2/11/2020

Almost there

Just a couple of weeks to go and Devil's Road is out in the world.

I've pulled out the stops for this one. There's a simultaneous audiobook release, it has a great cover, and it's up on Netgalley (so if you're a reviewer or a librarian, feel free to eheck it out there. It's up until the end of the month). Some of the Netgalley reviews are already up at Goodreads.com and hopefully most of them will also make their way to Amazon.

And of course there's also the special Newcon Press limited-run hardback coming in the middle of March. The paperback of Devil's Road is going to be available to order from pretty much anywhere.

I've written a story, Our Lady of Holy Death, set in the world of Devil's Road. It'll be free to mailing list subscribers and I'll post a link to it on or about the release date - March 2. I workshopped it the other day and feedback was pretty positive.

All that, plus the day job, is pretty exhausting, but I'm enjoying every minute of it. My next post here will be on the day of release, and if you're signed up to the mailing list you'll get advance notice of some freebies as well as have access to that exclusive short story.

1/01/2020

New Year's Resolutions and thoughts on publishing

New Year's Resolutions:
1: Blog more in 2020.
2: Write, at minimum, a complete first draft of a full-length hard sf novel. Think Interstellar, Expanse...and Event Horizon.
3: Write, at minimum, a complete first draft of a novella or short novel of between 30,000 and 50,000 words.
4: Write, complete and submit a television or film script.
5. Write, complete and submit a minimum of one short story no longer than 2,000 words.

This is going to be an interesting year for me, because it's the year I get to really test whether or not self-publishing provides me with a viable financial platform that can support me as I continue to write more.

To be clear, this doesn't mean I'm writing solely for money, but in order to write as much and as often as I would like to I need to be able to generate income from it so that it becomes self-perpetuating. If it's putting food on the table and paying my rent, I can afford to write more, knowing that will generate further income, and so on.

So far I've self-published two books. It bears repeating that neither of these are strictly the best ways of testing self-publishing in this respect. The first book I released was a short story collection. Such books sell a relatively small fraction of the number of copies an author can expect to sell of a full-length novel. That story collection by that well-known author you really like? It sold about a tenth as many copies as one of their full-length novels.

Nonetheless, my short story collection did well - much more so, in fact, than I could possibly have expected, and it continues to sell each and every month. My hope is that if I can sell this many copies of a short story collection, then if and when I publish a stand-alone book, it would, by an inverse arithmetical relationship, sell that many copie.

Or that's the hope I'm clinging to, anyway.

Doomsday Game was not,  I think, an adequate test of this relationship. Somehow it didn't occur to me when I wrote it that it might prove to be difficult marketing a book that's a sequel to two others that were traditionally published.

However, I had good reasons for writing and publishing it: if I'd written an original novel unrelated to any others, I'd have been stuck with the dilemma of whether or not to publish it myself or have my agent submit it to actual publishers. It would have seemed wisest to market it to traditional publishing markets. Further, the whole book was planned out and ready to write--although Tor UK turned it down for what don't really strike me as adequate reasons, given how well I'm given to understand Extinction Game did.

But if I'd written an entirely original and separate novel and sent it around publishers, I wouldn't be immediately generating cash from self-publishing and, to be frank with you, I kind of needed the money. Things were a little tight in the first year after Tor UK dropped me, and putting Doomsday Game out has, together with the sf collection, helped me catch up with myself, financially speaking. Together, they've made a decent amount of money. Not remotely enough to live off of, but enough to make further pursuing self-publishing seem worthwhile.

(I'm lucky in that what had until then been at best a part-time gig as a book doctor turned into an essentially full-time gig)

As I said, Doomsday Game was hard to market because the only people who would want to buy it were the people who'd already bought the previous two books. The first book did really well - in fact, as far as I can tell Extinction Game might well have been my most successful book since Stealing Light, and that's saying something. But Tor UK dropped me right before Survival Game was released.

Want to know what happens when a book is released by a publisher just months after they drop its author? It's abandoned and orphaned. It gets zero support and is effectively written off before it's even printed as an expected loss. It had a great cover, went through multiple edits working with a really great editor, had an intricate and carefully-worked out plot...and good luck, I suspect, finding it in many bookshops.

So if (say) ten thousand people bought Extinction Game, then maybe three or four thousand of those might have been lucky enough to find Survival Game...and since the audience for each successive book in a series always shrinks, that further reduces the potential audience for a third in the series, for which the only advertising I was able to afford were some Amazon ads and...that's it, really.

Nonetheless, it has sold, and well enough to make it worth it, even if it hasn't shifted quite as many as I'd been hoping.

So you can see by my reasoning that a book unconnected to any prior volumes, if self-published, has a better chance out of the gate. Hence my forthcoming book, Devil's Road.

It's short, but tight. I've come to an agreement with a narrator to produce an audiobook of Devil's Road through Audible's production arm, ACX. This time, the paperback edition is going to be available through Ingram Sparks distributor, meaning you could walk into almost any bookshop anywhere and order a copy (for reasons way too complicated to get into here, it won't be stocked in bookshops, but ordering it is certainly possible).

There'll also be a paperback edition simultaneously published through Amazon. The ebook, however, will be Amazon only: no Kobo, or Apple iBooks or anything like that.

Why? Because I made both Scienceville and Other Lost Worlds 'wide', ie available on digital stores other than Amazon, and it simply wasn't worth it. For every hundred ebooks I'd sell of either title on Amazon, I'd sell maybe two or three on all other stores combined.

This means my audience, such as I have, buys ebooks almost exclusively from Amazon.

I've seen other, well-known and otherwise traditionally-published authors taking their own steps into self-publishing come to the same conclusion and go Amazon-exclusive with their ebooks.

Yes, Amazon is evil. I agree. But Amazon is merely the sporing body of an underlying economic structure that increasingly rewards behaviour that works against, rather than for, the greater social good. I don't like that I have to rely on them so much, but to do otherwise is equivalent to giving up writing entirely.

Slave if I do, starve if I don't. Not much of a choice, really.

Ahem. Rant over.

It's also why this time I'm enrolling Devil's Road from the start in Kindle Unlimited.

For a monthly fee, it allows people to read a book 'for free' if it's enrolled in KU. This is in some ways a tragic and evil affair, in that it appears to be an attempt to turn reading into something closer to a Spotifiy experience, which would Not Be A Good Thing.

But in other ways it could also be a good thing, in that it allows those who have a KU account to sample books at zero risk by authors they've never heard of--most of whom are both self-published and have never been traditionally published.

I only occasionally had Scienceville...in KU, but when I did, it generated a small but substantial income. I went wide, because that's what I read I should do, but as I showed above this is not viable. I'd have been better off keeping the book in KU throughout its lifetime (at the moment, it's not in KU so I can offer it free to people who sign up to my mailing list).

Doomsday Game isn't in KU simply because the previous two books, being traditionally published, are by their nature 'wide' and not exclusive to Amazon.

Therefore the real test is to put Devil's Road into KU right from the start and see how that affects sales. And it can positively affect sales, directly and immediately.

So I have a lot riding on how well Devil's Road does. It'll tell me if it's worth my self-publishing at least one of the full-length novels I've written since being dropped by Tor UK, either later. in 2020 or in early 2021.

Okay. There's more I could say, but I'm going to save that for later blog posts. More coming up. 

12/27/2019

Obligatory 'end of decade' post

Well. that was quite a decade, wasn't it?

In my own case, it's contained both triumphs and tragedies. I had a whole bunch of books published through Pan MacMillan up until Survival Game, which emerged essentially orphaned and unloved after I got kicked to the kerb almost on the eve of its release. That stage of my writing career stretches from about 2004 to late 2015: just a little over ten years.

I'm still trying to figure out what to do next.

I didn't stop writing. I wrote a book, Echogenesis, which has been doing the rounds of publishers looking for a home for about three years now. I wrote a short novel called Ghost Frequencies and had that published by Newcon Press. I wrote two-thirds of another book, Ely Strong, but abandoned it-temporarily, since at some point I'll go back to it.

I also wrote another short novel, Devil's Road, and then had a frustrating year and a half during which...well, ask me some time, or email me. Let's just say it didn't leave me feeling greatly enamoured of certain publishers.

Here's the weird thing though: being dropped by my publisher felt...weirdly freeing.

The thing I learned writing for Pan Mac was that publishers expect you to write books as much like each other as possible. In many ways, this actually makes sound business sense. It means readers come to you seeking the specific type of experience you can provide them with, and it also makes it easier to market you. You always knew with an Iain M. Banks Culture novel what you were going to get. Ditto with an Peter F. Hamilton book, or even a Clive Cussler book, and so on and so on.

My problem was that no one fucking told me this, so I had to figure it out largely for myself. Unfortunately, I had a problem: I get bored easily. Worse, while I have no trouble generating story ideas, they aren't automatically ideas that fit in the context of starship+alliens+space travel. Or rather, I had plenty of mediocre ideas for space operas, but brilliant ideas for entirely different kinds of books.

Being let go by Pan Mac, I gradually realized, meant I could write those books if I wanted to.

So I did. And while that was going on, so was the ebook and self-publishing revolution, which I'd played around in back in the early 2010s. Unfortunately, I had no idea what I was doing, but in my defense, neither did anyone else. While I subsequently continued having books traditionally published, other people spent the intervening years becoming very, very good at self-publishing, including people I knew.

So taking a step into self-publishing turned out to be something of a no-brainer.

It's been interesting so far, but it's still early days. I still very much value traditional publishing, and I'm still seeking traditional book deals. But they're not the only available option any more.

So far I've published a short story collection and a sequel to two other traditionally published books. Neither of these are the best tests for self-publishing: sequels are hard to sell, especially when you don't retain the rights to the previous books, and only a relatively small number of people buy short story collections compared to novels.

That said, the books have done reasonably well, I think. To my surprise, the short story collection has done better than Doomsday Game--although in fairness, Doomsday Game has been out for less than a year, costs more to buy, and has an advertising budget close to zero. Because, again, there's no point trying to market the third book in a series. You market the first, and hope people who buy that will also buy the second and third.

After a dismal experience trying to get another book, Devil's Road, published by a certain company I decided to give up trying to get other people to publish it and do it (mostly) myself (mostly, because a limited hardback is coming out from Newcon Press). One other reason I chose to self-publish it was the realisation that the vast majority of companies who publish novellas - which Devil's Road, at least technically is - are deeply opaque when it comes to what they pay and how much effort they put into marketing such books.

I've since learned that what most publishers in fact pay for novellas, bar a few exceptions, is laughably small. I'm not really knocking them: they mostly do it for the love of publishing great stories, and I buy books from them. But the fact is if I'm going to put a solid two or three months work into something, I'd like to get something more for my efforts than a cheque that'll cover maybe one weeks' grocery shopping.

I also don't really regard Devil's Road as a novella: at 38,000 words it's barely a few thousand words shorter than some books that won the Hugo in past years.

It'll also be my first publication of the next decade. The first publication I had in this decade was, I think, Empire of Light.

I don't know where I'll be in ten years time, although I strongly suspect I'll still be writing. To be honest, I find it quite difficult to imagine not writing. I'm also fortunate in that I now make (just) enough money from book doctoring and structural editing to live on, which I hadn't expected.

Hopefully I'll score another mainstream deal. It might not be under my own name, or, if circumstances dictate, perhaps it won't even be far-future hard sf. However, I've come to accept that far-future hard sf is, in fact, what I'm best at doing. Hence, I'm planning to get back to writing precisely such books sometime in the new year. Ideas are stirring for books set in the furthest reaches of the solar system and beyond.

I've also decided to try my hand - again - at script writing. I tried it before, some years ago, but I think I'm more capable of writing a solid script now than I was back then.

At the start of the 2010s I had just moved back to Scotland after a couple of years in Taiwan. I've been back in Taiwan since 2014, and I'm likely to be here for a while yet, barring occasional visits home. However, even when I was getting traditionally published I didn't make a great deal of money, so to be honest, I can't really afford to travel home or anywhere else for that matter. I can't begin to tell you how irritating this can be, especially since I occasionally still get invites to events and conventions back home for which I simply can't afford the plane fare and accommodation.

I have every intention, however, of making it to the 2024 Worldcon in Glasgow, come what may. By then I'll have been writing this blog for very nearly two decades.

I've finished this year by completing a final draft of another book called Proxy. Proxy, along with Echogenesis, was originally submitted to my editor at my former publisher, to her considerable enthusiasm. Unfortunately, the marketing department appeared not to agree, and why marketing departments get a say in such things is a matter of considerable fucking confusion on my part.

However, I have noticed a significant number of other sf and mainstream writers are also struggling to get book deals where before it would have been something of a shoe-in: I'm tempted to wonder whether the publishing industry realises quite what it's doing by knifing the very people who make it what it is, and how much damage it may ultimately be doing to itself.

And you never know: maybe I'll eventually make something resembling an actual living from self-publishing and wonder why I ever worried about this stuff.

Thanks for reading all the books I've written this far. I certainly intend to write some more of them. 

11/28/2019

Ghost Frequencies audiobook now out

And hot on the heels of that last post...

The audiobook of Ghost Frequencies, just out now, is narrated by the hugely talented Scottish narrator Seylan Baxter. Click on one of the links below to check out the details, listen to a preview or order it.

I hope you do because personally I think it's magnificent. Here's the links to where you can buy it on Audible, listen to the preview or see the details:

US |  UK | France | Germany


PS - if you're a reviewer for a blog or website with a verifiable number of reviews or a significant number of reviews on Goodreads, Amazon, etc, hit me up at gary@garygibson.net for review copies either of the forthcoming ebook of Devil's Road or the audiobook of Ghost Frequencies.

11/22/2019

Pre-order available for a limited edition hardback of Devil's Road

Newcon Press have a page up for their forthcoming hardback edition of Devil's Road. It'll be signed, and at some point in the next several weeks (or maybe next year, whenever) I'll get some pages sent to me here in Taipei to sign and send back before being bound into the final book.

It'll be a handsome-looking devil (excuse me) and if you want to pre-order it, Newcon Press have a page set up for that

10/18/2019

Cover reveal and synopsis: Devils Road coming March 2020

http://getbook.at/DevilsRoad_Kindle
So a few years back, 19th of March 2017 to be exact, I posted the following question on Facebook and a number of people who follow me there responded to it:

"Question for the hive mind: it's the apocalypse. You need to drive from this place to that place without getting killed by zombies/werewolves/kaiju/whatever.
What car do you drive/steal/hijack?"

In case you're wondering what project that information was intended for, it's for my new book, Devil's Road, coming out at the beginning of March 2020. I made good use of most if not all of the suggestions as to what vehicles might be used to get through a deadly and dangerous environment.

Devils Road is a short novel that draws inspiration both from the novels I read in the 1970s and 1980s as well as cinema from that period, particularly Roger Zelazny's Damnation Alley, Roger Corman's Death Race 2000 and various dimly recalled Godzilla movies with actors in rubber costumes stamping around papier-mâché models of Tokyo.

If the person asking me what it's like is under forty, I tell them it's Pacific Rim meets Fast and Furious. If they're over forty, I tell them it's Death Race 2000 meets Godzilla.

The protagonist, Dutch McGuire, is a former refugee turned car thief turned participant in the world's most dangerous road race. Her character contains traces of the DNA both of Damnation Alley's Hell Tanner and Escape from New York's Snake Plissken.

Needless to say, it was a lot of fun to write. Here's the synopsis:

Nobody has taken part in the Devil’s Run annual road race as often as Dutch McGuire and lived to tell the tale. The racecourse circumnavigates the post-apocalyptic ruins of Teijouan, and with a choice between being eaten by the monstrous Kaiju that prowl the island’s devastated cities or murdered by her fellow racers, the odds against surviving another Run, let alone winning it, are slim.
Dutch doesn’t care about the odds nearly so much as she cares about getting back behind the wheel of her beloved Ford Falcon—except for one problem: she’s spent the last five years incarcerated in a high-security prison for her part in a heist.
So when a crooked billionaire offers to put her back in the race on condition she uses it as cover for a secret retrieval operation, she can’t refuse.
Can Dutch survive assassins, monsters, and psychopathic drivers long enough to complete her mission as well as take part in the race—or is this the year death finally catches up with her in a blazing tangle of wreckage?

The book comes out at the beginning of March 2020 in three formats: a signed, hardback edition, a paperback and for Amazon Kindle. I'm also investigating the possibility of an audiobook.

And the cover design by J Caleb Design is awesome.

REMINDER: if you want to be informed when the book becomes available, join my mailing list. I only occasionally send out mailshots, mostly when I have something coming out or an important announcement. Otherwise, click on one of the above links to be taken to the Amazon pre-order page. I'll update this post with details of the paperback and hardback as they become available and also add links to the sidebars and other pages of my website.

7/30/2019

Looking ahead to the future

It's been nearly two months now since I had my eye operation, and my eyesight is much improved. I don't rule out more laser surgery at the very least, however, at some point in the future.

At this moment, at least, with Doomsday Game having been out since the beginning of May, I think I can officially regard myself as a hybrid author. I'm still aiming for a traditional deal with a book called Echogenesis, but in the meantime, I'm working on other novel ideas and stories which will either be self-published or appear through various small presses.

I'm also exploring new publishing models, which does, I know, sound very vague, but it's all very up in the air. By "new publishing models", I'm referring to ways to get a book from me and into your hands, whether physically or electronically, via pathways that don't really exist yet.

These pathways, to coin a term, are coming into existence as a result of the wild fluctuations that publishing is undergoing and has been undergoing for some years as both e-books and now audiobooks have a greater and greater impact. And, of course, many authors are now struggling to maintain any kind of income in the face of these changes. Let's just say, then, that these publishing models I'm exploring are my attempts at surfing the wave of that change with the intention of arriving safely on the shore of new and unexplored territories.

At the moment, I'm managing to release a book of some kind at least once a year. I'd actually like to increase that frequency, but it's hard when quite a bit of my time is still taken up with self-employed editing work.

Even so, I'm expecting to have a new novel out early next year, probably at the start of March. It's a short novel, called Devil's Road, and is probably one of the best things I've yet written. I've seen the cover, and it's magnificent. Unfortunately, I can't show it to you until much closer to the time that it's released.

One way to increase my output I've been looking into is by using dictation software. For instance, I'm dictating this entire blog post using Dragon dictation, specifically Dragon Professional Individual Fifteen. I bought it a couple of weeks ago. Not just to increase my productivity, but also because I'm looking into ways to reduce the amount of time I spend per day looking at a screen. I know one writer in particular who's been using dictation software for nearly two decades. He narrates chapters into a voice recorder while taking a walk and then uploads the recording to Dragon to be automatically transcribed.

This works very well for him. You do, literally, have to train Dragon to understand you and it's still better at understanding American accents than Glaswegian accents, to say the least. Nonetheless, I'm dictating this post through microphone with maybe 95% accuracy. I've been informed I can get it up to 98% with time and effort.

Unfortunately, this level of accuracy does rather drop when I'm dictating fiction since fiction writing presents particular challenges in terms of the use of language and sentence structure — ones that Dragon isn't necessarily fully optimised towards.

Nonetheless, I'm finding that I can still write a good deal more using dictation software than I can typing, even though I regard myself as quite a fast typist. The other day, for instance, I managed to dictate about three thousand words with relatively minimal effort and came away feeling rather less tired than if I had typed all of them out.

Remember that if you want to read more about me and about the writing life, you can subscribe to my patreon (see the link at the top of the page). You can also see first drafts of chapters of unfinished books as they are written, and various other bits and pieces of fiction and non-fiction that I'm working on well in advance of their appearance anywhere else.

Meanwhile, I'd better get back to doing some writing and I'll let you know more about Devil's Road as and when I have the opportunity.

7/15/2019

Eric Brown and Keith Brooke's Kon-Tiki Quartet

From the “better later rather than never”
 department: as you may or may not know, I've been posting occasional details of books coming out by other writers in order to help make people aware of them, and out of a general sense that the more we can do to promote and talk about science fiction, the better things are for all of us, whether as readers and writers.

This was actually meant to go up at the beginning of June, but my surprise eye operation put the kibosh on that. And I probably really should apologise to Eric and Keith for not managing to get this up before now. I'm still doing a lot of catch up, both in my own writing and in my editing work.
This time around, Eric Brown and Keith Brooke are here to tell you about their epic Dislocations saga.

I’ve known both Eric and Keith, on and off, for a couple of decades, usually encountering them at conventions. My primary contact, however, was through the pages of Interzone magazine. When I found out about their latest collaboration, I had no doubt I wanted to give them a spot here. Here they are in their own words:

Keith Brooke and Eric Brown first met almost thirty years ago, two bright(ish) young(ish) writers getting their first breaks with short stories in the magazines and anthologies of the time. Pretty soon they’d sold their first books – a collection of short stories by Eric, a novel from Keith – and also they’d become good friends and, more importantly for the purposes of this piece, first readers of each other’s work, casting beady and very critical eyes over each other’s writing before it went out to the wider world. 

Inevitably talk turned to collaboration, an obvious next step from critiquing, but always the conclusion was never, not on your nelly, no, not ever.

More than a hundred solo books between them later, the two have a collection of collaborative stories to their credit (Parallax View) and are halfway through a series of four collaborative novellas, The Kon-Tiki Quartet.


Collaboration? No, it would never work.

In The Kon-Tiki Quartet, Brooke and Brown chart the future of humankind amongst the stars, featuring such well-loved genre tropes as cloning, telepathy, alien beings, and colonisation – as well as some innovations like the science of somatic printing and identity downloading. At the core of the series, however, is the very human story of psychiatrists Kat Manning, Daniel DeVries, and the biologist Travis Denholme, and their complex, often explosive personal relationships.

In the first novella, Dislocations, a colonisation ship is being prepared to flee an Earth ravaged by environmental catastrophe, global warming and political inertia, and settle on a planet orbiting Sigma Draconis 19. The novella is set in and around the East Anglian spaceport of Lakenheath and concentrates on three main characters in the countdown to the launch, the political and personal in-fighting, and a gang of eco-terrorists' violent opposition to the colonisation program.

Book Two, Parasites, is set on the world of Newhaven, where humankind has established a fledgling colony. Parasites is a murder-mystery featuring the science and technology of cloning, telepathy, and alien biology. Through his study of native life-forms, biologist Travis Denholme has discovered means of developing elective telepathy, with all the advantages and pitfalls that this entails – including the unravelling of a years-old tragedy back on Earth.

The third novella, Insights, brings together the stories set up in the first two volumes: the consequences of a humankind blessed – or cursed – by the availability of telepathy and the political creed which violently opposes the idea. At the core of the story, three very different characters – often intimately and violently linked – must work out what is best for themselves and for society at large… while on the run from forces that want them, and their research, eradicated.

Book Four, as yet untitled, will bring the story full circle with a return to a far-future Earth, as printed ‘iterations’ of the three main protagonists explore an Earth they left behind many centuries earlier.

All four novellas in the Quartet are published by PS Publishing.

Other bits:

Book one, March 2018: Dislocations

Book two, June 2018: Parasites

Book three, date tbc: Insights

Book four: date and title tbc

7/09/2019

The return of horror.

As I noted the last time I wrote here, one of the things that kept me busy while in hospital was listening to audiobooks.

A significant number of these, rather than the usual science fiction, were closer to horror. In fact, there seems to be a distinct upsurge in good horror writing at the moment: I listened to books by Grady Hendrix (We Sold our Souls), Black Mad Wheel by Josh Malerman (better known for Bird Box, now on Netflix),  Dead Moon by Peter Clines, and Carter and Lovecraft By Jonathan L Howard, amongst others.

And if you want more objective proof that horror is enjoying something of an uptick,  you might be interested to know that Tor books are launching a new horror Imprint.

Looking back over the past couple of years, I can see the influence of horror in my own writing: Ghost Frequencies is, unsurprisingly, a ghost story, My next book, Devil's Road, is all about monsters. And it's not exactly hard to see the influence of zombie movies in at least parts of  my Extinction Game series.

This doesn't surprise me. When I was young, I was reading Pan paperback horror anthologies about the same time I was discovering Robert Heinlein and Arthur C Clarke. Not to mention I was entirely obsessed at the time by Halloween--the event, not the film.

Not to mention several movies that are as influential as they are canonical in science-fiction can also easily be classified as horror: Alien and  The Thing.

These kinds of stories are much more about unnerving you than they are about grossing you out--a cinematic and storytelling trend that's never had any attraction for me. It's less about the scares than it is the mystery, which is one of the reasons Scooby Doo was so popular and even, if we're prepared to admit it, influential: the gang spent each episode uncovering the mystery of what was going on, and it was the thrill of detection as much as the supposed scares that kept young kids like me locked to the screen. 

7/02/2019

Eye Operation (updated for legibility)

EDIT: sorry if some of you tried to read this and found it all grayed-out to hell. I typed it up in another program and then pasted it into my blogger.com template, and it transferred across something about the text that changed the usual colour. The way my computer is set up, it looked exactly the same as ever to me, but it wasn't until I got screengrabs sent to me by a couple of people I realised something was up. 

I hope, or at least assume, it's readable now.

So I spent most of June away from social media not through choice but because I had a surgical procedure on my left eye at the start of the month.

Several days before, late May, I visited an eye doctor who informed me I had a detached retina. This came as a bit of a surprise because several months before, I had visited another doctor who didn't appear to pick up on this. Two days after my more recent visit in May, I saw a specialist at one of the main hospitals here in Taipei and two days after that I had surgery on my left eye - a vitrectomy, to be precise.

After that I had to spend most of a week lying face down as much of the time as possible, and several more weeks after that taking it easy and avoiding using computers or watching any television. 

Fortunately, I’d got quite heavily into audiobooks over the past couple of months, so I didn't have any trouble keeping myself entertained, although for all that it’s not much fun spending most of a month sitting around and otherwise doing nothing. 

I wasn't entirely helpless; Emma was a great deal of help, keeping an eye on me in hospital and taking care of the countless things at home I normally took care of.

The good news is my eyesight is much improved, and I’m finally back at work, although I do still have to restrict my time online and take regular lengthy breaks away from the screen. And gradually catching up with stuff that's been left hanging since the end of May. 

Doomsday Game wound up somewhat orphaned throughout June, since I wasn't able to nurture it through its still early days of publication. It's still selling, but I know now from past experience some careful attention would have improved its situation nonetheless. 

And of course I wasn't able to do any editing work. So if you're feeling charitable, and especially if you've read Extinction Game and Survival Game, you could always pick up a copy of Doomsday Game, the third in the series, since most of the money from each sale goes straight to my pocket.

5/01/2019

Doomsday Game is Published Today

It's out! Doomsday Game is now available in hardback, paperback and ebook formats, so take your pick of whichever you prefer. I really hope you enjoy it - I've spent the better part of half a decade with these characters, and I'm sorry to finally say goodbye to them.

Where to get it: the ebook is widely available, while the paperback is available primarily through Amazon. It may be possible to order it through independent bookstores if you want to give them your business. The ISBN is 978-9574364589.

The hardback (ISBN 978-9574364596) should be much more widely available - it's now listed on Barnes and Noble's website, next to the Nook version, as well as on Amazon, and is very likely a lot of other places too.

The cheapest place to get the hardback is still here.

The ebook is available through Amazon, Apple Books, Nook and Kobo. There may be others, but those are the main ones.

And don't forget to write a review - authors really need them. Even just writing "I liked it" is enough.