Originally posted on Novel Writing Festival: PITCH: Title: The Vorbing Written by: Stewart Stafford Type: Novel Genre: Fantasy/Horror Logline: The Vorbing is a fantasy/horror concerning Vlad Ingisbohr’s struggle to free his village from the reign of terror of vampires and avenge his father’s death at their hands. Interested in this logline, please email us at…
If I ever have grandchildren, I’m sure I’ll tell them about the time a newspaper did an article about me. “What’s a newspaper, granddad?” they’ll ask with genuine wonder.
Traditional or “legacy” media (a term which already appears to have consigned television, radio and newspapers to history’s dustbin) forms are struggling to survive in the 21st century. Newspapers, in particular, are seeing sales drop at an alarming rate which, in turn, reduces advertising revenue and only older, die-hard brand loyalists are happy to pay to access content on newspaper websites. It tries to roll with the times to stay afloat by hiring bloggers and sourcing stories from hackers and activists (or “hacktivists”, if you will).
The problem is that the newspaper business model of is dying and the purveyors of the new business model are not only deciding what crumbs to feed the press, they’re naming their price too.
There is now a timescale for the demise of newspapers in most countries. It is comparable to how self-publishing challenged the dominance of printed books. Reports of the end of hardback and paperback books have been prematurely announced many times in the last decade. Then sales of ebooks dropped and the electronic takeover didn’t happen. It turns out that people like the feel and smell of a real book. Technology has an annoying habit of losing power or breaking down. Recharging is not always possible but printed books never need that just a light source to read from.
The internet had a similar affect on music too. The mp3 file appeared to have trumped vinyl records which were in a similar decline. Now vinyl sections of record stores are growing as are sales. There’s life in the old analogue dog yet.
Could print media stage a similar comeback? It’s probably wishful thinking as news or rather the information itself is freely available from endless sources. If newspapers charge for content, people can get it somewhere else for free. Citizen journalists don’t have the resources of a major newspaper or that Pulitzer cachet, but they do have that most precious modern commodity in abundance – time. Printed newspapers report yesterday’s news, by which stage a newer story has broken online. Yes, the papers can update their websites but the loyalty is to the information and whoever breaks it first now and not the brand. Even if a newspaper gets a scoop, it can be repackaged by news aggregrator sites and the reader may not even know who originally broke it. In the frenzy to get likes and shares and the kudos of being first with news, the basic courtesy of a hat tip to the originator of a story also appears to be endangered.
So it appears the newspaper is terminal decline. It was a remarkable phenomenon while it lasted but, sadly, it seems to be going or have already gone the way of the Dodo.
© Stewart Stafford, 2017. All rights reserved.
Imaginary things take time to write. Fantasy and horror and, to a lesser extent, science fiction can be among the toughest genres to write as they are works of pure imagination. Science fiction can be slightly researched and current trends can be followed to their logical conclusion. Educated guesses can be made as to what direction science will go in. Fantasy and horror mostly comprise world-building from scratch and, depending on the writer, the concepts can take time to generate.
Added to that, readers want new product yesterday. They’ve become ultra-impatient in the internet age. Some of them even refuse to read the first book in a series as they are unable to wait for the other books to be written and published. “Am I going to have to wait years for you to finish your Vorbing trilogy? I’m an impatient bitch,” one of my readers helpfully explained to me.
In their book, The Neuroscience of Clinical Psychiatry: The Pathophysiology of Behavior and Mental Illness, Edmund S. Higgins and Mark S. George note: “People who can delay gratification and control their impulses appear to achieve more in the long run. Attention and impulsivity are opposite sides of the same coin.” This is especially true of all those internet babies who have grown up in the technological age. So the internet is a bit like Brexit; we don’t know what the full implications of its arrival are yet.
The web has its advantages. It’s a phenomenal communication tool. Twitter has definitely made me think faster and streamline messages better, that is certain. As a way of quickly disseminating a message or a product worldwide immediately, the web takes some beating. The net is like a giant synthetic brain our thought patterns are connected to (a strength and a weakness that can be exploited). There are concerns over privacy and who is doing what with our data and those worries will only increase as time goes on.
Back to the writing. This awareness of the disintegration of attention spans has unquestionably changed both the method and style I employ when writing books. I started writing my first book when the internet was in its infancy. I was able to remain in the world I had created all day interacting with my characters. I was totally immersed in it and wouldn’t notice hours passing. Now social media, that great thief of time, eats up chunks of my day without me noticing hours passing. I mostly interact online with people I don’t know instead of my characters. I’m totally immersed in the internet. Writing is done now in feverish bursts to meet my daily word count so I can get back online. Experience has enabled me to do much more in less time though. I no longer need to spend all day going down blind alleys trying to find myself creatively. So perhaps there is no damage done there.
There are writers who have given up social media for a month to get books out there. I’d be concerned about losing half my hard-earned followers. You can’t expect people to continue following you if you’re offline for weeks. Especially if you’re a self-published writer dependent on social media to market your books. It appears to be a 21st-century Faustian pact with the web.
Then there is the pace of the novel itself. I am only too aware that if you fail to hold the attention of your readers, social media is tickling their ears non-stop to woo them away. So they’re dealing with getting their electronic fix too (especially if they’re consuming your book on an e-reader or smartphone app that’s connected to the internet and the ejector seat button for your novel is half an inch away). The pacing of a novel has to match the online frenzy going on out there or you’re toast. Then again, if the flour is going rotten to begin with, maybe the quality of the toast isn’t so important these days. We shall see.
So the internet has rewired our brains, changed our expectations and how books are written, edited, sold and read (or not as the case may be). What form will books take in 2026? 2036? 2066? Will we be taking downloads directly into our brains as in a William Gibson cyberpunk novel? I have a saying: “The possible is just the impossible that we’ve come to accept.” It will happen.
My novel “The Vorbing” is available here
© Stewart Stafford, 2016. All rights reserved.
We’ve all heard about the self-publishing revolution in books in the last few years with Amazon Kindle and all the other e-readers and websites. I was watching a BBC documentary called ArtsNight last week and the presenter made an interesting point: punk rock bands were the first indie authors. They learned their three chords, set up their own bands and, in some cases, record labels and self-published their own music. They took control of their own destinies in the same way novelists did recently. Even the punk fanzines were do-it-yourself wonders; stapled together, photocopied and distributed through record stores, mailing lists, by hand and by word-of-mouth in those pre-pre-internet days.
It’s a very cogent analogy. As with the self-published books, some of the DIY punk music that was put out was awful, but some of it has reached classic status in hindsight. Self-publishing until recently was called “vanity publishing,” but writers were no longer prepared to sit on their hands waiting months for a form rejection letter. They too seized their own destinies through the technology that was around them and turned the publishing industry on its head.
Movies are even being made from self-published books for the first time like Ridley Scott’s The Martian starring Matt Damon and a future fantasy film that 20th Century Fox has purchased the rights to called Fall of Gods (even after that movie deal was signed, the book was taken down from Amazon due to formatting issues, the bane of indie authors everywhere. Luckily, it didn’t impact on the movie deal and Fox could see the merit of what was there despite the flaws.)
Punks and indie authors are strange bedfellows indeed, but both groups were and are pioneers in their fields. While the punk movement didn’t manage to overthrow the mainstream in the same way hippies in the previous generation hadn’t, they democratised their art form and showed others what was possible with self-belief and a little effort. Just as indie authors did. The shockwaves of the indie author revolution are still spreading out from the epicentre and nobody really knows where it will stop or what comes next. The most important thing is that books that would have gathered dust in drawers and on hard drives and memory sticks are now finding a worldwide audience. That can only be a good thing.
© Stewart Stafford, 2016. All rights reserved.
Tell us about yourself and how many books you have written.
I was born in New York City to Irish parents. My family moved back to Ireland when I was three years old. I’ve lived there ever since.
I appeared to have a natural gift for writing. The first school report card I got when I was five had just one comment at the end: “Stewart writes very interesting stories.”
I listened to my grandmother’s tales of the Banshee in her kitchen and was enthralled and terrified. It was direct exposure to Ireland’s Celtic storytelling tradition and I was hooked. I love the folktales, traditions and superstitions of Ireland, the country that gave the world the festival of Halloween and Dracula author Bram Stoker. I went on to do an Irish Folklore course in University College Dublin. I also have qualifications in Theatre Studies, Criminology and Social Media for Business.
The Vorbing is my debut novel. I have a plan to write five novels; three in the Vorbing Dubhtayl saga and two crime books.
What is the name of your latest book and what inspired it?
The Vorbing is my first book and a nightmare I had back in 1996 inspired it. I rushed to type it up before I forgot it (you always think you’ll remember these ideas later, but you never do. Get them down!) The short story that resulted became the first chapter of The Vorbing. 19 years later, it’s finally out there.
Do you have any unusual writing habits?
I don’t have a set wordcount goal that I must reach each day. I wait for inspiration to strike and write in feverish bursts. That way, what I’m writing is fresh and just sings off the page. Sometimes it can take weeks for ideas to start flowing, but I never panic and wait for it happen. Thankfully, it keeps happening. I don’t know how or where these ideas come from, I’m just grateful they appear.
What authors, or books have influenced you?
Joseph Campbell’s work on mythic structure was a definite influence. James Ellroy (L.A. Confidential) is my favourite fiction writer and Antony Beevor (Stalingrad) is my favourite non-fiction writer. I also admire Richard Matheson’s daring take on vampire lore with I Am Legend.
What are you working on now?
I’m working on the paperback version of The Vorbing and its sequel.
What is your best method or website when it comes to promoting your books?
This is all new to me, so I’m still trying to figure that one out. Online sales are the Holy Grail for writers and you’ll come across a zillion people promising you the earth, moon and stars. Everyone likes and shares my book posts on social media and wishes me luck but somehow that doesn’t translate into actual sales. If I could crack that one, I’d be on to something. Everyone that has read The Vorbing raved about it, so it’s frustrating that people won’t take a chance on a new writer. I’m hoping this will change.
Do you have any advice for new authors?
Finish your book no matter what. Don’t listen to negative people or your own doubts; keep going, get it done and get it out there. Never put something out that isn’t up to scratch. Get your work professionally edited. Believe me, there are mistakes in your writing that only others can spot.
What is the best advice you have ever heard?
Don’t listen to advice. Give yourself the freedom to make your own errors, it’s the only way you’ll learn.
What are you reading now?
How Star Wars Conquered the Universe: The Past, Present, and Future of a Multibillion Dollar Franchise by Chris Taylor
What’s next for you as a writer?
Vorbing II and III and then two crime books. That will be my five-novel plan completed. After that, there may be a Cold War black comedy or maybe I’ll give up writing, who knows. It depends on whether people want to read my work. Supply and demand.
If you were going to be stranded on a desert island and allowed to take 3 or 4 books with you what books would you bring?
The Year in Ireland by Kevin Danaher
The Writers Journey: Mythic Structure for Writers by Christopher Vogler and Michele Montez
Stalingrad by Antony Beevor
The Black Dahlia by James Ellroy
This interview first appeared on the Awesomegang website; http://awesomegang.com/stewart-stafford/
The Vorbing is available exclusively on Amazon Kindle here; http://www.amazon.com/Vorbing-Dubhtayl-Saga-Book-ebook/dp/B0162713PU/ref=sr_1_1
My exposure to the magical world of stories began in my childhood. My mother would read bedtime stories to my brother and I. She would read from books and we heard tales like The Elves and The Shoemaker, Snow White and Rumplestiltskin. It was hearing the canon of the works that had gone before.
Adam West and Burt Ward as Batman and Robin
My father took a different direction. He made up stories on the spot and put us in them. We would start chipping in ideas on what direction the story should take. Our particular favourite was the story our dad told about Batman and Robin bringing us to school in the batmobile (we were crazy about the old Adam West Batman TV show). Sometimes, my dad would say it was too late to continue the story despite our protestations. (He would always finish with: “I had a little doll, I stuck it in the wall, that’s my story after all.”) The next day in school our imaginations ran riot with the possible turns the Batman story could take later on. I was starting to write my first story.
In school itself, there were more stories. I remember my teacher reading from Roald Dahl’s James And The Giant Peach. She read the words and I put the visuals to it in my mind. I would look from the book to the teacher’s face. The book was some sort of incantation read aloud to us, holding us spellbound. Then the teacher would close the book and say it was time to move on to another subject. I didn’t want her to close the book. I didn’t care about the other subject. I wanted to hear the rest of that story. As a writer, I don’t get distracted from stories now and it is very satisfying to me.
A Banshee mourning
In grandmother’s kitchen, once the housework was finished, the women in my mother’s family would sit down with cups of tea and swap stories, jokes and gossip. My grandmother recalled how the Banshee attacked her father in the wilds of the country. The story went that his bicycle tyre got punctured. He was pushing the bike along a narrow country road when he heard a woman crying. There, on the wall, was a woman combing her long, bedraggled hair and sobbing. My great-grandfather approached the woman and asked her what was wrong. At that moment, she threw her comb at him, striking him in the foot. His foot swelled up as a result. The moral of the story is; if you hear the Banshee crying, you mind your own business and don’t interfere with her spectral mourning. She was crying for families with O’ or Mc in their names. As a child, I didn’t question the veracity of this story. It was 100% real, terrifying but also enthralling. This wasn’t just family history I was hearing, it was the words of eyewitness testimony to a supernatural incident. I have tried to do the same thing with vampires in my novel The Vorbing. I wanted to make the vampires real creatures to see how that society operated, hunted and functioned. I also wanted to treat vampirism as a pandemic.
My grandmother also related an incident to me that may or may not be true. She claimed to have witnessed an attempt to dispose of a murder victim’s body possibly through cannibalism. Before I relate what happened to you, you have to understand what life in rural Ireland was like when my grandmother was a child. She was born in 1910 and there was no electricity in the countryside then. The Irish government’s Rural Electrification Scheme didn’t come along until the 1940s. It was a dark land where the even darker worlds of superstition and criminality flourished. My grandmother was told to get something in the shop by her mother. It was dark outside and if it wasn’t a moonlit night, you wouldn’t be able to see your hand in front of your face. Pitch darkness. She set out and soon came to a house with its front door wide open. My grandmother thought she saw what looked like a human body roasting on a spit over the fire. She crept inside to get a closer look. Her fears appeared to be confirmed. It was a man’s body. She spun around to get out of there and something or someone hit her on the leg. She managed to escape and lived to tell the tale. My grandmother died back in the 1990s, so we’ll never know if any of her story was true. Was it mistaken identity? A bad dream? Something she made up? Or was it real? It was related to me as fact when I was in my 20s. There’s a little nod to my grandmother’s experience in my book The Vorbing, I won’t give away how I work in the reference. So you’ll all have to go to school and hear about Batman later if/when you buy my book, he he. I had a little doll, I stuck it in the wall, that’s my story after all.
The Vorbing is available exclusively on Amazon Kindle from Thursday, October 29th, 2015 and can be pre-ordered at this link now; http://geni.us/1bza
© Stewart Stafford, 2015. All rights reserved.