Showing posts with label Book Covers. Show all posts
Showing posts with label Book Covers. Show all posts

31 Dec 2019

Happy New Year!

Happy New Year, dear readers

I can say with certainty that 2019 has been a difficult year for me personally, as well as for Alex Stargazer Books. Since I decided to self-publish Fallen Love on that fateful mid-summer day, I have been kept continuously busy—I’ve been working with my designer to create the covers for both Fallen Love and the Vampire Eirik; with my consultant, I’ve been mastering MailChimp and my mailing list; and I’ve been writing too.

I published the Vampire Eirik in December, and Fallen Love is coming January 7th (I was forced to delay for various annoying reasons). Moreover, starting with the first day of the year, tomorrow, I will have my work cut out for me promoting the book.

So to all my readers: I wish you a peaceful 2020. May you live in comfort and peace.

26 Dec 2019

The Vampire Eirik: On Sale Now!


Hello readers! Thanks to all of you who have downloaded my book so far on Smashwords. Let’s keep the momentum going, shall we? From December 25th until January 1st, the Vampire Eirik is free on Smashwords. Click the link on the cover and get your free copy now!

18 Dec 2019

The Vampire Eirik is free on Smashwords!

Hello readers,

I am pleased to announce that the Vampire Eirik is free on Smashwords (and only Smashwords) from December 25th to January 1st (2019–2020). You can of course still get a free copy if you sign up to the mailing list here: Sign up now!

If you’ve signed up already, or if you want to do just do me a quick favour, follow the link to my book’s Smashwords page here: Buy on Smashwords Remember! If you buy my book (even for free) it will increase the ranking and help me find new readers.

In other news, I am currently in Vienna and going back to my home town in Romania. I am also busy setting up a Kickstarter campaign to raise more money for Fallen Love; I will tell you guys more in a future update. Hang on in there for a few more days.

Oh, and before I forget: Merry Christmas!

23 Nov 2019

The Vampire Eirik is Available Now!

Hail readers!

After having been available for pre-order, the Vampire Eirik is now on-sale at Amazon.com, Amazon.co.uk, Smashwords and Kobo. For just 99 cents, you can read a charming short story described by reviewers as a “fantastic short story” that is “riveting” and “super cute” (thanks, Sharon). Alternatively, you can subscribe to my mailing list and get it for free!

Also, stay put for Fallen Love, which is coming out in just 3 weeks!

4 Nov 2019

The Vampire Eirik Cover Reveal

Hail readers!

I am excited to share with you today the cover for the Vampire Eirik, a short story which I am releasing this month, on November 23rd. Take a look! I also include the blurb to wet your appetite.

Readers say they’re “riveted” by “drama” and “exquisite sexual tension”. And the best part? The Vampire Eirik is yours for just 99 cents.

For Peter, a young, carefree engineering student, Norway means a chance for a better financial future — and the opportunity to see a beautiful landscape of fjords, primeval forests, and windswept peaks. A friendly vampire on the other hand — that’s just an unexpected perk.

Yet the landscape conceals a darkness, a hidden ferocity: nature is older than man, and it does not always welcome him. To survive, Peter will have to rely on Eirik. But Eirik is still a vampire, and nature always wins in the end…

A tale of friendship, intimacy and magic, the Vampire Eirik is a short story that’s perfect for bedtime reading.

What readers have said...

★★★★★ “I enjoyed the sexual tension between the characters, it was exquisite.”—Margaux, Goodreads Reviewer.

★★★★★ “I was riveted to the drama; it is my hope that their story has just begun.” —Teresa, Goodreads Reviewer.

The Vampire Eirik will be available not just on Amazon, but also on Smashwords and other major retailers, for (you guessed it) 99 cents. But, if you sign up with your email on the right hand side form, you can get it for free with the newsletter!

About the Story

I wrote this story years ago—I believe it might have been 2015 or more likely 2016. It was a side-project; a release for pent-up creative energy. At the time, I was having trouble trying to get a trade publishing deal for the Necromancer. The deal never came, but this story remained.

I postponed publishing it on account of the fact that I did not want to spend too much money getting a cover designed for it. I reasoned that if I hired a designer to do two covers—one for the story and other for my next full-length title—I would get a better deal. I was correct. Unfortunately, it took years for me to get to that point. It was partly my fault (I made a massive false start with the Ark) but I also wasted a year trying to—you guessed it—get a publishing deal.

Anyway, with Fallen Love complete, I got to work improving and revising the story. Based on feedback I received from another author, I removed a chapter and wrote a new epilogue.

How did the cover come about?

I worked with the same designer I did for Fallen Love: Hampton Lamoureux. (Didn’t you read the “package deal” part?) Right at the start, I told him I didn’t want any character design like I had with Fallen Love or the Sandman. Partly, because it would be more expensive. But also because I had a strong vision for what the cover should incorporate.

The story is set in Trondheim, Norway; it is late winter. Snow and ice is a very prominent theme in the book. Likewise, blood is very important—this is a vampire story don’t ya know? I realised that the contrast between the two would look brilliant.

I think my designer did a great job with the artwork, although the typography is 99% rather than 100%. Nevertheless, it is a better cover than I could have had otherwise, and I am proud to put it on my work.

Anything else?

I will post the buy links as soon as the book is on sale!

19 Oct 2019

Quality vs Quantity

Hello readers!

Previously, I updated you all on my progress getting reviews for Fallen Love, releasing the cover, and modernising my marketing platform and author brand. I am making steady progress on that, with a new review going up on Goodreads this weekend (more are coming!) I even have a cover for the Vampire Eirik, which I am polishing with my designer.

The purpose of this post, however, is slightly different. I want to talk about strategy in self-publishing, and specifically, I want to answer questions like: How many books should an author be releasing? How much time and money should be spent on editing? What about covers and blurbs?

The lay reader’s response to these questions tends to be simple: a book should be as good as possible. It should be typo-free and well-edited; the cover should be the wow. These attitudes are often shared by big publishers as well. This approach is well-intentioned... but it is not always the correct approach. Or at least, the reality is more complex, and certain trade-offs have to be made.

The self-publishing business model is very, very different from that of the traditional model—and neither readers nor trade publishers really understand it. Some differences are obvious: self-published authors rely hugely on ebook sales, and for most, the profits from print books constitute only a small part of their income. Trade publishers, on the other hand, overprice their ebooks—they want ebooks to be a cash-cow in the way hardbacks are, instead of being mass-market products like paperbacks.

I can recall, with mirth, that time five years ago when I released my first book, the Necromancer. One of my readers at school came up and told me that I must surely make more money on the print books I was selling in school, rather than the ebooks on Amazon. I corrected her, informing her that my profit on the paperback was half what I made on the ebook, thanks to high printing costs and delivery.

Anyway, I am digressing. I would like to return my original point: that the self-publishing business model, unlike trade publishing, requires authors to publish more books in order to be successful. Put simply, self-published authors generate exposure for their books—a marketing term for how “out there” your work is—by having cheap ebooks on sale.

This is how Amanda Hocking succeeded on KDP. At first, her ebooks were 99 cents; this made readers keen to take a chance on her (especially since they wanted lots of cheap books to go on their Kindles). Later on, lending became possible through Kindle Unlimited, and that helped boost her exposure.

But of course, selling ebooks for 99 cents gives authors very little profit (the royalty rate is only 35%) and devalues books—at least if you’re selling full-length books for 99 cents. I doubt 99 cent short stories change the value proposition of full-length ebooks at $4.99 though. So what do you do? Simples: you sell some of your work at 99 cents or for free, and sell some your other work for meaty, profitable prices like $3, $4, or $5 (I don’t think most self-published authors will manage to sell at $5.99).

This is basically the “reader magnet” strategy outlined by Nick Stephenson. Still, there are some tricky questions you have to ask with the reader magnet strategy, especially if you’re a first time author. My main problem is that my free/$0.99 story, the Sandman, is hardly my best work; and while it does entice some readers, it’s not the greatest reader magnet in the world. The Necromancer is a book that probably would get readers interested in me—I could in principle lower the price to 99 cents once I publish Fallen Love.

Of course that’s not going to happen; I won’t sell a 105,000~ word epic for quite that little money. (I am selling it for $3 though, so go grab a copy!) This is where the Vampire Eirik comes in—it’s just long enough to be interesting (I hope!) without threatening my full-size novels.

Taking this strategy even further requires writing series. You sell your first book in the series for cheap, then gradually make your sequels more expensive. You can bet I’ll be doing this with the Fallen Series—the first book, Fallen Love, will be price-dropped once Fallen Desire is released, while the latter book will command a reasonably high asking price.

The Dilemma

I’m sure the reader has probably released the conflict now, and the reason for the titling of this post. The Reader Magnet strategy is great, but you need to have some books in your catalogue. That’s a lot of books to edit—which costs a lot of money. It’s also a lot of proof-reading, design, marketing copy and keyword optimisation.

Nonetheless, self-published authors can rarely rely on one book. There are unicorns like Fifty Shades, but unicorns are more often than not just that—a myth. In the trade publishing world, your first novel has to swim, or your trade publishing career sinks with it. On the other hand, a trade publisher will at least do something to get your book out there; they will put you in mass-market brick-and-mortar stores; and their covers are usually good.

In a way, though, self-publishing is good for authors and leads to better books. This might sound paradoxical, but think about it. Is an author’s first book likely to be their best? Probably not—it isn’t true for a lot of authors, especially young ones like me. In which case, should an author and publisher waste a lot of time and money editing a book that’s never going to be amazing? Probably not. It’s better to concentrate on writing the next one.

A balance does have to be struck, of course. Typos have to be squashed—but you don’t need a proofreader to do this. Beta readers can also do the job. Even reading the book in a different format (in terms of font, leading, justification etc.) can expose previously invisible typos. Full-length novels need more editing than short stories, and so on.

Likewise, cover design is hugely important to selling a book. Still, a good cover doesn’t have to cost an arm and a leg. When I put an ad for a book cover designer, I received a wide variety of quotes for Fallen Love—one professional wanted €1200. Now, I should add that this man was offering illustration and 3D work for this price, which requires more time and more skill. But there are young, upstart designers charging good prices for their work. The only thing I might avoid is pre-designed covers, if only because they are too generic and probably won’t fit your book.

Very well! I have gone on long enough. I am hoping to feature a review next on the Magical Realm. Until then!

1 Oct 2019

Cover Reveal: Fallen Love

Hail readers!

It is time for me to reveal the cover for Fallen Love, my upcoming new book. You will have seen hints of it on the Magical Realm (thanks to the redesign) and on Goodreads if you looked. This is also, technically, the ebook cover—the paperback design will contain some additional text, as well as a beautiful back cover. Nonetheless, this is the official cover real!

I have already received ecstatic feedback from my beta readers and fans, but if you would like to share your thoughts, please leave a comment below.

Now you may be wondering: how did it come about? What inspired the design? What does the cover represent? Well, I am going to answer these questions right now.

How did it come about?

This is not the first draft the designer sent me—far from it. The very first draft was OK—at least my readers thought so—but I didn’t think it was a very good representation of the story. It contained all of the elements from the book (Mark, the main character; the mutants; the landscapes) yet it just didn’t look thematically on-point.

I also wasn’t a fan of the circle-thing at the top. In principle, it should have represented one of Kaylin’s spells, but it just looked weird.

The next draft my designer sent me would form the basis for the final version of the cover, but it was still a long way from the finished product. The concept was right—I wanted to show Mark on a background of wings—but the colour scheme and typography served to give the wrong impression. It looked like a scifi cover, not a romantic urban fantasy story.

It took several more variations on this concept to get it right. Ultimately, my designer did the best work once I gave him a mockup—although my graphic design skills are crude, it helped him to understand what I really wanted.

So, if you need a good book cover in the fantasy or scifi genre, I can recommend Hampton Lamoureux. You will find him on Reedsy.

What was the inspiration?

Two covers really inspired me for the design. The first was the Mortal Instruments and Infernal Devices series by the much-loved urban fantasy author, Cassandra Clare. The connection here was obvious—the books are very similar in content, characters and themes to the story of Fallen Love. The wings on Heavenly Fire are a graphical connection to the books. Still, from a design perspective, my cover is rather different from the Cassandra Clare books.

Enter Hush, Hush by Becca Fitzpatrick. The design inspiration here is more obvious: it’s the feathers. Yet Hush, Hush has quite a minimalist design, which my designer clearly noticed and tried to replicate. The cover didn’t really work with only a few feathers, it turned out—what it needed was a lot of feathers.

What does it represent?

I will try not to spoil too much of the story here! The winged figure is of course the main character. I really loved how the blue fire interacted with the gold font and red background—the blue fire is one of the main character’s demonic powers, you see. The feathers serve up background, and also hint at the presence of multiple demons. (No, you didn’t hear this from me!)

In other news, I am also working hard on my consultant’s advice, and I’ve been making a few changes here on the Magical Realm—as the previous post alluded to. You can now sign up to my mailing list and receive a free short story when it comes out. No, I am not saying more than that. You will have to wait a little longer for a title and cover reveal on the short story!

13 Nov 2016

The Necromancer—Out Now!

Hello readers!

As promised, Alex will stop talking about the American elections, and talk instead about the promise he made to you back in October: to release a new version of the Necromancer!

As of now, it is available on Amazon to pre-order (and very soon, to buy). It’s out folks! Presently it has no reviews: Alex has contacted a number of reviewers, but they are yet to respond. No matter. Alex is sure you will enjoy the book—and he is also quite sure that you’ll be posting a review. (Right?)

Below is the new cover complete with a new blurb, as well as an excerpt. Just in case you needed tantalising ;)

In the frozen heartlands of the north, a dark force is reborn; his power is great, and his army swells with every monstrous recruit. In the Arachadian capital, Dresh, a string of mysterious kidnappings leaves the Great Mage puzzled. And in the mage academy of small town Renas, an unwitting apprentice is plunged into a quest: it will prove a fight for her life, a fight for the man she loves, and – ultimately – a fight for the future of the land.

Delve into this dark world of mystery and magic; of beings that walk the great forests and haunt the alcoves of the night. The necromancer awaits you...

THREE

Deep in the frozen north, a fortress stands tall.

It is a huge, magnificent thing: a towering construction of granite. The mountain on which it rests makes it no less humble; indeed, it seems the mountain is the subject, and the fortress the king.

Though magnificent, no ordinary human would observe it. Strong magics concealed it from mundane eyes – and stronger magics still guarded it from those with power.

In the midst of this fortress lies Neshvetal. He is the necromancer; the king of this forgotten realm. He is in the throne room. The floor is black marble, polished by the blood of the fallen: it reflects the necromancer’s face, emblazoning it in horror. The windows are tall, and shine a pale grey light – the light of approaching winter.

At the centre, lies the throne.

Carved from trees long extinct, adorned by gargoyles in vicious form, the throne is pale compared to the being that rests on top.

His black robes absorb the light, like an infinite void of darkness. His cobalt blue eyes scan what is around him.

His guards – skeletons, devoid of eyes, and armoured by growths of bone – raise their axes. Leira walks past them. She is his apprentice; and she is beautiful. Her eyes are ruby red, and her hair black as the silk of mourning. Her dark robes do not conceal the figure within.

Yet Neshvetal feels nothing. He did not live; his elixir was death. Sexual pursuits scarcely troubled him. No: he had chosen her because she was powerful. A little young in the dark arts, perhaps, but that was a deficiency he could more than rectify.

“Hello, apprentice Leira. Why do you seek my presence?”

““Apprentice Leira’ – really, Neshvetal?”

The necromancer smiled.

“You never did care for formality, Leira; an admirable trait, in truth. So let me put it to you more simply: you’re supposed to be busy spying on our enemies and commandeering our army. What the hell are you doing here?”

“I was wondering about that Silver Mage you killed.”

“Her? She was an arrogant fool – she deserved her death,” Neshvetal replied, his voice gaining the passion that all zealots possess.

“But Neshvetal... don’t you believe whomever sent her would come looking if she doesn’t return?”

“I doubt it. Silver Mage or not, she is still just one mage.”

“Perhaps it is as you say. But I am your spy, and I know many things. Our Wraiths have reported activity.”

“What kind of activity?” Neshvetal enquired.

“Vague unrest so far – a mage knows of her death, and news has spread to the student body. I shall need to find more informative spies to discover more. You know how the limitations of our undead.”

Indeed he did. Wraiths were powerful beings, immune to physical harm and capable of traversing great distances. At night they could hide among the shadows; and no physical barrier could contain them. But Wraiths could not blend among the living; they could not discover their inner secrets. And mages were particularly difficult to spy on.

“In that case, I suggest you persuade a man to work for our cause.”

“I thought as much. Thank you for the advice, master.”

“Whose the one being formal now, Leira?”

She only smiled at that.

Neshvetal waved his hand. “Very well; is there anything else you wish to discuss?”

“There is still the question of our undead army.”

Neshvetal permitted himself a small smile. It was not a pleasant one: it revealed teeth that were inhumanly white, and a twinkle of madness within those cold orbs of sight.

“Do not worry, Leira. I have many plans in motion.”

As if on cue, a screech penetrated the air. It was not the cry of a bird: it was too deep, too unnatural for that. It was followed by a terrible scraping sound, like metal on stone. Then the creature entered the throne room.

It was difficult to believe it had once been human. Its eyes glowed red, like coals; its skin was deathly white. Its claws still held blood. It smiled: its mouth was filled with canines, like those of an airborne shark.

“Master,” it said. Its voice was as inhuman as its body. It bowed, respectfully though clumsily.

“Rise, Dragethir, and tell me what brings you here.”

“Master, I am bored. And we are still too weak. Shall we kill more?” It licked its lips, savouring the blood that still dripped from its teeth.

Neshvetal pondered the Dragethir’s words, stroking smooth stubble. (It was one of the few parts of his undead body that continued to live.) He had ordered the death of a few elves, more out of curiosity than necessity – he wished to see what beings could be created from their bodies. Now he considered whether to extend his efforts.

“Dragethir, I give you permission. Find the elves, and kill them.”

The thing smiled gleefully. Then it unfurled its wings: they resembled the wings of a bat, though they were immense, and the skin was like no living creature. With a single stroke, it was out of the throne room and into the sky.

“Do you think that was wise, Neshvetal? Killing elves would give them a reason to attack us.”

“I doubt it – the elves’ power is bound to the forest, and they dare not leave it. And even if they do attack us, they are few; they can be no more than a nuisance. No, let us take this opportunity. I am pleased with their undead forms.”

“If you say so. We shall see what they can do, when battle comes.” Leira did not sound particularly convinced.

“You will not have to wait much longer, my apprentice.”

Leira rolled her eyes, and turned to leave. “See to your business, master. I have my own to deal with.”

“I trust your spies will prove reliable.”

“You have put faith in me, Neshvetal, and I will not betray it.”

She left. Neshvetal smiled faintly, in the cold light of that room. He had put much faith in her: he had entrusted his spies, part of his army, and many of his secrets to her. She, too, had been betrayed. She, too, would be there when he crowned himself ruler of Arachadia.

It was a pleasing thought. Neshvetal laughed; the castle trembled from his madness.

Buy now—only $2.99!

31 Oct 2016

Halloween, and the Necromancer in 2016

Happy halloween, dear readers!

Previously, I promised you that the Necromancer—the book I wrote at fourteen and published two years ago—would be getting a make-over. And guess what? Today is the day!

Okay, I must say that the new version is not on sale just yet; you’ll have to wait a few more days for that. But, you do get to see three pertinent elements of the new work: a newly revised blurb, prologue, and of course a brand new cover. While you ooh and aah over the new content (or at least I’ll hope you’ll be ooing and aaing) I will be busy getting a new series of reviews; expect to see them in the coming weeks.

Without further ado, here is the new cover and corresponding blurb:

In the frozen heartlands of the north, a dark force is reborn; his power is great, and his army swells with every monstrous recruit. In the Arachadian capital, Dresh, a string of mysterious kidnappings leaves the Great Mage puzzled. And in the mage academy of small town Renas, an unwitting apprentice is plunged into a quest: it will prove a fight for her life, a fight for the man she loves, and – ultimately – a fight for the future of the land.

Delve into this dark world of mystery and magic, of beings that walk the great forests and haunt the alcoves of the night; the necromancer awaits you...

And of course, I have also included the newly re-written prologue. If you wish to know more of the changes I have made to the Necromancer, well; you’ll just have to wait. Consider this a sweet taste of what’s to come...

PROLOGUE

The mage ran through the forest, and the necromancer followed.

Eiliara was her name. She was a fool. She told herself as much: You fool, Eiliara; you arrogant, stupid fool. Determined to uphold justice, you doomed yourself. You can’t fight him—you’ll die here, on this forsaken mountain. What the mage told herself was true, but still she carried on running. Perhaps she thought she could evade him—though that was folly, as any halfway competent mage would have told her. In reality, she ran because she was a Silver Mage, and Silver Mages never give up.

The forest around her is shrouded by darkness; the moon, a graceful queen in her empyrean abode, shines a pale blue light. The necromancer’s laughter follows her laboured breathing and tired footsteps. His is a dark laugh, a mixture of both arrogance and madness.

“Trying to escape me, mage?” The mage pays him no heed; she continues running.

Then Eiliara feels it—a terrible emptiness, a howling being of death, given birth through unholy magic.

The Wraith, for it can be no other, soon outruns her. It moves with an impossible grace; it moves unhindered by physical imperfections or moral bounds. It tries to grasp her in its lethal embrace—to consume her with darkness.

Eiliara’s spell is but a whispered word, and yet its power is undeniable. There is a searing flash of white. There is a bitter tang of ozone, not such as might be caused by a storm, but the taste of powerful magic. The Wraith screams, and then it implodes.

The necromancer is no fool, Eiliara; he sent the Wraith only to toy with you. Her words prove correct. There is a powerful gust of wind; the necromancer then appears before her, darkness pooling at his edges.

He was, Eiliara had to admit, rather beautiful. His jaw was masculine—a faint hint of stubble graced it, perfectly trimmed and subtly seductive. His hair was obsidian black, and gleamed in that pale moonlit night. His countenance was that of an aristocrat; his bearing arrogant and forceful.

“My darling mage!’ he begins. “To think you could destroy my faithful undead, and hope to avoid my notice. Your arrogance is remarkable. But I must admit,’ he says mockingly, “that I do find it intriguing. Are you brave, or merely stupid?”

“Spare me your insults, necromancer, and do not pretend that you yourself are not privy to the allure of arrogance.”

The necromancer laughs. “Ah, but you see, my arrogance is justified; for I am the most powerful wielder of magic in this forsaken realm. You, Silver Mage, are no match for me.”

“Let us see if your words mean anything,” the mage taunts. Her attack is powerful and without warning. The world turns white; her power slams into the necromancer. She attacks with spells—spells of fire, of thunder, and of magics beyond the ken of ordinary battle mages.

The light fades, and the efforts of her assault are revealed. The necromancer stands tall, his expression amused—perhaps even bored. His eyes glow an ethereal blue; they are alit by the unholy power of his dark magic, and the madness of his disturbed mind.

“Is that really all the mage academies could teach you? I fear I shall not be terribly entertained.” His words are not in jest; the power he unleashes cannot be underestimated.

At first he attacks with ice—a coldness so profound, Eiliara feels as if all the stars of Arachadia had been extinguished. Then he attacks with fire: a fire unearthly and blue. Then with blackness. It is a darkness absolute, an abyss into the dead lands, a precipice where life hangs dearly for its continued existence.

Eiliara’s wards shudder, and her power is exhausted. She had been trained to fight dark magics, of course: indeed she had been trained to fight anything. But none of her skills—her mastery of spellcraft, her cunning ploys, her subtle tactics—are a match for him. The necromancer was no ordinary meddler of the dark arts; his was a power perfected by many years, great skill, and staggering ability.

“So this is it,” she says.

“Indeed; but consider yourself fortunate. You, at least, shall not see the institution you so cherish be destroyed by my power.”

“Do you truly believe you can destroy the mage academies?” She intends the words to mock, but they only show her fear. Eiliara knew the necromancer’s power—and nothing seemed beyond him.

“I do, and you know full well I can. My undead shall rise and smite down the living. They shall destroy your corrupt administration and the injustices you perpetrate. Death will bring a new beginning: Arachadia shall see the dawn of my rule, and a new dynasty of necromancers will be born.”

“You’re insane.”

“Perhaps. You would not be the first to say as much, and I doubt you will be the last. Indeed I find your accusation quite entertaining. After all: it is you who live in gilded halls while the poor suffer in their slums. It is you who gaze imperiously at their downtrodden faces, secure in the knowledge that your power renders you immune to whatever revolt the peasants may devise.”

“But surely you know that the queen is responsible for this! She sets the taxes, not we.”

“Oh, I know, and rest assured the nobility shall perish with you. But you are complicit. Your powers are used to demand loyalty from the army, and ensure the continued rule of the Sovereign. I know; I was part of it, once.”

“Who are you?” Eiliara whispers.

“Don’t you know? I’m the necromancer. I’m the being forgotten; the love destroyed by the ambitions of a fool.”

“Are you...” Eiliara searches her memory. She had lived for many years—sixty in total—and recalled much. The necromancer’s identity was a suspicion; if only it could be confirmed...

“Are you—”

“Enough talk. Prepare to die.”

Eiliara focused all of her power on the strength of her wards, but she kept a tiny reserve—the very edge of her power—towards a different purpose. As the necromancer attacked, she sent out a message.

Eiliara died on that cold night. Her screams found no solace in the inclement face of the mountain, nor in the necromancer’s forgotten conscience. But her message found its way.

A darkness rises; a necromancer haunts the mountains of the north. Years ago, he was betrayed. His vengeance cannot be quenched. He must be stopped—and his progeny kept safe. I am Eiliara, and I will be no more. Let my sacrifice not go in vain.

8 Oct 2014

The Dead are Rising...

Faithful followers,

The Necromancer is available for pre-order now! Please see links at the bottom of the post. There are two versions: one contains bonus content and is available exclusively via Amazon; the other is available at Smashwords and (hopefully!) more eRetailers to come.

The Cover

Behold the eBook cover! And now, gaze upon the printed face...

Do you think one is better than the other? Do tell!

What Next

I am preparing for Halloween. I am busy getting looking for a company to print out banners, posters and bookmarks; I have some phone calls to make (the taxman); and this blog will be getting an Extreme Blog Makeover, so keep followin’.

Okay. Back to work!

Pre-Order the Necromancer

I have not forgotten!

Bonus Edition on Amazon

Smashwords Edition

15 Sept 2014

Goings On

Faithful readers:

This will be a short post. My designer and I are working to perfect the final cover drafts; my cartographer will hopefully be finished soon; and I have been most occupied with my A-levels—they are proving remarkably fulfilling—as well as with reading the Picture of Dorian Gray.

I shall review it as soon as I am finished. If you are not aware, the novel is considered a ‘classic’; though, in this case, the title is merited: the prose is spectacular, the characters absolutely fascinating (and subject to no small mystery) while the plot is unexpected and engaging (though not thriller level).

More shall come once I am done with it. To truly do it justice, the review would have to be long; for the novel is indeed more than most: it is innately philosophical, and poses some rather difficult questions for me.

But enough with all that! Stick with me. Once the cover is finalised, everything will quickly follow.

Very well. Until next time!

30 Aug 2014

The Necromancer... Covers

Hello Blogosphere:

I, Alex Stargazer—writer extraordinaire and not-so-extraordinaire poet—presents to you five possible covers for my book, known as the Necromancer.

If you are unfamiliar with it, know that it is a High Fantasy novel with—surprise surprise—a Necromancer (that is, a person who raises the dead) and flying zombies, and magic, and stuff. Oh: did I mention our Necromancer is trying to take over the respective world?

Well, he is. That’s what people with 50,000 strong undead armies tend to do. Right? (Note: those 50,000 undead happen to be really fast, and strong, and fearless and all that. He’s kinda difficult to stop. That’s kinda the premise of the book, ya know?)

In any case, here are some descriptions of him:

Neshvetal permitted himself a small smile. It was not a pleasant one: it revealed teeth that were inhumanly white, and a twinkle of madness within those cold orbs of sight.

His eyes are balls of azure light, glowing with deep, unnatural power; his hair is darker than the darkest of nights, yet it reflects the scant moonlight like some fantastical lake. His form is tall – his posture, arrogant. A cruel smile lights up his long, aristocratic nose and handsome (if rather dark) features. He knows he has won.

As you can see, our Necromancer looks as scary as he is.

And without further ado, I present to you these covers. (Thanks goes to Kit Foster for providing them. Yes, I am paying him. Yes, it is still polite to thank those who enable your success.)

You can share them with whom you think may be interested. And please make sure to rate them on the comments below. After all: a good book needs a good cover to get you lot to read it.

26 Jul 2014

An Important Update

There are a couple of important things I must share with you.

On Monday, I shall be retiring to my country home. I shall be there for three days: and on Thursday (morning or evening) I shall be back. Unfortunately, the current Romanian Internet infrastructure does not stretch very well to the countryside; I shall be unable to blog.

Until then, I intend to finish my essay and publish it where all can see.

I am also currently involved in attempting to repair my external drive. But rest assured: my documents are also kept on Google Drive—you’ll be getting all the goodies.

I am also now fully involved in researching cover artists for the Necromancer.

I don’t think I can make that story truly become what it should be without performing a total rewrite; a feat which I am not capable of attaining, for I have other—better—tales that I should be working on.

That said, I am starting to see the finish line. I am starting to see the point at which I can feel… not proud—that’s too strong a word—but content, to put the name ‘Alex Stargazer’ on it.

I must also admit that there is more to this update than logistics. I’ve had a period of… depression. There are a lot of reasons for this: I’ve been lonely, for one. I don’t know many people outside of school—and it’s not like writing is a team effort.

I’ve also been reading a rather depressing book—the name of which I shan’t mention, but you can read my Goodreads reviews—that has struck oddly close to home.

Finally, I have memories of this apartment. Bad ones. And too, too many.

I’d be lying if I said depression wasn’t a long standing problem for me. There are reasons for this—and maybe I’ll write them down. But not now. When I’m ready.

You probably aren’t happy to hear all of this. Depressed bloggers aren’t happy bloggers (oddly enough); and if the blogger isn’t happy, there won’t be much blogging, now will there?

But, I do have bad periods. I will get over them; I always do. Everyone has them, so it’s no point pretending: that’ll just make it worse.

I’ve been doing a lot of pretending in my life. Sometimes, I look at my loved ones, and think: do I really know you? Do you know me?

And do I know myself?

I answered those questions last night. Not fully—I don’t think I can do that. Yet.

I may or may not blog about this in more detail. You may not want me to (who ever does?) but understand that this is necessary. I need to find myself; or else I’ll just be living a pointless, meaningless, emptiness.

Very well. I have said what needs to be said; for now. My essay will be coming soon: I’m sure that’ll entertain you. It’s got a lot of weird stuff about what is art, and why it matters, and all that. There are also things about carrots.

What? You didn’t think I’d let that Dutch transgression (breeding orange carrots! Good heavens!) go unnoticed, now did you?

27 Jun 2014

Some Advice on Covers

I’m not sure whether I’ve started a new trend, or copied an old one: but personally, I like learning about how a book’s cover was created—the thoughts that went behind it, the meanings behind it, and so on.

I think there is also a certain base aspect of the cover that readers aren’t really aware of. They don’t realise why the small, delicate illustrations on hardback covers are replaced with large, bright-coloured covers on the ebook version. It’s obvious once you think about it: small images can’t be seen in retailer previews.

And the retailer preview is one of the biggest ways a book gains attention.

This post will go into a modest amount of detail on the creation of my book’s cover, what I like about it—and what I don’t.

First Off: Size and Formats

One major practical concern for electronic covers are their digital size.

View The Sandman’s Cover in Full Glory

If you clicked on the rather vainglorious link above, you would have been directed to Google Drive, where you can view it. The cover—at its full size of 2500x1563 pixels—is 5.5MB. This is too large to be embedded on a webpage, and certainly well above what any retailer will let you use.

To work around this (and it is a workaround) you have to: a) use a smaller cover—reducing your ability to see fine details; and b) you have to use compression.

Most people use the JPEG format—and this is indeed the de-facto standard for pretty much every retailer or site—because it generally does the last point best.

Compression, for those of you who don’t know, is basically removing invisible elements of an image to lower its size, along with some mathematical cleverness that allows the same amount of information to be stored using fewer bits (at the cost of marginal CPU power to de-compress). It’s really clever, actually: you can cut down an image’s size considerably with no visible quality loss.

Beyond a certain point though, you lose quality. This, unfortunately, occurs on many retailer websites. But, hey; technology is constantly advancing, so this should get better.

The Process

It’s actually not terribly complicated. You first look for an artist.

It’s a bit of the Wild West with that right now. Finding a good artist mainly involves a lot of Googling, careful analysis of their website (is it professional? Book cover artists should easily be able to make a good-looking—though not necessarily functional—website) and analysis of their previous work.

For the latter, I usually have to think about: do I like their style? No author wants a cover they won’t like.

There is also the question of: will this appeal to my readers? And have they shown expertise in crafting their work within the limitations of ebook covers (especially size-wise)?

Once I’ve gone past those initial stages, I go onto step two: the genuine check.

Are They Genuine?

Sadly, not all of these ‘designers’ know what they’re doing, or produce real quality work. It’s generally unlikely for a fake to get past the initial stage (that’s the thing about visual design; you can quickly tell whether it’s any good).

Still, I make sure to call up older clients and ask them about their experiences. In addition, I may check on sites like Writers Beware to make sure they aren’t some well-known scam. (On a slightly unrelated note, check out Publish America for a prime example of scammers catching out unwary, naïve writers.)

Working with Them

Once I make up my mind on who to hire (and yes, I do take into account obvious things like price) I then contact the artist. Email is the way to go here, although some require that you make first contact via a form.

Essentially, I send them information about:

  1. Who I am (so they know I’m not Criminal X Who Preys on Cover Designers);
  2. About my book—what’s it called, what genre it is, who do I think my readers are, and of course: the blurb.
  3. My idea for a cover design.

For the Sandman, my initial idea was to have Leila standing with her back to the audience, and framed by the sun. Font-wise, I thought serifs.

My designer—Marushka from Deranged Doctor Designs—agreed with me on the latter count, but thought the initial design too difficult to see at thumbnail size.

Personally, I wish she would have given it go—I think it would have been more powerful than what I have now, and more representative of the story’s content, and wouldn’t have given off that romance-y vibe that this one does.

Still, what I have is what I have, and I shall move on.

In any case: we went through a couple of drafts. Some may move through several (provided that the artist’s conditions allow this—make sure to read that!)

The first draft they gave me looked like this:

This leads me to another tip: make sure the designer in question has a strong interest and familiarity with your genre. This is especially problematic with designers specialising in romance (as you can see from the above). Sorry for any of you romance fans out there, but romance designers are the least imaginative I’ve ever seen—and what’s more, they seem resolutely stuck in romance-land.

(The romance genre and readers as a whole suffer from specific issues, but that’s a different matter.)

Other Considerations

Target market is the most often brought up. And yes: some books appeal more to one kind of person than another, and you’d be naïve (and even foolish) not to capitalise on that.

My short story, for example, doesn’t appeal to teenage boys. And yet I am one. Really, I write for the adult market, and from what I’ve seen, the Sandman appeals more to women.

That said, I would never target older women while alienating everyone else. That would be bad for my book, and bad for getting my message across. Neither should you.

Also, think of the colour scheme. A good designer should immediately recognise this (gold, yellow and red are obviously what one would choose for a book set in a mythical desert). But, people do make bad judgements from time to time: if your book is a vampire novel with a large amount of grey imagery (a not random example—I’ve had a cool idea about that, but let’s not get off-topic) and the designer picked red and black—well, maybe you should have specifically mentioned that little detail.

And don’t be afraid to say to your designer that something doesn’t work. Any good designers knows their initial draft may not immediately be right, so they should give you at least two drafts complementary.

Ideas Behind This Cover

It is quite self-evident in my cover. But when my next work comes out, expect to see a substantial amount of writing on that.

Conclusion

If this post sounds like a diatribe, you have my apologies. Finding a good book designer isn’t easy—and few are going to be giving it out for cheap. If I were to look back on my younger self, I’d say: get ready, do your homework, and make sure to get grandma to foot the bill.

I think that pretty much sums it up. You must be prepared to research, and to pay.

But the end result may well be worth it.

For the record: I think DDD did a great job with the colours and typography. Don’t be discouraged from using them—their prices are fantastic. Just saying.