Having spent most of this year looking for who is to blame for the state of today’s book market and the lamentable fate of authors, nobody was more surprised than me to find out that I was at least partly responsible. Still, thankfully you can’t prove anything these days, least of all my arguments.
It’s HIGH CONCEPT JOKE TIME! A group of unfashionable narrative techniques attend their weekly support group, unaware that impending disaster is about to tear their world apart. Can the Omniscient Third Person Narrator refrain from commenting on everyone else? Will the Prologue From The Future ever get to finish? And will One-Liner Bob get to have the last laugh?
I have some things to tell you. They might even be interesting. However, none of these things would warrant a full post on their own, so I’m employing a cunning and never-before-seen trick of grouping them together. Today’s post concerns political tactics and vote-bashing; the Dublin Writer’s Conference; the fiction of literary fiction, and why it’s SO difficult to be right all the time.
It is a little-known fact that the old trope of a piano falling on someone’s head was inspired by every Irish person ever who felt proud of themselves for even five minutes. In this post I deal with misplaced pride, indie publishing scams, bogus bestsellers, my difficult childhood, and why if you want to be original, you should never read anything written by anyone else. Ever.
It’s time you stopped blaming that book you wrote or recommended for the fact I didn’t like it. It’s time you started blaming me instead. With a little help from quantum physics, I explain why loving any book is a miracle, why my bad mood became your problem, and why writing a book is like putting an unseen cat in a poisonous box.
Amazon’s algorithms don’t like the concept of General Fiction. If books are being sold more on the basis of genre than content, is content changing to suit genre fads? I think so. And if you’ve ever read a book which promised something it didn’t deliver, or seemed like two different plots or styles clumsily slapped together, you might think so, too.
No matter how good a Grip-Lit book is, there are only so many psychological thrills we can stomach in a row. With the help of some tenuous and downright cheesy food metaphors, this week I’m asking you: what’s for dessert? What do you, the reader, want to read next? Shouldn’t we, the actual consumers have a say?