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Seems like everyone is weighing in on this debate and I can’t help having my say too. First and foremost, I’m all about seeing things from every side and not throwing out babies with bathwater. Seriously, who the fuck throws out babies!? So it’s fair to say that I still really like Amazon and all they’ve done. There’s no question that they’ve changed the face of publishing and bookselling and, for the most part, in very positive ways. Of course, brick and mortar booksellers will have a different view, but that’s life and progress.

Amazon single-handedly made ebooks the ubiquitous force they are today. Others helped it along, of course, but Amazon made it happen in the timeframe we’ve seen. They’ve opened up the playing field to let indie authors and small presses compete realistically with the Big Six. They’ve made books and other items readily available and affordable to millions of people who may have had trouble accessing those things before. I don’t like everything about the Kindle model – exclusive file format, etc., but it’s very good overall. Amazon are very good overall.

There’s no question that I would rather have Amazon around than not. Although, on a slight digression, when the hell are we getting an amazon.com.au? Seriously, Amazon, why do you hate Australia?

But there are changes happening at Amazon that I don’t like. I’ve never been able to ignore a bully and I don’t like monopolies. They’re bad for everyone except the person in control of said monopoly. And while Amazon are still doing many good things, they’re starting to do many questionable things as well.

The major problems are these:

- Setting up as a publisher, not just a retailer; /> - Starting the KDP Select program; /> - Cutting publishers out of control; /> - Propogating the cheap and free model.

Why are these things bad? Let’s look at them one by one.

Setting up as a publisher:

This is not a bad thing per se – another opportunity for writers to get published is a good thing, right? Well, not if it restricts the writer’s ability to sell their work. Whenever Amazon set up a service, they make it exclusive to themselves. For example, their CreateSpace POD printing venture means stock is only available through Amazon.com – not even the other Amazon branches internationally. As a result of in-fighting, href="http://www.mediabistro.com/galleycat/barnes-noble-stores-will-not-stock-amazon-published-books_b46276" target="_blank">Barnes & Noble have said they won’t stock any Amazon published books. This is a direct result of B&N’s problems with previous Amazon exclusivity policies, and I can’t really blame them. But it means that writers being published by Amazon have a greatly restricted range of outlets for their work. And Amazon encourages that in order to gain monopoly share.

Starting the KDP Select program:

This is a program where authors can make their Kindle ebooks available free for 5 days out of every 90. The idea is that it will greatly enhance their profile, drag more readers to their work and they’ll see greater sales in the long tail. Amazon have a pool of cash and for every author with a free book, Amazon distributes a share of that pool based on how many free downloads that book saw. Sounds great, but it’s not. That distribution pool is already getting smaller, the vast majority of people involved will only ever see a tiny fraction of it and, worst of all, those books can only be included if they’re exclusive to Amazon. No iBooks, no Smashwords, no Nook, etc. That means that once again, Amazon are forcing exclusivity and using sweet, sweet cookies to lure authors into snubbing every other retailer. Then you find out that the cookie is made of mud and dog crap.

Cutting publishers out of control:

It’s getting harder and harder for publishers to manage their stock at Amazon. My novels are published by href="http://www.gryphonwoodpress.com/catalog.html" target="_blank">Gryphonwood Press. They recently commissioned new cover art for both books and tried to get Amazon to update the art. Nothing happened. No responses, no changes, nothing but huge frustrations. Eventually, after talking to my publisher, I went to my Amazon Author Central page and requested the changes myself. The update was made inside 24 hours. This is Amazon responding to authors, not publishers. That means they’re actively cutting publishers out, which actively encourages authors to do their own thing. That’s not an author’s job. It’s their publisher’s job. But this strikes me as an underhand way of getting authors to distrust their publishers or decide they can do without them and go the indie route, which is better for Amazon.

Propogating the cheap and free model:

So many novels are on Amazon for 99c. I’ve already talked about the free option on the KDP Select program. This is a big problem. For one, many readers are starting to undervalue work. They decide to wait until something is free or reduced to 99c before buying it and that’s bad for authors. This is our job – we’re trying to make a livng here and there’s a lot of work in writing a novel. It’s worth more than a single dollar. But Amazon don’t care. They’ve got something set up where anyone can upload an ebook, charge a buck for it and think they’re on the author gravy train. 99.9% of those people are unlikely to sell more than a handful of books. But that’s all right with Amazon. After all, if they make 75c for every book sold, they don’t need to sell millions of every book. They just need to sell a few copies of millions of books. Each author is making fuck all, but Amazon are raking it in. And those authors who stick exclusively with Amazon are told they’ll do even better, with no guarantee that that is actually the case.

You can see how all these things are set up to benefit Amazon, at the expense of everyone else – authors, publishers and readers. It’s better for all of those people if price points reflect the effort involved in making the work being sold; if product is available through a range of outlets for a range of devices to give readers a choice and therefore give authors a greater chance at more exposure and sales, leading to a stronger career. The only beneficiary of the models described above is Amazon.

Now I don’t mind Amazon doing well for itself, but not by monopolising an industry and not at the expense of authors and readers. That’s where I have to step in between the bully and bullied and say, “Wait a fucking minute, here, what do you think you’re doing?”

What can you do about it? Lots of things.

If you’re a writer or publisher:

Don’t make your work exclusively available in one place. It benefits everyone to have it available in as many places, for as many devices as you can.

Don’t price your work ridiculously low and devalue it. Equally, don’t price it stupidly high and drive all the readers to pirate sites instead.

Don’t saturate the work with DRM, inconveniencing readers who can’t read a book they paid for on seperate devices.

Stand up against monopolising policies wherever you can.

If you’re a reader:

Check various venues for the availability of the work you want and don’t always buy in one place.

Try to buy non-DRM versions in order to encourage greater openess in the future. DRM is not the way to fight piracy.

Don’t go for pirated work. If you respect the authors you’re reading, pay them for their work.

Don’t only read free books and those you can get for 99c. At the very least, you’re cutting yourself off from some really good stuff out there and only encouraging the lowest common denominator.

Chime in with a comment below if you have an opinion or an idea about this. Or if you completely disagree with me – I’d love to hear why.

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Tuesday Toot is a semi-regular feature here at The Word. An invite-only series of short posts where writers, editors, booksellers and other creatives have been asked to share their stuff and toot their own horn. It’s hard to be seen in the digital morass and hopefully this occasional segment will help some of the quality stuff out there get noticed. It should all be things readers of The Word will find edifying.

Today, it’s Andrew McKiernan.

class="alignnone size-full wp-image-2097" style="float: left; clear: left; padding-right: 4px;" title="Aurealis46" src="http://www.alanbaxteronline.com/wp-content/uploads/2011/12/aurealis46_thumb.jpg" alt="aurealis46 thumb Tuesday Toot Andrew McKiernan" />Who is Andrew?

Andrew J McKiernan is an author and illustrator living and working on the Central Coast of New South Wales. His first short story, Calliope: A Steam Romance, was published in the 2007 anthology Shadow Plays and was named in a number of year’s best recommended reading lists for fantasy. Since then his stories have been published in magazines such as Aurealis, Midnight Echo and the Eclecticism e-zine, as well as the anthologies In Bad Dreams 2, Masques, Scenes from the Second Storey, Macabre: A Journey Through Australia’s Darkest Fears, and Year’s Best Australian Fantasy & Horror 2010. His stories have twice (2009 & 2010) been shortlisted for both Aurealis and Australian Shadows Awards, as well as a Ditmar Award shortlisting in 2010. His story The Desert Song from the Scenes from the Second Storey anthology received an Honorable Mention in Ellen Datlow’s Best Horror of the Year Vol.3. Andrew’s illustrations have appeared on many book and magazine covers, as well as featuring in the collections Shards: Short Sharp Tales by Shane Jiraiya Cummings from Brimstone Press and Savage Menace & Other Poems of Horror by Richard Tierney from P’rea Press.

What are you tooting about?

Three short blasts from my own trumpet today…

Toot the First

In a land where the veil between life and death has been torn aside, how far would you go for the one you love? This is the question asked in Love Death, my new story appearing in Aurealis #46 on href="http://www.amazon.com/Aurealis-46-ebook/dp/B0063Y2N48" target="_blank">Kindle and at href="http://www.smashwords.com/books/view/100597" target="_blank">Smashwords. It is about the death of love and the love of death and how those two things entwine like lovers within the human psyche. It has romance. It has love lost and love regained, and love lost again. It has life and death and states in between. It is exotic and erotic and disturbing by turns. And in the end, there is hope. But most importantly, it is available to read for FREE from Smashwords!

Toot the Second

After a 650,000 year round-trip through the Oort Cloud, long-period Comet C2094VI is returning to our solar system. The Peregrine Expedition is sent to the very edge of the Kuiper Belt to land on Comet C2094VI. Their mission? To unlock the scientific secrets trapped within its icy time-capsule. But what nameless horrors lurk at the comet’s heart? And what does its return mean for the future of humanity? Find out in my Lovecraftian SF story The Wanderer in the Darkness href="http://www.midnightechomagazine.com/" target="_blank">available now in Midnight Echo 6, the official magazine of the Australian Horror Writers Association.

[NB - My own story, Trawling The Void, also happens to be in that particular issue of Midnight Echo - Alan]

The Final Blast

Having just passed that most wonderful Festive Season of stress, depression, credit card debt and familial disfunction, what could be more appropriate to our mood than an anthology of Christmas themed horror? href="http://auslit.net/auslit-publications/" target="_blank">Ho Ho Horror from The Australian Literature Review is now available in both print and e-book formats. Edited by Steve Rossiter and featuring stories from both new and up-and-coming authors such as Gordon Reece, Belinda Dorio, Sam Stephens and Cameron Trost this anthology is certain to have you quaking in your santa boots. And believe me, I know! I had to illustrate each of their sordid and depraved tales for the anthology, as well as supplying the full-colour cover illustration! Even weeks after reading the stories, I still can’t look at a plum-pudding or sprig of mistletoe without a shiver of terror. Go get it now… it will make a great stocking filler for your kids next year.

Andrew’s website: href="http://www.andrewmckiernan.com" target="_blank">http://www.andrewmckiernan.com

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Tuesday Toot is a semi-regular feature here at The Word. An invite-only series of short posts where writers, editors, booksellers and other creatives have been asked to share their stuff and toot their own horn. It’s hard to be seen in the digital morass and hopefully this occasional segment will help some of the quality stuff out there get noticed. It should all be things readers of The Word will find edifying.

Today, it’s Andrew McKiernan.

class="alignnone size-full wp-image-2097" style="float: left; clear: left; padding-right: 4px;" title="Aurealis46" src="http://www.alanbaxteronline.com/wp-content/uploads/2011/12/aurealis46_thumb.jpg" alt="aurealis46 thumb Tuesday Toot Andrew McKiernan" />Who is Andrew?

Andrew J McKiernan is an author and illustrator living and working on the Central Coast of New South Wales. His first short story, Calliope: A Steam Romance, was published in the 2007 anthology Shadow Plays and was named in a number of year’s best recommended reading lists for fantasy. Since then his stories have been published in magazines such as Aurealis, Midnight Echo and the Eclecticism e-zine, as well as the anthologies In Bad Dreams 2, Masques, Scenes from the Second Storey, Macabre: A Journey Through Australia’s Darkest Fears, and Year’s Best Australian Fantasy & Horror 2010. His stories have twice (2009 & 2010) been shortlisted for both Aurealis and Australian Shadows Awards, as well as a Ditmar Award shortlisting in 2010. His story The Desert Song from the Scenes from the Second Storey anthology received an Honorable Mention in Ellen Datlow’s Best Horror of the Year Vol.3. Andrew’s illustrations have appeared on many book and magazine covers, as well as featuring in the collections Shards: Short Sharp Tales by Shane Jiraiya Cummings from Brimstone Press and Savage Menace & Other Poems of Horror by Richard Tierney from P’rea Press.

What are you tooting about?

Three short blasts from my own trumpet today…

Toot the First

In a land where the veil between life and death has been torn aside, how far would you go for the one you love? This is the question asked in Love Death, my new story appearing in Aurealis #46 on href="http://www.amazon.com/Aurealis-46-ebook/dp/B0063Y2N48" target="_blank">Kindle and at href="http://www.smashwords.com/books/view/100597" target="_blank">Smashwords. It is about the death of love and the love of death and how those two things entwine like lovers within the human psyche. It has romance. It has love lost and love regained, and love lost again. It has life and death and states in between. It is exotic and erotic and disturbing by turns. And in the end, there is hope. But most importantly, it is available to read for FREE from Smashwords!

Toot the Second

After a 650,000 year round-trip through the Oort Cloud, long-period Comet C2094VI is returning to our solar system. The Peregrine Expedition is sent to the very edge of the Kuiper Belt to land on Comet C2094VI. Their mission? To unlock the scientific secrets trapped within its icy time-capsule. But what nameless horrors lurk at the comet’s heart? And what does its return mean for the future of humanity? Find out in my Lovecraftian SF story The Wanderer in the Darkness href="http://www.midnightechomagazine.com/" target="_blank">available now in Midnight Echo 6, the official magazine of the Australian Horror Writers Association.

[NB - My own story, Trawling The Void, also happens to be in that particular issue of Midnight Echo - Alan]

The Final Blast

Having just passed that most wonderful Festive Season of stress, depression, credit card debt and familial disfunction, what could be more appropriate to our mood than an anthology of Christmas themed horror? href="http://auslit.net/auslit-publications/" target="_blank">Ho Ho Horror from The Australian Literature Review is now available in both print and e-book formats. Edited by Steve Rossiter and featuring stories from both new and up-and-coming authors such as Gordon Reece, Belinda Dorio, Sam Stephens and Cameron Trost this anthology is certain to have you quaking in your santa boots. And believe me, I know! I had to illustrate each of their sordid and depraved tales for the anthology, as well as supplying the full-colour cover illustration! Even weeks after reading the stories, I still can’t look at a plum-pudding or sprig of mistletoe without a shiver of terror. Go get it now… it will make a great stocking filler for your kids next year.

Andrew’s website: href="http://www.andrewmckiernan.com" target="_blank">http://www.andrewmckiernan.com

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When I tweeted recently that I was on the train to Melbourne from Ballan reading an advance copy of Sulari Gentill‘s new novel Miles Off Course, an Aussie crime fiction blogger promptly tweeted back ‘I am jealous enough to meet your train and mug you for your copy of that book’.

Such is the devotion Gentill inspires in fans of the Rowland Sinclair series set in the late-1920s and early 1930s in NSW and beyond.

Miles Off Course is the third book in the series and opens at the luxury Hydro Majestic hotel spa at Medlow Bath, where Rowland and friends are ensconced, his only burden a temperamental artist’s model. Rowland’s love interest and muse, Edna Higgins, is receiving treatment at the spa after recovering from an attempted poisoning at the end of the previous book, A Decline in Prophets, until she is ‘jolly sick of baths’.

When Rowland is despatched by his disapproving but loyal older brother Wilfred to the High Country in search of their missing foreman, a Wiradjuri man called Harry Simpson, his friends naturally tag along. Their journey takes them through Gundagai ‘to see the already celebrated monument which had been unveiled by Prime Minister Lyons a few months before’, to Tumut, Batlow and the Yarrangobilly Caves. The Tumut valley is the author’s own stomping ground and you get a sense of the glee with which she sets her characters loose in this landscape.

For me the book really takes off when Roland and his Bohemian entourage arrive at the Rope’s End camp in pursuit of Harry Simpson and without giving too much away, all hell breaks loose. Just when I was getting tired of Roland’s stiff upper lip, Gentill provides a glimpse of the passion that lurks beneath the paint-stained waistcoats and tailored suits.

Speaking of clothing, I had a laugh out loud moment when Roland after a near-death experience is reunited with his brother Wilfred, whose first reaction is, ‘Good Lord, man, where’s your tie?’

Miles Off Course was typical of Gentill’s entertaining and engaging novels in the Rowland Sinclair series until it neared the end, when it took what was for me a really interesting and poignant turn as a character whom I won’t name tries to convert Rowland to communism.

‘…You jumped in fists flying. You did that rather a lot back then — quite the angry young man. What happened to you, Rowly?’
‘I grew up.’
‘Rather a shame, really. There’s a lot to be angry about now. Inequity, oppression, persecution — you could be so valuable to the cause, Rowly. Don’t you want to have some purpose — have your life mean something?’
I read Rowland’s response — ‘I grew up’ — as ironic. Whatever the case, Gentill lets the reader glimpse the less likeable side of Rowland Sinclair’s character, the indifference and indolence that come with never having to work for a living. She also does a great job of communicating big ideas without ever coming across as didactic.
As in the previous novels in this series, Gentill’s fictional characters get to cross paths with historical figures. Look out for a hilarious cameo by infamous ‘Razorhurst’ brothel madame Kate Leigh.
The unspecified circumstances of Harry Simpson’s life and the hints of Rowland’s past as an angry young man hang tantalisingly in the air at the end of the book. I’m dead curious to see what happens to Rowland Sinclair in Paving the New Road, the next book in the series. Gentill plans to send him to Germany in 1933 to defend Australian democracy from the onslaught of Fascism. Will Rowland Sinclair be forced to take a stand? Will he really grow up?
Miles Off Course is released on 30 January 2012.

class="alignnone size-full wp-image-2097" style="float: left; clear: left; padding-right: 4px;" title="D&D" src="http://www.alanbaxteronline.com/wp-content/uploads/2012/01/damnation-dames-ed-grzyb-pillar-web1.jpg" alt="damnation dames ed grzyb pillar web1 Damnation And Dames ToC and cover art announced" />Seriously, how sexy hawt is that cover? This is the new anthology coming soon from href="http://ticonderogapublications.com/index.php/our-books/137-damnation-and-dames/199-damnation-a-dames-contents-announced" target="_blank">Ticonderoga Publications, called Damnation And Dames – Sixteen Stunning Tales Of Paranormal Noir. Or, as I’ve decided to called it, paranoirmal. That’s right, suckers, I’ve just named a genre. Remember, it all started here.

Well, it actually started with editors extraordinaire Liz Gryzb and Amanda Pillar, who came up with the concept for this book and put out the submission call. It’s a great theme. I love noirish stories and all my work tends to have some influence from the noir or crime angle. Even a lot of my sci-fi – I just can’t help it.

And yes, I have a story in this book, of which I’m very proud. But it’s not as simple as that, because I can’t take all the credit for the story. For the first time ever I’ve collaborated on a piece of writing, and the story in this book is called Burning, Always Burning, and was co-written with the hugely talented Felicity Dowker.

I would often see collaborative stories and think to myself, “How the freaking fuck do people do that?” My work is usually so personal. I sit here in my cave and tap away at my keyboard, letting the sweating babies of my fetid imagination creep out into the world. How could I ever share that process with anyone?

As it happens, it was surprisingly easy. Felicity and I have been good friends for a long time, and have long respected and enjoyed each other’s work. During an email exchange one day, when we should have been working, we started slinging lines back and forth in a noirish, Mickey Spillane kinda way, just for shits and giggles. We only got about half a page of stuff down before it petered out, but we both agreed it would be kinda fun to write something together one day.

A while later, Liz Grzyb and Amanda Pillar put the call out for paranormal noir stories. It seemed fated. So we decided to give it go and dusted out those couple of parapgraphs, polished them up, talked about our ideas and plot and then just started bouncing the thing back and forth. We’d write about 500 words, edit the previous 500 and email it away. Sooner or later, it would come back – the 500 new words edited and another 500 added. Or so. It just worked. The story grew. We live nearly a thousand kilometres apart, but through emails and text messages we came up with our yarn and, without any subjective bias of any kind, it’s fucking great.

We submitted it and we’re both very proud that it was accepted. Seriously, look at the company we’re in:

Lindsy Anderson – The Third Circle /> Chris Bauer – Three Questions and One Troll /> Alan Baxter & Felicity Dowker – Burning, Always Burning /> Jay Caselberg – Blind Pig /> M.L.D. Curelas – Silver Comes the Night /> Karen Dent – A Case to Die For /> Dirk Flinthart – Outlines /> Lisa L. Hannett & Angela Slatter – Prohibition Blues /> Donna Maree Hanson – Sangue Sella Notte /> Rob Hood – Walking the Dead Beat /> Joseph L Kellogg – The Awakened Adventure of Rick Candle /> Pete Kempshall – Sound and Fury /> Chris Large – One Night at the Cherry /> Penelope Love – Be Good Sweet Maid /> Nicole Murphy – The Black Star Killer /> Brian Grant Ross – Hard Boiled

And you’ll notice among that stellar company the All-Time Collaboration World Champions, Lisa L. Hannett & Angela Slatter. Sixteen stories, eighteen authors, paranormal, noir, sexy covers, murder and mayhem, monsters and mysterious femme fatales. How can this book not be freaking awesome?

Damnation & Dames will be launched at Swancon 37, Easter 2012, and will be available in trade paperback for $30, and as an ebook in Kindle format post-launch. The anthology will be available from Ticonderoga’s online shop at href="http://www.indiebooksonline.com" target="_blank">indiebooksonline.com, and internet bookstores such as bookdepository.com and amazon.com. Seriously, I can’t wait.

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class="alignnone size-full wp-image-2097" style="float: left; clear: left; padding-right: 4px;" title="D&D" src="http://www.alanbaxteronline.com/wp-content/uploads/2012/01/damnation-dames-ed-grzyb-pillar-web1.jpg" alt="damnation dames ed grzyb pillar web1 Damnation And Dames ToC and cover art announced" />Seriously, how sexy hawt is that cover? This is the new anthology coming soon from href="http://ticonderogapublications.com/index.php/our-books/137-damnation-and-dames/199-damnation-a-dames-contents-announced" target="_blank">Ticonderoga Publications, called Damnation And Dames – Sixteen Stunning Tales Of Paranormal Noir. Or, as I’ve decided to called it, paranoirmal. That’s right, suckers, I’ve just named a genre. Remember, it all started here.

Well, it actually started with editors extraordinaire Liz Gryzb and Amanda Pillar, who came up with the concept for this book and put out the submission call. It’s a great theme. I love noirish stories and all my work tends to have some influence from the noir or crime angle. Even a lot of my sci-fi – I just can’t help it.

And yes, I have a story in this book, of which I’m very proud. But it’s not as simple as that, because I can’t take all the credit for the story. For the first time ever I’ve collaborated on a piece of writing, and the story in this book is called Burning, Always Burning, and was co-written with the hugely talented Felicity Dowker.

I would often see collaborative stories and think to myself, “How the freaking fuck do people do that?” My work is usually so personal. I sit here in my cave and tap away at my keyboard, letting the sweating babies of my fetid imagination creep out into the world. How could I ever share that process with anyone?

As it happens, it was surprisingly easy. Felicity and I have been good friends for a long time, and have long respected and enjoyed each other’s work. During an email exchange one day, when we should have been working, we started slinging lines back and forth in a noirish, Mickey Spillane kinda way, just for shits and giggles. We only got about half a page of stuff down before it petered out, but we both agreed it would be kinda fun to write something together one day.

A while later, Liz Grzyb and Amanda Pillar put the call out for paranormal noir stories. It seemed fated. So we decided to give it go and dusted out those couple of parapgraphs, polished them up, talked about our ideas and plot and then just started bouncing the thing back and forth. We’d write about 500 words, edit the previous 500 and email it away. Sooner or later, it would come back – the 500 new words edited and another 500 added. Or so. It just worked. The story grew. We live nearly a thousand kilometres apart, but through emails and text messages we came up with our yarn and, without any subjective bias of any kind, it’s fucking great.

We submitted it and we’re both very proud that it was accepted. Seriously, look at the company we’re in:

Lindsy Anderson – The Third Circle /> Chris Bauer – Three Questions and One Troll /> Alan Baxter & Felicity Dowker – Burning, Always Burning /> Jay Caselberg – Blind Pig /> M.L.D. Curelas – Silver Comes the Night /> Karen Dent – A Case to Die For /> Dirk Flinthart – Outlines /> Lisa L. Hannett & Angela Slatter – Prohibition Blues /> Donna Maree Hanson – Sangue Sella Notte /> Rob Hood – Walking the Dead Beat /> Joseph L Kellogg – The Awakened Adventure of Rick Candle /> Pete Kempshall – Sound and Fury /> Chris Large – One Night at the Cherry /> Penelope Love – Be Good Sweet Maid /> Nicole Murphy – The Black Star Killer /> Brian Grant Ross – Hard Boiled

And you’ll notice among that stellar company the All-Time Collaboration World Champions, Lisa L. Hannett & Angela Slatter. Sixteen stories, eighteen authors, paranormal, noir, sexy covers, murder and mayhem, monsters and mysterious femme fatales. How can this book not be freaking awesome?

Damnation & Dames will be launched at Swancon 37, Easter 2012, and will be available in trade paperback for $30, and as an ebook in Kindle format post-launch. The anthology will be available from Ticonderoga’s online shop at href="http://www.indiebooksonline.com" target="_blank">indiebooksonline.com, and internet bookstores such as bookdepository.com and amazon.com. Seriously, I can’t wait.

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I snurched this from href="http://hexington.tumblr.com/post/16325667118" target="_blank">Hex’s tumblr – it’s just lovely, and the sentiment is reason enough to read. Even if we can one day dream of being like those people and doing those things, we can read in the meantime.

class="aligncenter size-full wp-image-5221" title="tumblr_lxtesd1mKO1r9zlfvo1_500" src="http://www.alanbaxteronline.com/wp-content/uploads/2012/01/tumblr_lxtesd1mKO1r9zlfvo1_500.gif" alt="tumblr lxtesd1mKO1r9zlfvo1 500 Beautiful reading time lapse gif " width="500" height="280" />

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class="alignnone size-full wp-image-2097" style="float: left; clear: left; padding-right: 4px;" title="Wily" src="http://www.alanbaxteronline.com/wp-content/uploads/2012/01/wily.jpg" alt="wily Post apocalyptic short story podcasts at Wily Writers, edited by me" />You should know by now what a fan I am of podcast short fiction. I wrote about href="http://www.alanbaxteronline.com/2011/02/10/fiction-podcasts.html" target="_blank">my favourite podcasts a while back. I also wrote href="http://www.alanbaxteronline.com/2011/12/16/give-favourite-fiction-cashmoney-love-xmas.html" target="_blank">here about giving generously to podcasts you enjoy, as the stuff they produce is usually free, but the writers and podcasters need to be paid for their work. My own fiction has been podcast a few times now – I read my story href="http://outlandishvoices.podbean.com/2010/03/10/crossfire-by-alan-baxter/" target="_blank">Crossfire for Outlandish Voices, Pseudopod released my original short story, href="http://pseudopod.org/2011/08/12/pseudopod-242-the-7-garages-of-kevin-simpson/" target="_blank">The Seven Garages Of Kevin Simpson in their episode 242 and Wily Writers have podcast two of my stories – a reprint of href="http://www.wilywriters.com/blog/?p=928" target="_blank">Stand Off and my post-apocalyptic yarn, href="http://www.wilywriters.com/blog/?p=2154" target="_blank">Declan’s Plan, which co-won Wily Writers Short Story Contest. Stand Off was also included in href="http://www.amazon.com/Night-Mantled-Best-Wily-Writers-1/dp/098318240X/ref=sr_1_1?ie=UTF8&qid=1298667800&sr=8-1" target="_blank">Night Mantled, Volume 1 of The Best Of Wily Writers.

And that neatly segues to my reason for posting today. I was very honoured when Angel McCoy, the power behind Wily Writers, asked me to guest edit a themed month for their podcast. The theme of my month was Post-Apocalypse/Dystopia. I read a lot of really good stories and it was hard to pick the two winners. I’ll blog a bit later on about the process of reading, judging and editing for that, and my thoughts on the subject. Hopefully it’ll help both myself and other readers here when we submit our own fiction to any publication.

In the meantime, I did select two winning stories. I wanted strong stories, with good ideas, powerful characters and a tangible sense of place. But I also wanted two stories very different from each other, to explore the theme as fully as possible.

The first story is up now:

href="http://www.wilywriters.com/blog/?p=2591" target="_blank">Bloodstone by R.B. Payne

Even horror writer J.P. Bloodstone is unprepared for the actual end of the world. Stranded in Beverly Hills, he discovers something far worse than decomposing zombies, vampiric aliens, or infected mutant motorcycle-riding killers.

As I wrote on the Wily Writers site about this story:

I really like the voice of “Bloodstone.” It evokes all kinds of classic writerly angst, like the misanthropic Hunter S. Thompson. Imagine someone like that on their own in a post-apocalyptic world, and you’ve got the start of this story. Couple that with a classic bit of writer/reviewer animosity, and the bones of the story are in place.

This piece is well written with a strong character and an excellent description of the post-apocalyptic world. It also cleverly uses the character to explore possible reactions to an apocalypse, while the reality in this case is a lot less exciting. There’s humour here as well, in the character and the situation.

All Wily Writers stories are published on the site in text as well as podcast, so whatever your preferred format, the option is there. Bloodstone is a great story, read by the excellent Philip Pickard (who also did a great job reading Declan’s Plan for me).

href="http://www.wilywriters.com/blog/?p=2591" target="_blank">Find the story here.

I’ll post about this again when the other winning story goes up, then I’ll post about the process of judging and editing after that.

And thanks again to Angel McCoy for inviting me to be a part of this. As a writer, it was fun to be on the other side of the fence for a change.

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You might remember a few days ago that href="http://www.alanbaxteronline.com/2012/01/17/tuesday-toot-mary-victoria-river.html" target="_blank">I posted a Tuesday Toot for Mary Victoria. Mary was tooting about a new anthology she’s in called River, and part of her promotion of that book is to run a series of guest posts on her own site. Each post is by a different specfic writer and each writer is discussing the idea of Place As Person.

Have you ever become so deeply fascinated with the setting of a book that it lingers on, invading your mind long after reading is done? We all know good world building is essential to any story. But occasionally an author takes that art one step further, creating an environment that enthralls, breathes, lives.

I was very pleased that Mary asked me to contribute, because I’m a huge fan of well-realised places in fiction. Locations are definitely characters in my stories.

href="http://maryvictoria.net/?p=3377" target="_blank">You can find my guest post on the subject at Mary’s site here.

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Today I delivered a letter to my father Haydn Savage that his father Leslie Savage had written to him almost 75 years ago. I planned to write this up as an example of the enduring power of the written word. But it’s not that simple. The deeper I delved, the more this became a story about the drive to connect through whatever means possible.

The letter came in an envelope with a Tongan stamp and an intriguing array of postmarks, though it was written in Melbourne. Affixed to the letter was an article from The Herald 12 July 1937 inviting stamp collectors interested in obtaining letters with ‘tin can mail’ postmarks to send their envelopes and sixpence worth of stamps to the Union Steam Ship Company. The letters were to be sent on the TSS Maunganui, dropped overboard in tin cans off the Tongan island of Niuafo’ou and returned by the next available ship.

For my grandfather, a stamp collecting, National Geographic subscriber with a passion for what he called ‘the South Seas’, I can well imagine the allure of tin can mail.


Nuiafo'ou from the air, 7 June 2011

It turns out Niuafo’ou is a remote, volcanic rim island of 15 square kilometres with neither beaches nor harbour. A ten kilometre drop into the Tongan Trench makes it impossible for ships to anchor; even landing a rowboat is difficult in the turgid waters off the steep cliffs.

According to Betty Billingham’s history of the tin can mail, in 1882 the island’s sole white inhabitant, plantation manager William Travers, desperate to communicate with the outside world, petitioned the Tongan postal authorities to seal his mail in empty biscuit tins and have it dropped overboard by passing ships. When the captain sounded the ship’s siren, Travers would send a swimmer out to collect the tin and exchange it for outgoing mail.

Philatelist Janet Klug suggests the idea of the swimming postmen was inspired by the Niuafo’ou islanders’ use of buoyant fau wood poles to support themselves while spear-fishing: ‘The traders thought that if the swimmers could use poles to catch and bring back fish, they could easily use poles to go out to a passing ship and to catch the mail and bring it back.’


Photo postcard c 1930 of swimming postmen bringing inward mail

Swimmers could struggle for up to six hours, battling strong currents in shark infested waters to retrieve a mail tin dropped from a ship only a mile off shore. When mail drops took place at night, groups of swimmers would go out, the villagers lighting bonfires on the cliffs to guide them back.

Charles Ramsay, a plantation manager who came to Niuafo’ou in 1921, was the only white man known to swim for the mail, which he did 112 times both by day and by night. I couldn’t find a record of the names of any islanders who swam for the mail, not even the swimmer famously attacked by a shark in 1931, who died after confessing to having tampered with the island’s precious fresh water supply (his death was put down to divine punishment). The Tongan authorities under Queen Salote subsequently insisted future tin can mail drops be collected by outrigger canoe, though this was hardly less hazardous as the canoes had to be thrown into the water from the cliff tops with the crews jumping in after them, and there is evidence to suggest the swimming postmen continued to brave the waters for years to come.


L to R: Pauline Hoeft, Walter G Quensell & his wife Emma Hoeft, c 1922

It was German born seaman turned trader Walter George Quensell who recognised the philatelic interest that could be generated by the tin can mail system. In a letter of 23 January 1947 to a friend in California, Quensell writes “I do not claim to be the originator of that same mail, it was started long before I came to “Tin Can Island” that was in 1919. Still it was me that made it known to the world.”

From 1928-29, using a child’s printing set, Quensell produced a rubber stamp to mark his outgoing letters ‘TIN CAN MAIL’. Over the years, his cachets became more elaborate. He ordered rubber stamps from New Zealand with ‘Tin Can Mail’ in multiple languages. He also stamped envelopes with his own name and the title ‘TCM Man’ or ‘TCCMM’ for ‘Tin Can (Canoe) Mail Man’.

Incidentally, the only woman known to ‘swim the mail’ was Quensell’s sister-in-law Pauline Hoeft, New Zealand’s ‘Champion Lady Swimmer’, who held the fifty- and one-hundred yards world records in the early 1920s, was a match for ‘the speediest of male swimmers‘ in the fifty yard open scratch race, and is said to have worked with Johnny Weissmuller, Hollywood’s most famous Tarzan.

At some point, Quensell arranged with ships’ captains for passengers to mail letters ‘in the tin’, enclosing sixpence worth of stamps to cover costs. Quensell would apply his cachets, then send them on. The ships’ captains added their own stamps and cruising by Niuafo’ou to watch the collecting of the mail soon became a tourist attraction. Through an arrangement with the shipping companies, Quensell’s offer was extended beyond passengers to stamp collecting enthusiasts like my grandfather. In the 27 years he spent on the island, Quensell estimated he sent 1.5 million letters to 148 different countries.

Yet tin can mail was never just a gimmick. Until an airstrip was constructed on Niuafo’ou in 1983, it remained the only way for residents to send and receive mail.


Les Savage & son Haydn in 1938

My grandfather’s letter clearly made it to Niuafo’ou, as the envelope is stamped with multiple cachets including TIN CAN – CANOE MAIL: ISLAND, which is unusual as Quensell was said to have cut out the word ‘canoe’ from all rubber cachets from mid-1935 following a dispute with the swimmers. But why the letter never made it back to the addressee, my father Haydn, remains a mystery.

Indeed, the letter might never have reached us but for the unusual note on the front top left corner: ‘To be opened on 12th Sept 1952.’ In a move typical of my beloved late grandfather, he’d written the letter to his son, then aged not quite two years, and marked it to be opened on what would have been my father’s seventeenth birthday.

The note piqued the curiosity of a Gold Coast couple who acquired the ‘cover’, as they are known to philatelists, as part of a bulk lot bought at auction. Though covers have a much higher value if they remain unopened, the couple took a chance on finding something of interest, that might also help them locate the intended recipient or his family.

“As it turns out it had a most beautiful letter inside,” they wrote to me in January 2012. “We are so glad to have located its rightful owner – such lovely words deserve to be with the intended recipient.”

They found me on the internet, of course: the previous month I’d written a post to commemorate the first anniversary of my paternal grandmother’s death and tagged it with my father’s name.

Thus the letter travelled via air, ship, tin can, canoe, email, registered mail and train to finally reach its intended recipient nearly 75 years after it was written. The cover probably changed hands many times over the years among philatelists. I was surprised to learn that attempting to return mail to the intended recipient is frowned upon by collectors and dealers who (legitimately) purchase items like Tin Can Mail covers to keep or re-sell at a profit. We were fortunate the last owners didn’t subscribe to that view and elected instead to connect.

After all, what child of any age wouldn’t cherish the chance to read the following:

At the moment you are 1 year & 10 months old and playing happily around me — a constant joy to your loving mother & I. In two months time you will be two years old. Easily the most marvellous years of our life…I know you will always love your Mummy and Daddy and they only live for you.

And from Haydn: ‘My father did this to me all my life, post-dated mail by many years, then refused to let me open on the date! So I was really thrilled to read the contents of this one.’

Photo sources:
Niuafo’ou from the air, Trans Niugini Tours
Photo postcard c 1930, Post Office Postcards
Pauline Hoeft, Walter Quensell & Emma Hoeft, Tonga Tin Can Mail History (1882-1983)

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