Chris Sarantopoulos's Blog, page 5

Getting back on track + poll

Quick reminder that the giveaway, Bad People With Guns, will end on September 5, so if you intended to read one of the available books but haven’t obtained one yet, you should hurry, especially if you’re a fan of thrillers, suspense, mystery, or crime fiction in general. Go here and download stories from Anna Willet, J. L. Stowers, Sara Cobb, and Simon Royle.

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In other news, I’m happy to announce that the last of my betas got back to me. Unfortunately, they didn’t manage to finish Through Stranger Eyes. In their words, “I haven’t had the chance to start it yet. Sorry, but I can’t do it.”

It happens. Life always gets in the way of things and sends our best intentions down the drain. That’s why it’s important to reach out to more than one beta reader, and to have a decent personal relationship with them, so that they don’t feel that they’ve put themselves in an uncomfortable or awkward position when they have to tell you, “sorry, I don’t think I can make it.” Remember, betas are hard to find, they want to help, and perform an important task for us writers for free. Cherish them and understand that they too lead demanding lives.

So, what this means is that as soon as I get back to my computer (still waiting for you, summer, to bugger off and let me enjoy some cool days), I’ll go over the notes the rest of the beta team returned (I was lucky enough to get (feedback from four people!). I expect to have a hard time going over one beta’s notes in particular, since they gave them back handwritten, which means I will have to transfer them into my digital copy. And I have their thoughts recorded on a couple of audio files, so I’ll have to transcribe them too. Which is good, ’cause I can’t make out most of their handwriting. Oh well.

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This is one of those moments where I sympathise with all editors out there.

However, here’s the thing: the first thing I noticed, from almost all the betas who gave me feedback, was that they enjoyed one of my secondary characters more than the protagonist. In fact, they liked that character TOO much. I’m not sure if there’s an underlying problem with this. What I mean is, I’m not sure if my main character is badly written or if that secondary character is so dominant that overshadows everyone else in the story. If the latter is the case, I’d have to figure out a way to trim her dominance a bit, which I’d rather not do (the truth is, I too enjoyed writing her scenes). If the problem lies with my main character and he is badly written, then I have the feeling I’ll need to rewrite A LOT of my story in the next months.

Has this ever happened to you? Have you ever read a book that, to you, one of the secondary characters stood out far more than the protagonist? Did this bother you at all? I’ve made a poll for your convenience. I would appreciate it if you could share this with your friends, as this will save me not only time, but part of my sanity.

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Bruce Campbell from Evil Dead 2

Writers answer here

Take Our Poll



Take Our Poll

 

Readers answer here

Take Our Poll



Take Our Poll

 

Thank you

I missed a week

Last week I failed to post something here. Excluding summer holidays or Christmas, this was a first. The truth is I was swamped with a lot of things happening. Nearly all of them related to writing. In fact, they were related to promoting my writing. You may have noticed that I now have a newsletter (did you notice the pop up? If not, then look to the right of your screen; there’s subscribe option there as well). A good friend (thank you, Abbie) suggested I should join a newsletter swap platform to build up my readership and network. And she was, as always, right. So I joined Bookboast.

For the past two weeks or so, I’ve been trying to tweak my newsletter, gain readers, start a group promotion (the intention was to join one, but I ended up leading it, hence why I was overwhelmed), choose a low-cost advertising service (impossible to afford Bookbub or other similar sites at the moment), figure a few things out about Bookboast, network with other writers, getting in touch with two of my betas here in Greece, and more. I hope you can see why I was overwhelmed and why I didn’t post anything last week. If I wanted to tackle all these different things and maintain a relatively low degree of sanity (which I very nearly lost for a couple of days), I had to educate myself. For that, Julian Coleman, another fellow writer I met through Bookboast, suggested I took a look at Nicholas Erik’s guides on how to market books and how to gain exposure and readers. So now I’m trying out some of the things he suggests. Next week will be a period of seeing things unfold, and the week after that will be the one to evaluate results and learn

from the mistakes I made during this week.

So, what do I have to show for it, you ask?

Myself and a few other writers joined forces and started the group giveaway I mentioned earlier, titled BAD PEOPLE WITH GUNS.

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Nowhere near what I would have liked the banner to look like, but being on a borrowed computer, without photoshop, it’s the best I could do.

If you’re a fan of thrillers, crime fiction, short stories, and suspense, and you like getting free stuff, you may want to check this giveaway out. There, you will find stories from Anna Willet, J.L. Stowers, Sara Cobb, and Simon

Royle, which we believe will entertain you. The giveaway will only last until September 5, so hurry.

Not a suspense or thriller fan? Horror is more to your tastes? I got you covered.

My latest short story, At Horizon’s End, will be free today, August 27 and tomorrow, August 28, to download from the Kindle shop.

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At Horizon’s End – Horror short story

I’m convinced you will like what we offer you. When you read our stories, please leave a review. It’s what sustains writers.

Finally, if you want access to some exclusive items, new authors’ interviews, Q&A with authors about their work, free sample chapters, deleted scenes, alternative endings etc, then sign up to my newsletter.

Filed under: Published work, Uncategorized Tagged: assassins, Bookboast, Death, giveaway, group giveaway, horror, novel, retired assassins, short story, story, suspense, swap, writing

Writing Prompt 45

“You know I’ll tear you to pieces when I find you, right?” Her voice echoed in the vast chamber. “Don’t make me chase you, boy.”

“You can’t hurt me any more,” Tristan said a moment later.

She chuckled. “Big words from someone small like -”

“Look at you.” His voice came from straight ahead.

“I got you now,” she whispered and narrowed her eyes.

Tristan’s head appeared from inside the darkness, then the rest of his body followed.

She gave him a hyena’s grin.

“Look at you,” he repeated. “You’ve spent yourself completely. You’re just a wisp of smoke and a set of eyes. Look where we stand.” He breathed a faint laugh. “You are no more.”

 

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Filed under: Inspirational Prompts Tagged: horror, inspirational prompt, novel, story, writing, writing prompt

Reviews and behind the scenes for At Horizon’s End

It’s been a week since my latest horror story, At Horizon’s End, went live and it has already garnered a couple of five-star reviews on Goodreads, Amazon, as well as on reviewers’ blogs. You can read these blog reviews here, here, and here. If you’re looking for a quick read, and you’re into horror with a twist of sadness, At Horizon’s End may be a good fit for you.

Some people asked how I came up with the idea and the title of the story.

To explain the idea, I’d have to introduce you to my way of developing stories. Originally, the idea was to have Death in a conversation and a mortal, contemplating Death’s job. For some reason, to this day, I picture them talking over a chess board. I don’t know why, but the image is stuck to my head. Anyway, that idea branched off into having the mortal being the next one Death would take. Which seemed interesting, only I’ve already published

something similar earlier in my career. So, I decided that the mortal should be a child, because of the antithesis it would create (children represent life and future, whereas death, well, the end of life and future).

At that moment, the idea of having something as massive and hard-to-process as death, contrasted with a child’s innocence simply appeared out of nowhere and it made sense. So I revised the story accordingly. But then I had to do something to answer the question, why would Death be talking or playing chess or interacting in any way with a child? That was the final blow to my chessboard picture. Bye bye chessboard.

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Instead, I came up with the idea of having Stella’s mother’s passing (Stella is the child in the story). Which, in turn, led to the idea of having Death second guessing himself when he took the child’s mother. Given my Greek heritage where Charon (a name we still attribute to Death here in Greece) ferried the dead in a one-way trip, my story’s Death was also unable to return someone from the afterlife to the lands of the living. Which finally gave rise to the question, how would Death handle such a problem? To answer that question you’ll have to read At Horizon’s End.

How I came up with the title is a different issue. In the story, there is mention through Stella’s memories of the way her mother used to refer to the afterlife. Now, at the time I was listening to a song from Paradise Lost (a band I like a lot), called As Horizons End. Though the song has absolutely nothing to do with the story, it was one of those moments where epiphany knocked on my door. In my mind there was no better way for a parent to explain to their four-year-old child the concept of death. How can anyone explain to a child that they will never see each other again and at the same time attempt to relieve the pain of loss? How else better to soften such a blow, if not by telling them that they will meet again at some point? So when I heard the song, it just clicked.

Lastly, you may want to take a look at the Interviews section. Viking Reviews was kind enough to interview me a couple of weeks ago. If you want to know a little more about me, but never dared ask, this is a your chance

And it’s out

At Horizon’s End, my latest horror story, is now live on Amazon. You can find it here.

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At Horizon’s End

The Man Who Fed On Tears always knows whose time it is to pluck from the world of the living. His existence is one of a symbiosis between his need for the tears and woe he causes to those closest to the deceased, and the

natural order of life and death to which he is bound. He never questions himself or his actions and has never made a mistake. Until now.

Stella is a four-year-old girl who misses her mommy and wants to see her again. She doesn’t yet understand the concept of loss, so when she sees close family members crying, she tries to stay cheerful and optimistic. After all, Mommy said they’d see each other again when the time comes At Horizon’s End. So if they’ll meet again, why is everyone crying?

The story is free, if you’re on Kindle Select, but $0.99 otherwise.

If you want a review before you buy, Viking Reviews has once again provided a review from an ARC I sent him earlier this month. You can read his review here.

Also, for those of you who don’t follow me on social media, as a way to celebrate the release of my new short story, The Man Behind The Bar is free until July 31. All you have to do is sign up for my newsletter. You can get your copy here (1 hour delay) or, if you want your copy delivered immediately, you download it from here. Feel free to spread the word, if you know anyone who might enjoy any of my stories.

Filed under: Published work Tagged: At Horizon's End, book, creative writing, horror, novel, novel writing, publication, published, short stories, short story, stories, writing

At Horizon’s End cover reveal

Here we are again for another short story. Are you ready? It’s time for the world to see its cover. The story’s title is At Horizon’s End.

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Genre: Horror

Publication date: 30 July 2017

For the next three months, At Horizon’s End will be available exclusively from Amazon. Like The Man Behind The Bar, my new story will be available worldwide.

I have already contacted three reviewers to comment on it, both on their sites and on Amazon, so unlike The Man Behind The Bar, this one will have reviews waiting for it when it goes live.

Also, did you notice the new pop up for my newsletter? You can sign up for it and be informed of new releases and future giveaways.

Finally, I was interviewed this past week. I will post a link here on the web page either next week or the week after that. I will most likely include a short excerpt in my newsletter, so if you’d be interested in knowing a little more about me and my work, consider subscribing to it

Two weeks until next story (At Horizon’s End)

The day draws near when At Horizon’s End will be available, and that day is none other than July 30. The story is about The Man Behind The Bar (a fancy name for Death personified) and the idea of altering the nature of something eternal and inevitable, like the passing of a mortal life, a phenomenon that in a way obeys a force that seems (to us) to making arbitrary decisions on who goes and who stays. A force that, to an outside observer (perhaps another eternal being), never makes a mistake. Which birthed a question: what if?

What if? I’m a firm believer that this question has driven mankind to great lengths. I wouldn’t be surprised if scientists in future years conclude that everything humanity has achieved through its multitude of cultures and civilisations, relies on that simple, two-word question. What if?

So, in lieu of that, what if Death actually made a mistake? What would Death do to set things right? How far would he go to rectify that mistake? How much would Death’s nature change through his constant dealings with mortals? Would it? Would concepts like love and family seep into him? Could Death, if he were a person, gain a human element? If so, what would that be?

These question were the driving force behind what inspired me to write At Horizon’s End.

As it is, the story breaks some rules. In particular, the story uses two point of view characters: The Man Who Fed on Tears and Stella, a four-year-old girl. Technically speaking, when it comes to creative endeavours, there are no rules. More like guidelines, but it’s not very often one gets to have two point of view characters for this length of a short story. However, every once in a while, it’s okay for a writer (or any creative person for that matter) to break the rules.

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What if it leads us to something new and great?

At Horizon’s End

Available: July 30

Story blurb:

The Man Who Fed On Tears always knows whose time it is to remove from our world. His existence is one of a symbiosis between his need for the tears and woe he causes to those closest to the deceased, and the natural order of life and death to which he is bound to obey. He never questions himself or his actions and has never made a mistake. Until now.

Stella is a four-year-old girl who misses her mommy and wants to see her again. She doesn’t yet understand the concept of loss, so when she sees close family members crying, she tries to stay cheerful and optimistic. After all, Mommy said they’d see each other again when the time comes At Horizon’s End. So if they’ll meet again, why is everyone crying?

Filed under: Uncategorized Tagged: At Horizon's End, creative writing, editing, fiction, horror, inspirational prompt, novel, publication, published, short stories, short story, writing

Writing Prompt 44

Mike kicked a pebble on the pier and watched it plop down into the sea. “Okay, we’re here. Now what?”

Alex rolled his eyes and sighed as if he had other, better things to do than explain trivial things to the village fool for the tenth time. “Now we wait.” He spoke slowly and intoned each word to make sure the message got through. He stuffed his hands into his pockets and bounced on the balls of his feet.

Mike fought the urge to introduce his fist to Alex’s face. Instead, he nodded and chewed on his lower lip. Moments later, when the silence became unbearable, he spoke again. “For how long?” Pompous, know-it-all little prick was going to get the beating of a lifetime, if he gave him another stupid or arrogant answer.

“Until something big happens. Now. Shut. Up.”

Mike flexed his fist and tried to picture his friend’s nose as a swollen, three-feet-wide monstrosity across his face. He caught sight of something strange from the corner of his eye. He turned his head to it, and something cold sped from the base of his skull, down his spine, all the way to his limbs. “Big as in… like that perhaps?” He pointed at the shore.

Alex turned and looked. His face turned ashen, and the bulge on his throat went down once and rose slowly. His mouth hung.

“Sea going away big enough for you? Where’s the sea going, Alex? Huh? You messed up. Again.”

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Filed under: Ideas, Inspirational Prompts Tagged: characters, creative writing, fiction, horror, ideas, inspirational prompt, inspirational prompts, novel writing, Plot, short stories, stories, story, writing, writing prompt

Free short story on Amazon and information about At Horizon’s End

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Today is the last day you can download The Man Behind The Bar for free from Amazon. I was lucky enough to see it reach the number one spot in its category and that made me really happy. It means people read the story. Hopefully, it’s something they enjoy.

If you download it, consider leaving a review (even if you don’t have something positive to say) for other readers. This coming Tuesday (July 4th) is also the last day the story will be available on Kindle Unlimited, so if you intended to read it, but never got around it, this is your last chance. Soon after that, I will make the story available to other retailers (Kobo, ibooks, Google, etc).

So, what happens next, you may ask. Well, the next short story I’ll publish is called At Horizon’s End and it’s a horror story (not gory or splatter). Advanced Reader Copies are already in the hands of some reviewers, so when it goes live, it should have a couple of reviews waiting. Here’s an early blurb:

The Man Who Fed On Tears always knows whose time it is to remove from our world. His existence is one of a symbiosis between his need for the tears and woe he causes to those closest to the deceased, and the natural order of life and death to which he is bound to obey. He never questions himself or his actions and has never made a mistake. Until now.

Stella is a four-year-old girl who misses her mommy and wants to see her again. She doesn’t yet understand the concept of loss, so when she sees close family members crying, she tries to stay cheerful and optimistic. After all, Mommy said they’d see each other again when the time comes At Horizon’s End. So if they’ll meet again, why is everyone crying?

I have yet to make up my  mind on a firm release date. I can’t decide if it should be July 23 or July 30. The thing is, I’m trying to figure out when most of you will be on your summer vacation, because I like the idea of you going away with my story in your e-readers. I should have decided within this coming week.

Stay tuned for the cover reveal

Elements of Horror

I’m in the process of publishing my second short story, most likely in a month’s time. It’s a horror story, titled At Horizon’s End. Horror is a genre I feel more comfortable with, primarily, I think, because it allows me to play

with darker and grimmer settings and endings, which I love. Now, to be clear, I don’t write the gory, splatter type of horror. I’m happier writing the psychological type, the subtler one.

Which made me wonder, what does a horror story need to have to be effective? Of course what follows is my take on it, as I understand it and the way I write it. It doesn’t mean it’s the only way.

First of all an effective horror story needs a strong setting. Regardless if your story takes place in a room, a town, on another planet, on a dark spaceship, over frozen forests and mountain ranges, setting can be your best ally, because it creates mood and sets the tone. Take Stephen King’s IT for instance. It’s the simplest setting one can get; a town with a sewer system. But with something sinister in those sewers. When I was reading the story a few years ago, and I was at any point where the heroes were walking or cycling on the streets, I kept thinking that something may pop out of one of the sewers. Even where there was no mention of said sewers at a particular scene. Why? Because King’s descriptions of the sewer in that early scene (I’m trying to avoid any spoilers, which is why I’m being so vague) made me keep it at the back of my head, and made me expect something nasty to come out of there at any moment.

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Depending on the story and a writer’s style, a horror story needs to play with some keywords that will draw the reader in. I can’t give you specific examples, since it depends on each writer’s style and how each story evolves.

But when the writer transports you to a dark room with dripping sounds all around, it adds a little something when said writer describes the sound of dragging feet or the sound of creaking floorboards as the house settles along

its beams. The choice of words (dragging and creaking in this example) have a greater impact than writing that someone walked upstairs and sounds came from the house. The choice of words in the latter example is poor.

One of my favourite things to use in horror stories include characters and situations who are contrasting the general idea of the story. For instance, if my story involves Death (personified) at some point , then I will most likely choose a child for a main character (as is the case of At Horizon’s End). Why? Because on one hand we have a child’s carefreeness, which also represents life, and on the other we have the grimness and the frailty of life.

In my mind, it can’t get more contrasting than that. When I was brainstorming for my first novel, The Darkening, the idea of pitting a survivor of an apocalyptic event against the shadow he could cast at any given moment (which is one of the most natural things to occur, since our world is full of light and we rely so much on our sight) was extremely intriguing. For the past year, I’ve been struggling with a horror short story (that keeps getting bigger and bigger, by the way) that takes a married couple, who at first glance love each other. As the story goes on, the events that unfold strip away their humanity and love, while at the same time exposing their secrets and their view of each other, by forcing each of the two to do something horrible in order to carry on living. Selfless love acts versus survival.

Of course all the above are pointless unless the writer uses a villain who is a million times stronger than the hero. That villain could be the world, a phenomenon, something out of this world, or, if you aim for the gory/slasher type of horror story, perhaps another human who is wicked (make sure to give them wants and fears – you want the villain to appear like a real person after all). And all this because the writer wants to evoke fear. No unbeatable villain, no fear. No fear, no horror.

When it comes to pacing, the writer needs to be crafty. In my understanding, there needs to be an exponential escalation of negative effects from beginning to climax. If your story deals with only one negative event, then

you need to build up to that moment, and when it comes, hit the reader as fast as possible, as hard as possible. For example, if your whole story revolves around a character’s choice about whether or not he/she should stand up to Death and challenge him to obtain something very important, then play with the anticipation your pacing can create. Build it up throughout the story, perhaps by having the hero questioning the effectiveness of such a choice, then when the moment comes, have your character make that choice. From there on, take your reader on a roller coaster unlike any other. If it’s a series of bad things happening, make sure each is worse or scarier than the previous, then hit the reader with the worst, the epitome of nastiness, in one swift go. Anticipation depends on pacing. Much like the roller coaster I mentioned earlier, you could start your story slowly, and leave the reader constantly wondering what will happen next, always hinting at the worst (foreshadowing). The writer can also allow the reader to get a glimpse of a positive outcome for the hero, but it has to be snatched away for the negative climax to have the greatest impact. Another way to do it is to hint on how terrible the outcome of the given choice will be, and at the same time, force the hero into a corner where that choice is a one-way road. The writer can also allow the reader to settle at a state of relative peace by having the hero overcoming minor negative effects, in order to amplify the negative outcome of the climax.

If the writer uses anticipation properly, then it creates the next important thing for a horror story: dread. The writer can allow a constant underlying question of “what’s going to happen to the hero next? What will the cost to

the hero’s soul be?” My understanding of dread is that it usually works best if the writer sprinkles a little mystery in the horror recipe. If it’s a given that the hero will die at the end of the story, and the reader knows this, dread is vital to make the story appealing. In the short story I’ve been struggling with for so long, it is an undisputed fact that the heroes will not come out at the end of the story the same way they walked into it. The reader knows this. The reader also knows that things will get better, if the heroes do one thing, which will be catastrophic for the other. So the question becomes, “who’s going to come out with the least damage and how will they do it? What will they have sacrificed in the process? What will the villain do to keep them from succeeding?” The reader knows something the characters don’t (or simply refuse to acknowledge) and that builds dread, which adds to the anticipation.

All the above (dread, anticipation, fear) are visceral emotions the writer needs to play with and ultimately, exploit and amplify. But the writer needs strong descriptions for this, which takes us back to setting.

Finally, the writer could also use tragedy to his/her advantage, and/or drama (but drama only in its modern Greek sense, which means unpleasant effect or unwanted situation, which is different from what ancient Greeks meant when they used the term, and vastly different from what nowadays passes for drama in the western world). If the writer aims for a sense of tragedy, then it’s important to bind it with character flaws and poor choices, and perhaps make use of strong contrasts, like I mentioned earlier. All this should add to the empathy the reader develops for the hero throughout the story, which also allows readers to “experience” what the heroes feel.

So, what are your favourite horror stories?

Filed under: Advice, Uncategorized Tagged: advice, character, darkness, elements of horror, fiction, horror, novel, Plot, post apocalyptic, stories, The Darkening, writing, writing advice, writing tips