Very simply, if you want to get anywhere in life, you gotta get things done. Books don’t write themselves. Drawings don’t draw themselves. Work doesn’t work itself, and so on. You want something, earn it. End of story. Discussion over.
- Tag Archives Books
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Up Around the Bend: What is Coming
I’ve been very busy behind the scenes here at Axiom-man Central. Presently, I’m working on PROJECT REBIRTH, which is my master plan to get things going again writing and publishing . . . and cartooning? Yes. As part of my grand comeback, I’ve decided to get back into the world of comics because it was comics that got me started down the book path and everything else I’ve done since. There are plans. There is work being done. Rebuilding what was lost is taking place at a steady rate. Healing that which was broken is also taking place. Applying lessons from the past both professionally and personally is also occurring.
Bottom line: Lots is happening.
Some of what you can expect coming from up around the bend:
– Resumption of my newsletter, The Canister X Transmission
– A Patreon account with special content just for patrons
– Order fulfillment of the Axiom-man/Auroraman: Frozen Storm Kickstarter (if you missed the Kickstarter, the published book is available on the left)
– Publication of projects that were temporarily put on hold when life went to crap
– Bigtime expansion and growth of The Axiom-man Saga and associated products
– Revving up public appearances and media again
– New YouTube channel
– More . . .
Now understand, I’m a one-man band so while the above is presently being worked on, that doesn’t mean all of it is going to happen right away. Creating things takes time. Lots of time, even when working steady. Just how it is. Please be patient and keeping checking back here for updates. Announcements will also spill out of the social media machine as things are released into the world.
In the meantime, consider expanding your A.P. Fuchs collection while you wait. Plenty of books and comics to choose from on the left. I also ship direct, which gets you a signature and a personal message if you so choose.
Look after each other this week. Stand tall.
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On Broadcast Mode
Some people might wonder why I periodically switch to broadcast mode with social media. The answer is simple: eliminate distraction. I program Hootsuite with my social media posts and let it run in the background so I can focus on producing more work in the foreground. It’s tough to constantly lead two lives—digital and physical—so to unplug and take a break from one lets me work on the only life that truly matters, which is the physical one I have on Earth.
Besides, it speeds up getting books and comics to you because I’m spending my time making them instead of writing thousands of words in social media posts.
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On One Thing a Day
We don’t always have the same amount of energy every day. Heck, some days it’s impossible to move and get out of bed. Unfortunately, not moving equals not doing anything equals being unable to move your career along. I’ve always maintained that if, at a minimum, you can do at least one thing a day—big or small—to move your career forward, you’re one step ahead of yesterday and one step closer to achieving your goals. You can get some writing or drawing in, or get some marketing done, or drop some books off at the bookstore, or anything else. Point is, just do at least one thing a day. That’s at least seven things a week, which leads to 365 things a year.
Now that’s a lot of work.
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On Having a Brick in Your Head
There are days when your head feels like it’s filled with sand or some sort of concrete lump instead of a brain. It makes you tired and you don’t feel like writing or drawing, and all you want to do is take a nightcap and go to sleep.
But you have to work anyway.
You have to.
Books and art don’t make themselves. You let yourself slide one day, then the next time it becomes two days, then three, then four. Soon, you’ve got nothing to show for your year.
Brick in the head or not, the work needs to get done. No way around it. We live in a society where a lot of people don’t want to work for something. Too bad. Whether you feel like it or not, work is a required part of life and, especially, in the art business where it’s highly competitive.
Do the work.
Lose the brick.
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On my Favorite Book that I Wrote
One of the questions writers get asked is, which of their own books is there favorite? It’s a difficult question to answer because each book has its own charm and special qualities. However, if I were to be hard pressed and had to give an answer, I’d say it’s my first book, A Stranger Dead, simply because it was my first book and the one that kicked off this book-writing career of mine.
It’s the story that asks the question: If you found out who the Antichrist was before his season of power, would you kill him? It’s like asking the famous question if one would go back in time and kill Hitler.
The story is solid and one I’m proud of. Looking back, the writing needs work, which is why I plan on one day rereleasing the book. Perhaps on my twentieth anniversary of being a writer.
There’s something about that first book that was atmospheric, both in the story itself and in the air whenever—and wherever—I wrote it. It was my first special world, one I had complete control over. It was my first attempt at making a book.
The first book in my writer library.
Firsts, no matter what they are, good or bad, will always stand out as the benchmarks of our lives. A Stranger Dead was one of mine. What is one of yours?
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On Alternative Reading
It’s a small niche and is outside the mainstream, but I’ve been giving a lot of thought to alternative reading and how important it is. It’s the stuff that’s not controlled by big corporations or publishing houses. It’s the stuff where money isn’t the primary objective. It’s the stuff that has the freedom to be open and honest—an industry not run by greed, but one run by love.
I encourage you to check out zines, check out bizarro literature, check out off-beat publications, and support that side of the industry by not only getting the books and comics, but by also spreading the word about them. This world is so brainwashed it’s sad. We’ve been force fed the same shit over and over and all we do at the end is smile with our crap-covered faces and say, “More, please.”
Time to shake things up, but we have to do this together. But it’ll never happen. It’s easier to sit in shit than to actually get moving and find a better, alternative spot.
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On Ten Books
Every writer loves to read, so here are ten of my favorite books in no particular order and, yes, there’s even a kids one in there, too.
There are others, but this is enough for now.
1) Dreamcatcher by Stephen King
2) Batman: Knightfall by Dennis O’Neil
3) Stone of Tears by Terry Goodkind
4) Voice of the Fire by Alan Moore
5) The Chamber by John Grisham
6) The Lord of the Rings by J.R.R. Tolkien
7) The Long Walk by Richard Bachman
8) George’s Marvelous Medicine by Roald Dahl
9) The Death and Life of Superman by Roger Stern
10) Batman: No Man’s Land by Greg RuckaI’m sure there’ll be another list in the future.
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The Redsaw Origin and How I Write Supervillains
The Redsaw Origin and How I Write Supervillains
Note: This post on how I write supervillains was originally published on Jeffrey Allen Davis’s blog
Disclaimer: The following article is meant for those who have read some or all of The Axiom-man Saga. If you have not read the series, please stop now and consider checking out the series first as this article contains spoilers, namely Redsaw’s secret identity, which is part of the mystery of the first book.
Like Axiom-man, Redsaw has something of a muddled past. I’m talking about his real life origin, not his story one. However, Redsaw didn’t really come together until writing Axiom-man. Until that point, he was more an idea that never materialized in the mental fantasy I had going which eventually birthed The Axiom-man Saga we know today. All I knew about my overall fantasy was there were two cosmic beings at war. One that represented Good (known as the messenger in the saga), and one that represented Evil (known as the master). How these cosmic beings work is they each have champions on multiple planets throughout the universe, one guy stepping forward for them and duking it out on these planets while these two cosmic beings fight it out elsewhere. Usually, the messenger only puts his man in place once the master strikes an unsuspecting world. On Earth, the messenger’s champion is Axiom-man so, you guessed it, the master’s main man is Redsaw. What’s interesting to note is Axiom-man was put in place shortly before Redsaw’s arrival, a pre-emptive move on the messenger’s part and for reasons revealed in the series.
Redsaw is the main supervillain of The Axiom-man Saga.
That should bring you enough up to speed on who’s who in my superhero universe.
When it came to creating Redsaw, other than knowing he had to be the bad guy, he needed to be more than just the bad guy. The first thing I decided was it was imperative he was more powerful than Axiom-man, first and foremost in his superpowers—which are similar but stronger—and secondly as his human alter ego.
In costume, Redsaw can fly twice as fast, is twice as strong, and the energy beams he shoots from his hands do twice the damage.
Out of costume, Oscar Owen is rich, well-known, and utterly confident, whereas Gabriel Garrison (Axiom-man) struggles with money, is a nobody, and has self-esteem issues.
But that’s just the superficial stuff.
Even the name “Redsaw” is superficial in that I needed a cool name for a villain and “red” typically represents evil and “saw” was named after a sawblade, a dangerous weapon if used to kill somebody. The jagged lines on Redsaw’s red and black costume represent his own jaggedness and danger—again, the sawblade thing.
Going deeper, however, I didn’t want a bad guy who was the bad guy simply because he was the bad guy. In other words, I didn’t want a bad guy being bad for bad’s sake. There needed to be a reason, and the best reason for any villain in literature or film is the one that says they’re the bad guy because they don’t have any other choice. They have a strong motive that turned them down a dark path. A classic example is Darth Vader. He joined the dark side to save Padme. The dark side consumed him and we all know the rest of the story.
Oscar Owen was chosen by the master because Oscar drove himself hard to rise from poverty and become a somebody and tried to be a good guy with his powerful position. Once joined with the black cloud that gave him his superpowers, even then, he strove to be a hero like Axiom-man. He just didn’t know joining with the black cloud came at a cost and the black cloud transformed him into someone he wasn’t: the reluctant villain. The villain you and I can relate to. The one that, if you or I were put in their shoes, would do what they do no matter how dark or despicable because, from their point-of-view, they’re doing the right thing even if the cause is evil.
That’s the kind of main villain I was after for Axiom-man: someone like him. Someone who strove to do what they perceived was the right thing. Unfortunately, for Redsaw, his “right thing” is the wrong thing, but thankfully we have Axiom-man there to stop him.
Regarding other supervillains I’ve created—Char, Bleaken, Battle Bruiser, and Lady Fire—they all have something in common and it all goes back to what I did with Redsaw: they’re more powerful than the hero. It might be their powers, it might be their intellect, but either way, my villains always have a leg up on Axiom-man so they’re a challenge to fight. It’s the only way to create true conflict in the novels otherwise, if they were weaker, Axiom-man would stomp them into the ground every time and the story would be over in a few pages. Sure, it’s fun to have a few purely-human bad guys for Axiom-man to quickly dispose of, but when it comes to his superpowered rogues gallery, I needed my bad guys to be stronger than the hero and make him really dig deep whether physically or mentally to put the villains away for good. And even then . . . they might not always stay put, but for what I mean by that, you’ll have to check out the books and see for yourself.
A supervillain—breaking down the word—sure, the “villain” part is easy. It’s the “super” part that’s hard because that goes beyond their powers. They need to be above average in who they are as a person. They need to be motivated by something beyond what gets us normal people through our day. They need to be motivated by something “super.” It could be a tragedy, a misguidance, even a dark heart birthed out of something beyond their control in years past. There’s no such thing as a person who’s born bad. We all make choices. Some yield Good. Others yield Evil. Others take us down roads filled with both. Throw superpowers into the mix and you have the potential to create a superpowered problem that only a superhero can fight.
As for Redsaw, well, like Axiom-man, he’s on a journey, too. One that can only lead to one place. As for where or what that is, you’ll just have to read and find out.
Thanks for tuning in on how I write supervillains.
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Why the Standard “Author Platform” Doesn’t Work
Why the Standard “Author Platform” Doesn’t Work
This article was originally published June 5, 2017 on the Operation Awesome Blog.
All right, let’s talk straight. Specifically, let’s talk author platforms. You’ve read the articles. You’ve been told how important they are. You’ve been given a list of what to include. Heck, you’ve even taken all that information to heart and acted upon it.
And the book sales aren’t happening.
So you keep at it, hoping one day it’ll all pay off. Day in and day out you bust your tail on social media and the Web only to keep missing your goal sales-wise. Or, perhaps, you hit it some months and others you wonder what it’s all for. Frustration sets in and you don’t know what’s going on. You did what Author A said. You got your Facebook page, your Twitter account, your blog, your Instagram and all the others—yet still you’re just another author voice shouting into the storm.
Here’s the issue: you’re following someone else’s advice. Worse, you’re following it to the letter and in the game of publishing, following the author platform advice to a T is a death sentence.
This is why:
Publishing is a giant crapshoot. There is no sure-fire way to do anything. Anyone who tells you otherwise is either lying or trying to sell you something. While true there are basics and groundwork you can lay, that’s all those things are. Yes, your standard author platform recipe should be part of your game plan. That’s no different than saying you want to sell your book but you know you can’t sell your manuscript as is. You need to make it pretty and put it between two covers before you can do so. That’s a given. The basics.
The standard author platform isn’t working for you is because you aren’t making it yours. You’re making it like someone else’s or, simply, following the basic recipe without adding the personal tender loving touch that makes your cookies taste better than the other guy’s.
This is how to fix the issue, written step-by-step, but don’t treat it like an instruction manual. Customization, you know?
Step one:
Lay down the standard recipe. All good baking has a fairly consistent base across the board. Have your Facebook page, your Twitter, blog, Instagram and all that. Customize each page and make it about you and your books then commit to a Web plan where you’re active on each on a regular basis.
Step two:
Start adding the TLC. Don’t make your Facebook page like Joe Famous’s. Make it like yours.
I hate the word “brand” when it comes to this author stuff. It turns us into a product and, frankly, art is never about product. It can become a product, but should never be a product. See the difference? This world is sickly loaded with consumerism and people pushing products non-stop twenty-four hours a day. Most of us have tuned out the racket. But what draws us and captures our attention? Unique items and unique people. This so-called “brand” you’re supposed to become? How about voice? After all, your voice is what makes your art what it is to begin with. Why turn that off when sharing it with people?
So . . .
Format and design your pages to reflect you and your books. Don’t be all authorish. Don’t be all bookish. Don’t make people feel like they’re in a stuffy library when they visit you on the Web. In other words, don’t be so professional you come off as cold. Cold people suck.
Into baking or crafts? Build that into your page designs and content.
Into superheroes and comics? Put up some indie superhero character art as part of your banner and pictures.
Into sci-fi and tech? Give your page(s) a mechanical flare and make the electro-junkies squee on the inside when they visit you.
Into horror? Spook it up, man.
Get the idea?
Step three:
With your on-line base of operations already established, leave it alone for a bit and start playing around with other marketing ideas.
Some items . . .
Set up book signings. Table at conventions. Hook up with some craft shows and flea markets. Arrange a book tour, say, local at first then, depending on success, look at traveling out-of-province/state, even country.
Set yourself up as a unique property at these events. Don’t just have a plain table. Add some posters and signage. Add some props. Display your books in a pyramid-like tower. Stand out. Fool around. Don’t be the lonely author who sits there with a handful of books laid out boring and flat in front of them, longingly gazing at the passersby, your eyes pleading, “Please come talk to me. Please come buy my book.” I mean, you took all this time to personalize your on-line presence, why wouldn’t you do the same for your off-line one?
Casually bring up you’re an author into everyday conversations. You can subtly work your pitch into whatever you’re talking about with someone—choose appropriately, of course—and at a bare minimum leave them with a business card. But have books on-hand or in your car in case a sale is to be made. Trust me, it happens.
Go to open mic nights and share story excerpts or poetry. This is your chance to pimp your work, network and perhaps get hired for new projects.
Do workshops.
And a thousand other things. These examples are to make this point: lay your groundwork—that author platform—then play around with other marketing avenues. You’ll be surprised what works. You’ll also be surprised at what doesn’t because what works for Author A doesn’t always work for Author B.
Book marketing is all about customization. It’s about finding what works for you and putting energy into those things while discarding the things that don’t after you’ve given them a fair chance (i.e. six months to a year or something). And you know what? Even that thing you did that didn’t work for your first novel might be the goldmine that works for your second one. Each book is different. Even each book in a series is different.
Authors want the easy way out. “I just want to write,” they say. Well, if that were really true, you wouldn’t be publishing as well, right?
Or they want to be told what to do: that standard author platform recipe. Come on. How can you be so creative in fiction then totally useless outside of it? Don’t you know your life is a story and so is your book career? That creative flare that you put on the page can be used off of it, too. Stop thinking inside of your book and start thinking outside of it.
After this article is drafted, my plan for the day is to revisit my platform, one that I’ve already customized to me over the years—self-publishing since 2004—and take inventory on what’s working and what isn’t. I’m going to make some changes and try new things. Going to add my own TLC instead of relying on the standard Author Platform recipe.
I’m eager to see how these cookies turn out. I already know my zombie chocolate chip ones are dead ringers for a win and my Axiom-man cookies are super.
Screw the standard author platform. It’s boring and useless. But your own? The one with your personal touch?
That’s something special.
Get to it.
