Pendulum Pet FREE on 28 and 29 May

My second novel, Pendulum Pet, is FREE on Amazon on Saturday, 28 May, and Sunday, 29 May, as a part of KDP Select. During this limited time you can grab it without risking any of your capital assets for something you don’t like. In fact, even if you’re never going to read it, you’d be doing me a favour if you downloaded a copy, because all downloads contribute to the book’s stats and visibility on Amazon. Head to this page for more information about the book.

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Rick Harsch: The Appearance of Death to a Hindu Woman

AoD2-300pxI have been shamelessly procrastinating for quite a while now and have avoided writing this review, figuring that I’ve had many more “pressing things” to do – for the very simple reason that this is one of those books that are certainly not “easy”. As such it has called for quite a bit of pondering, because writing a hasty review would have not done it any justice. Let me start by typing a few words about Rick Harsch first. In fact, I’ll just pilfer a bit of my own text from the review of Harsch’s Arjun and the Good Snake that I wrote a couple of months ago.

Once upon a time, Rick Harsch was well on his way to becoming internationally renowned for his traditionally-published and widely acclaimed “Driftless Trilogy” (The Driftless Zone, Billy Verite, and The Sleep of Aborigines), which has also been translated into French and made its way into the curriculum of the somewhat obscure University of Tasmania (as Rick defines it in Snake, “the intellectual center of the only block of land to exterminate all its aboriginals“). However – rather unsurprisingly, if you know what an onerous conundrum of uncalled-for incidents tends to surround Rick most of the time – due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch’s tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late. The infamous downward spiral of the traditional publishing industry that has got out of control after the advent of e-readers has only further complicated Rick’s theretofore cunning world-domination scheme.

In light of all of the above, Rick has recently decided to join the indie author tribe, and I’m helping him out by formatting his books for e-readers. Arjun and the Good Snake was the first book of his to be re-released as an e-book, in a series of others that should follow shortly. The Appearance of Death to a Hindu Woman was the second e-book to be published, and I’m almost done with three more, which should be out soon. Appearance goes together with Snake and represents the second half of Rick’s Indian Duology, or however he may refer to the pair of novels. Like in Snake, in Appearance he once again focuses on India; on, as he puts it himself in his description of the book, “…the spaces where love and delusion, myth and existence weave sinuously, rhapsodically, through the Indian world.

The resulting “love story” is an extraordinarily poetic and meticulously thought-out narrative, describing a pilgrimage of an US American man through India in an attempt to overcome the dark forces (mundane as well as otherworldly, even demonic) that would prevent his reunion with his Indian love. However clear and relatively simple this basic plot may seem when you “boil it down” like this, Rick’s writing is, of course, not nearly as straightforward. What starts out as a tale of love in the face of culturally-related obstacles (with the traditional Indian family opposing their daughter’s relationship with a Pisaka, eater of dead flesh, as the girl’s mother refers to the narrator) soon develops into a feverish, phantasmagoric journey of a man-out-of-place through the unknowable intricacies of Indian history and myth. The pilgrimage itself may or not be real, and on his path the narrator is derailed by “suspicious” characters, assailed by demons, and drawn into “the foul game” (as one of the characters refers to it, and which involves a horrendous case of dysentery). Soon the story takes on a somewhat magic-realist dimension that makes it difficult to separate reality from delusions. After darker and darker turns the story culminates in a feverish monologue of the narrator whose pilgrimage has, apparently, not succeeded quite as he has imagined – or has it? Perhaps what really happens is that he finally succumbs to the demon Theengu Karuppu, as he suspected he would (and was warned about it)?

The Appearance of Death to a Hindu Woman is the sixth book by Harsch I’ve read, and such “uncertainty” with regard to his writing, resulting from the frequent “phantasmal” passage, seems to be his modus operandi: it’s simply something one comes to terms with and learns to love, or one doesn’t. When reading Appearance one should also be prepared to tolerate the frustration one might feel (if one is not exactly an expert in India) by all the Indian names, places, Tamil and Hindi words and concepts, and especially Indian mythology, which Rick, naturally, rarely bothers to explain (such “India-for-dummies” explanations would not have any place in a narrative like this, anyway). Rather than resorting to googling all of this one can also do oneself a favour and just remain relatively ignorant – as far as I’m concerned, one doesn’t have to know exactly what is going on to appreciate the story.

What I mean to say is, if you happen to be one of those readers who like their books clear, to the point, and lacking any digressions and seemingly gratuitous “asides”, you would probably do yourself a favour by staying away from Harsch’s Appearance (and probably Snake as well). However, if you can appreciate a random hint of obscurity and see value in an occasional internal monologue and cryptic passage, this is for you – especially if you can relish the exquisite “prose poetry” language that Appearance has to offer.

Pendulum Pet FREE from 25 to 27 March

My second novel, Pendulum Pet, is FREE on Amazon this weekend (25 – 27 March), as a part of KDP Select. So during this limited time you can grab it without the risk of wasting four bucks on something you don’t like. In fact, even if you’re never going to read it, you’d be doing me a favour if you download a copy, because that contributes to its stats and visibility on Amazon. Head to this page for more information about the book.

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Fortunate Finds: Scrivener

Ode to my precious novel-scribbling tool

Originally I never planned on including a piece of software among my “Fortunate Finds” posts, as I only intended to babble about music I love and books I may want to mention, recommend or “review”. However, as I continue plodding along as an “indie” author, I keep discussing things with other authors – either those I happen to meet online or those I had already known before I’d actually started feeling like one as well. One of the issues that has already come up quite a few times during various discussions is the traditional, recurring leitmotif along the lines of “Woe is me, for M$ Word is driving me insane“.

I know the sentiment. I’ve worked in Word for decades, first as a student; for a while, eons ago, even as a part-time typesetter (even back then, as a teenager, I was aware that Word wasn’t really a proper text formatting or desktop publishing tool, but I did not have any other means of doing it; besides, the texts I worked on were relatively simple and scarcely contained any graphics); and then for almost twenty years as a professional translator, with and without computer-assisted translation tools. So, knowing almost everything there is to know about Word (except for advanced macro programming and various bloatware options I’ve never used), I also wrote my first two novels in Word. Due to my diligence or even obsession with keeping (several redundant) backups I’ve never had any serious problems with it (though I’ve heard many horror stories). However, as most people trying to work on anything serious and complex in Word will surely know, Word can drive you insane. I will not go into details here, they are very well-known, even infamous, and this is not a Word-bashing blog post: it’s a “Lookie here, a great tool for writers!” post.

When I started working on my third novel it soon became apparent that Word would make the project very difficult. First of all, the novel will be quite long, full of strange names and foreign words, so the spell checker would sooner or later come up with the completely nonsensical message I’ve grown to absolutely detest over the years: “Too many spelling and grammar errors”, after which the spell checker would take the liberty of turning itself off and not displaying any typos anymore. I mean, pardon my French, but what the fuck? Word 2016 doesn’t seem to be able to digest any more spelling “errors” as the one back in the 1990s? I mean, really?! What, am I still working on an Intel 286 computer with 1024 KB of RAM and storing my book on a 5,25″ floppy disk?

Furthermore, the structure of the novel I’m currently working on will definitely keep changing as I type away – and it’ll change A LOT, at that: the envisioned ‘masterpiece’ will consist of an intertwining puzzle of two main story lines taking place at two separate locations roughly half a year apart, digressions into a teenage “novel” attempt written 30 years before and rediscovered at the time of the narration in one of the story lines, as well as some folk tales, rumours, hearsay and perhaps even excerpts from a long-lost journal as well… So making all of this click together into a fluent narrative of interchanging scenes in Word would have been an utter and insurmountable nightmare.

win-showcase-scrivener_headerCue in Scrivener. This baby was brought to my attention by other writers on various forums, so I decided to give it a whirl before I started pulling my hair out due to all the horrors involved in continuously editing and restructuring a 120.000-word (or possibly more, who knows where I end up?) chunk of text in Word. To make a long story short, I downloaded the trial version, got acquainted with it through the simple and clear tutorial that comes with it, and was typing away merrily the very next day. Just one day after that I “shelled out” the radically sensible amount of $ 40 for a licensed copy, and I’ll never write a piece of literature in Word ever again, period.

A few highlights – the main reasons why I love working in Scrivener:

  1. You can hide everything with a press of a button and just be left alone with your text, and you can set up gentle colours that don’t seem bent on poking your eyes out;
  2. While you’re in this “writing view”, the text can optionally scroll typewriter-style, so that you don’t have to keep staring at the bottom of your screen;
  3. You keep separate parts of your book in separate “sub-documents” that can be thrown around however you see fit without any danger of losing or screwing up anything;
  4. The folders/sub-documents make the whole structure of your masterpiece extremely visual and obvious: no more rummaging through hundreds of pages to figure it out, and no more manual outlining (you can use virtual index cards and corkboard if you’re so inclined, or a very clear “outliner”);
  5. You can “virtually stitch together” various sub-documents and see how they fit together, without jumping around the text or cut-and-pasting anything;
  6. The application is very secure; it keeps backups and “snapshots” that you can make before engaging in any in-depth editing, so you can store an endless number of “work-in-progress” versions (snapshots) of chapters/documents at various stages of development;
  7. You can store your research, notes, documents, files, even audio, in Scrivener without ever having to rummage around your hard drive to locate it;
  8. The spell checker doesn’t simply die on you because it’s “spent”;
  9. Project targets – yay! – so you always know (in real time, as you type) how far away from your daily “quota” and overall target you are (there is something extremely satisfying about that “progress bar” creeping along towards the “green”, which might motivate you to keep writing even when everything else might fail);
  10. The exported completed texts are tidy and clean, making further formatting a breeze;
  11. Last but certainly not least, it’s extremely sensibly priced, AND they offer a trial version, to boot.

So, what’s not to like? To find out more, head over to the Scrivener homepage.

Rick Harsch publishes Arjun and the Good Snake

Snake300First of all, let me get the following out of the way: yes, I count the writer Rick Harsch among “real-life” friends (i.e., not one of those you only “talk” to via one of the antisocial networking sites), so my review of his first e-book (but hardly Rick’s first book – he has previously published a heap of those… what were they… oh, paper artefacts!) might not be entirely objective (as if any review is). The thing is, Rick’s relentlessly critical outlook but nevertheless remarkably positive opinion of my own debut novel was what I desperately needed at a time when my confidence in my scribbling ability was faltering on a daily basis, and he has also been invaluable in his efforts to help me polish my own books and get them in front of readers. This was, as far as my own previous experience had indicated, rather unusual for “old-school” writers such as Rick.

As it happens, Harsch is not (yet?) a member of the modern, agreeable, happy-go-lucky gang of “indie authors”: he hails from the “olden” days when the stereotypical image of writers was still – with good reason, I suppose – that of obstinate, loopy, unsociable, disgruntled old geezers who most likely hate all other writers, but especially any who might materialise in their vicinity. After all, Rick was, once upon a time, on his way to becoming quite renowned for his traditionally-published and widely acclaimed “Driftless Trilogy” (The Driftless Zone, Billy Verite, and The Sleep of Aborigines), which has also been translated into French and made its way into the curriculum of the somewhat obscure University of Tasmania (as Rick defines it in Snake, “the intellectual center of the only block of land to exterminate all its aboriginals“). However – rather unsurprisingly, if you know what an onerous conundrum of uncalled-for incidents tends to surround Rick most of the time – due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch’s tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late. The infamous downward spiral of the traditional publishing industry that has got out of control after the advent of e-readers has only further complicated Rick’s theretofore cunning world-domination scheme.

In light of all of the above (as well as because I practically forced him to), Rick has recently decided to join the indie author tribe. Arjun and the Good Snake is the first book of his to be re-released as an e-book, hopefully in a series of others that should follow. I’ve had the honour of formatting it for e-readers, and it should look good – I certainly hope so, and if it doesn’t, feel free to complain to me and hold me personally responsible, and I mean that! This I did most happily, for Snake has been, to date, my favourite book of Rick’s (with the possible exception of an upcoming “paper” one, which is still in the works); though I, unfortunately, haven’t yet had the pleasure of reading the Driftless Trilogy, because it is, sadly, out of print. (Rick is currently looking at the possibility of resurrecting it, but the fact that he doesn’t have the manuscripts in the electronic form will make this “project” difficult and, above all, long-winded.)

Reading Arjun and the Good Snake for the first time a few years back was the perfect way of getting to know Rick better, along with all of his numerous remarkable qualities as well as considerable faults. As he puts it himself in the introduction to Snake, “No character, especially that of the author, is safe” (from assassination, I guess). The (sort of) journal supposedly focuses on the six weeks in India (without alcohol, woe was Rick!) that the author spent on a quest to track down a cobra and hopefully also a Russell’s viper, the ophidian preference of his son. However, the “diary” is interspersed with the author’s intimate musings and ruminations: on his own failings, particularly the harrowing alcohol addiction (paradoxically, simultaneously soul-sucking and soul-giving, as anyone who has ever struggled with their share of problems with alcoholism will surely know); on his family, especially his relationship with his wife Sasikala and son Arjun; on India and all her unknowable depths; on philosophical, existentialist, even suicidal enigmas; as well as on the various goings-on back at the Slovenian coast, where the author had emigrated from the United States, primarily, as far as I know, to escape oppressive idiocy… Only to witness, to his dismay, the quickening of rabid, unhinged capitalism in a former socialist country, with all the savagery that has entailed.

Arjun and the Good Snake is not an “easy” book. If you’re an ardent believer in the magnificent contemporary Western world and appreciate the constant pursuit of instant gratification, ravenous consumption as well as instantaneous excretion – then this might not be a book for you. However, if you’re willing to put a bit of effort in a literary work rather than just be “entertained” by it, you’ll doubtlessly unearth and come to appreciate many a touching contemplative passage such as, for example, the following:

We arrived to the sea – and this is where if I were ever to commit suicide, the time would be as appropriate as it would get, a wretched man standing apart from the alienated cluster representing all he’s got, unable to enjoy himself alone, alienated even from a circumstance too familiar to generate true despair; the waves relentlessly formed and reformed with their concealed force, spent themselves falsely, the sea sucking in with greed: There is much to be learned standing with pants rolled above the knees and feet planted on damp sand as the lace of water passes ankle high, and then the sand around the feet is stripped away with a surprising, even sinister, force that badly wants to take me under, too…

“Short and to the Point” EP released

The soundtrack for the upcoming theatre performance “Kratko in jedrnato” (Short and to the Point), directed and co-written by Marko Djukić, has just been released as a 15-minute EP, entitled “Short and to the Point“. You can download it on Bandcamp (free / name your price) or grab a free download here.

All tracks on Short and to the Point were composed, arranged, recorded & produced by Borut Praper (a.k.a. Ray Kosmick). All instruments performed by Borut Praper. Produced, mixed and mastered by Ray Kosmick in S.U.R. Studio, Berlin, in 2016. The cover artwork is a screenshot from the film Sunrise: A Song of Two Humans by F.W. Murnau (1927).

Theatre performance credits:
Starring: Branka Hočevar, Helena Bevc, Renata Jančar, Neli Mlinar, Tamara Kragulj, Aja Kobe k.g., Roman Tišler, Urh Props, Maks Kovič, Žiga Rappl, Gal Mavretič
Set design & costumes: Katja Sladič Rudolf
Assistant set & costume designers: Tina Baš, Tjaša Doblekar, Tessa Adamič
Hair stylist: Nina Vozel
Light design: Aljoša Vizlar
Technicians: Jure P. Končar, Matej Bračun
Performance produced by the TOMBAS society in cooperation with the Litija Cultural Centre

“Pendulum Pet” released!

PPet-COVER-400x600I am overjoyed to report that my second novel, Pendulum Pet, has just been released on Amazon! It’s currently enrolled in Amazon KDP Select, so it’ll remain exclusive to Amazon for the foreseeable future. I might change my mind and release it elsewhere at some point, but for now let’s see how this arrangement works out.

I would hereby like to thank my precious “beta readers”: Monika Fritz, Rick Harsch, Vesna Žagar, Barbara Drobnak, Jure Rudolf, Sunčan Stone and Marko Djukić for their invaluable insight, assistance in the never-ending whack-a-typo hunt, as well as their involvement in advanced mental fart eradication. Furthermore, hats off to Matej Peklar, top-notch illustrator and my best friend back in primary school (in another millennium, in a now deceased country), for his witty cover design. Yay, we’ve got a thoroughly grumpy pooch on the cover!

Over here you can listen to the complete soundtrack for this novel and download it for free.

I can only hope Pendulum Pet manages to find a few readers whose sense of humour is convoluted enough to enjoy it. By the way, the price on Amazon is $3.99.


ABOUT THE BOOK

PENDULUM PET
(Cynicism Management Series Book 2)
Satire / comic fantasy / sci-fi

Pendulum Pet is a romp through the vicissitudes of a gregarious advanced culture with too much time, information and technology on its hands. Paranoia is placed and misplaced, the devious succeed through manipulations of those who gaze in wonder at the mundane like chimps on acid, or fail when the truly bizarre and unthinkable inadvertently stand in their way.

Civilizations clash, as they will, when Metaore, a transnational mining corporation headed by CEO Budd Dimples, purchases a field behind Boris and Beeba’s Rock ‘n’ Roll Tavern, a cult concert venue and meeting place of an eclectic collection of feckless artists, in order to undertake a remarkable experiment: drilling a geopunctural borehole to heal the Earth. Budd has been diagnosed with pancreatic cancer and taken a sudden turn toward esoteric wisdom, much encouraged by his healer and sex therapist Ashtara Wolf.

Bogomyr Yadvig, one of the more outré of the regulars, lives in a tent nearby with Rex the tavern hound – his idea of communing with Greek Cynics in preparation for an upcoming performance piece. He has cause to lose sleep and accumulate suspicion that the corporation has nefarious unstated ends in mind, particularly when he has his Roswell moment, if that is indeed what it is.

The corporate endeavour comes to a sudden halt when their drill runs into an impenetrable barrier, leading to mutually unfortunate and potentially combustible discoveries, along with stunning truths about parallel evolution and devolution. Yes, the world of the techno-information age has gone mad and survival may very well depend on the whims of a pendulum pet.

Please note that this novel is adult, poignant satire. As such it contains explicit language, sex scenes, politically incorrect depictions, and may be offensive to the more irritable readers. Even though the work is part of a series, the story is self-contained and can be read independently of the other Cynicism Management Series novels.

Grumblin’ Ole Geezer @ Ibrahim Maalouf

Goosebump-inducing microtonal escapades

I only became aware of Ibrahim Maalouf and his work recently, a few months ago… But as soon as I heard the first track by Maalouf by pure coincidence (True Story, it just played on Deezer one day), I knew I had to hear more. Since then I’ve “studied” his whole discography and was very happy when I heard he had a gig scheduled here in Berlin for 23 February – I went out and bought tickets immediately. It was the right decision, because yesterday’s concert was one of the most goosebump-inducing events I’ve attended recently.

Admittedly, I was quite a bit concerned when I found out the concert would take place in Konzerthaus Berlin. I’ll freely admit that I prefer louder, more rock-oriented fusion concerts to any “chamber music” events by far, so I was immediately worried that this would be a very gentle acoustic affair. What else to think, when the concert hall looks like this:

Konzerthaus_Berlin_Aussenansicht_quer_Foto_Sebastian_Runge

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Photos by Sebastian Runge, “borrowed” from http://en.konzerthaus.de/

Unfortunately, my concerns were well-founded and instead of the electric bass and guitar I had hoped for, Maalouf’s lineup featured double bass and sax – no electric guitar. Damn, there go my heavy metal horns. The acoustics were as problematic as expected, because the hall is surely better suited to classical music than fusion bands. At this point I couldn’t help but wonder why in the hell jazz/fusion concerts are discriminated against in such a manner? Maalouf, judging by his jocular comments, seemed equally surprised at the pure “fanciness” of the venue he had just filled to the brim. A Simon Phillips concert I’d seen back in Slovenia ages ago came to mind, when Mr. Phillips was so frustrated with this “jazz discrimination” that he refused to play encore until the seated audience vacated their thrones.

This time such a thing – getting off our butts and remaining afoot for more than five minutes – would have been a tall order, because for some reason I couldn’t quite explain about a quarter of the yesterday’s audience were pensioners (unless it was some sort of a season-ticket-for-the-Konzerthaus thing?). Half of the audience, though, were obviously musicians and their significant others, which was to be expected… And another quarter consisted of Frenchpersons and Maalouf’s Middle-Eastern compatriots (many of whom knew the lyrics to the tunes Maalouf’s trumpet toyed with).

You see, the thing was, the Lebanese-French Maalouf and his crew performed Kalthoum, his newest album and homage to the Egyptian songstress Oum Kalthoum. I admit I’d been hoping for a Red & Black Light and Illusions oriented setlist, but this was fantastic as well. Maalouf’s more “acoustic” team sounds like this:

I soon came to terms with the rather gentle volume of the whole affair (and with the fact that the poor drummer was sweating under pressure – not because of raging all over his drum set like a deranged blacksmith on methamphetamine, sadly, but due to all the excruciatingly hard work invested in keeping it “pianississimo” most of the time, which all drummers will know how hard it is, especially once the passion and frenzy of performing live takes over). To be sure, regardless of the volume (or, actually, thanks to it – anything louder would have been terribly boomy in such a hall), every detail was perfectly audible, down to the last microtonal escapade by the virtuoso Maalouf. In fact, Maalouf’s brooding, lyrical, extremely dynamic and highly melodic, exotic microtonal solos resulted in some of the highlights of the performance. Not that the other band members didn’t do their part: as expected, all of them exhibited superb musicianship, and I could even enjoy one of the most musical and not so very pianissimo drum solos over the 7/8 time signature I’ve heard recently. The pianist, saxophonist and bassist (who, sadly, kept having, to his obvious dismay, severe technical problems with his bass) were just as great.

Maalouf is also a real joker (and blabbermouth), and his contact with the audience was amazing. If I were filthy rich, I’d have these guys play at my wedding. For three days and nights. His humour also featured several pointed hints and remarks about the ongoing refugee crisis as well as stereotypes involved in it; and he also invited a superb oud player and singer – who he explained was a Syrian refugee, otherwise a master judoist and expert carpet layer (because one can’t earn a living playing music these days) – to demonstrate how Kalthoum’s tunes sounded with vocals.

Finally, during… what… third encore and standing ovation, I believe? he taught us a musical phrase and got us to whistle along with him while he and the pianist (in Maalouf’s words “a German who doesn’t look like a German”) frolicked around on the trumpet and piano. Simply presenting a phrase (with a slightly tricky variation in the second half) in thirty seconds and teaching it to at least 20 % of the hall in three minutes attests to Maalouf’s optimism – or to his awareness that his audiences consist mostly of musicians. Because, to be sure, we knew perfectly well what to whistle and when to do so just a few minutes into the “experiment”, all of us apparently drawing from the experience of a thousand rehearsals with various bands under our own belts. Hell, even the variation sounded almost right after the third attempt!

Fortunate Finds: Guido Henkel

Guido Henkel’s Zen of eBook Marketing still free today!

A few months ago, after I finished the first draft of my second novel, I started considering the possibility of joining the ranks of self-published, indie authors. I was thoroughly dissatisfied with the (non)strategy and unresponsiveness of the small U.K. e-book publisher who had released my first novel, Cynicism Management, as well as frustrated because of my lack of control over that release. Therefore I decided to educate myself in the matter of indie publishing, which I had previously consciously avoided, primarily due to two concerns: problems involved in e-book formatting; and my inability to promote my own work in any effective way (I have a long but infamously anonymous career as a composer, musician and producer behind me, spanning back more than 20 years with extraordinarily limited success, to prove that).

I decided to approach both issues the way I usually do: by reading about them. My ultimate decision to go ahead and self-publish was based on the most helpful works of two authors: David Gaughran and Guido Henkel. From Gaughran’s books (I intend to make a separate “Fortunate Finds” post about him and his work in the near future) I have gleaned a wealth of invaluable information about contemporary self-publishing in general, more than enough for me to decide this was indeed what I wanted; but they only touch upon the subject of e-book formatting briefly. However, as far as that pressing issue was concerned, Gaughran pointed me in the direction of Henkel.

Now, I know enough about IT and coding to have been seriously worried about how to even approach e-book formatting properly. I knew enough not to trust any ZenFautomatic conversion processes, and it turned out I was right. However, due to financial constraints (i.e., zero budget) I wanted to tackle this issue myself. The feat would have been impossible without Guido Henkel’s Zen of eBook Formatting, which has been, for me, the definite go-to e-book formatting compendium, and it hasn’t let me down once. To boot, Mr. Henkel is a very generous and plain old “nice” guy, who will not shy away from any questions one might have. With the aid of his thorough instructions I was able to overcome my fear of formatting my e-books myself… And I can now do so with conviction that they’ll display well on all sorts of e-readers, phones and tablets.

For this reason I was very happy when I recently found out that Henkel was about to publish a new Zen book – Zen of eBook Marketing – this time focusing on e-book promotion, which remains a seemingly insurmountable problem for me. First of all, I dread most kinds of self-promotion and abhor marketing. I find most of it nauseating and utterly incompatible with my personal philosophy, especially as I tend to be an annoyingly compulsive cynic, even with regard to my own work. Thus I’ve always found any self-help books on marketing shady, suspecting them of mainly promoting themselves – you know, in the vein of get-rich-quick books: why would one write such a book if one knew how to get rich quickly? Unless writing a get-rich-quick book is a way of getting rich quickly?

ZenMHowever, by that time I had already been very grateful to Mr. Henkel for his book on formatting, so in spite of my inherent skepticism I will quite shamelessly say this: it is my opinion that Guido Henkel does it primarily because he likes to help people (no matter how cheesy that statement sounds); and if he makes a thoroughly honest living while doing it, that’s fine with me. If you disagree, check his instructions on eBook formatting: he could have taken this freely accessible information down when he wrote a book about it, right?

If you’re looking for get-rich-quick schemes, you won’t find any in Henkel’s book. Instead he approaches the subject of e-book marketing realistically and wittily, providing a treasure cove of information on everything every indie author should know: from editing, proofreading, beta readers, formatting, importance of cover design, keywords and metadata… all the way to reviews, online presence, social media and promo ideas. You’re free to pursue whatever you like, and ignore whatever it might be you don’t. Henkel will not tell you to do this or do that in order to achieve overnight success: he provides a comprehensive overview of everything you can do, topping it all off with an exhaustive and invaluable collection of links and resources, and then it’s up to you. It’s a book every indie author should grab – and you can do so without any risk whatsoever, because Henkel is still offering it for free until the end of today.

Fortunate Finds: Tigran Hamasyan

Classical folk jazz heavy metal fusion

Lately I’ve been writing a lot, so I’ve mostly abused jazz, fusion and classical categories on Deezer on a daily basis, simply because though I enjoy listening to music while I write I tend to avoid anything with lyrics. Especially the silly “I love you / but you left me / so my heart is breaking” variety or “shake yer booty” gems that plague music perpetually and seem to have a profoundly detrimental effect on my blood pressure (though, admittedly, even the most intriguing of lyrics don’t do much for my writing focus – quite the contrary). On the other hand, instrumental music, especially if it’s not too engrossing, can help me “get in the zone”.

Occasionally, however, I’ll stop in the middle of a sentence, drawn irresistibly to what I’m hearing. That’s what I love about random mixes and pre-made playlists on Deezer: there you are, cruising along nicely, and then all of a sudden a particularly intriguing tracks pops up, seemingly from nowhere, and you know immediately you have another “fortunate find” on your hands. So about a month ago I was typing away indifferently, minding my own business, and then this starts playing:

Of course, as this is right up my alley, I immediately unglued my considerable posterior from my exercise ball… (Why are you frowning at me like that? Due to incessant staring at the computer screen, high-speed typing and mousing away I started having problems with my back, neck and wrists a few years ago, so I bought a ball to sit on and an ergonomic keyboard to manhandle, what of it? It helped.) I shuffled over to the laptop, plugged in my sound system just for music purposes, to check what was it that I was hearing – like I normally do when I notice something really great. And there it was, Entertain Me by Tigran Hamasyan.

Thoroughly entertained, I’ve since listened to his whole discography on Deezer and became quite a fan of his Shadow Theater and Mockroot albums. There’s nothing wrong with the others, of course – I listen to those as well, but the two I’ve enjoyed most contain a notable abundance of those “heavy fusion” moments I love and adore, complete with a good dose of melancholy, thoroughly odd time signatures, and some radical drum playing, which I, as a drummer, always appreciate. So I guess Mr. Hamasyan and his crew will be responsible for my inspiration for quite a few pages of the novel I’m currently writing.

Unfortunately, this Armenian prodigy pianist lives in Los Angeles for some reason (perhaps he likes the weather?), so I doubt I’ll be able to catch his band live any time soon – though I certainly would if I could. Here’s one of my favourites from Shadow Theater – live; so, yep, due to the exquisite musicianship exhibited by these guys it would certainly be worth seeing: