My novel Keep the Ghost is presently the 84th bestselling Suspense book on Amazon, and number 134 in the Mystery category. These are big, competitive groups with authors like Michael Crichton, Melinda Leigh and Rachel Caine in the top spots, so I’m quite happy.
In other news, I’m hard at work on a new novel – or series of novels. The first novel in the Endsville saga, “Nowhen,” will be available at some point in the future.
Coming late August/early September – the conclusion to the Keep the Ghost trilogy. The eBook will be released first, with the paperback following shortly after.
On December 13th, I had the opportunity to do my very first live radio interview on Austin’s own “Writing on the Air.” The program is dedicated to reading and writers and plays here in Austin on 91.7 FM.
This was a great opportunity for me, and a lot of fun. The number of famous authors who have sat in that studio was humbling, and I mostly tried not to sound completely insane in this extensive interview covering diverse topics like: Why do I hope some of my fans will have high-profile and dangerous accidents? Why do I focus more on the existential quandary of a novel than the plot? Exactly how much brain matter do you have to lose before you’re a different person? What did the famous NASA astronaut also named Scott Kelly do to cause me to banish him to outer space?
If you weren’t in Austin and didn’t have time to catch the interview, it’s available right now both as a Podcast and as a streaming .mp3.
For the iTunes Podcast, click here.
For the streamable .MP3, click here.
This is a brief and very transparent history of my writing career as of June 2017. It includes a detailed breakdown of some stats that many authors keep hidden.
I wrote my first novel when I was fifteen years old. It was written in roughly the same form as all of my novels – in the first person, and built around a philosophical issue. It was also terrible. Luckily, I loved writing it, and so from that point on, I wrote roughly one novel per year. They’ve each fit roughly the same formula: about 250 pages with a short, sharp writing style that ranges from abstract to gritty, typically in present tense. My novels are “contemporary fiction” and focus on existential and metaphysical issues explored through human drama. Some include elements of mystery or suspense, and some don’t. With each new book, I put in a lot of effort to make sure it’s better than the last. My passion isn’t to pump out diaries – I do this because I want to create great novels. When I was nineteen, an independent press in the UK called Flame Books (now defunct) published a novel of mine called Jimwamba.
I continued writing, but was dissatisfied with the small press experience. So for a period of years, I chased after mainstream publishing deals with a variety of agents, and came very close to achieving that goal after [sic] won WeBook’s Page2Fame contest. The deal was with one of the giants, but ultimately fell apart.
I was burned out on the whole experience. But in the ten years since I started writing, digital publishing became a thing. At the same time, I secured a pretty solid career in the legal field, and didn’t hate it. As a result, I decided to chase readers instead of revenue. I combined a large presence on social writing platforms along with various Amazon giveaway events of my purchase-only novels. This was my strategy up until around 2016, and these are the hard numbers resulting from that:
- A combined total of around 215,000 reads (not just downloads) of the four novels I made available.
- Around 9,100 followers across three different sources (Wattpad, Facebook, and my mailing list).
- 361 positive reviews on Amazon, and 954 on Goodreads.
- 31,200 votes on Wattpad.
But now I’d like to write full time, and that’s going to involve charging people money. So, my last few novels can only be purchased, and that’ll be the trend going forward (with a few exceptions). Not that I haven’t sold some books in my life, but nothing to replace my day job.
The new game goes like this: I pay Facebook advertising fees to give you a free book. Why? Because after you read it, you’ll want to buy the others. Also, you’ll wind up on my mailing list. I send out a few emails a month with bonus content, special deals, personal messages, musings on literature, my short stories, or whatever else I think you might like. Sound interesting? You can take part by clicking this link.
Who are you, really?
This is a picture of me at age fifteen. I’m thirty-two now. I feel very little connection to the teenager holding that guitar. Imagine it for yourself, and go younger if you need to. When you look at a picture of yourself at ten, what do you feel? Is that ten-year-old you?
Mentally, developmentally, socially – I’m a very different person than the teen in that fairly embarrassing picture. I don’t know if that’s me, except in the sense that we share the same timeline. We came from the same parents – the teen is bodily the same as myself, at least to a degree. Philosophers Eric Olson and Paul Snowdon define this as the “somatic criterion” for personhood, but we’ll just call it “body identity.”
So, I do share a body identity with the kid in that photograph. I mean, our bodies regenerate, and over the course of seven years we are basically rebuilt from scratch, but that’s just a technicality. I share a continuum of body with that person; over time, we’ve shared the same cells. Case closed, right?
Maybe not. Let’s draw on the sort of high-brow literary reference you’ve come to expect if you’ve read a few of these blogs. The movie poster for Freaky Friday.
Let’s use the premise of this movie (a remake, I know, but I needed this tagline to make my point) as a philosophical thought experiment. These thought experiments are generally impossible fantasy, but they allow us to test our intuitions to determine if a concept still makes sense.
Read the tagline – it’s clear, and obvious to the audience, that the bodies are not the person. It’s also kinda sexually suggestive, but we’ll ignore that. The movie would only confuse and annoy the audience if we believed the body was the person. If that were the case, there would be no “swap” in Freaky Friday. Lohan would just act like her mom, and Curtis would act like her daughter, but they wouldn’t have changed places. So, the movie plays on intuitions that seem obvious to us – Lohan inhabits her mom’s body, and vice versa.
But let’s bring this higher up the intellectual ladder. One of the most important philosophers of the past five-hundred years, John Locke, defines identity in a form that fits what our intuition tells us when we observe the Freaky Friday premise. He defines our person by its psychological continuity. Meaning that when Lohan’s psychological continuity – her experiences, memories, personality, etc – jumps into a new body, that new body serves as a host for Lohan. The body itself is only a husk.
Okay, fair enough – maybe we’re our psychological continuity.
Except, what is that? Is it real?
To what degree are our psychologies shaped by our circumstances, by those who surround us, by our culture and society? If Scott Kelly had grown up in Pakistan, he would be unrecognizable from the Scott Kelly that exists today. The language, the culture, the society – it would all be so completely different that only the most basic and generic traits would be shared between us.
It could even be simpler than that. We all play multiple roles. When you’re a parent, are you the same person as when you’re a romantic partner? I hope not. Likewise for when you’re at work being a professional, rather than at home Netflix binging.
Let’s take these ideas of personhood to some extremes and see what we get. What if I faked my death? What if I abandoned the name “Scott Kelly” to such a degree that I could never answer to it again? My status, my various roles, my friends, my achievements, and those habits that might be used to identify me – all of those would be banished forever. I’ve already established that psychological continuity is far from concrete, so what happens when it’s severed completely?
The majority of my psychological identity would be stripped away. The memories would exist, but my ability to be the person who created those memories would not. That person is now “dead.” I would be my own ghost, in a sense.
So, we’re back where we started. Who are you? Take a person and start stripping away what defines them. Body, name, memories, experiences, ideals, social identity, personality. They’re all quite mercurial; none of these are solid foundations. So if you can only keep one piece, that cornerstone to a person’s identity, which is it?
Or does it exist at all?
This is the philosophical backbone of my Keep the Ghost trilogy, the line of questioning that led me to create the plot and characters and write the series. I think I put it more succinctly in Shadow Box. Below, find a brief, spoiler-free scene in which Sean – the narrator, who was forced to fake his death and become a fugitive – is quizzed by Morgan, his guide, about who he is now that he’s become his own ghost.
The world shifts on a boat; there is no stable point of reference. At all times rocking, sliding, floating. By focusing on Morgan, I can forget this—she sits at the opposite end of a twin bed from me, legs folded under her.
“This is my revolver,” Morgan says, holding up a snub-nosed thirty-eight. “That one is yours.” She points to my identical gun, which is tucked into a leather holster on the floor next to the bed. “Give it to me.”
I lean across the bed, stretching past the circle of light shining through the little porthole window of our cabin. The gun is lifted to the sunbeam; Morgan’s hand enters its glow as she takes the weapon.
Our two pistols are laid out on the sheets between us. Morgan opens the cylinder of each and shakes the bullets into a waiting hand before depositing them in her lap.
“This gun is mine, and that one is yours,” she says. “I always recognize which one is mine by checking here.” She holds up the revolver she’s identified as her own—a pink smear of nail polish stretches across the grip. “I didn’t wait until my nails were dry, once, and so it’s got this little mark on it.”
She begins to disassemble each gun, using a small screwdriver to remove the cylinder and grips, placing the parts on the bed in two separate collections.
“Let’s say I do this,” Morgan says, and picks up each gun’s cylinder in her hands. She swaps the two, taking the gleaming, machined metal parts from one pile to the other. “Which one is my gun now?”
“That’s still your gun,” I tell her, pointing to her pile. “It’s just got my cylinder in it.”
This time she picks up the grips of the guns, and her nail-polish stained grip is traded for mine. “What about now?”
“Well, that’s tricky,” I say. “If I swapped these two while you weren’t looking, you would think this was your gun.”
“Except I’d be wrong?”
“Well, yeah. The frame hasn’t changed, and that’s the biggest piece.”
“Okay, so it’s in the frame.” Morgan swaps the grips and cylinders so that each are in the piles from which they began. Then she picks up the steel frames—barrel, trigger and base—and swaps them. “Now?”
“I don’t know,” I answer. “I guess the frame is the gun, so we swapped. Even though you’ve still got your grip with the mark on it, and the old cylinder.”
“And what if I sat here and switched every screw, spring, and pin in the guns, but kept the original frame?
“I have no idea.”
“That’s a good place to start,” Morgan instructs. “So, how much of you needs to be swapped before you’re no longer Sean Reilly?” She points to my head. “Everything about you is constantly changing, always rebuilding and adapting. Where is your frame?”
Poor Traits of an Artist as a Young Man: Kill the Ghost
Little hard to write about this one, because it’s not done. As of the time I’m writing this, it’s about a third of the way completed, and I’m happy to tell you I’m very proud of it. If you enjoyed the first two books, you will love this. And yes, Sean will have his redemption – his journey will come to an end. No cliffhangers this time.
I’m also trying an entirely new technique. I’m leaving behind the split-mind (italics voice) from Shadow Box; Sean is now fully reunited with himself. The book hits the ground running, beginning a couple of hours after Shadow Box ends, and Sean’s dead within the first four chapters.
Yeah. You’ll see.
I am trying a new trick with this book, as I’m prone to do with each new writing project.
See, an advanced form of writing I strive to do includes binding together all of your metaphors and similes. You don’t just say “shadows crossed the man’s face” in the Keep the Ghost trilogy. The term “shadow” has a special place in this series’ mythos. If I say someone has a shadow across their face, I’m trying to tell you they have issues with ego projection. Same deal if I make use of the term “ghost” or one of its variants, like “wrath” or “spectre.” I’m trying to draw attention to the soul of the person who I’m referencing.
But let’s take it a step further. There is what I’m calling a ‘metastory’ in Kill the Ghost. The literal rafters from which the scenes hang. In the metastory, Sean is lowered by a silver thread into the underworld, and then the thread is cut. He’s trapped in the depths of the series’ version of hell, and only the clarity of self and banishment of his own shadows, gained by his previous adventures, can guide him out.
So as you read the novel, look for these themes unfolding – this basic metastory is woven through the entire novel, and Sean’s journey through the underworld works itself through the plot literally as well as metaphorically.
It’s coming soon, and I’ll let you know the moment it’s available. And just for coming along this far, I’ll give you the opening paragraphs as they exist today:
I am damned. Seven months ago, I committed a sin against the earth. For that, I’ve earned her wrath.
She cries out to me, always. A loathsome wail I feel in my marrow. But then, she’s going to be mad – my open grave makes for a deep wound.
Gambled my way this far. But, it doesn’t seem to matter how fast I run – fate wants this travesty corrected. I cannot escape a force that moves at the speed of dark.
Whatever hand on high holds my thread lets out a few hundred feet of slack – the plane’s nose tilts earthward, scything through the white shroud toward the ground. Everything ends, even the sky.
Way down we go.
I have some other entries planned in the series, if you’re interested in reading more. Things covering my influences, my writing process, maybe going a little deeper into some of the unreleased works I discussed here. Let me know what you think by dropping me an email at firstname.lastname@example.org or leaving a comment below.
As always, thank you for reading!
Poor Traits of an Artist as a Young Man: Shadow Box
My first sequel since Liq, which no one read.
There are some great things about sequels. I took a major risk in the first five chapters, kind of pulling a trick to hopefully delight and surprise the reader. Never would have tried that in a first novel, because there’s too much world-building to do.
I stored up on inspiration before starting Shadow Box. Raymond Chandler was my guiding light – the 1950’s noir author of hits like The Long Goodbye. If you’re unfamiliar, any time you see a hard-drinking detective in a crummy office waiting on a stunning blonde to fill his life with treachery, that’s Raymond Chandler’s influence.
I read all his books. The guy can write; he’s got one-liners that make me jealous. In fact, in the opening paragraph of Shadow Box, I pay homage to the master.
He has a great line about staring into a killer’s eyes. He says they were “as cold and dark as the space between two stars.” I played with the line in Sean’s opening introspection on his Holbox hotel room, simultaneously referencing the climax of Keep the Ghost. “I open my eyes, but fail to catch the dream that woke me. Just a white expanse of ceiling, as clean and innocent as the space between two scars.”
Shadow Box is more mystery than Keep the Ghost, which devolves into more of a suspense/thriller in its second half.
In terms of the evolution of my writing, it’s my favorite book to date. Dripping style, fast-paced and I took great care to further the philosophical questions of Keep the Ghost.
In Keep the Ghost, Morgan makes faking your death sound great – just start over fresh, a brand new life. But can anyone do that, or only someone with Morgan’s particularly loose grip on reality? What happens when Sean tries to recreate himself in her image?
Shadow Box happens.
For the next entry in the Poor Traits series, click here.