Showing posts with label LGBT. Show all posts
Showing posts with label LGBT. Show all posts

3 Feb 2020

Fallen Love is finally here!

Hello intrepid reader!

I am delighted to announce that Fallen Love is now on sale! Head over to the Fallen Love page up top, or click the button below.

You can get Fallen Love as both an eBook and a paperback. What’s more, the eBook has Amazon X-Ray enabled, which lets you see useful information about characters and terms.

Thanks to my Kickstarter backers, I have raised enough money to promote Fallen Love and cover my expenses. So thanks a lot guys! This story has been a long time coming. After two publication date delays (first December, then January, finally February) it feels like a relief to finally have it out there. Read my story on Kickstarter

Next Steps

If you’re just reading this, why not head over to my Facebook page or my Twitter and stay up-to-date with everything going on. If you want to know when book #2 is out—and get a free copy of my short story, the Vampire Eirik—please sign up to the mailing list.

What I’ll be doing

I will be busy over the coming days and weeks with promotion, including guest blogging organised by the gals over at LesCourt & Vibrant Promotions. Aside from that, I will be busy with social media and advertising. The ads will start once the book has its reviews.

Wish me luck! It’s finally coming together.

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!

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!

23 Sept 2019

Fallen Love is coming out!

Hail reader!

Following on from my previous post (“Publishing Woes and Other News”) I have some good news for you all: Fallen Love is coming out in December. This was not an easy decision to make, but I think it is the right one, and I hope you’re all as excited as I am to read my new book. It’s been a long time in the making.

Self-publishing isn’t cheap, of course—I am trying to get it done on a €1500 budget, which is basically shoestring. This is without considering the money I’ve paid for editing over the past couple of years, which comes out to about €850. The biggest expense (developmental editing, easily costing €2000 on its own) had to go. Even so, I have high hopes for this book, not least because of the awesome cover and my helpful marketing advisor.

Ah yes, the cover. I shall be revealing that very soon—I have one more little detail to finalise with my designer, which is why I am not showing it to you in this post. The new blog design, however, should give you a clue about the colour scheme and thematic elements.

I can, however, reveal the blurb, which you can also read on the page named Fallen Love, up top:

There are many kinds of monster that walk the Earth. Some are ugly. Some speak beautiful words through forked tongues. Some possess the grace of angels, and the hearts of demons...

Upperclassman Conall is rich, impeccably dressed, and set for a prestigious career in the Party hierarchy. He doesn’t lack for anything—except, maybe, love.

When he finds Mark, alone, abandoned and hurt, he doesn’t expect one act of kindness to alter the course of his life forever. For Mark is more than just beautiful; he has the spirit of a warrior, and his heart is divine. He has the power to save Ireland from the tyranny of the Party—or to to condemn it to something far worse.

Fallen Love is packed full of magical action, futuristic technology, and diverse characters. Demons and unscrupulous politicians face off against witches and ordinary, determined humans. If you like romance that’s dark and funny at the same time, this is the story for you!

What readers have said...

★★★★★ “This was an incredible story and I will be waiting for the next book in the series.” —Teresa, aka Fallen Angel.

Stay tuned for more updates! And before I forget to add, the publication date is set for 23 December. But if things go well, I may move it a bit earlier, so hope for the best!

4 Jun 2017

The General Election 2017: It’s as Simple as ABC

Hello readers!

Today—as you may be able to guess—the subject is the UK General Election. This will not be an analysis piece. The question I wish to answer is simple: how should you vote? The answer is likewise simple: anything but conservative. Of course, this is not a propaganda piece, either; I wish to persuade you, the reader, with sound, factual argument. So buckle up—it’s going to be an interesting ride.

Theresa May: Weak, Dishonest, Out of her Depth

The Prime Minister’s mantra this election has been “strong and stable”. She repeats it at every opportunity (except for debates, of course, because she doesn’t attend those). Indeed, the new mantra has even superseded the old clichés—such as the much-loved magic money tree.

It is said, however, that weak leaders describe themselves by what they hope to represent, rather than what they actually represent. Think of it as being a bit like “the People’s Republic of China”—neither a republic nor of the people. More a statement of ideals, if you will.

Theresa May is, in many ways, politically inept. The commentariat used to believe she was some sort of political genius; how else, they reasoned, could she have toppled Cameron and become PM? (The answer: opportunism and lack of serious opposition.)

The most damning proof of her ineptness is likely the “dementia tax”, so baptised for targeting people in need of social care—aka dementia sufferers—with a tax on the value of their home. The details are problematic enough; the tax is rife with the possibility of abuse. But perhaps more worryingly still, May announced this unpopular policy before the election, U-turned, and then pretended she hadn’t. Hardly the mark of a great statesman or master negotiator.

Speaking of master negotiators, her Brexit approach is... utter shambles. This may surprise some of my readers. After all: they say May is trusted on Brexit. She certainly wants you to believe it. But I shall recourse back to the analogy I gave previously; the People’s Republic of China is as much a republic as Theresa May is a “safe pair of hands”.

Partly this is because of her team. Boris Johnson, the Foreign Secretary, has described the Germans as Nazis—an act of such mind-numbing stupidity, it almost defies comprehension. Then there is David Davies, the Brexit Secretary, who admitted he had made no economic assessment of Brexit—nine months after the referendum! And don’t even get me started on the Secretary for International Trade (or is that Dr?) Liam Fox, who was forced to resign as defence secretary on allegations of corruption.

Then there is May herself. “No deal is better than a bad deal” she proclaimed to thunderous applause, as if the EU negotiations were like buying a carpet at a bazaar, perhaps. And not, you know, a massive constitutional challenge with millions of people’s citizenship rights—on both sides of the Channel—at stake.

So-called “No Deal” Brexit would also be an economic disaster, the likes of which the much-maligned Corbyn would struggle to accomplish. Banks are already making plans to leave, with calamitous consequences for UK tax revenues. Tearing Britain out of the Customs Union will result in huge delays and expenses, destroying pan-European supply chains for British exporters, and forcing business leaders to defer investments or move production elsewhere. The country’s triple-A rating has also been slashed.

Or, in less technical terms: No Deal Brexit will be a shit storm. And the fact that Theresa May is seriously contemplating it should tell you a lot about how competent she really is.

The A-Word

The Tories wanted this to be the Brexit election. Alas, this is not so. The fact of the matter is, this country has not forgotten about austerity; it remains a problem, festering deep beneath a complacent Conservative party. People do care about the NHS, which the Red Cross has deemed to be in “humanitarian crisis”. They do care about schools, which are facing real cuts in funding per pupil. They do care about high energy prices, social care, pensions, and the chronic shortfall in housing.

And if you care about those issues, then don’t vote Conservative. Judge them on their record, as they say. I won’t go into technical details; the effects of their policies are plain for all to see.

It’s as easy as... ABC

It’s easy for me to say “anything but Conservative”, you think. Isn’t Corbyn some swivel-eyed IRA supporter? Doesn’t Tim Farron think gay sex is a sin?

Only, it isn’t as hard as you think. Corbyn has his sore spots, true. But what he may, or may not, have said about the IRA was thirty years ago; this is, after all, 2017 and not 1983. The agonising over whether or not he’ll press the red button is just that—agonising. It’s about as likely as Godzilla jumping from the sea and rampaging through London. (Okay, maybe I exaggerate. But only a little.)

And Corbyn does have the answer to the problems this country faces now. His manifesto recognises the real issues we face, puts forward serious proposals to fix them, and is costed too. (Remember the Tory manifesto? Which party seems more competent, really?)

But why, you ask, should you not just vote for Labour; in other words, why is my motto “anything but conservative” rather than “vote Labour”? The answer is our good old First Past the Post voting system. It is better to vote for a Liberal Democrat, or a Green, if voting Labour means getting Tory. Or in other words: better half a loaf of bread than none at all.

You have every right to doubt the Lib Dems, though.

Tim Farron is the embodiment of hypocrisy. But as I say: sometimes one has to choose the least worst option.

Parting Words

We do not know exactly what will happen on the 8th June. Perhaps we will have a hung parliament; perhaps the Tories will win comfortably. It is even possible that Corbyn will do it, and become Prime Minister.

But let us leave that for later. For now, the message I want to give you is this: we live in on the edge of a very dark time in politics. Hubris, short-sightedness and ignorance could isolate us from Europe, with devastating consequences for the economy and for the people caught in between. The Tories have run down our public services to breaking point; it is only a matter of time before something cracks. Our Prime Minister has shown her weakness to the world.

This is no time for entertaining hypothetical scenarios about Armageddon. This is no time for mud-slinging and personality politics. On the 8th of June, I urge you to vote with a clear head. The future is in your hands... even if it’s cliché.

20 Apr 2016

Mr Stargazer on Editing

Hail readers!

It has been a while since I last updated the Magical Realm, though I do hope you have taken notice of some of the essays I’ve bumped up. Largely, my blogging efforts have been sidelined to work on the Ark; but now that I have collaborated with my editor, and await more from her, I can find enough time to blog.

And what will I be blogging about? Well; that’s easy enough to guess. Editing! Here I will detail my experiences so far with my editor, and what it has meant for me and the Ark.

What I’ve Requested

First off, you have to understand exactly what I’ve hired my editor to do and at what stage I am with the Ark.

Now: I don’t know how much attention you’ve been paying to the Magical Realm over the past couple of weeks, but I can tell you that the Ark—my Sci-Fi novel come LGBT romance extraordinaire—is 2/3 finished. Due to various reasons (writing style, voice of narrators, and more besides) I decided to pause work and revise the Ark under the watchful eye of an editor.

I hired my editor to do three things, basically:

  1. Help me with my query letter—believe me, it’s not all that simple. The query letter sells my book to agents. I have to get it right.
  2. Give me specific comments inline of the book.
  3. Give me an assessment for the entirety of the book, covering plot, characterisation, writing style, and more besides.

The one thing I have not hired my editor to do is, well, edit. She does not actually re-write my prose or make edits to the text proper. And why, do you ask? Well; editing is time-consuming. And therefore expensive.

Hiring the editor to perform an editorial assessment with commentary, however, is cheaper and still gives me the valuable perspective of a 3rd party and an expert in the field. The only caveat is that I have to do the edits myself. Then again, that’s no bad thing—because it’s my book, my writing style, and I’m the person best placed to maintain my voice and vision throughout.

All of this, however, does involve a little work. (‘But Alex!’ you cry; ‘surely writing a book is a lot of work anyway?’ And you’d be right.)

Query Letter Writing

Writing query letters is hard. But the basic layout is fairly straightforward:

  1. You start with ‘dear [agent’s name]’ and ideally not with dear agent. Agents don’t like that.
  2. You usually introduce your novel at this point. You mention word count, genre, and possibly successful books that your novel resembles in style or form. It is also recommended that you personalise your query letter with specific reasons for why you chose the agent—something like ‘since you represented Cassandra Clare, an author I admire and whose writing style I resemble, I believe you would be an excellent agent to represent my own work.’
  3. The hook. As the name suggests, this is a short paragraph that hooks the agent into reading more. In my case, it goes: Two boys falling in love. A world falling apart. And a chance to escape it all...
  4. The meat. Here you describe your book in a bit more detail. Do not make the mistake of thinking that this should be more passive than the hook; it shouldn’t be. It should be just as interesting as the hook, only longer. Generally, the meat should be about the key conflict in your story. It could be character-focused, plot-focused, or even world-focused. A fantasy novel may be in the latter, and could start with ‘In a world where dragons fly and the dead walk among the living...’ A good length is one, two or three paragraphs and preferably no more.
  5. (Optional) Your biography—what have you written? Do you have prior publications? It doesn’t have to be a book; it could be writing in newspapers or even blogging. Other pertinent details like e.g. having a creative writing degree or winning a competition should also be included.
  6. Closing thoughts—say why your book will appeal to the market, and thank the agent for their time.

Now, that’s a lot of stuff to squeeze into a page (or close to it). And it’s not easy—you have to be both precise and informative without being overly verbose; your prose has to capture the interest, and only in a few paragraphs.

So far, my editor has proven rather helpful. For example: initially, my query letter did not have anything on why the Ark would appeal to market demands. The layout was awry, with no clear structure. There was no reference to other successful authors. And most importantly: the editor re-wrote my meat.

Of course I ended up re-writing it myself. My voice is pretty unique. However, it did give me a much needed shove in the right direction; and that led to what I feel is a stronger piece of text.

The editor was also helpful in perfecting some of my prose. My hook, for example, did not initially half-rhyme the way it does.

Edits on the Ark

The editor has given me plenty to think about. So far, she has raised:

  1. A problem with the beginning. The action and tension of the prologue did not really flow into chapter one; the tension broke like a wave, instead of cresting.
  2. The prologue was overwritten.
  3. The quotations and poetry in chapter one came in the way of the reader interacting with the book—and worsened the sense of disconnect from the prologue.
  4. The writing style was at times too poetic, and detracted rather than improved my authorial voice.
  5. The Technical Notes section would turn away some readers, being somewhat daunting and preventing interaction with the book.
  6. And numerous other minor points.

This led me to re-write the prologue. Then, I re-wrote the first scene of chapter one and made quite a few edits to the rest of the chapter. I also removed the technical notes; pertinent information is now being kept in footnotes.

Wrapping Up

As you can see, revising a book is a hell of a lot of work. But I can tell you one thing: it’s easier with an editor. An editor can tell you what works, and what doesn’t; and, once you’ve revised the prose, they can offer feedback and tips.

Also, unless you happen to be extremely experienced and able at writing query letters, I would strongly recommend you hire an editor for help with your query. This service is far cheaper than editorial work on your book (indeed my editor was kind enough to offer it for free under the price I paid for editorial assessment) and is very useful for getting your query letter right.

And good query letter = much better chance of representation.

Anyway, that’s it for now folks. I’ll post updates once I’ve done more work with the editor. And, sorry to break it to you, but my usual regime of poetry/essays will be put on hold for a while. Don’t complain; there’s a huge backlist of older essays here on this blog.

And of course, you could always take a look at my finished books—the Necromancer and the Sandman.

Now, goodbye. There’s more to be done...

3 Feb 2016

Workings on the Ark

Hail readers!

Though I have, alas, not written recently here on the Magical Realm—and of what I have written, much has been concerned with politics—I shall now rectify this with a piece on (drum roll please…) the Ark.

In particular, I will release a hitherto unseen chapter of the Ark. It is actually the beginning to part two; nevertheless it requires little context to understand, and a great deal may be said about it. So without further ado…

Chapter Eleven: Words and Analysis

You can read the PDF here. That is perhaps easiest, but you can also read it here on the Magical Realm—along with my commentary:

CHAPTER ELEVEN

Kaylin

Wings. Dark against the sky; whispering in a wind that brings the faint odour of death and immolation. Wings, everywhere. A terrible sound they make; a sound beyond words, a sound beyond sound. They make a terrible absence of sound, as if the very ether of being were torn into nothingness.

The world is bleak. The ruins of civilisation lie scattered: a burning
house there, or the faint ruins of a city. He lies there. Him, and his lover. They hold hands; they look around, lost and forlorn. And then, suddenly, a great laugh echoes across the world.

It seems to have no place, and yet it is everywhere. It is in the
corpses that lie strewn across their feet, the final rebellion of humanity. It is in the corpses long buried and forgotten in some timeless struggle. It is in the very dust of the Earth, the very air we breathe; and it is in that terrible emptiness. From there it originates.

Then gold-white light erupts, and the vision is over.

Now! Some context. As the first chapter in part two, chapter eleven introduces us to the raison d’être of the Ark: the cause of the Earth’s demise, and the struggle of our two protagonists to escape.

What we read here is a vision of Kaylin’s. I shan’t say too much of her, except to say that she is a prophet. By this I mean not a charlatan and purveyor of fanciful lies, but a person genuinely capable of seeing into the future. Her visions are remarkably accurate, but ultimately contingent; they can and do change.

Kaylin also knows the two protagonists by acquaintance (though the protagonists themselves know nothing of her true nature) and happens to be on a quest to save the world. I guess I should have mentioned that earlier, eh?

Anyway: the vision details the destruction of the Earth. But there is more to this chapter…

I BLINK. The boy in front—the boy from the vision—looks faintly perplexed. Casey, was his name? He looks at me with dark blue eyes, concerned. I plaster I smile; bright it is, brighter than the sun that streams in through the windows.

I’ve gotten very good at concealing my visions. I had to be: no one trusted a mad woman who saw things. Not unless they knew how my visions always came true. Not unless they knew of how I had won the lottery twice, and then a third pseudonymously. If they did, they would fear me; and rightly so.

We talked of idle things, then. The boy seemed happy enough to help, but he was taciturn, all in all. I didn’t blame him. I’d seen those dinosaurs—I didn’t want to get caught by them without my armour and weaponry. And I’ve been trained.

Eventually, he leaves. I look at him, and my mind is filled with worry.

I did not know when the vision would come true—I’d had a sense of it, but no more. It could be in ten years. It could be in one; but it would be soon, relatively speaking. Silently, I cursed.

I passed through the rest of the day, dealing with the teachers—God, they could be such fools—before walking out of New Aloysius. Being a headteacher could occasionally prove to be some work, but, well: a good cover was necessary. And being an ordinary teacher would have taken up even more of my time.

The sky above is blue and bright. I see the remnants of that darkness, and feel the faintest hint of cold fear.

I needed to plan.

This scene is concerned primarily with introductions into Kaylin and her character. It is also, of course, important in that our dear Kaylin actually meets one of the protagonists for the first time. It is one of those moments which neither consider particularly noteworthy or important, but which fundamentally alters their lives in ways neither can foresee.

MY MERCEDES responds smoothly and silently. It is a modest thing, really. It has leather seats, autopilot, climate control—hardly luxuries, in the general scheme of things. There were Ferraris that could reach a hundred miles an hour faster than an ordinary car might reach thirty. This? This was just a modestly sized, modestly priced, modest car for a modest lady.

I pull into the driveway, the gravel protesting faintly underneath. Located in a small patch of woods, my house appears unremarkable: it is built with a flat zinc roof, cedar cladding, and dark steel windows. Modernistic, yes; but not the playpad of a billionaire.

And I was a billionaire. I’d won the lottery three times, and never made a mistake in the stock market. Seeing the future is a burden I’d want few to bear, but it’s not without its perks.

Inside, the furniture was plush leather; a fireplace lay cold, surrounded by finely cut glass and stone. I’d designed it myself; and I’d been lying if I said I wasn’t proud.

Still, I had more to worry about than my décor.

I walk to my living room, remove the rug—an elegant bear is sewn across the face—and pop open a trapdoor. Down the rabbit hole I go. The stairs are sheer and vertical, the metal hard and cold. When I reach steady ground, white-blue lights spring to life.

I keep a number of things here. Firstly, there’s a suit of armour—they’re worth a small fortune, but they can stop quite a few bullets, shrapnel and ex-plosions—along with a spare. There are weapons. A few rifles, a hand-held rocket launcher, and some grenades. I even keep a few knives around; their use was more aesthetic than practical, but then I’ve always been fond of a good show.

Then there’s the cash. I keep a million here, but no more. I wasn’t stupid.

Finally, the place is home to a computer.

It is unremarkable: three monitors, a keyboard and mouse. I was very traditional. You wouldn’t find me with tablets and holograms; a good 8K monitor did the trick for me. Although, I did have one or two extra tricks.

I had a projector, and of course: my tactical table. It was a substantial table, all covered by an enormous screen. I place my iris above the scanner, and then my finger over the fingerprint scanner. The screen bursts to life.

A world map is shown; my operations are highlighted by green dots. I have quite a number, in most of the world. I was nothing if not thorough.

I make my way to the computer, enter a password (interesting fact: I could usually discern a password just by standing in front the screen) and pull up my contacts. I had access to senior diplomats, generals, programmers, and even a few politicians. I had access to some of the greatest scientific minds the world has seen; I knew engineers, chemists, physicists—you name it.

But right now, I needed some information. I needed to know when the bastards thought the damn ship would set sail.

I needed to know, because those two kids had to be on it. When the Ark left, it would take them; away from Earth, and away from Armageddon.

The thought brought a grim smile to my face.

The rest of the chapter provides fascinating details about Kaylin, and a certain dash of excitement. The world will come to an end—unless she can stop it.

If you care to read more, keep following. I’ll be releasing more posts on a similar vein. But now, I must leave you; the Ark, after all, does not write itself.

12 Jan 2016

2016 in the Magical Realm

Hail readers!

With the advent of the new year, I have decided to update you both on my personal situation, and on the plans determined for the Magical Realm in 2016.

Firstly, I am back in England once more. My foray to the Schwarzwald over (it having been otherwise pleasant if not for my unfortunate car accident) I am now back in school—and back to work. Although my A-levels do of course take up my time and efforts, I have nevertheless plans for 2016.

But before I go into that, why not take a look at my photos? I have taken photograhs of my skiing adventures; of an impressive cathedral I was fortunate enough to visit; and of the landscape of the Black Forest.

Now! Without further ado, here is a list of my goals for 2016 here on the Magical Realm:

  1. I am preparing an essay with Oli (on problems with Conservatism) and this I shall publish soon. It shan’t be my only political essay, of course, for the year; and hopefully Oli can join in others.
  2. I shall write more on current affairs.
  3. I shall continue writing the Ark. In fact: I may even decide to feature more chapters, particular scenes, and even feedback from early readers.
  4. The Magical Realm will, at some point, be getting an artistic make-over. The current ice-blue colour scheme (appropriate for the phantasmagoria of the Necromancer) shall be replaced by something more true to the Ark. Perhaps a Sci-Fi landscape will feature, or even—more boldy—something related to the protagonists’ romance. The Ark is a very blue novel in terms of landscape and phantasmagoria, however, and so it is possible the current ice-blue theme will be replaced only by an alternate sky-blue.
  5. Finally, I am considering extending the technical aspects of the Magical Realm to include a more dynamic interactive model as opposed to the current static one. Early plans include a home-page with a slideshow depicting various major posts (and comments) along with ‘news’ banner—to include e.g. where I am—as well as: a section of the blog where all book-related posts and published material are kept; a more interactive way to read and purchase my books; and even integration with social media.

Well, that’s it for now folks. Keep with me for my upcoming essay on Conservatism. And Happy New Year!

20 Nov 2015

Writing Shadows and Sex

As hitherto mentioned, yours truly is engaged in writing the Ark. It is a substantial endeavour, as any novel inevitably is—particularly one that falls into three genres: Sci-Fi, fantasy, and romance.

However, none of this is to say that I have forgotten my duties here on the Magical Realm—as some of my readers have already reminded me. Thus, the topic of this post is one concerning the writing process. Having completed the first part of the novel—entitled Love—and being occupied with the second part (Life) I feel it necessary to address the topic which I’ve covered previously, albeit with updated and extended detail.

To put it far fewer words: I’m going to talk a little about sex.

Oh, Dear…

In my previous polemic on the matter, I wrote of how sex was a powerfully taboo subject to discuss—in books, and outside of them. I’ve already covered some of the causes; our society’s contradictory attitude being one (we seem unable to speak of it, and yet able to speak only of it) along with, perhaps, a natural human aversion to discussing deeply personal matters.

However, today I am not concerned with this; today, my concern is rather more simple: how to write sex.

It is already an open secret that the Ark contains a sex scene (which is currently under hot debate by various readers). Why? Well, the answer to that is something I’ve already hinted at: sex is an important part of romantic relationships. It can make or break a relationship. And of course—it provides an excellent opportunity to explore the character’s thoughts and relations.

On a purely literary perspective, sex is an important key aspect. Any romance novel worth its salt will feature some form of sex; for without it, such tales would be deeply dissatisfying and incomplete.

But how, oh how, is one to write them?

Shadows

A truth of all writing is that it is often concerned with what I call the shadows of things. Consider the following analogy: suppose you were a conductor in an orchestra. What do you do? Do you attempt to manhandle and strong-arm the musicians; do you force the melody from their lips and their instruments?

Of course not. What you do is direct—you are there to guide them to the melody you know, but ultimately they achieve it through their own powers.

Writing is much like that. A writer cannot attempt to photographically imprint the tale on the reader’s mind; that is the purlieu of the film medium. What a writer does is create the shadows of things, and allow the reader to imagine the rest.

Take the example of character description. One can attempt to describe every minute detail; every blemish, the exact colour of their hair, their precise height and build and bearing—and any half-competent writer can do this just fine.

But a master writer knows better. A master writer can create a more vivid picture using a flash of green eye, a touch of white dress; a contour of a strong shoulder.

And so, you ask: are sex scenes much the same? As is often the case, my answer is cryptic: yes and no.

A Tricky Matter, Indeed

Writing a sex scene ultimately requires one to strike a particular balance. Too little detail and the characters’ true relationship will remain obscured; too much and you may not capture the true essence of their relationship at all. And that’s not even jumping into the murky matter of ‘Oh, but what would the readers want…?’

Allow me to put it unkindly: a writer’s primary concern is not for their readers’ sensibilities. It is for their tale. There, shoot me.

Anyway: let us get back to the matter at heart. How much detail is too little or too much? The answer to that ultimately depends somewhat on the tale itself. In my previous novel, the Necromancer, a high level of detail for a number of scenes gave it a particular quality—a phantasmagoria of Winter magic and the dark whisper of the Necromancer’s dead:

He sits in his throne room. Its floor is black marble, polished by the blood of the fallen: it reflects the Necromancer’s face, emblazoning it in horror. Windows stretching high unto the ceiling fill the room with grey, monotonous light.

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.

But sex, alas, is a tricky matter. Attempt to describe everything the characters feel, and elucidate on the precise anatomical details of their intercourse, and, well—you may end up lecturing the reader on the workings of the human anatomy. But fail to give the reader some juicy details, and… disappointment will inevitably follow.

You may be able to guess that this question is one I have not yet found an answer to. Or, rather, I know the principle but may not, perhaps, have the practice in order.

Anyway: I must leave you now. I hope the above has been informative and fascinating. Now I need take my own advice; the Ark doesn’t write itself, after all…

PS: I have decided to release one more chapter of the Ark, along with an edited draft. Keep following.

21 Sept 2015

Musings on the Ark

Not too long ago, I promised more news of the Ark. Today I can fulfill that promise; I have indeed news of the Ark, including an extra chapter, and details on the direction of the plot—as well as more general comments on writing, characterisation, and so forth.

The Ark

First off: take a look! I have now written four chapters and a prologue; these can be read right here. Beyond this, I will publish no more; instead I will keep you up to date and interested with other endeavours. Up on the list is more poetry, along with a few more essays on literary matters—characterisation will be one such.

But back to the matter at hand.

In terms of plot, I am currently writing part one—entitled Love. This, as you may be able to guess, will focus primarily on character development and backstory. I am elucidating on Conall’s personality; on Casey’s too, with both being painted alike but different. Conall is a studious sort, but not averse to rebellion—to living free in the pursuit of happiness, as teenagers are wont to do. He is eloquent, yet blunt; and he is attractive, but not vain.

Casey too is at least intellectually minded, if perhaps not nearly so studious. Both find interest in poetry, and in the technical aspects of existence; and yet both are willing to joke, to find release... to be teenagers.

There are differences too. Conall still has his parents, whereas Casey must live in the care of a strange, dotting uncle. These differences may seem trivial, but they are not. The loss of two parents is no easy burden to bear, for one so young.

For all these details, however, one thing must not be forgotten: they are but mere details. Part one has to do more than be a primer. It must excite, it must capture the imagination; it must be, to put it in simple terms, an Alex Stargazer novel.

On matters of plot I shall speak little. But rest assured that though the beginning may be... gentle, in its impetus, it is not a mark of the book as a whole. For in the Ark there will be pain, and loss; there will be love, too—and not the love of newly awoken teenagers, but a love tempered in fire.

And if there be life, so there be death. No tale is complete without it, in truth.

But until then, the beginning shall suffice in elucidating on the strange, complicated word of the Ark. Read it to learn of phosphorescent grass that glows bright green in the night; read it to learn of strange new technologies, of powerful computers and cars of the future. And most of all: read it for the beginnings of a great romance.

To Finish

This post is number 100 in this blog. It is part of many more pages, essays, and the great unfathomable effort behind this behemoth.

This is a blog that has been accessed ten thousand times, since its inception months ago. Like the Ark, it is the product of great labour, and great energy spent in creating its analogies; it insights; and its strange stories born of words and desires. Like the Ark, it has taken months to build—and months it will take, to even reach 100,000 hits.

But like so many good things, it will not come cheap. Nor will the Ark. I do not hope to circumvent the path set out by Fate, or its emissary—necessity. What I do hope? That the Ark can reach the success it so rightly deserves.

Is this foolish? Perhaps. I have yet much to do, many more journeys to take. In a sense, I am much like Conall and Casey: I’ve gotten this far, but there is so much more yet to see...

Until then, may the stars be with you. And do keep an eye out on this blog of mine—there may yet be another addition to my thirty poems.

2 Sept 2015

On Writing and the Ark

Hail readers!

Today I bring to you my musings on the Ark. It is proving a difficult endeavour—as any such work ought be, in truth. However, one question in particular poses a special kind of difficulty—that being: in what manner ought the Ark be written? Should it be formal, and (were I unkind in my interpretation) full of flosculations? Or should it be tight, informal... but at the same time, lacking in eloquence and vivid description?

The question may be phrased in a different way: should it be mainstream, or literary?

Mainstream, Literary... or Both?

It seems I have fallen fowl to the apparent dilemma plaguing many a writer. On the one hand, I wish to write beautiful prose, and words of elegance and wit; on the other, I worry that I am too formal, too complex in my vocabulary and manner of expression. I worry that I am too dense.

The mainstream writers may say: but Alex! The realm of literary fiction is a small one; and what good are words, if they have no readers? Is is not the reader, who defines the poem?

The literary writers will no doubt reply: but even if your words find solace only among a few; even if you are not blessed with riches and fame and the adulation of the masses... surely it is worth bringing beauty and imagination to those erudite few?

Both arguments are to some degree valid. I, for one, am usually of the former disposition; I do believe that words are best when sampled by the many, not the sanctimonious few. And yet... aesthetic prose, and words written free of any consideration for audience sensibilities, can be powerful.

But to frame the discussion in such terms ignores a fundamental truth: that beautiful tales are formed both by beautiful words and expert execution. The novel is not the poem; it cannot partake in exercises of writerly practice, or of vain exhibitionism. Or in other words—it cannot be written purely for the sake of it. It must convey a story, a message within its lines and sentences.

But nor is a good tale composed merely of anodyne phrasing and lackluster prose. It is the strange nature of writing: it is not merely the what which creates the tale, but also the how.

To be mainstream and to be literary, therefore, is no contradiction. On the contrary: truly good novels possess the qualities of both.

But What of the Ark?

The Ark is in some difficulty as of present; for I now suspect that the language which it employs, and the manner in which it is written, is indeed too much of the literary and not enough of the direct. Here—an example:

For a moment, I’m surprised. Not because I didn’t see him as a poet—he’d have to be to quote Dante in Italian—but because there is something at once so inopportune, and yet so felicitous, about it, that I cannot help but laugh.

Are the latter clauses too keen to employ rare words? Is the expression too stitled, too formal; too High English, even for poetic Casey—a sixteen year old boy? There are numerous concerns as to what audience would be interested in both the premise and the manner of writing; and questions too, concerning the aspect of believability.

And yet, such questions aside, it must always be remembered that bad words may be taken away; but that good words cannot be invented by the editorial mind. Also, the Ark is no ordinary tale; and its characters are not ordinary teenagers. There is nothing ordinary about the brilliant. No great tale ever became great by being average.

So what are we to take from this? Perhaps some of these phrasings will be altered; some words replaced with simpler equivalents. But nor is this to say that the words of the Ark, and the tale brought by its words, need careful manipulation by cynical purveyors of finance.

A tale is a tale is a tale—to paraphrase Gertrude Stein—and it must be written both for greatness and for readability. The two are not contradictory, and neither can one come at the expense of the other; true brilliance lies in both.

24 Aug 2015

The Machinations of a Writer, Part II: Typesetting

Second in a Three Part Series on Software—See Part One First

‘Alex!’ you cry; ‘wherever have you been? You promised us tales of the Ark; and instead we receive macroeconomics courses and travel guides!’

And you would be correct. Though my interest in economics is substantial—as with numerous other academic deliberations—the Magical Realm is ultimately concerned with my literary endeavours. But rest assured: the Ark is indeed under work. I have completed chapter three; and currently I am engaged in editing, and seeking professional services.

I shan’t detail too much into that, for secrecy is important where it concerns upcoming novels. Instead: allow me to detail the minutiae behind the process of typesetting.

Typesetting

The Ark Screenshot

The purpose of good formatting is two-fold: firstly, it must allow for easy reading. Poor formatting results in poor comprehension; and that’s a real no-no for any successful book. But good formatting must also be beautiful. For the beauty of words cannot truly be discerned in a vulgar typeface—say, Arial. No: typography must mirror the aesthetic principles of that which it aims to represent.

In the case of the Ark, the typeface is Minion Pro. I have temporarily chosen as this as an excellent example of a well-designed, characterful serif; though it may not be the final typeface in use, owing to the decisions of the publisher.

Regardless, it serves to illustrate a key point: in the matter of choosing a font, you must select for beauty, readability, and suitability.

But What of the Software?

The book designer orthodoxy maintains that a proper DTP (desktop publishing) program—like, say, Adobe InDesign—is the force de rigeur for any kind of professional typesetting. But they would be wrong.

Do not mistake me: InDesign is in many regards an excellent piece of software. It has a set of impressive features (including excellent justification algorithms) and the interface is slick, if complex. But InDesign is expensive, and far from userfriendly; worse, performing tasks with it is unnecessarily complicated and timeconsuming.

Allow me to peruse some examples: creating a new document firstly requires going through a wizard, to either manually input all the desired parameters—such as the page dimensions, margins, etc.—or to select from a series of templates that rarely mirror anything you’d find in a bookstore. But even the very idea is flawed: manually inputting parameters is pointless—you’ll almost certainly end up changing them anyway—while switching templates is surprisingly difficult.

DTP software also tends to be overly focused on the idea of ‘Projects’—collections of files—that usually prove tedious and unnecessary for a book.

But it doesn’t stop there. Adding documents require that you use the ‘Place’ function (not the insert function, which does something else) and InDesign does not accept ODT documents; you have to convert them to Word documents, which often results in errors.

InDesign also requires that you pre-style the Word documents with headings, specific paragraph styles, etc. All of this adds time and effort—and all can be done much more easily directly with a word processor program.

Introducing: LibreOffice

LibreOffice is a free, open-source software suite that purports to deal with many office-related tasks; chiefly among these is wordprocessing, and this is where Writer comes in.

Billed a replacement for MS Word, I recommend it not only for being free—a nice perk—nor even for its native compatibility with Ubuntu, my recommended OS (see this). No: I recommend it for being well-suited to formatting, once you learn its idiosyncrasies. (For the record, Word is capable enough in its own right.)

Creating a book is simple. Firstly, you must either have begun it in Writer itself (not something I recommend); but more likely you have it written as a text file:

Gedit Screenshot

In the case of the latter, conversion is necessary. This is easy and error-free. Pandoc—a free, cross-platform conversion program—will do it; you can even automate the process, as I have:

Pandoc

(You can use Gedit’s ‘External Tools’ function to call up pandoc using the pandoc command.)

Once you’ve done that, prepare to add it to your Writer document using the ‘Insert > File...’ function. But first you must have created your book document. This is not terribly complicated either; allow me to illustrate...

Writer

From that menu, you may format the page. It’s easy to get away from the A4 default—input 15cmx22.5cm as the width and height (standard for many paperbacks) and voilá! You have something that looks like a book. Play around with the margins: I find that 1.6cm works best for the left and right margins, with 1.8cm top and bottom. If you like, you can even use specific formatting for left and right pages—allowing you to, for example, use longer inner-side margins.

Then comes the matter of the text. This in itself is a complex matter: you must take into account negative space—whitespace kept empty to allow for pleasant viewing—and headings require a lot of experimenting with different sizes, weights, and styles. Or you can even use different typefaces, graphics, and other assorted trickery; the possibilities are many.

In my case, I employed small capitals for all the headings. I also employed italics, different weights—Minion Pro medium in the case of the author name—and full capitals. You can modify all this using the ‘Styles’ sidebar, accessible using ‘View > Sidebar.’

Writer Styles

Once you’ve sorted this out to your satisfaction—don’t forget the copyright page, along with properly ordered Acknowledgements (if applicable), dedications, etc.—use Insert > File to add each chapter. Make sure to format the first page of your document ‘First Page’.

Writer_FirstPage

This is important for later. In short, you don’t want page numbers to appear on the first page of a chapter; additionally, designers usually refrain from including headers, footers, etc. While you’re at this, ensure that the FirstPage is formatted identically to your normal page. (That should be called the Default Style in Writer-speak.)

‘Alex!’ you cry; ‘why does my text look hideous?’ This is a fair question. Chances are, Writer has formatted your newly added text in Times New Roman—a ghastly, overused and heavily condensed typeface that should be avoided even in its intended medium (newspapers).

To correct this, head back to the ‘Paragraph Styles’ box in the sidebar. Click ‘Default Style’ and edit away. In the case of the Ark, the typeface is set to Minion Pro; the size to 12pt; the leading (known as ‘Line Spacing’ in Writer-speak) to 120%; and the text to justified. Make sure to enable hyphenation, or you’ll get ungodly typographic rivers. (Concerning hyphenation, make sure to implement a limit to the number of consecutive hyphenations; you may get undesirable results otherwise. Two will do.)

Another important note: the first paragraph of your chapter—and usually scene as well—should be formatted using a separate style: FirstParagraph. This is identical to the other paragraphs, except that there is no indent.

Speaking of which: yes, fiction is indented. Non-fiction generally isn’t. I recommend 0.5cm as a suitable first-line indent.

You must also edit your chapter headings. Ideally, they should already be preformatted to Heading3 (or whatever you deemed suitable in the markdown file) and you can just click on it, and modify the style from the sidebar. In my case, small caps are in use.

Pages Continued

To add more chapters, repeat the process above. If you have written your entire book and wish to speed things up a little, here’s a trick: use cat on a bash terminal to collect all your files into one (or use an appropriate 3rd party tool in Windows).

Cat

Then insert the whole file into writer; then use the navigator to go to each heading, and format from there. You can even download the ‘Alternative Search’ add-on, and employ regular expressions to automate the process.

However, there is one other matter to be dealt with: headers and footers.

Go back to the ‘Page Styles’ dialogue, and select Default Style once more. Don’t edit the FirstPage—that will remain as it is. Instead edit Default to include a header and a footer. You may choose to have only one; but in this, you must insert the page number using ‘Insert > Fields > Page Number’. In my case, the header alternates between left and right pages, showing either ‘The Ark’ or ‘Alex Stargazer’ in each.

Are We Finished?

Yes! We now have something that resembles a book. I have not taken to detailing the matter of scenes and scene breaks; but I believe I have instilled enough knowledge for you to be able to do this yourself. I hope this advice has been useful. Typography is far from simple—please feel free to ask for clarifications, advice and details in the comments.

With the second part of this series complete, the third part will follow. That will be a detailed explanation of the publishing process; but until then, I will have poetry, a brief essay concerning voting systems for the UK, and more details on the Ark.

As I say: keep following. The stars do shine, here in the Magical Realm...

17 Aug 2015

Hej Fra Danmark

Hail readers! Or should I say: hagl læsere!

As you may be able to ascertain, I am currently in Denmark; and though I am occupied deeply with the matters of the Ark—see this post for details—I will nevertheless endeavour to present you with some analysis of this peculiarly Scandinavian nation. Photographs shall also be present, though those shall arrive later: blame it on my lackadaisical efforts in amassing a suitable gallery.

EDIT: photos are now available! See this Google Photos gallery.

Firstly, however, please do get acquainted with the Ark, now complete with a second chapter. It has grown quite nicely—up to just under 40 pages—and will continue to do so as my efforts further in intensity. No more chapters shall arrive soon after these, however, for the Ark must remain secret until its birthday. Instead, expect to see analysis—both literary and personal in nature. The Machinations of a Writer series shall also be updated with a post concerning print formatting.

Now: onto Denmark.

Where is Denmark?

Located just south of Sweden, East of Norway, and next to Germany, would be the answer to that particular question. Denmark is a peninsula—here, in Aalborg, we are at the northern tip in the Jutland municipality—though its capital city, København, is located on an island.

This geographical position has translated into a nation with influences throughout its neighbours, and from its neighbours. The Danes are capable cheesemakers—much like the Dutch, their cousins—but also have a wide selection of bread (some very similar to those I sampled in Bavaria), and fish. I detest fish, however; and so I shall name a less well-known aspect of Danish supermarkets: wine.

Denmark’s position as a peninsula allows for the easy importation of German, French and other European wines. And the good news is: there’s no alcohol tax. Unlike Sweden, here in Denmark wine is purchaseable from supermarkets—and subject only to the standard 25% VAT rate.

Denmark’s landscape is a flat one, reminiscient of the Netherlands; and yet it possesses its own distinct features. There are a fair few forests—though not as numerous as its northerly cousin, Sweden—while the amount of agriculture is surprisingly high. Denmark, you see, possesses arable land (more than Sweden and considerably more than Norway); hence, agriculture.

The greatest defining feature, however, would be the wind turbines. They are everywhere. And they spin! Yes; Denmark is windy, though these past few days have also been curiously warm. Do not expect this to be the norm.

The architecture is... somewhat unremarkable. Once more, I am reminded of Holland; though the Dutch tend to engage in more dramatic expositionism. The Danes are content with Spartan architecture—red brick is used extensively, likewise white brick, and the motifs are simple rather than grand—and forsake any pretence of grandeur. I have not seen anything approaching the floating houses of the Netherlands; the vast cathedrals of Italy, and their impressive collections of art, sculpture and treasures; nor do I see any landmarks like the Tour d’Eiffel or the Arc de Triomphe. Denmark seems a place to live in, not to visit.

Speaking of which: I must address the economy and political system, as befits the burgeoning economist.

Skatt?

Denmark is usually at the top of the ‘Nations by Taxation’ lists. And it’s not hard to see why: cars are taxed at 180% (not a typo, my dear!); the marginal rate of income taxation is over 50%, and applies to incomes above half a million kroner or so (~£50k), while more ordinary citizens pay around 30–40% in income tax; while VAT is at 25%, and is applied almost without exception on all goods. Denmark has even toyed with wealth taxes, sugar taxes, fat taxes, and taxes on alcohol.

But what does the ordinary Dane get from all this?

The benefits are considerable. Health services are provided gratis; education up to and including master’s level is free; subsidies and grants are given to students, and can amount to over 5000DKK per month (per month!); childcare is subsidised (or free, depending on which government is in power); maternity leave is one year, unemployment benefits are 70% of your income for several months, pensions are reasonable; and the roads—smooth! Straight! England ought be ashamed.

Is the tradeoff worth it, though? That depends on your family and financial status, of course—and on political position, no doubt.

If you are unemployed, few places are better to be in. Very few indeed. If you are a student, prepare for zero debt, and fewer worries with regards to accomodation and living expenses; if you have kids—you’re in luck. And as for the McDonalds workers: a quarter of a million kroner is your yearly salary.

This system is very unfortunate if you require the perusal of a car, however. The exorbitant tax ensures that new cars are out of reach for all bar a few of the wealthier citizens; cars are old, significantly more so than the UK (by quite a margin) or Germany; and the rules are many. Though that may be said of most nations.

The public transportation network is capable, and there are bicycle lanes in many places—though not to the degree of Holland— but cars are still a necessity for some. It is very difficult for a family of five to do their biweekly shopping on a bike or a train, for example. If I were king for a day, I would abolish car taxation. Instead, I would focus on CO2-based taxation.

That said, Denmark has high GDP per capita; low income inequality; and very good outcomes with regards to crime, health, and more. The UK would do well to consider the Danish model.

On Economic Myth

The Danish model is a wonderful case study for an economist—it allows numerous myths to be put to rest.

Myth No.1: Tax Evasion

Denmark has the highest rates of taxation in the world, but one of the lowest—perhaps the lowest, though difficulties in measurement prevent me from saying this with certainty—rates of tax evasion (NBER 15769). The cause is multifold. Firstly, Danes have a strong sense of civic duty—tax evasion is frowned upon, and the overall attitude is far less blasé than in Italy, for example, or Greece.

Secondly—and more importantly, as the study reveals—Denmark has very strong tax collection methods. The tax code is short and simple; exceptions few. (Or at least, this is the case insofar as when compared to the UK or US.) Want to dodge land tax? No chance: the Danish tax authorities survey areas by plane and using advanced camera-based systems. Corruption is almost nonexistent, too—no bribing the officials here.

The study also reveals that tax collection efficacy and auditing are more significant factors than the actual rates—high rates of taxation don’t lead to tax evasion, provided that the civic duty is strong... and the tax authorities shrewd.

Myth No2: Fecklessness

Another myth—perpetuated readily by our wonderful Tory government—is that of benefits for the poor and the disabled leading to fecklessness and idleness. Or to corruption. The latter is a myth easily dispelled: the government’s own figures show that benefit theft claimants are around 0.9%, with a grand total of just 0.7% being overspent due to fraud. (DWP).

Denmark’s relatively generous benefits also go to show that benefits spent on the poor don’t necessarily lead to the poor not working. This is firstly because working still provides more money than not working—a fact helped significantly by Denmark’s high-wages for workers—while the benefits themselves do not allow for a particularly lavish lifestyle.

Benefits can also substantially improve the claimants’ educational situation. Without having to worry about eating versus heating, claimants’ morale improves; they are able to work more productively and vigorously; and it becomes feasible for them to attend university, for example, or some other educational course.

Though personal experience suggests that for every aspiring benefit claimant whose economic output increases due to benefits, there is one claimant that stays unemployed, or poor, or lazy. The net effect is neutral, however; and so it becomes a question of: why not help those less fortunate? This is especially pertinent considering the effect of decreasing marginal utility: billing someone earning £100K an extra grand in tax may not particularly affect their wellbeing—they’ll just buy a slightly less expensive Mercedes, or drop a room from their villa—but that £1000 will provide real tangible benefits for the working mum with 3 kids. Mansion, or heating for a family; which will it be?

To Finish

Apologies for my substantial essay on the matter. I hope my musings on Denmark have proven entertaining; and keep following for information on book formatting, for poetry, and for updates on the Ark.

Until then, may the stars be with you.

5 Aug 2015

The Ark: A Beginning

Mr Stargazer is pleased to announce that a prologue—beginning in medias res, for the purpose of drawing inquisitive minds—along with the first chapter have now been written. This, as you can discern, is significant; for not only do the greatest of journeys begin with the smallest of steps, but so too is this a taste of things to come.

Before Mr Stargazer elaborates on the specifics (concerning writing style, character voice, world-building and so on), it is recommended that you, dear reader, ought take a look...

Read The Ark

Once you’ve done so, please consider giving Mr Stargazer some feedback. The latter is valuable for the still burgeoning writer—as even the more arrogant souls will admit—and it may allow him to improve upon his creation. Additionally, allow Mr Stargazer to delve into the specifics; he is ever so vain, is monsieur Stargazer, and you may learn a thing or two besides.

Okay, Al: What Am I Looking At?

You are looking at the beginning of the Ark. This may change; such is the fickle heart of a writer. Regardless, it is an important step. And it begins with a prologue, set towards the end of this grand tale.

I shan’t hint too much of it, for there is yet much unknown and much that ought remain unknown. What I will say: it is indeed what it appears to be. Our protagonists—one Conall Danann and another Casey Kearney—are at Ground Zero: a facility where the Ark hovers directly above, on the edge of space.

The exact means by which it is kept there are complex; ordinarily, such an object would be in a rapid free fall (likely exceeding 20,000mph) and would soon crash into some unfortunate corner of the world. Thankfully, the Ark’s ‘engines’—which are in fact powerful generators of an artificial gravity, and warp space to keep it stationary—prevent this.

Regardless, our protagonists are there to fulfil a simple goal: getting on the Ark. I shan’t say how they achieve this, of course—that would be much too simple.

What I will say: the writing style is a formal one, as befits both the nature of the character (a charming young poet) and the inclinations of its creator. Nevertheless, it is not devoid of informality, even slang; ‘bajanxed’ is one such example. I attempt to carry both fluency (a point on which the Necromancer was criticised, owing to its tendency to sudden expositionism and superfluousness) but also detail. Do I succeed? That will be for my readers to decide.

I will also admit to being disused to first-person narration; the matter being made particularly difficult due to Conall’s disturbing similarites with my own nature. He, a poet, and yet an erudite reader, presents a number of challenges: his vocabulary is remarkably vivid, complex, and vast; and yet he is young, not yet embroiled in archaisms, nor immune to informal expression. Combining the two is easier said than done, alas.

What About The World?

In the first chapter, I concern myself firstly with introducing to you the peculiarities and wonders of this New World. Some aspects are really quite extraordinary: the Earth is constantly in a state of summer over the northern hemisphere, for example, but in a state of winter over the southern equivalent. Moreover, night and day can become off-kilter—days can last ages; nights can grip the world for long stretches, bringing all manner of troubles.

Other aspects intend to be humorous. The Sunshine! lamps, and their peculiarities—the yellow light, the incredible brightness, but also their tendency to vary in output unpredictably—are one such example. The latter is caused by a still developing production process, which results in substantial variation between the exact quantity and quality of the materials in use.

Whether this is indeed humorous is not within my ability to determine; hence my call for feedback.

With the various fascinating history, and detail, aside, I must address the most important matter of them all: Conall, and Casey.

A Question of Chemistry

Conall meets Casey in a twist of Fate, by fortuitous happenstance. And yet, there is an ease of communication between them; they seem to know one another’s mind, to mirror subtle messages of body language, and to achieve a kind of symbiosis.

That, at least, is the theory.

Aside from that, I do not neglect the physical aspects of attraction. Though the matter itself merits complex discussion concerning human sexuality, and various philosophical deliberations on normative versus descriptive elements of sexuality—on construed paragons, inherent desires, and so forth—I will bypass it all to present one simple message: they are teenagers. Sex is awesome. What’s not to love?

Most of all, I aim to instil a sense of desire—of hope, of wonder at human existence. Do I succeed? Once more, a question beyond my remit.

Parting Words

The Ark is as yet inchoate. I have a great deal more yet to write; and numerous difficulties of plot, narration, and characterisation are yet to be addressed. But, for all that, I hope you are as drawn to this tale as I am. I sense potential, excitement, possibility. Do you?

15 Jul 2015

Alex, Where Art Thou?

Greetings, impatient readers! You may have wondered, as of late, where yours truly has been. After all: he has not deigned to write, nor to detail his varied and eclectic musings.

Well, wonder no more; for I am in Austria, and have been kept exhausted by a 5 am wake-up yesterday morning—hence my less than prompt blogging. That said, the old is saying is true: there’s no rest for the wicked, and neither will my books write themselves. Speaking of which…

The Ark, And New Arrivals

You may have observed that the Magical Realm has received a new visitor: a page entitled ‘Upcoming’. This, as you can guess, contains information about upcoming books. Concerning the Ark, I have endeavoured to write the current blurb (emphasis on the word current) along with as much information as is available at this early stage. Even so, the page contains enough valuable information to make a visit recommendable.

‘But Alex!’ you cry; ‘when do you start writing it? And don’t you have anything down yet?’ In response to the former: I will commence planning approximately… now. As for when I’ll have a sample chapter, well—I must first plan the novel, then write the book proper. My reasons for this I shan’t detail in this post—for they merit substantial explanation and will therefore be the subject of my next post—but what I will say is that I’ll keep you firmly updated with detailed status reports.

In any case: I have further news in store for you…

Linz

I have currently decided to station myself in the town of Linz, Austria. My reasons are thus: firstly, I require a change of scenery. England, though picturesque, can easily become tedious; and, furthermore, I would do well with escaping the source of my long and demanding exams.

Additionally, this presents an ample opportunity to busy myself with writing—for which distraction-free Linz ought be ideal.

As for such trivial matters as photographs and personal memorabilia: I shall be taking photos of the Danube (the hotel has excellent view) along with those of my hiking trips in the mountains, and cruises along Old Blue. Nevertheless, my priorities do not lie with simple tourism.

On Political Economy

Like much of continental Europe, Linz’s economic system is one that may best be described as ‘social democracy’; a fitting place, indeed, to write my next essay—entitled, simply, Socialism.

Linz has even flirted with communism (for which the multistorey concrete monoliths bear silent witness to)—an economic and quasi-political system which shall also be addressed.

Going on from my collaboration post on Education with Oli Woolley—a work that has proven popular, even to the point of earning praise from readers in my school—I may also be able to collaborate with Oli once more. He is a rather keen socialist, and may make good a rebuttal to my often questioning analysis.

Conclusions

Firstly, do keep an eye out on the Upcoming page. As I plan and write the Ark, the aforementioned will serve as the first stop for my updates and musings.

And do keep an eye out on my blog—for there will be photos of Linz, posts concerning the writing process (and the machinations of the publishing industry), along with—of course—our essay on Socialism.

Until then, keep following. I shan’t be disappointing you.

PS: also, do take a look at the Reviews page; for two such reviews are to be released soon.

1 Jul 2015

The Long Summer

‘Alex!’ you cry; ‘we wait; you do not come; we despair—the sun burns.’ And you’d be right—about the latter proposition, at least. England, land of rolling hills and cool summers, has become rather warm as of late. I would claim the inclement sun the cause of these vicissitudes; but my lackadaisical blogging efforts owe more to something else.

You see, I have spent a fair few hours writing an essay. It is entitled On Greece and the Eurozone; and as you can guess, it concerns the Greek crisis. I have submitted it to the Royal Economic Society but a few hours past. I shall not go into detail, however; for fate (or indeed the Society’s tedious regulations) compel me to keep it unpublished until the winners are revealed.

That will occur towards the end of this month. Wish me luck, as they say; and do keep an eye out. The topic is proving remarkably contentious and complex.

And though the rules forbid me detailing the essay, I can at least say this: the cause of the Greek crisis does not owe its origin to debt, or at least not as greatly as many think; and yet, equally, there is more to this particular puzzle than the depredations of austerity.

In any case: I have a news. Firstly—summer.

The Sun, it Doth Burn Bright; But Denmark Forsakes its Warm Caress

As you may be able to ascertain from the title, I shall be spending time in… Denmark, over the summer. I leave in a few weeks; I shall stay for twelve days and eleven nights. Denmark, I’m hoping, shall prove pleasantly cool. I may even take a dip in the sea; though that, of course, will require the perusal of a good wetsuit.

But before I leave the for the Danelore, I shall spend a few days in Linz (that’s in Austria, dear). There, I shall hike, enjoy the hotel spa, and of course: I shall write.

First on the pecking order is the Ark. I have spoken of it, but then I shall turn promises into words; and, in the meanwhile, I’ll be updating you on the Upcoming page. That has yet to be created, but as I say: patience is the virtue of every good writer.

I shall also look into finishing the Fallen Saga—a project that has proven intriguing, though difficult. My next poem will likely contain the themes of summer (in contrast to Jörmunísskast)—for reasons I need not elucidate—but, unlike the Summer Days, this particular work will be imbued with all the darkness befitting of the Fallen Saga.

Until then, keep following. Not only shall I be writing the Ark, but I may even find the opportunity to do a collaboration post. The topic? Socialism. Yes; it’s that time of the year…

10 Jun 2015

A Summer of Discontent

Hail readers! (Is that getting old? Do tell.)

I am pleased to announce that my exams are now, officially, over. This—as you can no doubt tell—is greatly fortunate. For one, I may now take pains to entertain you with my queer and curious musings; for two, it permits the commencement of writing.

Yes; writing. There’s going to be rather a lot of that going on. Up first is either an interview with a non-fiction writer (as part of my tour host relationship with Sage’s Blog Tours) or a review of her essay on marijuana legalisation, usage, social attitudes and so forth. No date has been set as yet; but of course, this is only a matter of time.

Up second is more blogging. By this I mean blogging in general; the creation and analysis of poetry; and additional long-pieces on such contentious issues as e.g. Marxist economic and political theory. (If you wish to have a say in the summer’s selection of blogging, take this survey.)

Finally, of course, there are the books. The Ark—my upcoming novel on a tale of love against all odds—will be planned and partially completed over the summer. Currently, I am considering whether to create an ‘Upcoming’ page, in which details such as descriptions, excerpts, progress reports and so forth will be released; if we you wish to chime in on that, take the above survey.

Writing books never was quick business, though: if you plan on waiting for the Ark, you might want to consider reading the Necromancer (a tale of dark revenge and bitter redemption; see its page) or even taking a look at my substantial collection of poetry.

Now, I must pay you good day. Keep following; and may the stars be with you.

PS: an analysis of the latest iteration in the Fallen Saga, along with a broader consideration of the Fallen Saga as it currently stands (its main themes, the direction of the narrative, the style), are to be released soon. Keep following…

27 Apr 2015

On Sequels and Politics

‘Alex!’ you cry; ‘wherever have you been?’ you enquire forlornly. Rest assured that—though occupied with many an hour of math homework, courtesy to my charming math teacher—I do nevertheless have a great deal to discuss. First up: politics. Yes, it’s that time of the year.

Politics

Though an inclement beast, my school has for once been daring: it has organised a ‘mock election’ in which candidates (that is, me; and a few others) must campaign in order to win the student vote.

Presently, there are eight parties involved: moi, representing the Reason Party (of course); the Tories; the Lib Dems; Labour; along with the Communists, the Greens, the kippies (may Hell feast upon their empty souls), and a joke party called ‘4Uture’.

We firstly began with a debate. This proved a fortuitous moment in my rise to power: the kippies were promptly humiliated (claiming that an NHS policy cost us three times the entire NHS budget is bound to do that), the Tories’ policies were—despite a rather poignant appeal by the party candidate—revealed to benefit the rich at the expense of the poor (alas the Communists were instrumental in that particular coup), and Labour droned repetitively and without the slightest inkling of conviction.

Then we were asked to deliver a speech in front of the entire school. This proved a somewhat daunting proposition—the audience is 1100 strong after all—but I’m pleased to say that I and my peers delivered an excellent performance.

The kippies made another spurious claim (the EU apparently costs us £120B—the figure is closer to £12B), the Tories busied themselves with trite insults against the other parties, Labour… was Labour. The Lib Dem’s performance was more solid, along with, of course, the Reds. The winner of this particular battle will likely be between the Reds, the Lib Dems, and myself—though the Tories, Greens and unfortunately the kippies will likely remain in the game.

You, however, probably don’t read this wonderful blog of mine purely for my antics. Thus, here’s a bit of serious analysis for you.

Proposition A: ‘The Tories believe in the good of all, including the less well off, for they are the party of aspiration.’

Ironically this is actually genuinely believed by a lot of Tories. Indeed, the Tory candidate made an impassioned appeal; having lived in a council house, he said, he was not a man of the rich—but he did believe in aspiration; in aiming high rather than stooping low.

Unfortunately, while the Tories may believe this is what their party accomplishes, the truth is rather different.

Firstly, the desire to be successful is usually not what is in short supply. We would all wish to be successful; to earn well, to provide for our human wants, desires, and needs. But people are not poor—or indeed merely not particularly successful—for lack of desire. No: the problem is that people can’t fulfill their dreams. It’s all well and nilly to say that tax incentivises entrepreneurs; but no one is going to be an entrepreneur if they have to choose between eating and heating.

And that is the great contradiction in Tory thinking. People want to be successful—of course they do. And having to live in a smaller mansion or buying a Mercedes instead of a Bentley isn’t likely to make them any less keen.

But if people cannot go to a good school; if people cannot attend university, if they do not have a stable environment… if, were they to fail (and it is conveniently forgotten that 65% of small businesses go bust within 3 years, and that liquidation often leads to debt) they would be without help… then they can never succeed.

In some instances, there is a poverty of ambition. Pupils doing badly at school often do badly not because they are stupid; but because they have no hope. If you have lived a life in poverty, success seems to belong to another galaxy.

But lowering taxes won’t make these kids sit up and learn. For that matter, hiring more teachers probably won’t either. The problem is that Britain suffers from a perpetuating cycle of poverty.

Proposition B: ‘Europe is the cause of Britain’s ills.’

This is essentially the entire premise by which the kippies argue from; often they do so implicitly, but if you look at their complaints—immigration, EU funding—you’ll quickly realise this is their bête noire.

But let us examine the veracity of so grandiose a statement. Chiefly among ‘Britain’s Ills’ would be the Credit Crunch of 2007 onwards. That, however, was instigated by the collapse of the Lehman brothers (remember them?) after which much of the banking system went down with them. This of course was caused by two things: banking—particularly when it involves the trade of other debts—is a risky business; and of course, the banks lent massive mortgages to people who never had an icicle’s chance in Hell of paying them off.

That is why Britain is in a financial crisis. The problem has very little to do with bureaucrats in Brussels and everything to do with greed and irresponsibility at home.

Neither can Greece be blamed. Greece’s economy is small; bailouts, when shared among Germany, France, the UK and other EU nations amount to little; and most of these bailouts, sadly, need to be repaid. (So the creditors don’t actually lose any money.) What’s more, Greece actually suffered in no small part because of the crisis caused by the UK: Greece has a significant tourist economy, and one that was badly affected by the British credit crunch—us being the single largest nationality of visiting tourists.[1]

This is not to say that Greece is without blame for having such a tourist-dependent economy. It is also true that Greece’s tourism profits were unsustainable—since the money British tourists used to pay for those holidays was somewhat based on credit card loans that needed to be paid off eventually (and painfully, as in now).

Greece also has a major sovereign debt problem—due primarily to the corruption of former governments. That, however, is an entirely different kettle of fish. But it does lead me onto proposition three.

Proposition C: ‘Britain is in debt; we must eliminate the deficit; we must pay off the debt.’

Some of the greatest lies are half-truths, and this certainly is a half truth. (Though probably not the greatest of lies.)

Firstly, some data:

UK Debt 1945 to Present

Firstly, note that we were far, far more in debt post-WW2 than we are now. The debt reached 240% of GDP in 1945, and is currently at 80% (edit: 90% as of latest figures). Thus, to state that Britain ‘must’ pay off the debt (or some terrible fate is imminent) is false: we have sustained much greater levels of debt in the past than we have now. And, if you’ll care to observe, we were able to pay all of it off. (The small increases you see post 1975 is from new debt.)

But how far are we in debt now, why are we in debt, and is this a concern?

With regards to the cause, the bank bailouts cost us £124B [2] in the immediate term (though at its peak ten times that amount was offered as guarantees) and another £5B per year in interest. A ballpark figure of around £150B may thus be derived.

The UK GDP is around £1500B as of 2014 [3] so these bailouts have added around 10% to the total debt. However, post-2007 sovereign debt increased by 40%. Where is the other 30% coming from?

That is likely due to the not-insignificant deficit the government has shored up: averaging around £90B post-2007 [4], which makes up most of the rest.

So, let’s recap: Britain is in much lower debt that in 1945, has less debt than the US and quite a lot less than Japan (neither economy is doing especially badly), and most of the debt is from a budget deficit, with some from bank bailouts. The final question remains: is this a concern?

Well, it is a concern insomuch as 80% GDP public debt is not small, and in that it is increasing—albeit less rapidly than immediately after the Great Recession (as it is misleadingly known; the 1930s one is much more accurately described as such, while this fiasco is proving to be one of long-term stagnation).

But is this an immediate, and terrible concern? No. Debt levels have been much higher previously, and it did not crush our economy (yes, France and Germany’s post-War boom was considerably more pronounced, but then they were either not as badly damaged or got more help). Indeed, Keynesians would propose—quite reasonably—that we keep borrowing to help us initiate a growth period, and pay the debt when we are more able to do so.

This is not entirely without flaw (it is unlikely, for example, that we will have the same growth as we did in the post-war period, since we are not rebuilding) but it is certainly quite misleading to portray the current debt problem as a bomb waiting to explode.

Okay: enough with the economics lesson.

Why Do People Believe This?

I believe I have bored you long enough (I have news on a sequel!) but do humour me for this last, important point.

People believe what they want to believe. The Tories ultimately act out of greed, and selfishness, but also because many are well-meaning but mislead. Frankly, lower taxation for the wealthy or even middle class will spell very bad news for the many that are less fortunate. And it won’t get them out of poverty.

The fiasco on Europe stems in part because people need a scapegoat, and are unwilling to face the truth: the growth we experienced post-WW2 happened because we were rebuilding to our pre-WW2 height, and because we had cheap hydrocarbons. There is also strong evidence to suggest that we have reached an economic state where the major breakthroughs from industrialisation that generated strong growth previously are no longer present.

But people still remember the good times. They remember when they could expect regular payrises and a better future for their children. And they tried to keep it going—through debt. That, unfortunately, is stupid. And dangerous. The hard truth is that people blame Europe because they won’t look themselves in the eye, and realise it’s their own bloody fault. (Other agents such as the banks, the landlords, etc. are far from innocent as well.)

Our final proposition does have some merit, but it is ultimately an attempt to blame Labour and our political system in general, for our own failings in the personal sphere of fiscal responsibility.

Private debt levels UK 1975-2014

Above: private household debt as a percentage of GDP. Source: Touchstone Blog, citing OBR.

Finally! Sequels

Our tedious but hopefully informative foray into the murky realm of political economy over, I’ve got news. Specifically: a tale is a-coming. But it isn’t the one you think.

I’ve mentioned my plans for a sequel to the Necromancer. That would have been called the Deathbringer, and I had many a plan for it. But plans change. My reasons for deciding not to write the sequel now (you may be thankful to know I haven’t written it off for future endeavours) are twofold. Firstly: the Necromancer is not going to be my greatest work. This is not to say that it is bad (how can it? It’s got flying zombies!) but rather that the powers of the imagination have different tales to tell.

This leads me onto my second reason: this is a story I’ve been waiting to tell for some time.

It’s about love. You may not be surprised to learn this, if you’ve followed this blog. Inevitably, the life of a teenager (no matter how intellectually minded or capable) features love—or at least the desire for love. You may be surprised to learn that said lovers are male. But would you really?

I have many other details. It is set in a time of beautiful desperation; a time when space is salvation—and the Earth is but a sweet, decaying tomb. Its name is the Ark; and though much may be said of it—of its bitter, hopeful struggle; of its pain, and its awe and its love—the sweetest tales are those first discovered.

I shall leave you, now. You have much to dwell upon. And, alas, school never was a kind beast…

12 Apr 2014

Poem of the Week: The Little Boy

Hello readers.

I have another poem for you. It’s called ‘The Little Boy’; and it’s neither happy nor for children.

Read on Google Drive

I can also tell you that the Three Day’s Word will be put on hold for the following two weeks. The reason is simple: my exams are in a month, and this holiday is my only opportunity to do lots of revision. Wish me luck.

PS: A short story of mine—The Sandman—will soon be published. I am now just working with the designer to perfect the cover. A ‘Books’ page will be created soon.