pouty teen girls on my book covers. At the same time, I like to think of myself as a reasonable individual capable of seeing both sides of the war.

In my efforts to do so, I’ve come away repeatedly asking myself the same question.

Do readers even notice or care? Should they?

I’m not sure of the answer to the first question. To the second, the answer is yes.

After all, the battle is one of control. Until recently, the traditional publishers (the most important ones known as “The Big Five” or “formerly known as the Big Six”) maintained most of the control. Writers possessed very little. For the most part, we wrote what publishers wanted (or guessed at it). Readers possessed even less power in my humble opinion. They read what was published and placed on display in retail outlets.

Sure, occasionally a publisher would display a certain title that readers simply wouldn’t stomach. But for the most part, the exposure dictated what readers read and therefore what would sell and therefore what publishers would buy. (Sorta’ circular, ain’t it?)

Now, all of that is changing.

Ebook shelf space is infinite. SEO (led by Amazon’s killbot algorythms) is getting smarter at matching books with readers. Readers have a growing selection of titles to choose from. This gives the reader an increasing amount of power.

But, as the old adage says, “With great power, comes great responsibility.” If readers choose to read Shades of Gray, that is what writers will write (oh, the spineless, commercial groveling of us indies!)

I won’t go so far as to say traditional publishing doesn’t care about the reader. Obviously, they do. I think the industry as a whole tends to get a little snooty about its role in educating readers on what they should want to read. With the great publishing tutor being discredited and disempowered, readers have been loosed to read indiscriminately.

The coming years will be ones of growing pains and maturity for the reader.

In the end, readers will emerge with a newly honed power they’ve never known in publishing. Will it be a spoiled one? Or a disciplined one? Focused? Or scattered? Self-aware? Or oblivious? Just because you can read whatever you want may not mean you should. Or maybe that is exactly the sort of laissez faire attitude the written word desires.

While indies and trads lob blame back and forth for the unsettled state of publishing and the written word, readers should be amassing for a populous uprising. The power is yours for the taking.

FreedomPop, Latest Tool of NSA

Posted in Sustainable politicsSustainable Storytelling

Call me a whistle blower if you must, but it’s time the truth come out.

Uncle Sam has teamed up with “power-to-the-people” internet service provider FreedomPop in its latest endeavors to infringe upon our ever dwindling privacy. When you think about it, it’s the perfect scheme. The only problems? First, the plan was executed with typical government efficiency. Second, they messed with me.

As we all know, my mental prowess is a few stories taller than the average American bungalow (just significant enough that a jump will break your ankles but not kill you.)

This is how it all went down.

My old iPhone started skitzing out. I searched the internet for alternative phone service (thank you very much redonculously expensive AT&T). Since the FBI and NSA have both already flagged my online presence as an Orange-Level Threat (menacing to innocently maniacal), they were instantly aware of my interest in cellular providers.

Based on the rest of my profile, the government knows of my libertarian leanings and tendency to fly the bird in the face of the man. So when too-good-to-refuse offers for essentially-free cellular service continually flashed across my internet searches, I took the bait.

I clicked on the FreedomPop banner.

First off, I need to clarify. The whole think looked highly dubious from the beginning. I’m not completely gullible when it comes to this kind of thing. When FreedomPop promised me a year’s worth of service for the price of an old refurbished phone, I did a bit of research.

All the standard things came up (surely placed there by a combination of Google and the NSA). FreedomPop has poor customer service. No surprises. They try to make money by pushing upgrades and add-ons. Everything is an add-on. Fine with me. I only wanted a basic package. Who really talks on the phone anymore anyway? And I can text on my iPad.

So, I did what any desperate, red-blooded American writer would do when faced with the need for cheap connectivity without the money for a sleek new smart phone. I played the tech-start-up’s version of roulette (you know, the gambling game no one wins). I paid the money and settled in for the advertised three week delivery time. (In the meantime, I would rely on string and soup cans.)

Six weeks later, I received my brand new, refurbished, really old smart phone.

(It made me feel big to finally be smarter than my phone.)

Within three hours of playing around with the device, I had deduced the evil partnership with the watchful eye of the almighty American government. Brilliant in its intricacies, yet retarded in its execution. First off, the phone’s charge lasted around 4 hours. The device became hot to the touch even when in sleep mode. It cycled on and off for no reason. And worst of all, incoming calls would continue to ring and ring whether I tried to answer them or not.

By now, oh astute reader, you have surely deduced the same thing I did. Government intrusion.

Uncle Sam knew I wouldn’t be able to resist their well placed FreedomPop ads. This was the perfect chance to get a listening device onto my very person. Finally they could keep even closer tabs on one of their highest level, low-level threats. And it would have worked perfectly if they would have used anyone other than an arthritic chimp out of work since the canceling of NASA to bug the phone.

But you know what? I’m keeping the electronic atrocity on my desk. Now I have the upper hand. I know they’re listening. So I can feed them erroneous information and watch them dangle.

Oh wait…the NSA doesn’t read blog posts, do they?

EHR Cover Reveal, Trip to LTUE

Posted in Sustainable Storytelling

Thanks to all of you who gave feedback on the cover. Here is the final version. I think it is rather snappy.

In case you missed it before, here is the link to the launch/landing page for Empty Hand Revolution. Sign up to reserve a copy of the ebook at the opening price. (First 5,000 for $2.99. After two weeks or 5,000 the price will go up to $9.50.) And below is the longer product description. I’m getting more and more stokes about this project. It won’t shake things up in the U.S. as much as India. But the ripple effect will be fun to watch.

In other news, I’ll be heading down to Provo, Utah for Life, The Universe and Everything this Thursday through Saturday. A long running readers and writers’ conference for science fiction and fantasy based stuff, LTUE is a pretty powerful networking and brainstorming resource in the Rocky Mountains.

If you are planning on attending, look me up or shout me out. Should be a good time!

The war defines the warrior.

Born into a tribal war with India, trained as a black belt and street fighter from the age of nine, tortured and left for dead at the age of seventeen, Cosmo Zimik has an intimate, working knowledge of violence.

During his long weeks of recovery, nursed to health by a total stranger deep in the jungle, the seed of the Empty Hand Revolution germinated in Cosmo’s mind. Four years of underground fight clubs, multiple contracts on his life and another near death experience forced Cosmo’s Empty Hand Revolution into full fruition.

In a world hungry for power and drunk on violence, what does it mean to be a warrior? True greatness requires humility. Courage requires surrender. Developing into a warrior on such terms has been Cosmo Zimik’s life quest. Born a Naga and forged a warrior, Zimik became a missionary and then finally a revolutionary of a new breed. From the jungles of Manipur to the streets of Delhi to the countryside of Idaho, his extraordinary journey will equally inspire and convict.

Empty Hand Revolution invites the reader to experience Cosmo’s sometimes humorous, sometimes tragic, yet always incredible world through his own eyes. And may the bold in spirit discover first-hand where empty hands can lead.

Empty Hand Revolution Cover

Posted in Sustainable Storytelling

For the past four months, I’ve been working on a ‘based on a true story’ sort of book about a black belt, prizefighter, street-fighter, revolutionary sort of guy from Northeast India who happens to live in Nampa, Idaho at the moment.

I can’t really call it a biography since I’ve changed so many of the names and dates and situations in order to keep everyone involved out of trouble (well, more trouble). But those of you who enjoy coming-of-age stories, inspirational stories, redemption stories, or just cool crap about martial arts and India, you should check out EmptyHandRevolution.com. Sign up now to ensure you get the early-bird deal on the ebook (only good for the first 5,000 folk).

Born in a tribal war with India, violence his earliest memory, Comso Zimik trained as a black belt and street fighter from the age of nine. His vow: never show weakness. Tortured and left for dead in the jungle at the age of seventeen, Cosmo birthed a new vow: uncover the true meaning of warrior in a world drunk on violence.

Help Choose the Cover

But, the immediate matter is in regards to the cover. I should of had this done a month ago. But hey, I’m a writer, not a book-cover-design-guy. Finally, with the help of local genius, Brian Loeber, I’ve got four covers for y’all to choose from. So help out by giving your opinion in the comment section below! Yeehaw!

Cover One

Cover Two

Cover Three

Cover Four

LEGOs: Legitimate Excuse to Get Offspring

Posted in Sustainable Living

I hadn’t thought of it when I first approached my wife with that certain twinkle in my eye, but in a world where couples have children for the tax write-off, why the hell not bring a child into the world for the sake of sharing one of life’s greatest pleasures? I’m talking of course about Legos.

At the age of eighteen, I boxed up the last of my childhood treasures and stowed them in the 180-degree attic space of my parents’ Texas home. With those treasures went a mighty cardboard box of Legos. At the time, I thought I would never again experience the insight and satisfaction those plastic bricks brought me for so many years.

More than just a vehicle for fine motor skills, those bricks produced endless plans for disposable automobiles and rotating hallways and underground bunkers on the moon. Legos unlocked my geeky architect and creative hubris. As we all know, if it can be built in Lego, it can, nay MUST be built to true, functioning specs.

The moment my oldest son turned four, I took it upon myself to begin his education into the world of Lego. So masterfully did I employ my tactics, until he discovers this blog, he will think the passion was his own idea. (Honestly, with all the Lego apps and library books these days, Lego has already begun the indoctrination.)

Not only has Lego provided my sons and me with hours of quality time together, the plastic blocks make it possible for me to capture and pass on to the next generation the most essential aspects of my cultural upbringing. Everything from my spiritual beliefs:

to my favorite television shows:

Lego, not only have you improved my parenting, but you’ve made the world a better place. I salute you and your money-grubbing, maniacal-merchandizing, corporate empire. (Which oddly is the target of their own upcoming Lego Movie.) Without you, finding Youtube videos for my kids to watch before bedtime would be a tiny bit harder.

Oh, one last thing–a shout out for the awesome website, Brick Instructions. Thanks for all the free plans!

Why Fox Got it Right with Almost Human

Posted in Sustainable Storytelling

How long has it been since the world has been blessed with a cop show featuring two male partners? A true buddy show? Not counting TV series such as The Wire or The Shield (these sort of fall in a different genre for me)… I can think of White Collar… and that’s about the only recent example–until now.

There are multiple reasons I’m enjoying Almost Human: I’m a sucker for sci-fi, I enjoy crime mysteries, etc. The feeling of the show lands somewhere between Dollhouse and Castle (two shows I love). But the biggest reason is the pairing of the physiologically broken human with the physiologically broken android, both of them dudes.

I’m tired of all the chicks. Even Sherlock’s Watson has to be a hottie now? Of course Almost Human features a hot chick in a supporting role and the department head is a chick (played by the talented ). But the witty banter and dynamic that drives the show is between the two male partners.

And so far, I think it has been done masterfully. The best comparison I can think of was the relationship between James Spader’s and William Shatner’s characters on Boston Legal. While Almost Human hasn’t reached this level of intelligence, I’m enjoying the sparks. With mixed gender partners you simply don’t get lines about scanning your partner’s genitalia to discover they are “at full capacity.” Of course this leads to come backs like, “Don’t scan my testicles. Ever again.”

As with Spader and Shatner, Almost Human partners two individuals, who despite being flawed, are somehow good for each other. Rather than teaming the straight-laced with the shades-of-grey, these guys are both from the island of misfit toys. They’re busted. They’re bitter. They’ve got something to prove and demons to slay.

And it is this loose cannon element combined with some quality male bonding that has me hooked. Now I just have to hope Fox doesn’t cancel the show by the end of the season.

Subscription Based Serial Fiction: The Technical Problems

Posted in eBook revolutionUncategorized

When it comes to delivering serial fiction directly to the reader, Amazon has set the bar high. By operating the Kindle Serial Store, creating the Kindle device and rendering their branded ereading app ubiquitous across multiple platforms (iOS, Droid, etc.), they can take your money and deliver the product to your reading device of choice with one click. Booyah. And they will continue to deliver the serial installments every two weeks until the story has run its course. (Pay once, ie. subscribe, and the rest takes care of itself.)

If any storyteller is serious about monetizing serial fiction outside of the Kindle Serial Store, this high bar has to be the goal. Readers will demand it.

One Click Must Do it All! (But How?)

How does an indie writer attempt such a monumental technical and organizational feat? The most obvious solution to me was also the least practical: Create a specialized app of my own that will bridge my fiction onto every smartphone and tablet out there with access to Droid, Windows, or iOS app stores.

Since this requires a chunk of change upfront, as well as the determination to update the application continuously across all platforms… I quickly crossed this off the list of personal options. I don’t want to go into app development. I want to write stories from which I generate a living wage.

That leaves the indie writer/entrepreneur shopping for go-between services and trying to piece together a network to mimic the one Amazon has built. Let’s break down the necessary pieces: (and my preferences so far)

Website (Content Access)

For my professional website, I use WordPress.org (self-hosted with a paid domain name) combined with the Genesis framework by StudioPress. I’m a major fan of these platforms. They are flexible and powerful and cheap. (A domain name is around $10 a year and the Genesis framework is $60 while WordPress is free.) With this combo I can easily set up landing pages, call-to-action boxes, sign-up forms, etc. (Oh, and I use Mail Chimp for email campaigns. They integrate nicely with WordPress as well.)

While some would downplay WordPress as a blogging platform, (as opposed to a website) I fail to see the importance of this distinction in today’s market. While WordPress isn’t completely dummy-proof, most indie authors can learn their way around the platform with a little advice and help from those who have gone before them.

Most importantly, WordPress has a nearly inexhaustible pool of plugins that can provide your site with any capability you can think up. I’ve literally never thought of something I wanted my website to do without quickly (google search) finding a plugin to do just that. (Warning: not all the plugins work, or work together. And some are poorly updated.) Anyway, without WordPress none of the rest of this will work.

Ebook Creation/Formatting

My plans for ebook formatting might change depending on whether I can tame my wild confluence of WordPress Plugins. But I’m guessing this is the one cherry I won’t throw out–PressBooks.

Okay, for all you savvy readers out there who know of PressBooks as a self-publishing and content distribution platform, hold onto your hats. What you may not realize (I’m still shocked I didn’t know this until a few weeks ago) is that PressBooks has created an open-source WordPress plugin to perform much of its paid services for those willing to take the plunge without guardrails or floaties.

It takes a little finagling, but a standard WordPress install can be tweaked to a WordPress Multisite. The PressBooks plugin can then be installed on a fresh WordPress multisite (it’s got to be a fresh install without previous content). Once this is done, a very simple process creates webbooks like this. (Please understand that this link shows you a mock up, rather than the real deal. Still, it blew my mind.)

The PressBooks plugin can be used to create a separate site for each book you choose to upload. It can export .epub, .mobi and PDF as well as the webbook format. It sets the stage for everything else.

Shopping Cart/eCommerce

The eCommerce aspect can be pretty straight forward these days. For my purposes, Paypal is a no-brainer. It integrates easily with WordPress (my blogging platform) and gives me the ability to sell my subscriptions. (Tons of WordPress plugins have Paypal gateways built in.) Since most everyone these days has a Paypal account, it is a low hurdle similar to the hurdle Amazon users experience the first time they sign up. Paypal charges 3% for transactions like this, so for a $0.99 episode I pay them $0.03. Not bad.

Oh, the PressBooks plugin also generates a catalogue page for all the products you upload to the multisite. Click on a product, pay via Paypal. This is getting good, right?

Membership/Subscription Service

When it comes to membership, WordPress really pays off. The first and easy step: Find a membership/paid content plugin for WordPress you like. There are several good ones that do all the basics, so your preference will come down to the details. I think this blog post lays it out pretty well.

In short, the membership plugin allows the indie author/publisher to publish some content via WordPress for free (the teaser stuff and buy links) while requiring payment, free subscription or paid subscription for the rest. Flexibility is king in all this. For instance, I can run a drip subscription during which a reader subscribes upfront, receives the first installment immediately, receives a second installment 7 days later, a third installment a month later (or whatever) and is then prompted to pay in order to finish the serial.

This is where it gets complicated, because the model is totally up to you. Have people pay for the entirety up front, or have them pay a dollar an episode. Deliver content daily, weekly, or monthly. Will every reader start with the first episode according to when he/she subscribes? Or will there be an official upload day during which everyone will be sent the episode at the same time? There are a few examples out there for each of these models. But the harsh reality is that this is an untamed jungle. It’s the wild west of the wild west of ebooks. And there just ain’t a lot of precedent. (I’ll post more on my model when I figure it out.)

On a final note, I’ve only tried one membership plugin in combination with PressBooks. It worked mildly well (only a few strange error codes and broken links). The membership plugin I end up using might be the one able to provide the best support (by providing some custom code work arounds).

Content Delivery

Content Delivery gets sticky. First off, anyone serious about doing this has to avoid the dreaded “side-load” in which a consumer is forced to drag and drop content from their computer to their docked device or sync the content via wireless network. This is a step too far. The content needs to appear magically and instantly on the consumer’s ereading device (just like it does when a consumer purchases from the Amazon Kindle Store).

1.) A service such as Fetch is able to deliver content via the ReadMill app (a fairly new ereading application that most consumers would need to go download for free from their app store of choice). This requires the additional step of downloading an app, but the Kindle app has to be downloaded as well, and this is a one-time affair. With each new installment of fiction, the consumer would open Readmill and start reading. This option wouldn’t allow for push notifications, so the means of alerting the reader they have new content would be email (a service like MailChimp).

2.) Another option for delivery is an application developing service such as Conduit Mobil. Several services exist to help you create your own application. This one seems to be the most “out of the box” ready. In this scenario, consumers would first need to download your personal application from their app store of choice. Then they could receive push notifications of new installments via your personal app.

Pretty sharp. But, the app won’t include a built in ereader. So consumers will be given the option to open the epub/mobi file in the ereader app of their choice (Kindle/Kobo/iBooks/ReadMill, etc.) Or they could read a webbook inside the application. This would require being tethered to the internet.

Also, services like Mobile by Conduit can be pricey. Depending on your needs, it could cost upwards of $100 a month.

I’ve discussed options with a Conduit representative, and he seemed optimistic about the ability to address my concerns. Those concerns are namely: the security of using RSS to import my webbooks and links into the application, the need for readers to download the content to their device so they can continue reading while offline, and keeping payment of of the application (so I don’t have to pay the app stores a percentage).

3.) BlueFire white label apps is currently my top option. The main question mark is price. I haven’t heard back from them yet on the fiscal feasibility of my needs. These guys specialize in ereaders. Basically they offer a brandable version of their ereader for a price. This would allow for push notifications, top-notch reading environment, link for sales, the whole bit.

Going this route would put the indie author almost on level with Amazon as far as ease/convenience of delivering serial fiction via subscription. Sign up at my awesome WordPress Website, enter your financials once via Paypal (or just confirm if you’ve already set up an account), be redirected to my website where you can either begin reading online or go download the application where your first installment will be awaiting you. After that, each new installment/episode will show up within the native application on your phone/tablet and send you a push notification of its arrival.

4.) If there is another option I’ve yet to imagine, please share!

That’s it for now!

Slide by Benedict Evans

That wraps it up my efforts thus far to solve the technical problem. The solution isn’t perfect. Readers who prefer using their Kindle or Nook or Kobo devices are pretty much tethered to those stores. It’s unlikely any effort to wrangle them onto an author’s site will work. The good news is that such dedicated ereaders are on the decline while the rise of smart phones and tablets continue.

Hopefully (with your help) I’ll be able to update soon with a final solution. Then it will be time to delve into the marketing problem: How can an individual indie author secure enough eyeballs to make real money? (I’ll address my plans for that in a future post.)

Subscription Based Serial Fiction (Direct to Reader): Has the Time Come?

Posted in eBook revolution

The Holy Grail (for some) seems nearer to hand than ever before. The time is ripe, the technology is there. Storytellers since the beginning of time have been drawn to episodic narrative. Great characters demand repeat stories be told of them. And the audience loves to keep coming back for more.

Subscription and the Written Word

The most cunning and successful model for monetizing serial fiction has always been subscription. In recent history this was most evident in newspaper and magazine. The upfront promise of payment by consumers made the publication of the story possible, while the routine and regularity of the media delivered tantalizing snippets in a convenient manner. It was a win/win.

The times have changed. The desire to tell and enjoy good stories hasn’t. Television, and more recently platforms such as Netflix and Hulu, continue to emphasize our love of serialized and episodic story. When it comes to visual media, we consumers receive the best of both worlds–we can allow the storyteller to tease us along on a weekly basis, or we can gorge at the trough of story by watching multiple episodes until our bleary eyes explode.

But what about the written story? Web fiction has quietly been popular in small circles of readers for a decade. The Kindle Store created an epic shift in the digital storytelling landscape by breaking down the gates and trampling the gatekeepers. Now readers have more direct access to writers than ever before.

In 2012, the inevitable finally came to fruition when Amazon created an online store specifically for serial fiction. It became possible for consumers to pay a small upfront cost and then receive regular installments/episodes of serial fiction delivered directly to their kindle ereading devices or apps.

Amazon: The New Gatekeepers

Due to their trailblazing ingenuity and business acumen, Amazon is the new gatekeeper for serial fiction in the digital storytelling era. As such, they have accepted around 30 titles into their serial store since it’s launch. While they provide great value to the reader, they provide lousy compensation to the writer (30% royalty on $1.99 for somewhere between 250 to 500 pages worth of fiction).

Because of this bottleneck, serial storytellers such as myself are searching for work arounds. David Wright and Sean Platt have been working around the problem since before the Kindle Serial Store was born. They work exclusively in episodic serial fiction. But they’ve been forced to package their serials as separate products of around 50 to 100 pages each and sell them for $0.99. (Eventually they package them as seasons and create yet another product.) This means they still only get 30% royalty and that readers have to keep coming back for dozens of separate purchases.

Amazon is fine with the arrangement, since they are walking away with 70% of each purchase. But it’s more labor for readers (and takes up more space on their devices). And it is more labor for storytellers who have to manage backend data for each product/episode and create art/covers for each.

Serial Fiction Needs the Subscription Covenant

At the heart of the matter is the fundamental breakdown of the subscription covenant between reader and writer. Without the subscription there is no good-faith contract and therefore less relationship between the reader and writer. The subscription model creates a bond in which the reader tells the writer, “I support your vision. I’m eagerly awaiting the story you have to tell.” And the writer is able to look the reader in the eye and say, “Here’s your story. I’m writing this just for you.”

And this sentiment isn’t simply a bunch of fart gas. The connectivity between reader and writer today allows for genuine crowd sourcing. The subscription model of serial fiction allows readers to influence the direction of the story (if both reader and writer desire it).

Breaking Down the Gates. Again.

If (there could be some debate over this) the holy grail of digital written narrative is subscription-based serials delivered directly from the writer to the reader’s ereading device of choice at the reader’s convenience, then there are three critical hurdles to overcome in achieving the grail.

Creating compelling serial fiction
Securing eyeballs
Direct-loading content with push notifications

The first of these is a craft problem and the first responsibility of any storyteller. (I believe I have cleared this first hurdle with my serial, The Green Ones.) The second hurdle is a marketing problem. The third is a technical one. All three are serious problems to which I have given serious thought and research.

In the coming weeks, I’ll continue my efforts to solve the marketing and technical problems. If I succeed in solving the technical problem, I’ll launch a marketing campaign to subscribe 5,000 sets of eyes for the consumption of my serial, The Green Ones. If I’m able to do that, I’ll be more than happy to share libations from the grail!

In my next post I’ll delve into the nitty gritty of my efforts thus far to solve the technical problem of providing the reader with serial content in a professional, direct and supremely convenient manner. So stay tuned! (If any of you reading this have also been struggling to unlock this mystery sound off in the comments.)

Aurora’s Gamble: Video Gaming and the Written Word

Posted in Sustainable StorytellingUncategorized

I’ve recently flown a sortie into the gaming realm and given the medium my best shot. The result is Aurora’s Gamble, a short story now being parceled out as part of the release build up for AErena: Clash of Champions by Cliffhanger Productions.

While I’m by no means a hardcore gamer, I’ve had my addictions over the years. The one I’ve never been able to completely kick is the turn based game, Civilization. Not a lot of great backstory to be written there (other than our world’s history, which has already been written about a fair amount from what I’ve been told). The other game I enjoyed for several years was StarCraft. (If you haven’t googled “zerg rush” give it a try. Hilarious.) That game always had the greatest backstory worked into game play via video clips, etc. Since then, I’ve been enamored with the idea of mining video game backstory.

But as a yet-to-be-famous schmuck writer, I was overlooked for the Halo contract which was handed to Greg Bear instead (Sure, he’s okay, I guess.) Since I’ve never lasted longer than like 5 seconds in a round of Halo, I suppose that’s fair. (I’m always the guy running around with his gun pointing at the ground and his POV at the sky.)

Due to my multiple dips into the stylish world of dieselpunk, my writing came to the attention of Cliffhanger Productions. In turn, they contracted me to help bring their cleverly imagined backstory into focus. I had a blast doing it. It’s a great world to explore, even if you aren’t a gamer.

Is Fiction Within a Game’s Universe Limited to Gamers?

And there in lies the gambit. When writing backstory within a gaming universe that has already breached the consciousness of pop culture, there are a few clear advantages: 1.) established readership 2.) some defined boundaries 3.) jargon, terms and culture built up among the fans. 4.) even non-gamers know about the game and its universe.

But when writing within a gaming universe yet to see the light of day, bold risks must be taken upfront. The most obvious is the time and energy I put into a story that might not ever find its audience. (Although, I suppose this is always the case when writing.) This is where a question emerges for me: When writing backstory for a gaming universe, has the readership automatically been limited to those who enjoy the game?

Or can the fiction be enjoyed on its own right? I suspect this question will rise to the surface more in the coming months and years as games continue to integrate creative means of profit making directly into their platform via game enhancements, downloads, etc. Not to mention the simple fact that gaming worlds are becoming more comprehensive and lavish all the time.

For Those Interested in AErena: Clash of Champions

Cliffhanger is calling the fiction “AEtherpunk” as a twist on the growing popularity of steampunk and the lessor dieselpunk. Their world diverges from Earth’s history with the beginning of the twentieth century. For a brief summary, click here. And here is their facebook page.

In the first short story, Aurora’s Gamble, I introduce the reader to a handful of the up-and-comers. Check it out, and let me know what you think. Do stories like this have merit outside of the game itself?

Firefly: a New Conspiracy Theory

Posted in Sustainable politics

Serenity from T.V.’s Firefly

[This week I'm reviving a classic post from two years ago. Gosh darnit, it's just so timely.]

In case you are unaware, the best show on T.V. to never finish a single season is incontestably and unarguably Firefly. It aired and was cancelled in 2002. Many diehard, Firefly freekies will tell you the show was cancelled due to conflicts from the creator working on another show, or due to the fact the first two episodes were mysteriously aired out of order (as in not first).

Stick in the mud types will tell you that it was due to low ratings. (Pshaw.) I’m here today to tell you the truth. Bipartisan politics (the only true instance in the last twenty years).

Bipartisan Politics Cancelled Firefly

You see, the plot line for Firefly is about a browncoat independent who fights for civil liberties in order to stick it to the man by encouraging a free-trade economy based on bartering and simple living and implemented by a diverse, bipartisan crew of federation outsiders. (I know. How did the creators ever think they would get away with such a thing?)

I mean the crew of the firefly-class ship named Serenity stole from the rich and gave to the poor while breaking federation law left and right. The crew itself consisted of a robin-hood style captain, a hippy pilot, a mercenary, a tough-girl, a liberated yet conservative female grease-monkey, a priest, a WASP doctor, an idiot savant and a high-class call girl. The show was basically a 21st century version of Dukes of Hazzard in space.

The last thing either Democrats or Republicans on the hill wanted in the go-go 2000′s was fiscal responsibility and some libertarian nonsense bundled up and marketed with the attractive face of  (who, God bless him, finally got a long-lived role with the T.V. show Castle). Economic independence and social responsibility side by side? Madness! Plus, it’s a pretty well documented fact the George W. wanted the lead role as Captain Mal Reynolds. If he couldn’t get it, nobody would!

Mark my words.

If Firefly would have been released with the economy in the crapper and Obama in the White House, it would have been a smash hit. Right now, gunslinging libertarian outsiders with a fresh take on social justice and simple living on a space ship would be just what the doctor ordered. For some reason (a nod is as good as a wink to a blind man) 20th Century Fox is still sitting on it.