The Podagogue

Endings and New Beginnings

2011-05-10T16:01:00.006+12:00

The truth is, I was never really cut out to be a great reviewer. Aside from the fact that I only really reviewed the stuff I liked - once I figured out there was so much good content out there in the podosphere I realised that if I didn't like something, I didn't have to listen to it - there was also the matter of consistency.

I think that people appreciate a certain level of regularity when it comes to content review, and it was not long after I started with the Podagogue reviews that I realised I was not going to be delivering up a review every week, as I had intended. It's not that I wasn't listening to good stuff, because I was, and still am, consuming great podcasts every day. It's just a time factor. Writing good reviews that are worthy of the work that has been done is time-consuming, and I would rather be spending that time writing instead.

Not only that, but the marvellous Odin1eye has been doing a bang-up job, achieving what I set out to do here, over at his View from Valhalla blog. You can rely on his reviews to be consistently reliable and reliably consistent, which mine never were.

So, from hereon in, I shall be found over at my revamped homepage, Dan.Rabarts.com. There you'll find links to all my bits and pieces, including fiction and news from the exciting world of yet another aspiring writer.

Please come on over and say 'Hi'. I'd love to meet you there.

Breaking the Silence - Save the Hobbit

2010-10-21T07:52:00.000+13:00

As some of you may know, my day job is in New Zealand's film industry. It is a dynamic and exciting area to be working in, but the events of the past few weeks surrounding The Hobbit have brought the industry as a whole into great peril, and things could not be worse.

However, this in not being seen in the media. All we have been hearing is "actor's conditions" and "Peter Jackson refuses to meet with the union." Until yesterday, we had not heard a whimper of support for the filmmaking genius that brought us LOTR and King Kong. For years we have all presumed that Sir Peter was impervious, a rock that could weather any storm and bring us all through it with him intact. The selfish and destructive actions of the Australian MEAA have proven otherwise.

Last night I joined a thousand other technicians marching through the streets of Wellington in an unscheduled demonstration in support of Peter Jackson, and in support of our local industry. It was well past time that the people who have been so supported by Peter and his tireless work in this country over the last 25 years stood up and showed him that we value and respect him. We owe him a great deal, and we will not stand silent while he fights the fight of his life. He has fought for us. We will fight for him.

These are the basic dynamics of this conflict:

- The Australian Union (the MEAA) is threatened by the dynamic and creative independent NZ film industry that is flourishing on its doorstep, taking projects and doing them better than they could.

- The MEAA has manipulated Actors' Equity into industrial action against The Hobbit specifically because of the massive impact it will have on our small industry.

- Even if The Hobbit is not shot in Australia, but in Ireland or Prague or wherever, losing it will have disastrous effects on the New Zealand film industry.

From the cynical point of view of a film technician seeing his industry being ripped out from under him, it seems pretty clear that whatever machinations are at work here at higher levels, whoever is being played by who, the outcome of all of this will not be better working conditions for actors, as the smoke and mirrors are leading us to believe.

It will be no work for actors, fullstop. Or for technicians for that matter, or the myriad of support services that prop up the industry, or the hundreds of suppliers downstream who prosper on the downstream value of a project of this size.

What many Actors' Equity members don't seem to understand is that by supporting this boycott they are, to all intents and purposes, committing career suicide. Not in a "if you support this boycott we won't hire you in the future", sort of way, but a "there will be no industry in this country anymore" sort of way. I won't argue that there are issues to be discussed, but these relate to employment law and should be taken up with the New Zealand legislature, not with a production company working within that law.

If The Hobbit goes away, the amazing creative workforce we have here, which has been nurtured by Sir Peter for almost three decades, will also go away.

It's time for more than just the puppets of the union to be heard. Last night we marched, and we tried our best to get people to understand just what is at stake here. We want to do this job. We can do this job better than any other country. Sir Peter is a highly collaborative artist, and the success of his work is not simply the result of his own genius, but the combined efforts of hundreds of people, many of whom I brushed shoulders with on the streets of Wellington last night.

Peter Jackson cannot pick up the hundreds of people who comprise this amazing community and take them overseas. These are the people who brought you The Lord of the Rings. These are the people that hand-sculpted the miniatures, who drizzled the blood, who aged the costumes, who hammered and dressed the sets, who rigged the lights. New Zealand is Middle-Earth.

But something drastic needs to happen if that is going to remain the case. The Hobbit made anywhere else will not be drawing on the extensive expertise of a community that have been there and back again, who spent upwards of seven years perfecting the craft that made LOTR the stunning work it is. The only way we can hope to keep this job in New Zealand where it belongs is by making our voices heard.

If you're a fan of The Lord of the Rings, and you want to see another glowing masterpiece on cinema screens in two years time, not a tawdry imitation, then you need to speak up.

Tweet this link, if you're on Twitter.

Post this page to Facebook.

Blog about it, let the world know that The Hobbit is on the precipice of falling into mediocrity, and that you won't stand for it.

Let the studios know that you don't want a cheap knock-off, but a shiny polished original.

Spread the word. Do it now.

Save The Hobbit.

The Long and the Short of It

2010-06-25T19:23:00.006+12:00

There's been a lot of talk in the podosphere lately about the relative value of short stories, both as a promotional tool and as a potential source of revenue.

I'll be honest that my knowledge of "the market" for short stories is practically non-existent. The bulk of my writing energies over the past few years have been on long-form fiction, and that is still where most of my efforts are directed. So I won't try to say anything about writing for anthologies or anything of the like, because I have no qualification in that field whatsoever.

However, I have been paying very close attention to what people in the podcast world are doing with short fiction, new avenues that they're trying to exploit, and how they're going about it. It has been a very interesting few months indeed. Some, like James Melzer and Paul E Cooley, have tried selling stories for 99c on Smashwords, with various results, none of which have bought them a private island in the Caribbean. Yet. In fact, Melzer reneged and dropped the 99c cost off all his stories altogether, feeling that the value he gained by pushing them out for free was worth more than the odd 99c sale he might make. Very interesting times indeed.

Short stories are like tiny commercials, trailers, showreels. They're a snapshot into the mind of the writer; a sampler of the writer's wit, craft and voice without requiring the commitment of reading a hundred-thousand word novel. If you've never heard of a writer, then reading one of their short stories is a reasonably safe investment when deciding if you would put more time into reading their work in the future.

This is why the trend towards releasing short fiction on the internet, particularly in a self-publishing mode without any editorial intervention, strikes me as a particularly tempting and equally dangerous strategic decision on the part of most unpublished writers.

I'm a hypocrite in this regard, as you'll see if you read on, but let me make my point very quickly, before I go on to rip it to pieces.

If I read a short story and don't like it I will be very unlikely to pick up anything else by that writer, ever again, unless it comes very highly recommended by someone whose opinion I trust. The short story is the job interview. Fail to excite or interest me and I'll be disinclined to hunt that writer down and find anything else they might've done. If they have a memorable name, I might even deliberately avoid them in future. If I'm representative of any significant portion of the market (I may not be; I might just be an aberration. It's entirely possible) then that can't be a good thing for the writer in question. There are far more important people out there with much better heads for names than me.

And most of them spend more on books than I do.

I've read a lot of free short fiction on the internet. A short story is not an easy thing to write, not by any means, which is why it's so important that if a writer makes the decision to put themselves forward and put out a story for general consumption that it be as good as it can possibly be. Anything less and the writer risks sinking into obscurity or, worse, being deliberately shunned by potential readers.

I'll be honest and say that this is something I do. There are certain writers whose work I will devour if I get the chance, all of whom I found by reading their free work on the internet and being constantly impressed. There are many more whose work I have read once but whom I do not go looking for, often on the weight of a single piece. I make no apology for this. My time is precious, and I can't spend it reading bad writing.

This raises the issue of a very powerful tool that may all too often be underutilised by a lot of writers, namely the peer review. As a form of editing, throwing your story out to other writers has become increasingly easier over the past few years as social networking brings more and more writers together without ever needing to leave the comfort of our keyboards. It has also become a potentially more valuable tool as the range of collaborators we have at our reach grows, but there are certain rules that go with this practice that all writers must remember to observe.

The most important is the key word in this discussion: Short. It takes about half an hour to read 5000 words, which is fine first time around but starts to get long when reading the same thing over and over again. Give your story the words it needs, but remember that when you ask others to read it over, possibly multiple times, that's their time you're asking for. I recently did just this, and when my story swelled from 2000 to 5000 words I knew that I was asking ever more of those readers to keep coming back to newer drafts. After that initial reading, the focus a reader can apply to a story drops dramatically. I know this from the beta reading I've done of short stories for friends; I can give feedback on first drafts, but often second readings become a skim over, from which I can offer very little of help. There's an art to cycling different drafts of a story around different readers to get constantly fresh, useful feedback. I haven't yet mastered this, but I really should.

As usual, I've digressed. I'll come back to the other rules another day, if I remember. I promised to tell you how I was just a dirty old hyprocrite, didn't I? Yes I did. Let's get back to that.

I recently accepted the challenge to write a story for the Every Photo Tells podcast.

Writers are invited to submit stories inspired by a new photo every month. I decided that partaking of this competition would be a bit of something different, and I hacked out a rather awful piece of tripe with a terrible punchline that wasn't worth the silicone it was stored on. I then ignored it for two weeks before sending it out to some beta readers for opinion, at which point I was told, on no uncertain terms, that this was a piece of tripe not worth the silicone it was stored on. Much frantic re-writing ensued. As usual, I pushed the narrative past the other side of ridiculous before finally reining it back into something halfway passable. For this, I heap praises upon my awesome writer friends, who have officially earned the qualifier "long-suffering".

Then I agonised and polished and carpal tunneled and anguished and strained my eyes until I could no longer see the words on the screen. Normally I'd then put such a story in a file and never do anything more with it, but alas, I had a deadline to meet.

The producers at Every Photo reserve the right to reject any story with no explanation given. That sounds to me like an editorial benchmark to meet. No tripe here, thank you very much. Duly, I submitted Pick Your Battles, and waited with bated breath until I heard that it had been accepted.

Now, let me be clear here. I do not take this as a "publication" credit. It was written and submitted for free, released under a CC license, and I'll never see a penny for it. It was not a professional achievement, but I did choose to use the platform Every Photo offered to, yes, build my brand as a writer. I took a chance that this story might increase, not decrease, the opinions that people out there paying attention to what I'm doing might have of my work. To be fair, it's my only piece of fiction to be found on the internet, unless you're following Akmenos and the Saga of Vondal's Vandals, but I'm fine with that. We all start somewhere.

Pick Your Battles has been described as "gruesome but compelling", "explosive," and "excellent". How much more encouragement do you need? Head over to Every Photo Tells and have a listen, or go and subscribe at iTunes and check out some of the other great offerings that have made their way into the feed. You might find something you like, maybe another writer you ought to be keeping an eye out for. Mick and Katharina do a great job of narrating and producing the stories they accept, and deserve a nod for all their hard work, so drop a comment at their page while you're there.

Did I have a point, or was I just gratuitously dipping into a hot topic in order to promote my own material? A bit of both really.

The point is that in order to succeed as writers, we need the people out there to A) know who we are, and B) like what we've written. Take this as me putting my money where my my mouth is (figuratively speaking - there is no actual money involved), and throwing out a story that was as good as I could make it in the timeframe I had (listening back to it now, I would make a few more edits, but that chance has passed, darn it), with much thanks to my writing community for pushing me in the right direction. I hope people will like it, and maybe come looking for more of what I've written, or at the very least not avoid everything else I ever write.

On that note, if you haven't got your free download of Urban Driftwood yet, just head over to my site and hit the link. It's not all mud and blood like Pick Your Battles, but there might be something in there that strikes a chord.

And it's all pretty short.

The SJV and What it Means for You.

2010-05-25T21:11:00.000+12:00

Or, more to the point, what it means for me.

But let's back up a little. What, you ask, is an SJV when it's at home?

SJV stands for Sir Julius Vogel, this particular SJV refers to the awards presented by the SFFANZ (Science Fiction and Fantasy Association of New Zealand) and is this country's pre-eminent recognition of outstanding achievement within or services to the Speculative Fiction genre.I have two fantastic pieces of news regarding the SJV nominations this year. Firstly, nearest and dearest to my heart, the nomination that I put together (after being gently prodded by all-round good chap Grant Stone) for Hugh Cook has been accepted onto the ballot in the category of Services to Science Fiction, Fantasy and Horror. I've written about Hugh and his life and work a great deal over the last couple of years, so it's fantastic to see him being recognised at last.

One of those articles also earned me a place on the ballot, for Fan Writing, which fills me with a lovely warm glow way down deep inside. Hopefully I didn't swallow a dragon, because that would be uncomfortable in the morning.

There are a raft of other great names in there as well, including my friends Grant Stone, Tim Jones, Philippa Ballantine, Debbie & Matt Cowens, Jenni Dowsett, and Anna Caro. The list is all but bubbling over the rim with talent.

So, in the name of shameless self-promotion, it would be wrong of me not to ask you to cast a vote for Hugh, or for me, or for both of us, or for any of the marvelous folk that have put in t he hard yards and made it onto the ballot, if you were able. Of course, I'd prefer votes to be cast my way, but do what you feel you must. Members of SFFANZ or anyone who attends the Au Contraire Science Fiction Convention in Wellington in August 2010 can vote.

Does it Work?

2010-03-15T21:12:00.000+13:00

I started writing this post last year, but never got around to finishing it. I intended to make a big song and dance about how successful the Podcast-To-Print model was, and how it was all so Very Good For Writers.

Now I'm not quite so sure.

As you'll all be aware by now, it was with both quiet resignation and fierce determination that JC Hutchins recently bowed out of doing any more podcast fiction for free. I read this news with a sinking sensation in the pit of my stomach, as I'm sure many other people did. The question that kept racing through my head was "If Hutch can't make it work, who can?"

St Martin's Press won't be publishing the remaining books in the 7th Son Trilogy, the podcast of which I reviewed and recommended as absolutely essential listening. I'm in no position to speculate on why Hutchins' publishers have decided not to proceed with the series, but I fully respect JC's reasons for pulling the pin on what has been many years and no doubt thousands of hours of work.

People have had the gall to criticise Hutchins for this decision, but as Mur Lafferty was at pains to point out, "Content creators are not your bitch."

I've also heard some fans say that they refuse to pay for content from the writers they like. That, to me, is just plain parasitism. But more on that later.

I've been a big fan of the podcast novel form since I found it way back in '08 with the awesomeness that is Hoad's Grim. I have soaked up more hours of podcast fiction in the last two years than I've read books in the past ten years, and it has also opened me up to a vast and amazing community of writers, editors, publishers and fans.

What are they all trying to do? What was Hutch trying to do? Make a living, preferably by writing and selling that work. JD Sawyer sums it up tremendously well over at his blog, so I won't try to repeat his interpretation of the role of the free model to the writer. But I think I can speak with at least a modicum of authority on what the rise and fall of the free model means to the fan, and to the writer who had been considering the podcast as a possible option.

For all that I've consumed hours and hours of podcast fiction, I've bought very little of the published material that has come out from authors I've enjoyed in the past year. In fact, that copy of Jack Wakes Up was given to me by Seth Harwood, signed, for the price of postage. Seth is just awesome like that. No, I didn't buy a copy of 7th Son (I know, I'm hanging my head in shame), simply because I don't like having incomplete sets on the bookshelf. That doesn't help Hutch any, and I apologise.

The simple truth is that living way out here, books are ridiculously expensive. The price of a book which is $7.99 USD from Amazon will not qualify for free shipping to New Zealand, and depending on the exchange rate will end up costing upwards of $45.00 NZD to get here. So I have to really love a book to want to buy it, if I've already heard it.

Part of this is that the audio experience and the experience of reading a book are very different ones, but that's a topic for another day.

Had I not gotten hooked on Crescent, I would not have bought the book. Had I not thoroughly enjoyed 7th Son, I would not have bought Personal Effects: Dark Art. When Dragon Moon Press publish Toothless later this year, I will howl at the moon for a copy, because Moore's writing is just that good. Even if Phillipa Ballantine doesn't podcast Geist when it comes out this year, I trust her writing talent so much that I'll be buying a copy regardless of whether or not I've heard in audio form first.Which is, of course, the key word: trust.

Writers who podcast their fiction do so, in the first instance, to build up a relationship with an audience. They set out to show listeners that they know how to tell a story, and they're willing to release that story into the wild in order to prove it. They want to give the audience a chance, for free, to learn to trust them. Several have succeeded (Scott Sigler, Seth Harwood, Tee Morris, Phil Rossi, Mur Lafferty, Philippa Ballantine, Nathan Lowell, Mark Jeffery, JP Moore, James Melzer and JC Hutchins are just a few of the authors who have gone from podiobook releases to publishing deals), and several more have not.

An interesting contrast to these writers is Jeremy Robinson, author of Pulse and Antarktos Rising. Unlike Scott Sigler, who releases practically every word he writes as a podcast, Robinson has released only two of his novels as podcast fiction. The first, Kronos, is the only reason I know of Robinson at all, but he has several books in print, which I know of now because I found him via his podcasts. His books sound fascinating and I'd certainly consider buying them if I saw them. This is because I can trust him to tell a good story. The podcast novels serve as loss leaders, in a way, to draw the reader to his dead-tree books. This is a technique that seems to work for him, probably in no small part thanks to the talents of his narrator, Jeffrey Kafer. Robinson's podcasts are a highly polished professional investment.

However, I seem to be rambling, so let me get back to the matter at hand. If the free model was to change significantly, based on the evidence that all those hours of work do not in fact translate into dollars in writers' pockets when it's given away for free, then what would I, as a fan, be willing to pay for new content? There has been a lot of debate about this.

Some say nothing; why bother paying when there's so much more free stuff out there to sample? To this I say I've wasted a lot of time listening to bad free stuff, and sometimes I want to know that what I've got lined up on my ipod is going to be good quality.

Some say nothing; the writer can get sponsorship or run advertising. This is an 'easier-said-than-done' sort of thing, requiring a proven audience base, and comes with the inherent risk that such advertising can just be skipped over. Few writers will have a client base they can draw on that will pay them a decent wage in advertising fees for this form of media.

Some say they wouldn't be happy to pay a monthly fee when there's no guarantee that the author will meet prepaid deadlines, and that's a fair call.

There has been debate high and low about what people would or would not pay for, and lots of discussion about how writers have even a ghost of chance of making a living off their work, but here's what I think, as a fan, and what I think would work for me as a writer. Feel free to shoot me down if you so choose, since I haven't actually been there myself. Not yet.

I wouldn't pay to listen to the first episodes of a podcast novel by an author I'd never heard of. If I listened and really liked the quality of the writing then I might consider it, but as I haven't come to trust that the writer can deliver a full package with a good ending, I would be very hesitant. This is analogous to the reading of a second-hand book which someone lends you. You're happy to read that book, but I wouldn't be likely to pay for it off the shelf if I knew nothing about it or the writer.

I wouldn't pay to listen to a podcast that was being released week by week or month by month, since I have seen so many such podcasts fade, slump, or disappear. I hate being left hanging, particularly if I know that the material is only being produced sporadically. Again, if I trusted the writer and their ability to deliver then I might be tempted, but life is fickle thing. What seems certain one day can be an impossibility the next.

I would, however, pay to listen to a podcast by an author I knew and trusted, if that podcast was complete and I could pay to download the whole thing and know it wouldn't be chewed up by some nasty DRM or other invasive software. How much would I pay for that? Well, less than I would for a book, since it's not a physical thing that I can put on the shelf and it will, eventually, be rendered obsolete by technology in ways that books cannot be, but if it cost around the price of a paperback (without the exorbitant shipping costs out here to NZ) then that would seem quite fair to me.

What that means for writers, if this attitude was to be even in the least bit commonplace, would be that they would need to earn their audience's trust by releasing good, solid, well-written storytelling into the wild, and have a body of work to back it up if things turned out well.

So, back to my original question: Does It Work? Yes and no. Rather than having to convince an agent or an editor that you can write, you take it upon yourself to convince thousands of people to consume your work, for free, and then to turn around and show you their love by paying for it. And, if you're good enough, many do. But sometimes that many isn't enough. If I was to put it on the line, I'd say that publishers possibly overrate the value of the free model and blame the writer when the fans under-deliver at the checkout. But I'm sure it's more complex than that. I'd say that Hutchins' experience tells us that you can give away too much, but you need only look at Scott Sigler to see that that's not the case.

Like more talented people before me have said, the free podcast is a tool in the hands of a craftsperson, and for all that we can bend our energies to work the tool, we cannot control the swirling chaos that lies outside our walls, that place we call Other People. All we can do is throw a hook into that writhing mass and hope that we get a bite, and that it's a big one.

We can try, or we can do nothing. You know the rest.

Making an Appearance or Three

2010-02-08T12:06:00.003+13:00

Back in August I mentioned a little podcast novel called The Dreamer's Thread, and said that I would be "following this one with interest."

As it turns out I did more than just follow Aura's fantastic journey. I joined her on it, very briefly.
By the power of Twitter I ended up reading the part of the gruff General Cross, recording a few lines and sending them to Starla to be edited into the podcast. Very cool indeed.

It's one thing to listen to a story but quite another to be able to step into that world and take part in it. However small a part I may have played, it says something about the dynamism of the podcast world that fans can actually become players in the stories that they're enjoying. Can't do that with TV now, can you?

Starla and her audio producer Jamie Jordan did a marvelous job juggling the many voice actors who took part in The Dreamer's Thread, including podcasters Philippa Ballantyne, Mur Lafferty, Paul Ellard Cooley, and many more. All that, and it was a great story to listen to. Not as dark and brutal as the stuff I usually enjoy, but it was fun and touching on many levels. If you haven't already, go on and subscribe.

That's not the only podcast I've been on lately, though.

On the Everyworld News last month I made an appearance as a French(ish) pirate. That was fun. Go have a listen to the news from Jim Ryan's bizarre alternate realities if you want a laugh.

That's all for now. I've been ridiculously busy so far this year so I'm rather a long way behind on my reviews, but not to worry. I'll catch up.

Congratulations must also go out to Seth Harwood and the announcement that his novel Young Junius has been picked up for publishing by Tyrus Books. I had just finished listening to YJ when the news came out, and I think that it's Harwood's most solid and important book yet.I'll be posting a more complete review of YJ shortly, but it's worth saying that I had been hoping Seth was going to deliver a 5-Star product in this book, and he did just that. Nice work, Mister Harwood.

A Moment for Tee

2010-01-14T20:49:00.007+13:00

It's been far too long since I stopped in here, but I made my excuses a while ago and I won't be making them again.

After taking a couple of weeks off, which I spent relaxing in the Marlborough Sounds with friends and family, and which included the positively invigorating adventure of sailing a 36-foot yacht across the Cook Strait in seven hours, I returned to hear the news that one of my Podcasting heroes had suffered a most tragic loss.

The outpouring of support that Tee Morris has received in the days since his wife Natalie's death has completely blown me away. I first met Tee on Twitter, I shook his hand when he came to New Zealand, and I have only ever known him to be a most giving person. There's certainly nothing I can say that can make sense of the universe taking such a precious person away from someone who has given so much to so many, but I have been left in awe of how much so many people have been willing to give back to Tee in his time of need.
It reminds me that I have found myself as a part of a truly wonderful community of people, and Tee is one of that community's foundation blocks. Yet in this past week, it has been that very community that has turned around and taken the load, and helped carry him. I just want to say that you all rock.

The ever wonderful Phillipa Ballantine went ahead and set up a Chipin Fund to help Tee cover his sudden unexpected costs, and within 24 hours over $10,000USD had been donated. That is amazing. Now, a week later, that fund has swelled to over $17,000USD, and continues to grow. The purpose of the donations now is to provide a trust fund for Tee's daughter, known to the community as Sonic Boom. Tee has a huge task ahead of him, raising his gorgeous little girl as a busy solo Dad, and it's only fair that we give him all the help that we, as his friends, can.

If you haven't had a chance to donate, please consider taking a moment to do so now. You can use the widget above or go and have a look here.

Andrew Jack has thrown in a prize draw for anyone who chips in - just leave a comment on his blog post to enter.

Also, a charity auction has been set up, where items or services can be donated, and these will be auctioned online on February 27th. If you can think of something you can donate, contact details are on the page. If something in the auction takes your fancy, then place a bid.

Tee, if you get a chance to read this, know that you're in my thoughts, you have my deepest condolences, and I wish you all the best for the future.

Kia kaha.

Hitting Pause

2009-12-01T20:36:00.003+13:00

You've probably noticed that I haven't been blogging here all month.

For that, I apologise. I have no real excuse except to say that I have had too much going on to keep this blog or Freshly Ground up and running in November, and the trend will probably continue until the new year.

As well as life catching up with me, I am also working furiously to polish up a manuscript for submission before Christmas. I can't even blame NaNoWriMo, because I wasn't playing that crazy game (but well done to all of you who pulled it off).

However, in brief, here are some of the great podcasts that I started into in November:

Hall of Mirrors, by Mike Bennett. Spooky, well-written and brilliantly delivered tales of the unknown. Chilling stuff, and worth a listen both for the stories and to be entertained by the devilishly talented Bennett.

V & A Shipping, by J.R. Murdock. Lightweight and at times hilarious science fiction, easy on the ears and safe for the family (if you want something to play in your mini-van, as Seth Harwood would say). Very entertaining indeed.

I know I'm behind the ball on this, but I just started into Nathan Lowell's Quarter Share, the first instalment of his Golden Age of the Solar Clipper series. Refreshingly simple, Quarter Share takes a tale of the high seas and the grand old days of tall trading ships, transposes the storyline into deep space, and lubricates the whole thing with lovely mugs full of hot coffee. It's not what we expect from science fiction; there are no deep space battles or alien invasions, but it is unexpectedly entertaining. Lowell's voice is a pleasure to listen to, and his main character and settings are so real that you really feel like you're on board a deep space trader, braving the void. Great stuff.

I'm a big fan of Philippa Ballantine, not just because she's a local Wellingtonian, and I was very excited to hear a sneaky preview of Books and Braun, a steampunk adventure written in collaboration with Tee Morris. If this little teaser is anything to go by, this will be a fantastic book or podcast, however it might end up reaching us. Go check it out - you will be impressed and left wanting more.

Ballantine has also just launched the sequel to her award-winning podcast novel Chasing the Bard, Digital Magic. I haven't started into this yet, but if CTB and Weather Child are anything to go by, Digital Magic is going to be amazing.

So have no fear - I'm still listening to podcasts and I'll still be popping up reviews and recommendations as I have time. Right now, however, I have to focus on getting my own writing up to a level of polish that would make me feel worthy of joining these esteemed writers, and the many others I've hailed here over the past few months, and that means keeping my head down and the keyboard rattling.

Catch you all in 2010!

Sci-Fi/Fantasy Roundup

2009-10-29T21:14:00.006+13:00

It has been a big week in Sci-Fi and Fantasy in the podcasting world, but the biggest news has to be the astounding success of JC Hutchins' second novel launch, 7th Son: Descent. The blogosphere and Twitter were virtually on fire yesterday as Hutchins' fanbase rushed bookstores and e-retailers across America to show their support for this storyteller, who has brought so many listeners so much great fiction over the past four years.
Descent rocketed up the Amazon charts, peaking at 188 overall, which is a phenomenal achievement and a credit to Hutchins and the commitment of the Beta Clone Army. Congratulations, Hutch. You worked bloody hard, and you've earned every bit.

While 7th Son is a hard act to follow, I can assure you that there are plenty of other great sci-fi and fantasy podcasts out there, hanging around for free, just waiting for your ears to find them. Here are a few of them.

Top of the charts for in-progress releases in my book right now is The Gearheart, an inspired steampunk novel brimming with brass goggles, grand airships, blazing magic, treachery, gunfights, murder and darkness.
Written, performed and produced by Alex White, with the female parts performed by Renée White, The Gearheart is a sleek production, tightly wrapping up an enthralling and brilliantly narrated piece of steampunk fiction.

Alex White also composes all the music for this podcast, and promos the music of steampunk bands at the end of each show. Never heard of a steampunk band? Well, now's your chance.

Well worth a listen. Also, be sure to hang on for the nifty little alternate universe ads at the end - Hilarious!

If you've ever wondered what a drabble is, I just learned that it's a piece of fiction written in under 100 words. So how do you write a drabble novel?
Jake Bible seems to have the idea over at Dead Mech. Written in 100 word snatches, Dead Mech builds a post-zombie-apocalypse world where the few survivors battle the undead in Mech-Warrior style battle-mechs, but it's not that simple: now the zombies have them too.

The drabble style makes for an urgent, non-stop pace to this story, only in its third episode so far. Brutal and gritty, Dead Mech is a step inside a future we should all hope never comes about. It's early days for Dead Mech right now, but so far, so good.

Scott Roche is currently releasing the second book in his Archangel Series, Legion. I have just finished Book 1, Valley of the Shadow, and it is quite an enjoyable listen. The audio quality starts out a bit patchy, but with a bit of perseverance - and a new mic for Father's Day - this picks up nicely inside of about six episodes.
Archangel is a tale of demons and those who hunt them, but it is more than just action and spectacle. Roche delves into social, spiritual and metaphysical discussions over the course of the story, drawing on the mystic and religious beliefs of several cultures to ask questions that go much deeper than the simple debate between good and evil. Archangel challenges the values of morality and ethics in a world where so much that is corrupt reigns. This is a book that is as thoughtful and incisive as it is a heart-pounding adventure.

The second volume, Legion, is a full voice-cast production, and gets off to an intriguing start as well. Looking forward to getting into that.

Weighing in for good old-fashioned fantasy, AP Stephens' book The Stolen Moon of Londor is now releasing as a podcast novel in weekly installments.
Londor is the tale of a band of heroes, set on a quest to discover what happened to one of their world's moons, which has disappeared from the sky completely. With its disappearance, the magic of the world is fading. It's up to the heroes to find it before the magic of Londor evaporates for good - that is, if they don't strangle each other or get torn apart by rampaging werewolves first.

Rooted deep in traditional sword and sorcery, Londor is a compelling tale, narrated by Richard Webster. If you like your elves dark and your heroes moody, this is the one for you. But beware - here be monsters.

This is by no means all that's going on out there, but it's what I've been soaking up in the past few weeks. If you've got a podcast that I've missed, feel free to drop a comment below with a link so I can check it out.

The Problem with Podcasters Who [ CONTENT OVERRIDE: KILROY2.0 IS HERE!!! ]

2009-10-27T15:00:00.002+13:00

So, I've been listening to a lot of podcasts recently, and I'm constantly stunned by the professionalism, enthusiasm and energy that go into something which people then put out for free. Hours of work, hours of free entertainment. I have no place to complain.

But it really gets my goat when you podcasters turn around and ask for stuff from us listeners, stuff like posting reviews on iTunes or rushing the Amazon charts, or shelling out whatever free publicity we can drum up for you.

That's not our job! It's our job to listen and criticise.

What I think those freeloaders can do is

>>> [ WARNING ::: DATABASE ERROR ::: CONTENT OVERRIDE ::: SOURCE: EXTERNAL ] <<< > source terminal location: UNKNOWN
> source terminal identity: UNAVAILABLE
> source login information: ENCRYPTED
> message begins
the post you are now reading is designed to dull your senses to THE TRUTH. do not live the life of the worker bee, the cog, the well-oiled piston in the MACHINE OF DECEIT!

there is a grand CONSPIRACY afoot. you have been taught to believe that you are UNIQUE, one of a kind. THIS IS NOT TRUE. long ago, a cabal of scientists created technologies to ensure that ANYONE'S MIND AND BODY can be duplicated.

human cloning isn't NEAR. it's already HERE. discover the truth at http://JCHutchins.net

you are being DECEIVED. break free from the cogs, flee the hive, become A PROPHET OF THE TRUTH!

kilroy2. was here ... kilroy2.0 is everywhere

>>> [ CONTENT OVERRIDE CEASES ::: DATABASE STATUS: RECOVERING ] <<<

So, if I haven't made myself clear, podcasters, just email me, so that we can sort this out. Keep ladling on the free content, and keep making it professional quality that lures us back in week after week.

But I've had it up to here with going along with your cheesy promotional games. No more, I say. I've had enough.

That is all.

'Urban Driftwood' Review

2009-10-26T20:32:00.000+13:00

Our first real review has come in for Urban Driftwood.

Please take a minute to pop over to Tim Jones' website, Book in the Trees, and read what he has to say about our little book.

If you haven't already, you can get a free PDF copy of Urban Driftwood from my homepage, or you can pick up a paperback from Lulu.com ($9.00US plus freight).

We are currently recording and editing an audio version which will be released as a free podcast as well, so keep your ears open for that. Watch this space for more details.

If you've already read Urban Driftwood and enjoyed it, I'd really love it if you could take a minute to rate it and even write a quick review over at Lulu.com.

Horror Round-Up

2009-10-21T07:04:00.002+13:00

This month seems to me to have been all about horror for me.

Jack Kincaid has just released a remastered, rerecorded version of the prologue to his fantastic Audiobook Drama Hoad's Grim, and it is brilliant. Hoad's Grim is, in my opinion, the most underrated horror audio production out there, and it's free, so if you haven't already plunged into the Grim, then you should. Then, write a review, and let Jack know that you liked it. You can also download the book as a free PDF, and there are rumours of a print version in the works, as well.

The other top performer in the horror audio division right now has to be Harvey by Phil Rossi. With only two episodes left in this gripping tale of murder and sucking earth, Rossi has wracked up the tension and the scares more potently than in any of his previous offerings. Both sexy and disturbing, Harvey slides between the horror of the past and present, into the cracks between the real and the nightmare. Seriously spooky, well-written stuff.

Paul Elard Cooley has just finished releasing his novella Tattoo, a spin-off from the Fiends series of horror shorts. The Fiends collection is a distorted little set of macabre tales, told from the perspectives of various psychotic folk who probably ought to be locked away. Tattoo then tells the tale of the journalist who tries to hunt one of these nutters down, and gets a whole lot more than he bargained for in the process. Creepy and fun, this podcast also features the excellent voice talent of Andrew Richardson.

Also, in my efforts to bone up on the classics, I consumed Michael Bekemeyer's Scatterpod stories, all in quick succession. For anyone planning on doing the same thing, while I can highly recommend the entire podcast, I would suggest giving yourself a break in between episodes. Scatterpod starts with a novella called "The Deadlight District", which I thoroughly enjoyed, as it weaves a twisted tale of demons and doppelgangers living amongst us, and then moves into the Scatterpod:Dark season. The stories in this collection vary from the gruesome to the absurd, variously making me laugh out loud and shudder in disgust. Bekemeyer provides a good variety of storytelling, but be aware: When he says that his podcast is intended for a mature audience, he means it. It's called Scatterpod:Dark for a good reason.

So go scare yourself; you've earned it, I'm sure.

Book Review: 'Cursed' by Jeremy C Shipp

2009-10-13T12:44:00.000+13:00

The thing about Jeremy C. Shipp is that:

You never quite know what you're going to get;
When you get it, it's hard to know how to take it in.

Cursed, Shipp's latest novel, is:

No exception;
No disappointment.

Once again, it has taken me a good couple of weeks since finishing Shipp's latest book before I have been able to sit down and put together a coherent review of his work (For a bit more background, check out my review of Vacation). There are several reasons for this. Shipp's writing:

defies definition;
cannot be boxed in the ragged old cliches of other more pedestrian authors;
gets inside your skull and messes with your head.

It may also be because I was:

looking at my watch;
scratching the mole on my left arm;
thinking about what I didn't say.

If you're wondering what the hell is up with the lists, I'll leave that to you to find out. Cursed is that sort of a book. I can't say too much without giving things away.

From the outset, Shipp drops us into a world slightly skewed and fundamentally wrong. Chapter by chapter that world tilts further into madness, as our protagonist Nicholas struggles to undo the curse laid on him by an unknown villain, for reasons unknown.

Shipp weaves an abstract tale that questions the nature of family and community in a world where we grow ever more estranged from each other, rendering the breakdown of our social constructs in the isolation of his characters. In their efforts to find meaning in lives which have grown more and more pointless, Shipp's characters, in their twisted version of a reality, do what we so often do without facing up to it: they hurt each other.

Once again, Shipp has written a book that cuts to the core of who we, as people, really are, and how we struggle to confront our emptiness, our grief, and our fear. In Cursed, we see characters who have fallen into the very blackest of despair, yet they find ways to battle through it regardless; sometimes, regardless of who gets hurt in the process. They put on brave faces, they write lists, they surround themselves with trinkets and memories of lives now faded, and they huddle to each other for the sake of not feeling so lost and alone.

Shipp has truly come into his own voice in this most idiosyncratic of books. Despite his experimental style and unorthodox structures, Shipp still tears at the reader's heartstrings as Nicky and his friends spiral deeper into the insane haze of the Curse. Cursed also has its uplifting moments, and plenty of laughs, if only in the blackest of humour. The sort of laughs that come because if you don't, you might just have to cry.

Cursed is definitely a book worth laying your hands on. I'm going to rate it at 4 Stars, with a bonus point for innovation.

Cursed will be available from October 30th, and can be ordered from his website.

7th Son Hits the Airwaves Again

2009-10-06T08:45:00.000+13:00

Right now, folks.

JC Hutchins has right this moment released the first installment in his new short story collection, 7th Son: 7 Days.

Hutchins never fails to deliver when it comes to thrilling audio fiction, and this series of shorts promises to be nothing less than his exceptionally high standard. The vignettes recount dramatic moments in the lives of the trilogy's seven main characters in the seven days prior to the start of 7th Son, and will be released on a daily basis over the course of this week. These stories stand alone, but foreshadow darker things to come, and delve into the characters that fans will already know and love.

If you haven't already listened to 7th Son, you can find them starting here, and I have a review of the series up that you can read here. Hutchins is also working on a re-recording of the entire series to accompany the print release of Descent.But beware: The intro to the first 7th Son: 7 Days story includes spoilers. If you haven't already devoured 7th Son, I suggest you do so before starting into 7 Days. You won't be disappointed.

The first book in the 7th Son trilogy, Descent, is due to be released by St Martins Press this month, October 27th, and is available for pre-order now.

Hail the Sestina - And Inspire an Author

2009-10-01T08:18:00.004+13:00

The great thing about the Internet is that I'm always learning new things, even when I'm not looking to learn new things.

Today's lesson is in the poetic form of the Sestina. Jennifer Hudock introduced me to the form by announcing her YOU INSPIRE ME contest, and she's calling for entries to inspire her to write one of these awfully complex but satisfying pieces of literary genius.

Head over to her website for the rules and instructions and details of the cool prizes she has on offer.

And you never know; you might even feel inspired yourself.

Rumblings from the Podcast Universe

2009-09-16T20:10:00.001+12:00

Things have been a bit quiet out there for a few weeks, mostly because it's been summer vacation time in the Northern Hemisphere, but there are rumblings of exciting things happening.

Top of the list, Jack Kincaid has just released a PDF copy of Hoad's Grim, available right now for free download or to be read online. E-book fans, go grab it right now, it's an absolutely brilliant book.

JC Hutchins has completed his Sword of Blood podcast, and has been writing a series of seven short stories set in the days prior to the first chapters of Seventh Son. Follow him on Twitter, and you might even get a chance to make an appearance - if you're lucky.

If you're in the States, you might still be able to catch Scott Sigler as he travels about the country on his Tailgate Tour, buying his fans beer and signing books. He just dropped in on Ann Arbor, Michigan, the location of his fantastic horror/sci-fi novel Infection, to a rousing welcome. Even James Melzer made the trip all the way from the cold white North to join the party, but now he's back home and getting back into his excellent Invasion podcast with renewed energy - but then he's off again, heading to Horror Realm in Pennsylvania. Horror fans, that would be your chance to meet the Zombie-God himself, and maybe get a free signed audiobook of The Zombie Chronicles. Go on. You know you want to.

Seth Harwood, too, is back in the saddle after a well-earned break, and podcasts from the Hot Tub are back on the menu. His most recent houseguest was Goblin Market author and podcaster Jennifer Hudock. Top quality stuff, I assure you.

Speaking of JC Hutchins and Scott Sigler, Podioracket will be interviewing both of these podcast trailblazers in the next few weeks, as well as Lost Gods author Drew Beatty. Listen out to Blog Talk Radio or follow Podioracket on Twitter for more info.

Now, in the Cool-Stuff-I've-Recently-Discovered Department, I'd like to mention a few in-progress podcasts that I've been listening to lately.

I've just started into double Parsec Award Winner FETIDUS by James Durham, a post-apocalyptic drama that has turned out to be much, much more than I was expecting. When it comes to genre-bending, it doesn't get much better than zombie sci-fi fused with classic noir - and it's not just zombies running around either. I'm up to Episode Four and I can already say that this one is a must. The world and the story are hooks in the mouth right from the start, and the engineering is brilliant. Masterfully layered with ensemble voice talent and Durham's own score, FETIDUS is a pleasure to listen to. I can see why this deserved to win the Parsecs for Best Speculative Fiction Story (Novel) and Best New Speculative Fiction Podcaster/Team awards.

Down From 10, by J Daniel Sawyer and performed by a star-studded cast including Philippa Ballantine and Nathan Lowell, reaches its halfway mark next week. DF10 is a curious mix of comedy, philosophy, and erotica, most definitely not one for the kids, but a worthwhile digression from the action and adventure of the rest of my usual podcast preferences. Sawyer's scripts come across as multiple conversations falling over one another, and the abilities of both the cast to record these in isolation from each other and Sawyer to edit and produce them to deliver the effect he was aiming for are testament to the cast's consummate professionalism and Sawyer's own skills, both as writer and editor. A thoroughly enjoyable and thought-provoking piece of podcast fiction.

And last but by no means least for this episode, today I started listening to Guardians by Kimi Alexandre. This book is only two episodes in so far, with another issue due early next month, but so far it has me intrigued. Raegan is a bodyguard to the stars, but her world is about to be turned on its end, so we hear. And when a girl wears a knife that tight to her thigh, that can only mean trouble. The audio on Guardians is well-polished, with a collaboration of voicework which always lends a podcast credibility from the outset. I'll be listening out for more of this in the weeks to come. So should you.

Until next time, keep those podcasts cranking.

Hugh Cook: The Wordsmith and the Warrior

2009-09-15T07:34:00.009+12:00

This article was produced as part of New Zealand Speculative Fiction Week. For more information, go to Pterodaustro Dreams.

Hugh Cook might not be a name instantly recognised by readers of the fantasy genre, but to his legion of dedicated fans across the world, mention of the man and his work inspires a sense of reverence.

Cook remains one of New Zealand’s unsung heroes of fantasy literature, despite his achievements outshining those of many of our more well-known authors. Between 1986 and 1992 Cook released his Chronicles of an Age of Darkness series, a ten-book cycle of stand-alone fantasy novels. Set on a world ruled by bloodthirsty emperors, threatened by swarms of monsters, and blessedly devoid of goblins and elves, the Chronicles capture a history of Cook’s lands and their people in a multitude of voices, spanning continents, and all occurring roughly within the same timeframe of a decade or two. Characters recur across the books, making cameo appearances from one story to the next, weaving a complex web of events that draws the reader through the series, however unrelated each volume may seem to be at a glance.

Cook was among a group of authors who eschewed the traditions of Tolkienesque high fantasy, choosing instead to write about the dark, unsavoury aspects of human nature in the grim harshness of a world bent on crushing the meek. In Cook’s world, orcs are hunted for their blubber and sea dragons are vain creatures who pretend to recite poetry in their sleep before sinking into snoring heaps. Empires are driven to war by syphilitic emperors, who are in turn murdered by warring sons. Heroism is a constant theme, usually as a partner to vanity, folly and ultimately death, and can be summed up in the immortal line, “vaunting their boasts with the blood of their lungs on their lips.”

Suffice to say that Cook rebelled, writing unorthodox fantasy in an unorthodox world. He dismantled old tropes and bent the genre like light through a smoked lens. He replaced the tired theme of good versus evil with one which instead pitted brutality against barbarism, and rarely delivered a clear victor. Cook not only rejected the clichés of the fantasy genre; he subverted them with an almost malicious glee.

To judge Cook’s success by book sales alone would be misleading, but the numbers are certainly impressive at first glance. Altogether, the Chronicles sold around 450,000 copies, and that in itself is reason for celebration for any New Zealand author. The Wizards and the Warriors, together with its US incarnation, Wizard War, sold over 160,000 copies, a phenomenal sales record for any fantasy author.
Unfortunately, as the Chronicles became less conventional and more obtuse, sales began to decline. This was compounded by the decision made by bookselling chain W.H. Smith to drop Cook’s books from their shelves when sales slowed, which inevitably led to an even steeper fall. Despite a rebounding of style and content in the last three books of the series towards more action-based storytelling, Cook had largely lost the means to supply to his mainstream audience, with sales for these three books falling to between 7,000 and 10,000 copies each. I bought all my copies of Hugh’s books in my local Whitcoulls here in New Zealand, where his books enjoyed pride of place on their shelves with every release. But if the books were not on the shelves overseas, then Cook’s fans had little chance of finding them.

Cook’s prose drew heavily on the landscape, places and mythology of New Zealand, from the legendary Taniwha of Quilth, to the Ngati Moana, to a prison called Maremoremo (after Paremoremo in Auckland). Our native flora and fauna often made cameo appearances in wild locales, including weka, kauri and rimu, to name but a few – all of this well over a decade before Peter Jackson delivered our country up to the world as Middle Earth. Cook refused to suffer from cultural cringe; he embraced our country’s uniqueness and used it to flavour his own inimitable world and style.

China Mieville, author of Perdido Street Station, sums Cook up nicely; “Hugh Cook was one of the most inventive, witty, unflinching, serious, humane and criminally underrated writers in imaginative fiction. Or anywhere.” It remains a shame that so few New Zealanders know that Cook was a Kiwi writer, but there is a good reason for this: Hugh Cook may have lived in New Zealand and written in New Zealand, but I suspect he saw the same tired faults with our nationalistic model of publishing and author recognition as he saw in the failure of the fantasy genre to redefine itself. Accordingly, after publishing Plague Summer here in 1980, he bypassed the New Zealand publishing model and went instead to the London market, where he secured publishing deals almost simultaneously for both his science fiction novel The Shift (Jonathan Cape, 1986) and the first volume in the Chronicles series, The Wizards and the Warriors (Corgi,1986).
What separated Cook from so many of his contemporaries was his ability to alter his prose style from book to book, while he never lost his unique authorial voice. Two of the Chronicles, The Wishstone and the Wonderworkers and The Wazir and the Witch, take the form of actual recorded histories, thick with the idiosyncrasies of both the imaginary scribe and subsequent editors, and are thus peppered with redactions and long, apparently unrelated diatribes. These books are full of acerbic dark wit and bleak philosophies, and represent, in some ways, Cook’s ultimate success at writing fantasy that transcended the sword and sorcery models of the genre. For all their apparently random digressions beyond the story, these two books might be seen as the pinnacle of Cook’s genius, for there is a depth to these tales that no amount of Feistian swashbuckling or Eddingsesque adventuring could rival. Some readers even suggested that ‘Hugh Cook’ was not one writer but many, a collaboration of individuals writing in isolation with a single grand design in mind. But Hugh Cook was just one man, a prolific author and poet, whose storytelling skills ascended beyond the formulaic norm into something infinitely more enduring.

Ironically it was these two books, with their challenging diversions into philosophy and metaphysics, that seemed to undermine Cook’s mainstream success. Book sales for these two volumes showed a steep slide from his earlier highs, and may have contributed to the W.H. Smith decision and its consequences for Cook’s publishing career. Cook did with fantasy what hard science fiction does to that broader genre, by delving into in-depth ruminations of the unknown and fantastical in the body of his storytelling. Cook teased apart the nature of magic and the supernatural as demi-scientific concepts, as well as exploring the brutal underside of human nature as represented by its practice in politics and warfare – stark metaphors for the real world, despite being dished up in the barbaric soup of a fantasy setting. Apparently, booksellers suspected that works of this complexity and wisdom would not be appreciated by fans of the tales of blood-soaked armies, pirates, and torturers that had preceded them. This was truly a pity.

Cook’s epic plan for a sixty book series was accordingly cut short, and after publishing the brilliant conclusion to the Chronicles, The Witchlord and the Weaponmaster, he went on to champion print-on-demand technology and electronic formats, constantly moving into newer and stranger worlds with his writing. He was among the first authors to publish works through Lulu.com with the Oceans of Light trilogy and later, Cancer Patient. Even so, the Chronicles remain Cook’s legacy, and copies of these volumes continue to fetch outlandish prices in second-hand book markets around the world (my own collection must be worth a small fortune, according to Amazon – but it is most certainly not for sale).

Cook was diagnosed with Non-Hodgkins Lymphoma in 2005. He endured months of chemotherapy and radiation treatment in Auckland, which briefly sent the cancer into remission. During this ordeal he wrote Cancer Patient, a collection of musings, poetry and recollections which document his struggle with the disease and what he learned about life and the human condition in the process.This book is available for free as an online e-book or as a download from zenvirus.com, one of Hugh’s many websites. Unfortunately in 2007 the cancer returned, and Cook passed away on November 8th, 2008, after bravely battling the disease for so many years. It is a testament to the scope of his fanbase that the obituary I wrote for him, which was published in the New Zealand Herald and which I posted to my blog in December last year, remains one of my most frequently visited pages.

Ultimately, Cook was both Wordsmith and Warrior. Poems, stories and characters were his tools and his weapons. He wrote with a passion, producing fiction at a prolific rate, and the English language would be greatly enriched if all the words and terms he had coined in his oeuvre were to be introduced into common parlance. He fought to find new ways forward in the publishing world, exploiting technologies that are only now starting to establish their true place in the electronic market. He maintained his integrity as an author to the very end, determined to always share the stories he had to tell, and not those that others wanted him to tell. At the end, he fought an unseen enemy – fought it and beat it, if only for a short time. Even in this, he had a story to tell, one that may not have been able to completely defeat that insidious foe, but which may yet bring comfort to others who face those same demons at some stage.

For those of you interested in reading Hugh Cook’s work, samples and full-length copies of some of his books can be found at zenvirus.com. Also, keep an eye out for a reissue of The Walrus and the Warwolf, due for release in 2010 by Piazo Publishing, with an introduction penned by China Mieville.
Walrus is recognised by Hugh’s fans as his finest hour, and well worth a read by any lover of epic fantasy. To quote Mieville again, “To honour the memory of this wonderful and generous-spirited writer and man, those - too bloody few - of us who know his work should do all we can to bring it to the world's attention.”

Hugh Walter Gilbert Cook (1956-2008): Wordsmith; Warrior; New Zealander.

Man’s first death is the random potential
Of aeons before conception,
And the surf, merging life with form,
The surf is creation and rebirth.

(Cicada Sun, Landfall #118, 1976)

I would like to thank Colin Smythe, China Mieville, and the Cook family for their kind assistance in preparing this article.

Novel Review: Personal Effects: Dark Art by JC Hutchins

2009-09-09T20:01:00.000+12:00

Readers of this site will no doubt already be aware of who JC Hutchins is, his epic technothriller 7th Son series (link is to my review), and probably of the innovative work that is Personal Effects: Dark Art.

If you are not, then you should be. Otherwise you risk missing out on bearing witness to the rise of one of the most important writing talents of this century.

Hutchins is more than just a fine writer of science fiction thrillers and supernatural horror. JC Hutchins is a pioneer in both the world of social media and in interactive fiction as a whole.

Besides his claim to fame as one of a select group of writers who adopted podcast technology to share their stories for free and to develop audiences that publishing marketers would have completely missed, Hutchins has proved himself to be an innovator in both audience engagement and fiction delivery. From his Obsidian series of fanfic short stories, which drew submissions from such luminaries as Matt Wallace, Mur Lafferty, Tee Morris, and Christiana Ellis, to running flash quizzes on Twitter with the prize being a cameo appearance in his new collection of short stories, Hutchins continues to push the boundaries of fiction, and to enthrall his fanbase in the process.

Personal Effects: Dark Art is no exception.

Taken as a book on its own, PE:DA is a breath of fresh air in a market of tired blockbuster hacks weighed down the morass of meeting publishing deadlines. Hutchins' writing in this book is dark and edgy, almost conversational, reminiscent of Kesey, yet bristling with ominous undercurrents. Perhaps it was simply that I read the book in Hutch's voice, familiar as I am with his tone and delivery, but there was an injection of life in this book that is sadly lacking in so many of today's big-name authors.

The other thing about PE:DA is, of course, the personal effects themselves. The book comes with a pocket full of documents and, well, personal effects: credit cards, appointments slips, drivers license, as well as photos and drawings. It is possible to read this book on its own, but there is another layer to be explored in the story, by chasing up the clues that appear in text and in the personal effects. There are phone numbers to call and websites to visit, as well as clues that allow the reader to delve deeper into the mystery of Martin Grace than even Zach Taylor, the protagonist, gets.

Is it a gimmick? Perhaps. But if so, it's one of the hands-down coolest gimmicks to accompany a book that I've ever seen. The images and the information that the effects conjure forth are chilling, perhaps more so than the story. But the story itself is a powerful journey regardless. The three elements - the book, the personal effects props, and the world of clues that lie beyond the book - serve to enhance each other, creating an experience which is somewhat more substantial than the sum of the individual pieces.

Is it the future of storytelling? Well, that all depends on how well PE:DA does in the marketplace. It's the sort of thing I'd certainly like to see more of. At the end of the day, however, only book sales will determine whether or not this bold venture into multi-dimensional story-telling will sink or swim.

For sheer creative flair, PE:DA is a clear winner, and it's a damned enjoyable read all on its own. I'm going to give it 4.5 Stars, and recommend you get your hands on a copy.

If you haven't checked out Hutchins work already, then a good place to start is probably with the podcast exclusive prequel novella to PE:DA, called Personal Effects: Sword of Blood. It's not yet complete at the time of this post, but it's well worth a listen to get a feel for how Hutchins writes.

And then when you read PE:DA, you might hear it in Hutchins' voice in your head, too.

'Toothless' Trailer

2009-08-28T08:47:00.005+12:00

In a quick update to my last review, JP Moore has released a trailer for the Toothless audiobook, featuring the artwork of Scott Purdy and music from The Monster Symphony by Devin Anderson.

Enjoy!

Podcast Novel Review: "Toothless" by JP Moore

2009-08-25T20:43:00.006+12:00

Meet J.P. Moore, genre-bending master of the dark and horrific, author of Toothless.

Not that I would have ever thought that, having encountered him first on Twitter, where he is truly a gentleman and a wit, to boot.

I was first enticed to listen to Toothless after following JP on Twitter, where I read a tweet he wrote which went something like this (and I paraphrase):

"So, you take issue with the historical inaccuracies in my audiobook Toothless. Was it the zombies or the demons that annoyed you more?"

Or words to that effect. How I laughed. And, accordingly, I had to get this book.
Imagine my surprise, then, when I get into it, expecting something lively and comic in a brutal, undead monsters sort of way. It is not.

Toothless is anything but comic, except in the blackest sense, but it is brutal, and it is utterly brilliant.

Moore sets himself a raft of challenges in setting this story up, not the least of which is the difficulty of making his main character - the eponymous Toothless - an undead warrior who draws his power by slaying the living, as his demon master leads his fell legions across medieval Europe. Martin was a Templar knight, and his jaw is hacked off in battle by the demon who kills him. When he is reanimated, his mortal memories fleeing his frail shell, he is given the moniker Toothless, and is set to destroying the living, combatants and innocents alike.(Artwork Copyright Scott Purdy 2009)

In this, Moore has his second task: to engage the listener with this lead character who cannot, by any means, speak. I was expecting some contrivance to allow Toothless a voice, but Moore plays the hand he has dealt himself with sheer determination, never once bowing to the lure of dark magic or telepathy to allow his anti-hero communication. In doing so, he reminds us of just how cheap talk really is. Toothless doesn't need to talk. His actions are everything.

Moore takes this tragic beginning and spins it out into a tale of woe, loss, despair, and the dauntless face of human courage despite insurmountable and indescribable odds. Toothless struggles with his guilt and grasps desperately to the fleeting memories he still holds of his lost wife and daughter. In these memories, in the loves he knew as a man, are the seeds of his redemption, and therein lies the story of Toothless.

What really kept me coming back to this book, however, was not the originality of the blended genres or even the need to know how Martin's final quest is resolved, but simply Moore's command of the English language. The writing is simply superb, painting the bleak yet inevitable collapse of civilisation before the Black Yew in infinite shades of mist and grey, scoured with blood and decay. Moore wraps his words around your ears like a fog, swirling to reveal the dying world in awful, sorrowful slivers. I was constantly drawn into the sheer poetry of Moore's prose, often paying more attention to the words themselves than the actual story.

The audio production is crisp and clean, and Moore's dry narration is well-suited to the dark, brittle tale he weaves.

If anything, I found that the story was in places a bit slow to progress, but the excellence of the writing more than made up for this small failing - one which, I'm sure, could easily be remedied in the editorial process.

I rate Toothless at 4 Stars out of 5, with a 5 Star Special Award for Awesome Prose.

Yes, I can make awards up if I so desire. See, I just did.

Podcast World Update

2009-08-18T12:14:00.008+12:00

The big news in the world of podcasting this week, of course, is the announcements for finalists in the Parsec Awards.
Many of our favourite Podiobooks authors have made a good showing, including Phil Rossi, JC Hutchins, Matt Wallace, Scott Sigler, James Durham, Christiana Ellis, PG Holyfield, Mur Lafferty, and our very own Philippa Ballantine. Also appearing is Christoph Laputka, author of the impressive, if irregular, Leviathan Chronicles.

Congratulations to all the nominees and finalists in this year's Parsecs, and good luck!

The past couple of weeks have also been busy with great information for new podcasters, and I would be remiss were I not to share a few links here.

Scott Sigler has provided a great audio link to a speech he gave at Balticon in May this year, detailing his views on the future of content delivery. Fascinating listening, from the guy who has done it and made it work.

Mark Jeffrey interviewed Evo Terra, co-founder of Podiobooks.com, on the past, present and future of the serialised audiobook. This is an in-depth discussion of both the technology and the form of the podcast novel as we know it, as well as touching on the wider aspects of social media that help to drive the format. Essential listening for anyone thinking about podcasting their novel, as well as for already published podcasters.

In what might not be news, but something which I just discovered this week, is the companion podcast to Tee Morris' Podcasting for Dummies.Even though I haven't read the book, and despite the fact that technology and software have moved on to make our lives even easier since this book was published, this is an invaluable guide to getting the core basics right, however you might be going about doing your recording, editing, uploading, and promoting. Just search for Podcasting for Dummies on iTunes.

Podioracket continue to roll out some great interviews, with upcoming folk including J Daniel Sawyer and Mick Bordet. These interviews are always entertaining and full of information, and if you can come join in the chatroom, many great laughs and interesting discussions are always had.

In the new releases department, Starla Huchton has just launched her novel The Dreamer's Thread. In Huchton's words, "The Dreamer's Thread is the tale of one Dreamer's quest to save the realm of dreams from the clutches of darkness." How cool is that? I've listened in on the first episode, and the narration, ensemble cast, audio production, music and writing are all excellent. I'll be following this one with interest.

Comic artist Mike Luoma has been remastering his audiobook Vatican Assassin, originally recorded in 2006, and the new episodes are now available on Podiobooks.com. Murder, Religion and Sci-Fi, all in crisp new audio. Check it out.

And if you haven't already, be sure to go and check out Calvin Hubbard's blog, featuring lyrics, thoughts and songs from his stay in the town of Harvey. Celebrity bloodhound Ozzy Sheraton obviously hasn't Googled this up yet, or she'd know better.

Legion Trailer

2009-08-13T15:18:00.002+12:00

This is mind-blowing.

Trailer for Legion, a movie where the Apocalypse is not an army of demons, but angels.

Totally NSFW.

The Fortnight in Podcasting

2009-08-06T10:29:00.003+12:00

Yeah, I need to be honest, I'm getting to this every couple of weeks, not every week.

But it sure has been a busy fortnight!

The brilliant and long-running Podcast Novel How to Succeed in Evil by Patrick McLean is complete. This book is both a hilarious deconstruction of the superhero/supervillain mythos, as well as being an intelligently written exploration of the darker side of human ambition. Well worth a listen. Complete at around 70 episodes.

Also, J.P. Moore is mixing down the final episode of Toothless, his Lovecraftian-Zombie-Templar epic, so the final episode should be due for release very soon.

As for ongoing series, JC Hutchins is making noises on Twitter about getting back into Personal Effects: Sword of Blood, after his frantic couple of months promoting Dark Art. Very much looking forward to that.

Bizzaro author Jeremy C. Shipp has had another of his stories (my personal favourite, in fact), Dog, released as an mp3 by Black Hard Press. The recording catches the story's gruesome yet deadpan tone brilliantly. Check it out.

In the new release department, I have taken a walk away from my usual speculative fiction preferences to listen to the first episodes of Trapping a Duchess, by Michelle Bekemeyer. While not a fan of epic romance by any means, I was surprised to find Duchess quite entrancing. Bekemeyer writes her characters with stunning depth and personality, drawing even a skeptic like me into the tangled web of hearts and egos and social decorum that shapes her world. It makes for a nice change of pace, and anyone who likes who a good romantic drama will love both the story and Bekemeyer's crooning voice.

The Dead Robots' Society have just launched their new Sci-Fi Space Opera, Tales of the Breaking Dawn - The Ties That Bind. I've listened in on the first episode, and was impressed to hear an ensemble cast, all the voices levelled out well, laden up with just enough atmos and effects and filters to give the piece a nice, creamy Sci-Fi feel. Looking forward to hearing more from these guys in weeks to come.

In interview land, Podioracket will be talking with Tee Morris, Philippa Ballantine and Phil Rossi all in the next couple of days on Blog Talk Radio. Rhonda Carpenter always runs a great talk, and listeners can hop into the chatroom and ask questions along the way. If you can, make the time to be there.

Phew! I think that's it for now.

Happy listening!

Guest Postage

2009-08-05T15:05:00.002+12:00

You know, I do more than just write and cook and listen to podcasts.

I also write.

Hang on, did I say that already?

Ah well, I'm very excited to tell you that I've written my first ever Guest Blog Post, and you can read it over here at Jenni's Blog, Talula the second.

Without wanting to put too fine a point on it, it's about writing.

Please take a minute to go visit Jenni, have a read, and leave her a comment.

Thanks!

Podcast Novel Review: "Ancestor" by Scott Sigler

2009-08-03T21:06:00.001+12:00

The thing about Scott Sigler's books is the way they hang around in your head, burned into your memory, long after you've finished reading them (or in this case, listening to them).

Ancestor is no exception.

With this book, Sigler takes his twin fascination with science and monsters to new heights.
Ancestor is a more scientifically credible story than Nocturnal or Earthcore, but Sigler still manages to tell a thumping good yarn while sticking to his scientific guns. Drawing on the premise of isolating stem cells as a means of generating cures for all sorts of diseases, Ancestor tells the story of a corporation driven to the edges of the earth to push on with their experiments, while even the CIA are trying to shut them down. But it's not just altruism that motivates the crew to work against all odds to find this semi-mythical cure; it's also greed, and pride, and fear.

Sigler takes a simple science fiction tale of the dangers of technology outstripping ethics, and weaves it into a web of betrayal, deceit, murder, and revenge.

Oh, and there are monsters. But you knew that.

As usual, Sigler's narration and audio production are faultless, though I still wish he'd take a leaf out of Seth Harwood's book and get some female voice talent to read his female characters, or take Jeffrey Kafer's advice and just read them straight (listen to Kronos by Jeremy Robinson for a great example). I still find the whining tone of male readers trying to put on a woman's voice not only distracting but also slightly demeaning.

Aside from that, Ancestor is a thoroughly enjoyable book, and I think it represents a significant maturing of Sigler's writing talent. As Tee Morris suggested to me when we met in Dannevirke a few months ago, Ancestor is sophisticated storytelling that blends sci-fi, horror, and thriller seamlessly. Sigler handles his characters and settings with ease, whipping out clever dialogue as easily as he hammers home blood and violence.

If you haven't listened to any Scott Sigler yet, this is probably a good place to start.

I give Ancestor 4 Stars out of 5.

Ancestor is available as a free podcast novel from scottsigler.com or through iTunes, and will be released in hardcover by Crown Publishing in December 2009 or early 2010.

Seth Harwood's 'This Is Life' & 'Czechmate'

2009-07-30T20:40:00.009+12:00

If you haven't already listened to Seth Harwood's first Jack Palms Novel, Jack Wakes Up, you should. It's well worth your time.

I've reviewed it here, and I couldn't wait to hear the rest of the story, told in Jack Palms II: This Is Life, and Jack Palms III: Czechmate.

JPII picks up a few months after JWU, and launches back into the action before you've got time to smell the scent of arson in Jack's house. From there until, well, the end of JPIII, the pace doesn't let up.

Harwood takes his washed-up, deadbeat actor Jack Palms, who is just trying to make something halfway respectable out of his life, and hurls him back into a world of gangsters, corrupt cops and politicians, and international crime rings. With every chapter, the tension is notched up, again and again. Jack Palms realises that its not enough for him to have once been an action hero on the silver screen; this is life, and if he's going to survive the mess that he's got himself into, he's going to have to become that hero.

Harwood is a remarkable writer, blending an action-packed thriller with a surprisingly hard-hitting emotional drama, as Jack Palms struggles with the demons of his past, of his failure, and of who he wants to be. As sequels go, JPII takes this series in a very satisfying direction.

JPIII: Czechmate, is the logical conclusion to the trilogy, and sees the return of the ex-KGB Czech gangsters from JWU. Now on the run from the police and the feds, Jack Palms and the Czechs set out to deal with the unresolved issues from the first two books, and bite off more than they can chew.

JPIII has some of the best action sequences I've heard in all the podcasts I've listened to, including a fantastic chase sequence through San Francisco's Chinatown, as well as what is possibly the smartest grift scene I've heard since Drew Beatty's Lost Gods, when Jack Palms pulls a bit of Jack Nicholson out of his hat. Great writing, great performance. Had me laughing out loud and cheering (which looks a bit odd in public...).

I was also very pleased to hear multiple voice talents in the mix in these two books, especially in the female parts, which lends the storytelling a lot of credibility. Harwood remains light on the sound effects, lending a gunshot here and there, but mostly lets the story tell the story, and at this he excels. The choice of the present tense as his dramatic medium works well, giving the book a sense of immediacy and urgency that suits the conflict.

These books are a great listen. The plotline is complex enough to throw twists at the reader on a regular basis, the writing is punchy and delivers an extra emotional kick in the guts where it's needed, and the audio production is well above par.

Both these books are complete and available for free from sethharwood.com or podiobooks.com (or just click on the images above).

I'm giving This Is Life and Czechmate 4.5 Stars each.

Nice work, Seth. Next stop: Young Junius.

Jack Wakes Up is available from Amazon.com, and can be found in bookstores across the USA.

Exquisite Corpse - Complete

2009-07-28T21:34:00.002+12:00

And what a beautiful thing it turned out to be. One could almost say...

Exquisite.

(You had to see that coming.)

An experiment in online flash fiction, each contributing author was only allowed to read the previous 250 words before adding their own section.

The complete text can be found here.

Alternatively, you can check out each part in sequence, in their original form on each author's blog. (Go on, show them the love.)

1. Part 1 - (26 June 2009)
2. Part 2 - (27 June 2009)
3. Part 3 - (29 June 2009)
4. Part 4 - (1 July 2009)
5. Part 5 - (1 July 2009)
6. Part 6 - (2 July 2009)
7. Part 7 - (2 July 2009)
8. Part 8 - (7th July 2009)
9. Part 9 - (9 July 2009)
10. Part 10 - (15 July 2009)

Thanks again to Christian Gilman for getting this crazy ball rolling, and to my friends Morgue and Jenni who brought it to my attention. I haven't had so much fun writing in a long time.

Another Week in Podcasting

2009-07-24T12:23:00.006+12:00

Joanna Penn interviews award-winning Voice Talent extraordinaire Jeffrey Kafer. Highly recommended for anyone thinking about podcasting their own novel, or recording audio in general.

In an unforeseen tragedy, podcast author JC Hutchins has met an untimely end off the shores of Florida. He has a video here to tell you about it, somehow, from beyond the grave. Creepy.

Phil Rossi's Chart Rush for his debut novel, Crescent, was a roaring success, shooting the book up to #52 in Bestsellers and #5 in Horror Fiction. My copy, however, is still in transit. *gnaws knuckles in frustration*

Jack Kincaid of Deadsville 9 Entertainment, author of Hoad's Grim, has released another free short story, Pelluci's Stingers. Kincaid continues to bring his chilling narrator to bear on his fiction in this bizarre and disturbing tale.

Zombie-God James Melzer continues with his Unleashed Podcast, interviewing Goblin Market Author Jennifer Hudock and JP Moore, author of Zombie-Templar novel Toothless. Melzer's recent announcement that his Zombie Chronicles Trilogy has been picked up by Simon and Schuster has kept him flat out, but he keeps bringing a fantastic energy to his podcasts. In this week's episode, Melzer puts the dreaded adverb to death. Brutally. (uh-oh...)

Seth Harwood, on the other hand, is taking it easy, and Podcasting from his Hot Tub. Not surprisingly, the afore-mentioned James Melzer has got in on that action. I'm so in the wrong job.

Classic Podcast Novel Review: '7th Son' Trilogy by JC Hutchins

2009-07-17T21:20:00.006+12:00

There are a handful of podcasting authors whom I consider pioneers. At the top of this list are Scott Sigler, now a NY Times Bestselling Author, Mur Lafferty, author of the Heaven series of podcast novels, and JC Hutchins, author of 7th Son.

The 7th Son Trilogy already has a veritable legion of fans, being constantly referred to by commentators across the podcast world as "the hugely popular podcast series" or "the audiobook phenomenon", or words to that effect.

I deduced that my podcast novel education had not even begun until I had listened to this book in its entirety, and so I did. Do you see this grin? I can see why 7th Son is such an enduring and seminal work, such a standout specimen for its genre.

Not only that, but it is a pioneering work. 7th Son was among the first of the free-to-the-wild audiobook releases that have come to characterise and define the podcast novel community in the past couple of years, and continues to rank highly in the charts at Podiobooks.com; at the time of writing this, 7th Son Book 1:Descent features at #4 Overall by Votes, #7 by Subscriptions in the Last 30 Days, and #2 in All-Time Top Subscriptions - while Book 2, Deceit, holds its place at #6.

In large part, I'm sure that this success has to do not only with Hutchins' skill at weaving a narrative and leaving the reader hanging out for more, but also his tireless devotion to promoting both his own books and those of others in the podcast community. Nothing gives back to you like giving something away, be it fiction or help and support.

Hutchins' ability to tease every possible opportunity for exposure out of the emerging social media devices available to him is extraordinary, from his constant presence on Twitter to the transmedia novel experience that is Personal Effects: Dark Art, which brought about an explosion of book trailers and video blurbs by authors and fans alike in its support.

Hutch is the guru of the social media world, and this has paid off for him in spades.

Of course, none of this would be worth a bar of soap if the writing and story aren't fantastic. So what is it about 7th Son that has made it such an instant classic? Hutchins brings the skill of a master storyteller to this tale, weaving a diabolical web of tech-noir, intrigue, science fiction, and a dash of horror for good measure, and wraps it all up with a heart-thumping pace.

In short, this book doesn't know what the phrase "dull moment" even looks like, much less means.

Book 1, Descent, starts with the murder of thePresident of the US by a 4-year old boy, which sets in motion a series of events that leads to seven complete strangers being brought together for the first time - or so they think. As first the US and then the world are thrown into chaos, this group of young men discover that they are not as different as they seem at first; that they are in fact more alike than they could have ever imagined.

They are clones, the product of an uber-secret government project called 7th Son, and it is their Alpha - the man they were cloned from - that is behind the murder of the President. But this murder is only the start of the mayhem that Alpha has in store for the world. As the clones start to track a breadcrumb trail of clues in the hope of finding and thwarting Alpha, more violent and chilling acts are brought down on the world, and time is always running out.
This is the setup, and the story only gets better from there. Hutchins writes his characters with wit, precision, and a depth of character that most novelists should envy. For seven characters all cut from the same cloth, they are remarkably different, yet share enough nuances that it is clear they are brothers, after a fashion, however different their lives may have made them.

The same can be said of Hutchins' performance. Unlike Sigler, whose characters tend to have wildly different voices for the sake of clarity, the Beta Clones are all a subtle variation on the same aural theme, and as the sole voice talent in a book with a huge cast of characters, the author still manages to project something unique with each of the clone's voices. It's one thing to shift accents and drop octaves while jumping between massively different personas, but quite something else to tease out subtle shades of the same voice and manage this consistently over several hours of performance. But Hutch pulls this off with class.
Aside from this victory, Hutchins' audio productions are slick and professional. He opted out of using atmos or sound effects tracks, so the weight of the story rests completely in the power of the narrative, the art of the words used to deliver that narrative, and his own performance. If I have one minor complaint about the mastering, it is that the music that rocks up at every cliffhanger episode ending always seems just a fraction too loud. Captivated by the story and whatever new twist Hutchins has just unleashed, the sudden shock of guitars and drums always had me ripping the headphones from my ears. I learned to watch the time and be ready to get them out ahead of the sudden burst of over-adrenalised rock, but it never stopped me diving into the next chapter as soon as I could.
Hutchins also has a publishing deal with St Martins Press, and 7th Son: Descent is due for release as a real-life book in October. And just to prove that its not just podcast fans who think Hutchins is a genius, Warner Bros have optioned the rights to develop 7th Son as a film, perhaps (hopefully) a series of films.

Podagogue gives 7th Son the full 5 Star treatment.

If you're looking for a place to start listening to podcast novels and you enjoy a good tech-noir thriller, you'll be hard pressed to find a series better than 7th Son.

Click on any of the images above to go the Podiobooks.com page for the pictured book.

Are There Aliens Among Us?

2009-07-13T11:53:00.003+12:00

Kudos to the always interesting Only The Best Sci-Fi/Fantasy blog for spotting this creepy piece of work:

Are there aliens living in the sewers of North Carolina? Some scientists think not.

What do you think?

Phil Rossi's 'Crescent': Now is the Hour

2009-07-10T06:33:00.003+12:00

As we speak, Phil Rossi's Sci-Fi Horror Epic Crescent is rushing the Amazon Charts.
If you listened to the Crescent Podcast Novel and have been thinking about buying the book, now is the time. Right now.

If you haven't listened to the podcast, but you are a fan of dark and gritty sci-fi horror, now is the time to buy the book.

Like I said when JC Hutchins stormed the charts with Personal Effects: Dark Art, this is about more than just generating sales for a favourite author.

Supporting podcast fiction authors who break into the market of published books is a validation that the business model, which revolves around giving stuff away for free, can actually work. It proves that the free-to-the-wild audio format is a value-adding aspect of a good book, not a profit-leeching misconception. It's important that the publishers who have the foresight to take this risk see that it is a worthwhile one. It matters to every podcasting author out there, and every podcast fiction fan.

Help make it happen.

I've bought my copy, because I want to see Phil Rossi on book shelves everywhere, for years to come. I'm starting with my own.

Behold, For He Is MELZER!

2009-07-09T21:37:00.003+12:00

All of us here at the Podagogue (that is, me) would like to give a big shout of congratulations out to James Melzer, author of The Zombie Chronicles, for scoring a book deal with publishing giants Simon and Schuster.
It's fantastic to see all the hard work paying off for another fantastic podcasting author.

Nice work, Melzer. All the best for the future!

If you haven't already read my review of The Zombie Chronicles, follow the link.

Podcast Novel Review: "The Failed Cities Monologues" By Matt Wallace

2009-07-05T20:10:00.002+12:00

If you don't like the thought of how blood might taste in your mouth, don't listen to this book.

If you don't like to hear bones snapping inside your head while you listen to a podcast, don't listen to The Failed Cities Monologues.

And just to make it clear, the crew at Variant Frequencies don't need a sound effects library to drop the pit out of your stomach. Matt Wallace does all this and more just by screwing words into your ear, with all the sharp edges and deadly precision of a power drill. TFCM is a bleak and powerful tale of two cities collapsing under their own weight at the nether reaches of a dystopic future that doesn't seem entirely impossible. Assembled as a series of monologues, as the name suggests, TFCM is told from the perspectives of eight characters caught up in events that spiral out of control and lead to a bloody and violent endgame. With each shift of character, Wallace adapts his writing style without missing a beat, capturing each of his unfortunate souls with unique blends of tone, nuance and voice. Different narrators perform specific characters, lending an even greater depth of credibility to the unorthodox story-telling structure.

Hovering somewhere between sci-fi, horror, and action, TFCM pulls no punches whatsoever. Wallace has created a world of shadow, flame, deceit and misery. There is nowhere to run and hide, not for the characters on either side, and not for the reader. But once you start into this book, you won't be able to give it away.

Wallace is more than just a superb storyteller; he is writer of some of the best modern prose I have read or heard in a long time. He gets under his characters' skins, and through them, under his readers'/listeners' skins. You'll feel him crawling around there, wishing you could scratch him out, but not really wanting to either.

The audio production is equally superb. Rick Stringer does a masterful job of producing a clean, clear product, which does Wallace's writing fantastic credit. Music themed to the various characters is woven from chapter to chapter, orienting the listener, and excellently matched to the narrators' voices and delivery. The levels remain impeccable throughout. Thoroughly professional in every regard. I tip my hat.

Fantastic writing, great performances, faultless production.

I give TFCM the full 5 Stars with the following caveat: This one is not for the faint-hearted. This is a brutal world, and Matt Wallace is a merciless god lording over it. He will not treat you kind (but you will beg for more).

Enter at your own risk.

This Week in Online Audio Fiction

2009-07-03T11:54:00.001+12:00

So here's a quick Wrap-Up of what's been going on in the Podcasting and Online Audio Fiction world this week.

It doesn't get crazier than this: To promote his transmedia novel Personal Effects: Dark Art, author JC Hutchins is giving away a SWORD. Yes, thanks to Matt Wallace, author of The Next Fix, The Failed Cities Monologues and the KILL the FEED Podcast, Hutchins is offering his fans an opportunity to win a real-life sword, signed in blood, to coincide with the Sword of Blood novella podcast. And all you have to do to enter is help promote PE:DA to your friends.

Phil Rossi has released Episode 1 of his new podcast novel, Harvey, to the sound of long-held breaths being expelled by his many fans. Meanwhile, Rossi's Cover Me contest continues on Twitter and YouTube. Remember, July 9th, 1pm (EDT?) is the time and the date to storm Crescent up the Amazon charts. I'll be getting up early for that one (6am over here!).

I'd like to express my thanks to the wonderful people at Tor.com who put me onto Trunk and Disorderly, by Charles Stross. This short and hilarious sci-fi story is 13 chapters long and about 2 hours listening. It's like Monty Python on Mars, but better. Seriously refreshing comedy.

Jennifer Hudock has opened the gates to The Goblin Market. Get over there for a listen; dark fairy tale fantasy with heart. But don't, whatever you do, forgot to take a silver coin. Or it could all go bad.

Fantasy author Brain Rathbone has released the second instalment of his Dawning of Power Trilogy, Inherited Danger, as a free audiobook. If you haven't already, check out my review of the first book in the series, Call of the Herald.

And hot on the heels of launcing his Invasion, The Zombie Chronicles author James Melzer has dropped his new freeform podcast, Unleashed. Two episodes in one week, including a frank and funny interview with Jack Wakes Up author Seth Harwood. I was surprised by the tone of this interview, which was a lot more open than I've come to expect from author interviews in the past. Never have I heard a heard an author slam his publisher so hard in public. To anyone who is either a writer or an aspiring podcaster, this interview is a must to listen to.

If you have a podcast novel or other online fiction event that you think I should know about, especially in the audio world, leave me a comment with a link and I'll check it out. You can also find me on Twitter.

Exquisite Corpse

2009-07-01T22:02:00.004+12:00

This entry is part of an on-line exquisite corpse – a short story told in 10 installments by 10 different authors. My 250 word installment is below; if you’re interested in writing the next part, scroll down to the bottom of this post for details on how this all works…

— — —

had companions. Drifting over the ridge, a dozen bulbous creatures with buzzing gossamer wings and grasping claws darkened the sky. Dianne and Peter sank to the ground, watching the nightmare creatures pass over.

Peter’s eyes grew wide. “The lodge,” he muttered, fear staining his voice, “Dad!” He pulled out the satphone and punched a speeddial, biting his lip as the phone connected.

“Bruce here,” came the answer, his father’s voice slick with whiskey. Peter groaned inwardly. Taking a deep breath, he told Bruce what he wanted him to do.

Bruce hung up and tossed the phone aside. Damn kids had been trying for god-knows-how-long to get him out of his lakeside lodge. Well, screw them. He’d worked hard all his life, and he was damn well going to retire where he pleased. What, did they think he’d gone nuts?

Turn on the gas in the kitchen?

Take a rifle and get into the woods, with a clear shot at the lodge?

They couldn’t convince him to retire to a village with the other old-timers, so they wanted him to what? Blow up his house?

Screw them.

Bruce poured another dram of scotch and picked up the TV remote. A noise like helicopters reached him, and he punched up the volume. The noise increased, and Bruce turned to look over the ridge, swearing.

The tumbler slipped from his fingers, smashing on the timber floor.

The darkness of the swarm filled his vision. Bruce stood, shaking, reaching for his

— — —

This is part 6 of 10. You can find the other installments here (but DON’T DO THIS YET if you want to join in):

1. www.sleep-dep.blogspot.com (26 June 2009)
2. www.multi-dimensional.blogspot.com (27 June 2009)
3. www.deb-onair.blogspot.com (29 June 2009)
4. www.additiverich.com/morgue/ (1 July 2009)
5. www.jennitalula.wordpress.com (1 July 2009)
6. http://podagogue.blogspot.com (2 July 2009)
7.
8.
9.
10.

WANT TO READ IT? Jump back to the previous entries using the links above.

WANT TO JOIN IN? This exquisite corpse operates on a first-come, first-served basis. If you want to write the next installment, FOLLOW THESE INSTRUCTIONS:

1.IMPORTANT – Don’t read any of the previous entries! Read only the one you see here.

2.ALSO IMPORTANT – Post a comment here, saying “I claim the next entry”, followed by the URL/web address of your blog. If you don’t do this, we’ll never know where to find you.

3.Copy the text of this blog entry into a new post on your blog, but DELETE THE CHAPTER and write your own as the next installment. Start with the chapter number as I’ve done here, and start exactly where the last chapter left off (in mid-sentence if necessary).

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Podcast Novel Review: "Lost Gods" by Drew Beatty

2009-06-28T20:02:00.004+12:00

I love a good supernatural urban fantasy, and I also love a good old-fashioned grifting story. It's rare to see the two genres cross, and I wasn't sure that it could possibly work. But after listening to the first chapter of Drew Beatty's Lost Gods, I was left hoping that such a wonderful hybrid creature could indeed exist.
I was not to be disappointed. Lost Gods starts out on a very low key, but it consistently cranks up the stakes as the story progresses. What begins as the story of two shady characters who share a dark secret planning a con that will set them up for life evolves into a struggle between ancient and (almost) forgotten powers, that threatens everything we know and love. Without wanting to step into spoilerville, I can say that this story delivered a whole lot more punch than I was expecting, and did so in clever, unexpected, and thoroughly well-thought-out ways.

Beatty maintains a relaxed grip on his prose and dialogue thoughout, rarely breaking a sweat as the fate of the characters and, finally, all of us, is thrown into the swirling chaos that he creates. His narration is likewise laid-back and unhurried, which makes for easy and pleasurable listening. Beatty's confidence with his work and with the mic shows through in a well-presented audio production that any amateuer podcaster ought to be proud of.

Lost Gods is equal parts dark supernatural thriller, grifter tale, and black comedy. The final chapters wind up towards some of the best twists I have come across in storytelling for a long time, particularly in podcast novels. For sheer "I-never-saw-that-coming" value, this is a winner.

I rate Lost Gods 4 Stars out of 5, purely for it's dry and original entertainment value. Fantastic stuff.

Complete at 21 Chapters, Lost Gods can be found at Podiobooks.com, and Drew Beatty can be found on Twitter or at either of his homepages, LostGods.ca, where readers can also download PDF chapters, and drewbeatty.com, where Drew keeps a blog and updates on the podcasting world (Hat Tip: Ron Earl thanks for picking up the linky foible). There is a book version of Lost Gods in the works too; check out Beatty's homepage for more details.

Podcast Novel Review: "Chasing the Bard" by Philippa Ballantine

2009-06-20T20:10:00.000+12:00

A couple of weeks ago I was lucky enough to meet a couple of awesome people at a little library in Dannevirke, in the frosty Tararuas, about three hours north of Wellington, New Zealand. Podcasters Tee Morris and Philippa Ballantine were surprised that I made the drive when there were opportunities to catch them in Wellington, but it may come as no surprise to anyone with a two-year-old and a busy family life that getting away on the weekend is sometimes easier than doing things during the week. Thus, the drive to Dannevirke. Ah, road trips.

Philippa Ballantine is New Zealand's only podcaster (that we know of - yell out if this is a misconception, please), and she is also now rightly referred to as "Award-Winning Novelist Phillippa Ballantine", in light of her recently being presented with the Julius Vogler Award for her podcast novel Chasing The Bard.In order to fully prepare for this meeting, I started into CTB in earnest. I was dubious at first, always having been more of a fan of dark, gritty sword-and-sorcery fantasy than the fairy kind, but I was quickly disabused of my preconceptions.

Ballantine writes fantasy that is enchanting and compelling, weaving the multiple worlds of the fey and human together with grace and skill. The fantastic realm that lies but a breath beyond our own is composed with delicate crafting, Ballantine's worldbuilding carefully disguised as setting and character. And when the need arises, Ballantine can turn to the dark and brutal with as much skill as she writes of charm and love.

The story is based loosely around the life of the great Bard, William Shakespeare, whose destiny is wound together with the immortal faerie realm and its epic struggles that span the rise and fall of entire human civilisations. To say more would be to spoil the grand, intricately woven tapestry that is the plot, and I wouldn't do that to you. Suffice to say that the blend of historical detail and fantastical elements makes for a well-rounded and deeply satisfying story-telling experience.

Soundwise, I was hugely impressed by CTB. I had started into Ballantine's previous work, Weaver's Web, a little earlier, but had to put it aside because the audio levels were too low to easily hear over the speakers in my workshop. WW is now instead slated for iPod listening sometime soon. Accordingly, I was pleased to hear that the mastering of CTB was greatly improved, and ultimately could not fault the production. While narrating and voicing many of the female characters herself, Ballantine also employed additional voice talent (including Tee Morris) for some of the parts, which lends a sense of theatre and realism to any podcast drama. The podcast also features music, atmos, and enough sound effects to augment the story without overwhelming it.

Call it cultural cringe, but I was not expecting a lot out of this podcast, and I was pleasantly surprised by just how accomplised a production a fellow Kiwi could put together. Apparently the people handing out the Julius Voglers thought so too, as did the Parsec Awards commitee: CTB has been nominated for Best Speculative Fiction, Long Form, and I wish Philippa all the best in that competition too.

I'm going to give Chasing The Bard the full 5 Stars, and not just because we both live in Wellington. This is historical fantasy that deserves to be listenened to.

And just in case you were wondering, I'm now listening to Billibub Baddings and the Case of the Singing Sword, by Tee Morris - and so far, it's just brilliant.

Beware the Invasion

2009-06-18T07:18:00.000+12:00

In only a few hours now, an Invasion is going to be unleashed.

I can't say what it will be, our only warning comes from the disturbed genius known as Melzer.

Mur Lafferty tried to get the message out, but they got to her first.

So now we can only lock our doors, load our shotguns, and hope that living on an isolated island at the bottom of the South Pacific will be safe from the horror we can only imagine.

(Apologies to you poor souls who live much closer to the actual Invasion. I'll be thinking of you as the news feeds drop out, one by one.)

Book Review: 'Vacation' by Jeremy C. Shipp

2009-06-14T08:00:00.000+12:00

It's hard to say what you should expect of this book, because no matter what you go in thinking, Vacation will defy you.
I first discovered the work of Jeremy C. Shipp when I chanced upon his short story Camp via the mystery that is Twitter. Upon reading this story, I was immediately aware that here was a talent unlike any I had read before. Shipp has a unique and profoundly disturbing voice, one that at once repels the reader and forces them to keep reading, no matter what. Reading Shipp is a bit like watching torture: You know it's awful but you just can't seem to turn away, even though it's you that's being tortured.

This is just the sort of layering that Shipp brings to his work, and he does so with a tight sparsity of language, his prose almost poetic but at once too delicate and too brutal. I immediately sought out more of his work, and gobbled it up hungrily.

Of all his short stories and flash fiction, my favourite remains the creeping and murderous Dog, a coming-of-age tale that is as bloody as it is haunting.

So when I saw the opportunity to read and review Shipp's novels, I jumped at it. I finished reading Vacation a couple of weeks ago, but it has stayed with me long since. Wrapped up in a story that traces the main character's awakening to the harsh realities of the world he lives in, Shipp threads philosophy and sociology together with a scathing deconstruction of modern consumerism and the Western world's self-inflicted blindness to the suffering of the rest of the planet at our expense.

At turns surreal and frighteningly real, Vacation challenges the reader to deny that they are in fact living through the same drug-addled haze that Bernard Johnson has been until the time he goes on his own Vacation. Utopia disintegrates into dystopia, and Johnson is thrust into a dark world where life is worthless, minds become the puppets of guerrilla warlords, and the grand illusion of the world he knew is ground to dust.

Vacation is a provocative stream-of-conscious monologue. Shipp stretches the boundaries of the form with care and precision, twisting the point-of-view to his own purposes, more often deluding and deceiving the reader than elucidating, and in this way, draws his style together to complement both the themes and the plot. Vacation is a story that tells of one man emerging from the haze of his past into the bright and painful harshness of the truth. Chapter by chapter, Vacation becomes clearer, crueler, and ultimately draws the reader down into the inescapable fact of the sheer falseness of our existence.

It's hard to describe Vacation in any of the usual ways, as it is not satisfying or compelling in the traditional sense, yet it demands to be read, and it demands that you put it down understanding yourself perhaps better than you did when you picked it up.

And remember, this is a fictional novel, not a self-help motivational piece. Shipp has succeeded where so much fiction fails; he has fleshed layer upon layer of meaning into a fantasy to the point that it is more real than our own realities, yet he does so through a lens that is both distorted and blinding.

I think I enjoyed this book, although enjoyed may not be the best word. I know that I am glad I read it, although glad may not be the best word either. I seriously recommend it, and that is the best way I can put it.

Take it away with you on Vacation, and you may not come back the same - if you come back at all.

Crescent: The Novel, and Phil Rossi's Cover Me Competition

2009-06-12T08:00:00.000+12:00

Phil Rossi's Crescent: The Book Launch is Coming (mp3 Promo Link).

On July 9th, the print version of Phil Rossi's awesome Sci-Fi Podcast Novel Crescent will be released on Amazon.com.

Rossi is harnessing the power of his wired-in fanbase to slam the Amazon Charts by encouraging everyone to purchase a copy of Crescent at the same time, 1pm EST, on July 9th.

In yet another example of how this pioneering group of authors are taking the publishing world and reinventing it, Rossi is also running another competition (I honestly don't know how he finds the time!) called RossiCoverMe.

By following Phil Rossi on Twitter, you can have the opportunity to submit suggestions for songs from which Phil, who is also a brilliant musician, will choose one to record a cover version of. His efforts to date have been pretty damned impressive, including a fantastic version of Leonard Cohen's Hallelujah.

The current theme is NIN - Nine Inch Nails. I personally am waiting for the now legendary rendition of Sympathy for the Devil that Rossi is rumoured to play.

Go Phil!

Warning: The Dark has been Unleashed

2009-06-10T07:13:00.000+12:00

Today is the official release date for JC Hutchins' Personal Effects: Dark Art in US Bookstores. My copy is shipping from Amazon very shortly, and I can't wait to get my hands on it and sift through all that mystery goodness - oh, and to read it, of course.

If you've been living under a rock for the past few months and don't know what PE:DA is all about, start by watching this video by the author:

And if you're not already, then you should be listening to the exclusive Prequel Novella, Personal Effects: Sword of Blood.

Hutchins is also regularly updating his site today as PE:DA marches up the chart, with an all day online party. If you're in the US and can get to a bookstore, go grab your copy and email JC a photo of your with your book, so he can add it to the growing page of happy fans.

But there's another very important thing to remember here: For a few years now, writers like JC Hutchins, Scott Sigler, Mur Lafferty and others have been entertaining their growing fanbases by releasing their work for free as podcast novels. Creating anything as involved as an audiodrama takes a huge amount of effort, energy, time and passion, and all of this for virtually no reward in the short term. Getting a book deal is more than just a payday for these writers - it's a vindication. It's proof that the fans who are so willing to gobble up their stories for free also want to see these writers succeed, so that they can put their day jobs aside and focus, full-time (instead of at between 10pm and 3am), on writing more great stories to entertain those fans.

That's what this is all about. There is a nut here to be cracked, and it's not just about Hutchins, or PE:DA. It's about showing the publishing world that there is some good to be acheived by relinquishing their greedy clutches on writers' material, and adopting new business models that make the most of today's wired society.

I know that I wouldn't be writing this blog had it not been for my stumbling across the free (and stunning) Audiobook Drama Hoad's Grim by Jack Kincaid late last year, and I wouldn't have bought PE:DA either, because I never would've heard about it.

Hutchins et al are at the forefront of a revolution of published fiction as we know it. We'll look back on these heady days in years to come and be inspired by their vision and their sacrifice.

This is the future of fiction, folks. Make yourself a part of it.

Phil Rossis' "Crescent": One Month To Go

2009-06-09T12:24:00.000+12:00

The poster speaks for itself.

That is all.

The First Real Post: Podcast News and Happenings

2009-06-08T12:14:00.000+12:00

The most exciting thing I have to report is that on Saturday I took a drive up to the Tararua District Library in Dannevirke, to attend a talk given by Podiobooks co-founder Tee Morris and award-winning Podcast Novelist Philippa Ballantine, another proud Kiwi. The talk was more of a discussion to promote the offerings available at Podiobooks.com, but it was great to meet in person and shake the hands of such visionary pioneers of the art form. It was an intimate affair, there being about 5 people in the audience and cups of tea on hand, so it was a great opportunity to have a chat.

In particular, we had a good talk about podcasting microphones and what a prospective podcaster needs to be aware of if they're looking at investing in it. I have a couple of projects that I'm thinking about launching as podcasts, so it's nice to get opinions from the coalface. I like the look of the Rode Podcaster at this stage, on anecdotal evidence. My other option is Seth Harwood's preference, the H2 Zoom USB Recorder. Decisions, decisions.

Tee was also interviewed by Chris Laidlaw on Radio New Zealand on Sunday morning, and the interview can be found here.

In other news, it's only a couple of days now until JC Hutchins' new Horror-Mystery-Social Experiment Personal Effects: Dark Arts is released. The future of fiction is here. More than just a book, PE:DA takes the reader more places than the author even takes his main character, providing clues in the forms of phone numbers that readers can call, websites they can visit, and characters from the book with blogs and Twitter feeds to follow, as even darker secrets than those in the book are unravelled. I haven't read PE:DA but I will be keen to get my hands on a copy as soon as is humanly possible.

James Melzer has also thrown out a warning: There is an Invasion coming. Look out for zombies, I suspect, keep your shotgun handy, and aim for the head. Or should you? Given the twisted ending of his first book, Escape, I wouldn't necessarily be sure that it's the zombies we should be most afraid of.

Also, if you're not already, you should be following Jenny Hudock on Twitter, and checking out the poems she's dropping regularly on her website. It's great stuff.

Sound Check

2009-06-08T07:45:00.000+12:00

Welcome to the Podagogue.

I have made the Big Call, and decided to start a new site where all my ruminations on the world of Audiobooks, Podcasting and other Fiction can live.

My main blog, Freshly Ground, will continue to titillate the tastebuds and chew over the food-related issues of the day, or week, or whatever, but my new obsession with Fiction I Can Listen To will now be the bread and butter of The Podagogue.

This was not an easy choice to make. I even ran a poll to get a feel for the audience.

But ultimately, I think I was confusing the foodies, and making the Sci-Fi fans hungry. If there are two things you don't want beating down your door, it's confused foodies and hungry geeks.

So again, welcome to the Podagogue!

I'll start by reposting all my previous reviews here, and I'll continue to link here from Freshly Ground when I post a new review.

Review: "Call of the Herald" by Brian Rathbone

2009-06-04T15:16:00.000+12:00

Originally Published at Freshly Ground on June 4th 2009

Call of the Herald is the first part in Brian Rathbone's Dawning of Power Trilogy. The complete trilogy is available as a trade paperback; so far, only the first part is in audio format, and this available free from Podiobooks.com.Call of the Herald tells the tale of Catrin, a young girl thrust into a life of legend and prophecy when the quiet world she knew is changed forever.

Rathbone builds a haunting, immersive land of fog and mystery, meticulously building towards the unraveling of that world as the chapters unfold. He writes with care and attention to the finer details of Godsland, his fantasy world, and the characters that inhabit it. Listening to this audiobook, I was hungry for a bit more pace, but when Rathbone does bring on the action, he does so with the same refined skill and grace with which he has constructed his world. Without the methodical buildup, the climactic sequences would have seemed hollow. This is the fine art of world-building at its best.

The audio production is clean and clear. Rathbone never misses a beat in his crisp narration, and lets the prose carry the flow of his characters' voices. He has also chosen, for this recording, not to use any effects, music, or ambience, so the work relies very much on both his delivery and the weight of the writing for its effect. On this subject, Rathbone has a very soothing voice, which may at times be more relaxing than is good for the listener's focus. More than once I found I had to skip back because I had been lulled away from the story by the gentle timbre of Rathbone's voice rumbling away in my ear.

Call of the Herald took a bit of time to get into, but I was rewarded for sticking with it. The story finds its pace about halfway, and is unputdownable once it really gets going.

Overall, this is a fine effort in the fantasy genre, and I would have to give it a confident 3 1/2 Stars out of 5. I'll be looking forward to hearing future installments of the trilogy, and if the books were to cross my path I'd probably get my hands on them, if only to see if they read differently in my head without Rathbone's crooning voice to carry the words.

One thing I will say is that, unlike almost every podcast novel I've listened to, Rathbone doesn't plug his own site at all, which, while refreshing, is a shame. It is only tonight, as I skim over his site, that I see there are maps of Godsland for readers to look at, which would have made the listening experience a lot clearer. Maps are a critical part of the fantasy genre, and it is a skilled writer indeed who can write fantasy without recourse to a map in the front of the book - it's also one of the things we fantasy fans gobble up hungrily. It is a credit to Rathbone's writing that I made it right through Call of the Herald without ever seeing these maps, and never felt lost. Maybe a quick word in the intro or sign-off to check out the website for maps and artwork would have enhanced my experience of the audiobook.

Well done, Brian, on a great book and a fine audio production. Looking forward to your next offering.

Sound Bytes

2009-05-30T15:19:00.000+12:00

Originally Published at Freshly Ground on May 29th, 2009

I've been inundated with stuff to listen to and read lately, so here's a quick summary with my recommendations.

Firstly, I was very excited to get an advance review of Jack Kincaid's latest release, a short story called The Church Grim. This is a dark yet comedic horror story, masterfully crafted for both wit and chills. Kincaid uses the same stylistic techniques that worked so well for Hoad's Grim, including his creepy, dissociated narrator's voice and the voice talents of James Keller and Julie Hoverson. Once again, a fantastic piece of speculative fiction and an impressive audio production. Highly recommended, and at 40 minutes or so, a good way to get a feel for Kincaid if you haven't listened to Hoad's Grim already.

Another short podcast that I recently completed - and which also throughly entertained my staff, who have no choice but to listen to whatever I choose to play in the workshop - was The Takeover, by veteran podcaster Mur Lafferty. This zombie comedy clocks in at a little over 2 hours, and features a star-studded cast including Christiana Ellis and JC Hutchins. I can't say much about this without spoiling the story, but suffice to say that if you like zombies or just like to laugh at zombies, or just like to laugh, this is brilliant.

I've finished up several complete podcast novels in the past couple of weeks, and I'm not sure that I'll get to review all of them, so here's my quick star rating on those I've made it through:

The Call of the Herald, by Brian Rathbone: 4 Stars. Fantasy, first in a trilogy. Meticuloulsy constructed world, takes a little bit to get into the story but is satisfying for its buildup. Full review will follow.
Earthcore, by Scott Sigler: 4 1/2 Stars. Action/Sc-Fi. This is one of the world's very first exclusive podcast novels, now available as a print edition as well, and it set the standard for podcasts to follow. Excellent story and production values.
Nina Kimberley the Merciless, by Christiana Ellis: 4 Stars. Fantasy Comedy. NKTM is hilarious, it really is. Featuring an imbecilic king who thinks he's Don Juan, a pacifist dragon, and our eponymous hero who would rather be off questing than leading her people back to their former glory, NKTM is good, solid entertainment. My favourite line, as the bumbling King Francis tried to squeeze into his armour: "I must be light and uncucumbered!"

I'm currently listening to two more podcast novels, including the second book in JC Hutchins' Seventh Son trilogy, and the Failed Cities Monologues by Matt Wallace. I'm also hooked on JC Hutchins' new podcast novella, Personal Effects: Sword of Blood.

And I must throw a big shout of thanks out to all these authors, and to the crew at Podiobooks.com for all the hard work they put into bringing these books to greedy little me.

In terms of reading, I've been getting into the work of bizzaro fiction author Jeremy C Shipp over the past couple of weeks. You can check out some of his short stories online: Camp, Trout, and Dog. Not for the squeamish, however. You have been warned. I'm also reading his rather twisted but intriguing novel, Vacation, and I'll be posting a review of that shortly.

That's all for now. If you have a podcast or an audiobook that you'd like to direct me towards, please feel free to leave a note in the comments. Thanks.

Review: "Nocturnal" by Scott Sigler

2009-05-22T15:22:00.000+12:00

Originally Published at Freshly Ground on May 21st 2009

In the brave new world of the podcast novel, it takes something special to be called a classic. Nocturnal by Scott Sigler is just such a rare creature.
Scott Sigler was among a very small group of writers who literally pioneered the Podcast Novel format, releasing his first book, Earthcore, in 2005. At the end of that podcast there is a very interesting Q&A with Mark Jeffrey, which provides a snapshot of both how small the audiobook market was at the time, and how Sigler envisioned it growing into the creature it has become - and that creature continues to grow.

Nocturnal is Sigler's third podcast novel, and it is a masterpiece of action horror. What starts out as a police procedural detective novel with a paranormal element quickly morphs into a gruesome and electrifying monster story, and from there into an action rollercoaster that would put John Woo to shame.

You'll forgive me if I slip, but I tend to recall Nocturnal as a movie rather than a book. The action and the imagery have seared into my skull, all chiascuro shadows and arcing blood lit by guttering streetlights and gunfire.

Sigler's dark alternate San Francisco is a place of fear and tension, haunted by unseen monsters, remorseless gangsters, ruthless vigilantes, corrupt cops, and a psychotic schoolboy with a god complex. Through this morass of murder two cops face the challenge of trying to solve the murders that have started to plague the city, only to find a conspiracy that even the SFPD doesn't want them to uncover.

This stuff is addictive. I personally neglected family, friends and more important things like writing my own novel to listen to this book. Sigler gets his teeth into your soft, tender flesh and shakes, not letting you go until he's wrenched you through the increasingly brutal and bloody story of the Nocturnals. And he pulls no punches whatsoever. Where Hollywood would turn away or save the day, Sigler just continues to rip shreds, and it is fantastic.

Not for the light of heart, I must emphasise. Nocturnal is R18 on every scale, for language, violence, torture, and even on a conceptual level. Yes, I squirmed more than once. But the payoff is so worthwhile, and nothing in this book is wasted. Every act of brutality, every murder, every fight, every explosion serves a valid and crucial purpose to the story. At the same time, Sigler can do subtext and complexity as well as he does action. I do not understand how Dan Brown sells more books than this guy. Brown is nothing next to Sigler.

Sigler's writing is also a pleasure to listen to, his dialogue sharp and his prose as witty as it is tight. He carries a vast cast of characters, voicing each with confidence and consistency. As usual, I cringe a little when a grown man puts on a woman's voice, but if I could do any better, I'd have some grounds to complain. I can't, so good on you Scott for giving it your all.

The audio production is clean and professional, relying almost entirely on Sigler's voice to carry the story. I can only recall one location that was augmented by a creepy harpsichord music track, and that really stood out for its oddity. As I've said, Sigler is a clever writer and a powerful performer, and thus requires little in the way of bells and whistles to bolster his efforts.

Again, for a free work, this is just brilliant. It is said that Sigler doesn't have fans; he has junkies. I just finished Earthcore today, and I still have four podcasts by Sigler to listen to. The future is bright.

5 Stars.

Nocturnal is an instant classic. Available as a free podcast download through iTunes and Podiobooks. Swing by Sigler's site for more info on this modern literary maestro, one of the true pioneers and energetic advocates of this great artform.

Review: "The Zombie Chronicles" Book 1 - Escape by James Melzer

2009-05-15T15:25:00.000+12:00

Originally Published at Freshly Ground on May 14th 2009

Here's a podcast you can really get your teeth into.

James Melzer is one of a new breed of writers who are finding success by eschewing the traditional methods of shopping a manuscript to agents and editors, and are instead puffing out their lungs, warming up their vocal chords, and releasing their works into the wild - in the form of free podcast downloads.

As you know, I've been going on about this for a while now. As anyone who follows me on Twitter will know, I'm pretty much obsessed with podcast novels at the moment.The Zombie Chronicles - Book 1: Escape has continued to feed this addiction. This is storytelling with bite.

I had my reservations, as I greatly fear all the cliches that are associated with zombies. Zombies have gone so far into the laughable in the past twenty-odd years that it's a he!! of a job trying to make them scary again. Somehow, Melzer has written a zombie book that at once encapsulates all those worn-out tropes and injects the zombie genre with a new lease on life.

(Ah, will the puns never end?)

From the first chapter, I was grabbed by the freshness of Melzer's writing, his wry wit and the way he pulls a middle finger at all the stale baggage that zombies bring with them. Despite the title, this is no 28 Days Later. Without wanting to bring any spoilers to the table, I think it's safe to say that Melzer has single-handedly reinvented the zombie genre, while never abandoning everything we love about zombie stories - decaying flesh, the lust for human meat, brains exploding under well-aimed headshots.

TZC brings unexpected twist after twist, none of which have any place in the story you think you're listening to. But Melzer pulls it off with style, wit and lots of disintegrating sinew. I almost panicked when iTunes wouldn't give me the last chapter. Desperate measures were taken to hear the last part of this book, I guarantee you.

If you're into zombies even a little bit, you must listen to this podcast - or buy the book, when it comes out later this year (full disclosure - I get nothing from promoting any of the podcasts I review. I just dig that these guys and girls are so cool about it). If you like a good action story, or anything with a twist, this is also brilliant.

The audio quality is faultless. Melzer pulls off his voices without any problem, and has chosen not to clutter up the soundscape with effects. I think that if a podcaster/audio producer has the means and the ear to do good music and effects, and it doesn't cut drastically into their available timeframes, and that if adding M&E really fleshes out the world, then they ought to do so. But if a writer embarking on the huge task of recording a podcast feels they don't have the means or the skills to do this well, I thank them for not ruining an otherwise good production with a subpar effects track. It's nice to just appreciate the writing and the performance for what they are.

(To those podcasters who do put in the effort and do it well, keep up the good work. I love it all!)

I highly enjoyed this podcast. What it may have lacked in substance, it made up for in plot twists, gunfights, and exploding heads. Having said that, I felt close enough to all the characters to really want to root for them, although I was never really sure if I could trust anyone at all. Fantastic stuff.

TZC gets a solid 4 1/2 Stars out of 5 from me.

Review: "Jack Wakes Up" by Seth Harwood

2009-05-08T15:27:00.001+12:00

Originally Published at Freshly Ground on May 7th 2009

To celebrate Seth Harwood's novel Jack Wakes Up being released into bookstores across the USA this week, I took it upon myself to listen to the entire podcast over the past two days and throw out my thoughts on it.
Jack Wakes Up is a bit of a step away from my usual cup of tea, being a crime novel and not in the slightest bit fantasy, horror, or science fiction. But it stood out to me, as crime fiction goes, in that the protagonist was not a cop or an ex-marine, but rather a washed-up actor.

Jack Palms has been on the wagon after his drug- and alcohol-fueled fall from grace some years earlier, which saw his marriage fall apart under the watching eyes of the public and the media. He's now cleaned himself up but is completely broke. A dodgy character from his past life entices him into doing one last big drug deal to set himself up for a while and make a new start.

As Jack gets drawn deeper into San Francisco's shady underworld, however, things quickly go from bad to worse.

Jack Wakes Up would fall somewhere between Lock Stock and Two Smoking Barrels and 2 Fast 2 Furious, were it to have been a film. There are drug deals, murders, gun fights, car chases, betrayals, and strip bars - everything you expect from a high-octane, fast-paced action story.

This was fun to listen to. In the world of action storytelling, JWU was an invigorating tale, a cracking good yarn with plenty of good laughs thrown in. If my impression is that this was perhaps a bit lighter than Harwood intended, it's only because last night I also finished listening to Scott Sigler's Nocturnal, which completely blew me away (and will be reviewed very shortly, I promise). By comparison, JWU was good relief.

The audio production was clean and uncluttered. Harwood obviously made a choice not to use any sound effects (or if he did, they were so well done that I didn't even notice them), and relied on his own delivery to carry the pace of the story. There is no music or atmos in the soundtrack apart from chapter breaks, but I don't think the production suffered for this at all. The writing itself is tidy and precise, and Harwood's diction is mostly faultless (apart from the occasional stumble which hasn't been edited out), so following the story is never an issue.

I played this podcast through my computer speakers in a busy workshop, and was very rarely either a) unclear as to what was going on, or b) suddenly aware that I had lost the thread. I was kept engaged throughout the reading, even with distractions, and always felt like I knew what was going on and where the characters were. This is a testament to Harwood's writing and delivery, since this podcast is really just the author reading his own story, with all the passion he can muster.

Nice one.

Overall I rate Jack Wakes Up at 4 Stars.

Recommended to anyone who likes a good gangster or crime story, or a bit of action. Jack Wakes Up is complete at 19 Chapters, plus a Q&A with Seventh Son author JC Hutchins, which is both entertaining and informative.

You can listen to the first chapter here. The rest of the podcast can be found at Harwood's website, totally free. The book is also available in US bookstores and online.

While we're talking about Seth Harwood, he has posted a really helpful video about how to go about recording a podcast, which I also recommend for the three minutes it'll take you, if that sounds like something you might be thinking about.

Jack Wakes Up is available from Amazon.com, and can be found in bookstores across the USA.

Review: "Eden" by Phil Rossi

2009-04-29T15:32:00.000+12:00

Originally Published at Freshly Ground on April 28th 2009

A few weeks ago I wrote what I have decided, in hindsight, was an unnecessarily harsh review of the Sci-Fi/Horror epic podcast novel Crescent, by Phil Rossi. As I've said before, there is a huge difference between highly engineered audiobooks and works of individual labour, and having now thoroughly doused myself in hours of both, I can say with confidence that Crescent is a standout of the latter species.

On that note, anyone who has gone on to listen to Crescent, or anyone who may not be into audiobooks but loves to read a good bit of sci-fi, the book version of Crescent is going to be available on Amazon soon. Phil would like his fans who plan on buying a copy of the book to hold back until July 9th, and then to descend on Amazon like a swarm of angry hornets, pushing the book up the charts. I'll remind you all again closer to the time.

What I like about Rossi is how he has clung tight to everything about the internet that says "you can do it, if you stick with it." He's put everything out there for free, he's made himself accessible to his ever-growing fanbase, and he deserves to reap the rewards. It also proves that the cream really can rise to the top, and that there is no better weapon at a writer's disposal (good writing aside) than the art of self-promotion.
So, moving on. Eden is complete at 8 episodes and available free either on Rossi's website, or through iTunes, or at Podiobooks.com. It's free in all of these places, and Podiobooks.com provides a donation service, from which the majority of the money goes direct to the author.

I'm not sure what I was expecting when I started listening to Eden, but I figured out pretty much straight away that this was not going to be a rehash of Crescent, despite my initial impressions. Eden is also set on a space station, but there the similarities with Crescent begin and end. I was expecting another action story, but Eden with its dark mystery delivered a much richer experience, which had me hanging out for each new episode.

Where Crescent is visually evocative and a tour-de-force of action and horror, Eden advances at a more cerebral pace. From the outset, Rossi's writing has improved by several degrees, so much so that I felt like I was listening to a different writer. As the writing has matured, so too has the story. Focused intently on the first-person narrator, Malcolm, who is dispatched to a tiny space station near the planet Uranus, Eden is as much about the enormous, mysterious tree that has been found growing in the void of space as it is about Malcolm, his failings, his self-doubt, and his weaknesses.

Woven into this is Rossi's blend of science fiction and Lovecraftian horror, as the station spirals further from safety and sanity and into the consuming madness of Eden. The first-person perspective also keeps you relentlessly close to the action, which makes listening to this story a painfully emotional journey, in a way that all but the best sci-fi and fantasy fails to do.

Eden doesn't drag you through the chapters with blood pumping in your ears and air rasping in your throat like Crescent. Rather, you find yourself being led, trying to turn away, your stomach a hollow pit, afraid of where the next turn is going to lead you, and cursing Malcolm for his crippling self-pity.

I score Eden 4 1/2 stars out of 5, and I seriously rate the quality of Rossi's writing on this novella. It is a good length; any longer and it would have needed a faster pace, any shorter and it would have felt rushed. Overall, and given that it is not a studio production but an individual effort, Eden is a stunner. Give it a listen.

Review: "DarkAge" by Kirk Warrington

2009-04-22T15:36:00.000+12:00

Originally Published at Freshly Ground on April 21, 2009

After finishing Phil Rossi's Crescent and waiting in eager anticipation for the final chapters of Jack Kincaid's Hoad's Grim, my hunger for more good storytelling was ravenous. I took Phil Rossi's advice and headed to Podiobooks to hunt down another great listen, and found a huge list of books that sounded like they might appeal to me.

I spent some time downloading first chapters and loading them into a playlist on my Ipod, then listened to them in the car on the way home. The ones that grabbed me made it as far as being downloaded in full, and one of those was DarkAge by Kirk Warrington.

I would love to rave about how good this was. I'd love to say that it was hilarious and satisfying and well worth the listen, just because I don't really like to sound critical. Unfortunately, for all its good points, DarkAge ultimately let me down as a listener, and I would be hesitant to recommend it.

First and foremost, let me say again that I have a tremendous amount of respect for the amount of work that goes into not only writing a book (I've done that myself - phew!) but also into doing an audio production of any scale, much less the recording of a whole book. I've made short films and worked in the film industry for years, so I know there's no such thing as a "small project". So to Kirk W and Phil R and Jack K (and Derek Gilbert, whose book Iron Dragons I'm currently listening to, and Christoph Laputka, who produces the astounding Leviathan Chronicles) who go to all this effort, and do it all for free, I tip my hat. Sometimes, however, the mark is missed.

DarkAge reeled me in from the first chords of the crunching heavy metal guitar riff that frames each episode. The basic premise is that a group of people - in this case fantasy role-players - are magically swept away into another world where they find they have come to inhabit their characters from the game they were just playing. Suddenly, the risks they were so happy for their paper-based characters to face are more than just a game; they're deadly reality. As the story progresses, the characters realise that in order to survive in this harsh world, they must become their DarkAge characters. If they don't, they won't have those characters' skills that allow them to prosper as they would in the game. The option is penury and shame at best, and death at the worst.

In terms of theme, DarkAge seems to be about the struggle for integrity of one's own self when faced with the challenges of emerging into a world that is more brutal and real than you were ever prepared for. As a teen coming-of-age metaphor, DarkAge bundles up the fears and hopes that we all had and throws them at us in a bloody, bruising haze; responsibilities can be as much a burden as a blessing, and making the wrong choices has real consequences. Sometimes making those choices, even standing up for what you believe in, can be fatal.

The narrative was linear and uncomplicated, which sadly also left the character development sorely lacking. While we knew all the characters and understood their individual motives and desires reasonably well, the need to abandon their old selves to survive tended to force them all in a single direction, even those who resisted that change.

Where this really fell down for me, however, was that the hook in a story of this nature is that you want to know: How do they get home? Without wanting to spoil the book, suffice to say that this question is never answered in a manner that satisfied me, given the hours I spent listening to DarkAge. In fact, there were far too many questions of that nature, questions that are really the guts of a story of this kind, that were never answered. Instead, the story focused on the conflicts between the characters themselves and the people they meet in the world of Merinia, and we never get to really learn about what makes this world tick. Conflict and story are all good of course, but it came at the cost of world-building and character arcs.

While this left the story open to a lot of action and adventure, of which there is plenty, and a good dose of humour, much of it fairly ribald, DarkAge ultimately feels shallow and under-developed, like watching someone else play a hack-and-slash computer game.

Warrington uses the idea that this is not a parallel world but a game world to lampoon many of the ridiculous rules that abound in roleplaying, and in that he well and truly hits the mark. (I think I'm bleeding to death! / You Idiot! Just drink a healing potion!) [Not an actual quote, but you get the idea.]

The other three key elements of the podcast - namely performance, writing, and production - also need work.

Performance-wise, while Warrington's theatrical skills leave much to be desired, he was by no means the worst I've heard. His reading of the script was deliberate and came across as forced, but he was nothing if not clear. He also handled the large cast of characters well, creating unique and distinctive, if not necessarily brilliant, voices for all of them. Some were harder to pick than others, but Warrington's insistence on writing dense lines of verbiage to follow almost every mouthful of speech ensured that we always know who's talking.

Yet it was this verbosity which also made me grit my teeth while listening. I would think to myself, I don't need you to tell me that he said that with annoyance, I can tell from the dialogue and the tone. This over-writing slowed the story down and seldom added any illumination. I think it may have improved towards the end, however. With the help of a brutal editor this book could be tightened up tremendously and be a snappier, more captivating piece of sword-and-sorcery than it currently is.

The sound effects were the real low point. Like I said, good on you Kirk for even getting this far. I've been spoiled by podcasts like Leviathan, Hoad's Grim and Eden, which all have stunning audio production. But the cries of the demons in the last chapters just made me laugh, or at least groan. Any tension that had been built in any scene that those demons squealed in just went down the drain as soon as that noise came through the speakers. Surely there must be better Creative Commons 'Demon Screams' out there for people to use. Kincaid, any suggestions?

Overall, I'll say that I'm glad I stuck with it to the end, but it was getting to be a struggle, and I really wanted to see them get home. Given the ending, however, I guess there is a sequel in the wind. This had the potential to be a good read, but ultimately it failed to convince me. Unless you really love the "whisked away into a parallel/divergent universe" concept, I wouldn't recommend DarkAge. The high point is Warrington's ability to satirise the genre and the RPG world, and worth a listen if you like that sort of thing. I know I laughed more than I usually do reading fantasy or sci-fi, and for that I'm grateful. And while I'd like to know what happens to Kev and Vaughn and Sake and Jer, and James and Hades, I don't think I'll be rushing out to listen to the sequel.

2 1/2 Stars.

Review: "Hoad's Grim" by Jack Kincaid

2009-04-05T15:43:00.000+12:00

Originally Published at Freshly Ground on April 4th 2009

Here we are, back again. I'd like to get straight into my review of Hoad's Grim, but first I need to say a few words about the Audiobook market and my previous review of Phil Rossi's Crescent. Mainly, it needs to be said that there are two (at least) very different creatures out there; the audio drama, and the author-read audiobook. Both are performance art, but they exist in different parts of the creative sphere, and I was in error to compare Hoad's Grim to Crescent in the first place.

Crescent was read and produced by the author, and since finishing Crescent I have listened to many more author-read podcasts, most of which I couldn't make it right through the first chapter of, either because of the quality of the performance or the audio itself, or because the story didn't grab me like I thought it would. Of all those I've listened to, Crescent still rates at the top (followed closely now by Eden, Phil Rossi's new podcast novella.).

Hoad's Grim, on the other hand, is a highly polished, magnificently produced audio performance, incorporating fantastic layerings of dialogue, sound effects and music. There are also multiple professional voice talents involved in this production, including the author Jack Kincaid and vocal maestro James "Killer" Keller, as well as the not inconsiderable audio production skills that Kincaid brings to bear on the work. Like The Leviathan Chronicles, Hoad's Grim is a lavish professional production, and needs to be considered as such.

Before you ask, Hoad's Grim is a horror story, so if the genre doesn't appeal, then I imagine that the audiobook won't. Non-aficionados of the horror genre are excused, and for those who are fans and wish to continue reading, I promise there will be no spoilers.

Except to say that this is about a haunted fridge. Oh yeah. Now that is a scary premise, all unto itself. It may sound odd and a bit lame, but I guarantee you it's not. I will never look at an old fridge rusting in an empty lot the same way again.

Before I started listening to this, I was an Audiobook virgin, and Hoad's Grim most definitely popped my cherry, and left me wanting more. As soon as I started listening to the prologue, I was transported to another time and place, and even into another mind. It was nothing like what I had expected, and I immediately wanted to hear more. The story hooks the listener in right from the start, as the multiple layers of speech, music, atmos and effects draw you down deeper into the dark and frankly terrifying world that Kincaid builds.

There is never any confusion about who is speaking at any time, or where the characters might be - unless Kincaid doesn't want you to know. And that just makes it all the more scary. Like a good horror movie, the frights in HG come as much from what you can't see or hear but from what you might sense on the edges of perception; the creeping sense of dread that clings to every darkened doorway and silent television conjured through words and sounds alone.

What really made HG work was its completely immersive experience. I listen to my audiobooks in the car driving to and from work, and when I had HG on, I could drive untold kilometres and only remember being on the windy, weed-choked curb of Saybrook Way, watching Chad "The Hammerman" Hyman struggle with the demons in his mind, and lurking in the shadows of that haunted street. It was like reading a book but better, because the voices were there, and the wind curled around their words, and the chittering of the dark creations that grew out of the shadows actually chittered across the speakers, scraping and clawing as if they sought their own way into the world.

I sat up in bed one night, with most of the lights off, listening, because I was really hooked on the story. I only did that once. I like my sleep.

Based on the folklore of the tommyknockers, HG plays on everyone's fear of unseen things that go bump in the night, and on the fear of being left alone in the dark with those things. The listener is left chilled by what the mind is not just encouraged to imagine, as in a book, but by those conjured horrors which you are forced to see in the darkness behind your own eyes as the audio landscape drags you into Kincaid's twisted nightmare.

If you like a good scare, then this comes highly recommended. Hoad's Grim is complete at 24 chapters and available free from Kincaid's site. I have been unable to fault HG, and I will probably listen to it again. I was going to say that I thought the last chapter had left a few too many loose ends, but then I realised that there was one more that I hadn't downloaded, so that puts a lid on that.

Absolutely brilliant. Whether you're a fan of horror and want to hear just how good an audiodrama can be, or if you love good audiobooks and are willing to dare the terrors that lurk in the Grim, do yourself a favour and listen to this.

Five Stars.

For more interesting info, you can check out this interview with Jack Kincaid and James Keller, by John Joseph Adams of Tor.com (Part 1; Part 2). This was the article that got me interested enough to listen to a story about a haunted fridge. Yip, a haunted fridge. Brilliant stuff.

Review: "Crescent" by Phil Rossi

2009-03-02T17:46:00.000+13:00

Originally Published at Freshly Ground on March 1st 2009

Phil Rossi's Crescent is the second full-length podcast I've listened to, after the brilliant Hoad's Grim, which I'm still listening to as the episodes come down.

The quick review: Crescent was an enjoyable "read", keeping in mind that it is intended for a mature audience. It told a pacy and chilling tale of terror in deep space, carefully balancing horror with action. The characters were generally well-rounded and portrayed with a deft hand, and there are moments where the writing really shines. If you have the time to listen to the thirty-odd half-hour segments, and you can handle a bit of audio scare, then do yourself a favour and start downloading Crescent. It's free, BTW.

I've been playing them through my car radio on the way to work and home again. It's a great way to kill the commute.

In recent news regarding Crescent, it has apparently been picked up as both a book and a movie, which is fantastic news for the author, and further proof of how it can be really worthwhile to use the internet to build an audience by putting a product out there for free. I remember thinking to myself as I was listening how it might adapt well as a screenplay, so I wasn't actually surprised to hear this development.

Now, the longer review. Yes, I liked Crescent and I listened all the way to the end. I won't toss in any spoilers here, but I will just make mention of a few things I wasn't impressed by.

Admittedly, being hooked on Hoad's Grim - which is absolutely stunning as far as the story, writing, voice talent and audio production go - puts Crescent on a back foot from the word go. The Crescent podcast series utilises music from just one song throughout it's entire length, and this gets a bit repetitive. But it's a good song, so that's not a complaint. It's just that a bit of variety might have been better.

My main niggle with Crescent was that the author, Phil Rossi, made a decision to voice all the characters himself. OK, stop me please if this is common practice for podcasting and audiobooks, but I found it a bit frustrating. Particularly the women's voices all tended to sound the same. Like I've said, the vocal talent on Hoad's Grim leaves you in no doubt whatsoever who is talking at any point in time. I think that it might have been to the author's advantage to have drafted in some other voices for this job, just for the sake of clarity. However, this didn't make the story un-followable, it just made it obscure in places.

It was nice to hear, in the Notes from the Vault, which are a series of short fiction pieces written by the same author, that he did indeed bring in some other voice talent from time to time during their production. The Notes deserve a review too, but it won't be tonight.

As a writer, I felt that in places Rossi might have profited from having a keen editorial hand run over his work. There were occasional pieces of clunky dialogue and prose, and sections of writing which I can imagine working well on the page but which didn't translate to the soundwave very well. Still, this was a free work, a work of passion, and Rossi's writing seems to get better the more I listen to it, so that's a good sign.

I'm now listening to Eden (mp3 promo link), and I have yet to make a judgment. So far, it seems to be about a ... hmmm ... haunted space station ... with ... wait for it ...

No, no spoilers. Suffice to say that I'll be downloading the new chapter very shortly.

My last word on Crescent, after all that good stuff, is sadly one of just the mildest disappointment, not in the work itself, but in an epilogue that was released some time after the final chapter. Crescent ended with a hint of irresolution - of the temerity of the immortal, and the infinite hunger of the unknown, leaving the reader only with the comfort of knowing that our lead characters, whom we have grown to care for, will at least be free and clear of the horrors they have faced, even if those horrors do live on somehow. Then the epilogue unwound this comfort, which replaced that feeling of catharsis with one of frustration, as if we were suddenly back in the middle of a story that had yet to be told.

As underhanded openings to sequels go, this one really kicked sand in the listener's ears. I would rather not have listened to the epilogue. So if you decide to give Crescent the time it's worth, my one piece of advice is this: Don't download the Epilogue. It's a spoiler all of its own.

Apart from all that: 4 Stars from me.