Tag Archives: Youtube

Why I’m Self-Publishing my Fantasy Novels

So back when I started this blog and began the first draft of The Shrouded Emperor, my intent was to go the traditional route. Pitch to agents, cross my fingers and hope my manuscript didn’t find a home in File 13.

However, as I began joining author communities, I began to notice something very interesting. A lot of self-published authors were very active members, mingling with traditionally-published names and promoting each others’ work. Up until this point, I’d always considered self-publishing to be a repository of sorts for bargain-bin trash, Twilight knock-offs and ideas too weird to be mainstream. Sure, you’d get a Wool or Riyria Chronicles, but those were exceptions to the rules, right?

More and more I find that’s simply not the case. There’s bad books too, and the werewolf/Santa romance novels are still inexplicably being made by some madman/woman I pray I’ll never meet. There’s also some more indie-centric genres like LitRPGs that I’m personally not super into. But there’s also some really, really unique and exciting stuff out there. And given the decline of brick-and-mortar retailers and the rise of Amazon as a hub for books, it’s a shift that makes sense. Even New York Times bestsellers like Brian McClellan are jumping on the bandwagon, and self-publishing stars like Rob Hayes get featured by Barnes and Noble’s website. The landscape is changing rapidly, and after weighing all my options, I decided a while back, that going the independent route is what makes the most sense for me.

So on that note, I’d like to address some common criticisms of self-pub, and why it makes sense for me personally.

But don’t you want to be in bookstores? Go on book tours?

You mean those same chain bookstores that are rapidly going out of business? The ones  stock loads and loads of geeky film & TV merch and Magic the Gathering cards just to stay afloat? The bookstores where many bestsellers in the non-licensed and non-legacy SFF section were originally self-pubs?

The dark day of chain bookstores’ demise draws nearer and nearer, and while it saddens me to no end, that’s simply how things are going. Almost every book I buy, trad and self-pub alike, I get through Amazon. It’s simply more convenient (and cheaper) than getting in the car, burning gas, stopping to get a single book and then stopping to get something to eat on the way back. And look – I love the aesthetic and smell and experience of stepping into Barnes and Noble, scrolling through the SFF section and looking at all the books. I love grabbing a Tazo tea and a sugar cookie and leafing through the stuff I find. It’s a relaxing and wonderful atmosphere, but the future of publishing draws ever nearer. And it looks less like a coffee house and more like Print-On-Demand.

As for indie bookstores – well, many of them are doing alright, and some of them even feature authors like me for book signings and other events. Tours on the other hand – are best done digitally these days, unless you’re a huge celebrity who rakes in a ton of money from appearances. I’d personally rather invest in audio gear and tour digitally on podcasts, blogs and Youtube channels I know’ll get the word out. It also frees me up to pursue more platforms that might otherwise get overlooked. And granted, even with all that, bigger publishers generally have the upper hand right now. But like I said, the landscape is changing. And going indie allows me to react to said changes and keep the rights to my IP, manuscripts and cover art so I can adapt to said changes as they happen.

But what are the odds you’ll make any money?

Who knows, man? Some folks I’ve seen like Daniel Arenson have made a good deal off of self-published books. Others make an income, but not enough to go full-time. And many, many more simply don’t get a return on their investment. This however, is simply a risk of writing any sort of book, as many traditionally-published books never make back their advance. So when you get down to it, ALL publishing is gambling. ALL writers are dreamers pulling on the slot machine with the hopes of scoring a big payout. And the vast majority aren’t “big winners.”

The difference is that with self-publishing, I can at least blow on the dice a little, and in the astronomical off chance I win big, my payout is larger than most of the other guys. Also hedging things in my favor is the fact that:

A) I’m not a new writer, but have been doing comic book short stories, game writing (traditional and video), film scripts, and more for about 3+ years now.

B) I’ve gone through the submission process for all the above and have been accepted on a good deal. Most of those were for indie projects, so take that how you will. I’ve always kind of preferred indie things though, so that sort of factors into these decisions a bit

C) I’ve also worked with artists, and understand how to make a visually-compelling character for cover art and interior illustrations. Specifically in my gamedev work, I’m actually very active with the art team despite hardly being able to draw a straight line myself. I’ve worked with some folks who’ve done work even for major tabletop and gaming companies (as in, possibly some of the first ones that came to your head when i said those things), so at this point I’m confident that I can help put together cover branding for myself that doesn’t suck paint.

D) I’ve talked at length to various book industry professionals both trad and indie, and I have an “inside baseball” view on what sells and what doesn’t in the current market, both in trad and in self-publishing. That’s not to say I’m an expert, or the Grand Poohbah of book sales, but I do have an inkling of how it all shakes out.

In short, I have a leg up on a lot of other people who are diving in dry to the slippery pits of Kindle Direct Publishing. I’d rather carve out my own destiny in publishing knowing what I know, then potentially have my book get saddled with really generic cover art, or not sell to markets I know’ll buy the book.

Granted, there’s still massive success stories like Ed Mcdonald and Nicholas Eames, both of whom are newcomers (and totally cool guys to boot) and doing marvelously well in the current trad fantasy space. And were it not for certain people I know and certain skills I have, I’d still hedge my bets on trad publishing as being the best option. And let me be frank here to any potential authors reading this – for 99% of writers, it probably still is. If you don’t have experience working with concept artists, or know Photoshop well enough to make a pro book cover, I suggest you bite the bullet and take whatever cover’s given to you by a publisher who knows their stuff. It’s better than say, getting cover art that looks like this. If you haven’t talked with editors who’ve worked for some truly big writers, then it’s probably best to go through the submission process and take whatever edits are given to you.

I have done those things though, and I also have knowledge of platforms like Youtube, which are criminally underused by booksellers and publishers. There’s also Discord, which is a really amazing tool for building communities of folks interested in your work. Going indie means I have the freedom to experiment with these new platforms, as well as utilize platforms like Youtube Live/Twitch, blogging networks, and more. In other words, I can afford to move at a speed the rest of publishing can’t, at the expense of not getting as much “traditional” coverage as other authors.

But what about the self-pub stigma?

Oh gee, you mean that thing that doesn’t actually exist in 2019?

Yes, long ago, there was a time back when the Amazon store was flooded with quite a bit of vampire novels and cheap monster smut. Everyone had a nice hearty chuckle at them…but then something interesting began to happen. Books like Wool and The Martian got critical acclaim, and more serious authors began considering it as a viable alternative. Come 2018, some of SFF’s boldest voices are coming from the self-published scene, and are winning real awards. Even the covers on some of these books are significantly better than many trad offerings, even those of NYT bestsellers.

And when you get down to brass tacks, Sturgeon’s Law is a thing even in trad publishing. A stroll down Barnes and Noble’s shelves will yield not only some really solid and great books, but terrible-looking Urban Fantasy novels, and even secondary world fantasy that doesn’t look that far off from dollar store romance novels. On the other hand, nobody’s turning their noses up at The Crimson Queen, Paternus, Arcane Ascension or Manifest Delusions. ALL these books get high marks among core fantasy readers, and I when I talk to people about interesting worlds, magic systems or other fantasy elements, I see these books get brought up with increasing frequency.

I think in the end, it all boils down to making a quality product. Cover, internal formatting, editing, the whole nine yards. There isn’t really self-pub stigma now so much as there is bad book stigma. And trust me, there’s plenty of (if not necessarily more) trad published books that miss the mark in spectacular fashion. Editorial weeds many of these out, but as of now, Self-Pub has proven to be a perfectly adequate vehicle for good SFF in recent years. It’s not an editorial and commercial greenlight per se, but it’s also not a death sentence either.

Part of the reason I chose to self-publish is because I have the means to control many of these quality elements, and have a product I know will be both what I want, and optimized for the market.

Okay, but didn’t you say curation was a problem for indies?

Eyup. And sadly, that’s gonna be one of the big issues I face going forward. For those of you who don’t know, I wrote a post about self-publishing a while back. In it, I said the biggest problem with the self-pub space was the lack of “curation” or “brands” that people could associate with different products. So for example, TOR is well known for their epic fantasy series, while Baen has a loyal fanbase of gun enthusiasts, veterans, engineers and hard sci-fi fanatics. Their logos aren’t just mindless branding, they’re an assurance to said fans of a certain quality and expectation.

So when people go through the fiery hoops of agents, publishers and editors, they’re not just doing it to “appease gatekeepers” or gain a fat paycheck. They’re doing so to help get their book to a publisher that’ll act as a curator and promoter for their content. And one of the big, gaping problems with independent books, is that you’re going out there without that curation. Orbit books are different than TOR books, which are different than Baen books. But when you join Amazon KDP, you’re thrown in with vary flavors of whatever genre you’ve chosen.

There is one major element of curation you’re seeing more of though, and that’s book blogs and Booktube (aka book Youtubers). These independent reviewers, as well as larger sites like Kirkus and Fantasy Faction, are responsible for driving many sales and informing the wider market of new and hot books. And in may cases, a good self-published novel can get as much coverage and care as a trad book. That said, self-publishing actually opens some doors into markets that otherwise might not be explored, while many of the big review sites might still review my stuff.

…But You’d Still Accept a Publishing Deal if Offered, Right?

Actually…yes! Though perhaps not in the way you’d think…

You see, I want creative and editorial control (to a certain degree, anyway) of the two fantasy series I’m working on currently. It’s deeply important to me, and not just something I’m writing for cash (although cash is a wonderful thing to have). However, if there’s interest in my work from traditional publishers, I’d be more than happy to work on exclusive books specifically for that market, or translations of my indie books into other languages. If there’s territories that might enjoy my work but don’t speak much English for instance, I’d strongly consider a foreign publishing deal if I was hypothetically approached. And while the chances of that are very slim, it is something I’ve still considered nonetheless.

That said, I still want control over my IPs whenever possible. So in most cases, the answer would still be no, unless it was a deal no sane person could refuse. I love indie art, indie films and indie fiction. More and more I find myself reading indie fantasy, which is increasingly topping the bestseller lists of Amazon. And while there’s no guarantee I’ll be successful or popular with my work…hey, it’s worth a shot.

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An Interview with Christopher Wolf, aka “Slimebeast,” Creepypasta Author Extraordinaire

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‘Tis the season for spooks and scares, which means I’ll be taking a break from my general focus on fantasy to bring you some Horror! And not just any horror, but a sneak peek at the web’s weirdest and wildest writing sub-genre…the Creepypasta. These short scare-stories often make their debut as writing simply done for fun, but occasionally go viral in a big way, propelling their authors to internet stardom.

Christopher Wolf is one such author, responsible for the infamous Abandoned by Disney short story, and writer of several other horror-themed stories. I sat down with him recently to discuss Creepypasta, how the internet shapes writing, and the viral nature of web-based media.

MARTIN: So Christopher, as a fan of horror fiction and Creepy Pasta, I’m already familiar with your work. But I’m sure there’s still a lot of folks out there who have no idea what it’s all about. Why is it creepy, and where do noodles fit into all this? Can you give us all a quick rundown of what exactly this web-based horror subgenre is?

CHRISTOPHER: “Creepypasta” began as corruption of the word “Copypasta”, or “copy/paste”. The original term referred to bits of text that could be easily copy/pasted on various forums in order to share them. Creepypasta, naturally, is the horror version. Usually short horror stories that could be spread across the web. Creepypasta as an idea has grown a bit beyond that, including a lot of different forms of creative work. People consider images and games to be part of the Creepypasta “world”, now. It has also produced a lot of sub-genres, such as Cr*ppypasta, Trollpasta, Iconpasta, and so on.

MARTIN: You’re the author of one of the more famous Pastas, Abandoned by Disney. It’s gained a bit of viral fame, with dramatic readings and reactions on Youtube. In fact, I watched a Disney Parks fan video not too long ago and even they referenced the story! How does it feel knowing that a short web story you wrote has become that huge?

CHRISTOPHER: It’s nice to know people enjoyed it, and are still enjoying it. “Abandoned by Disney” was written during a period of time when I would sit on a forum at 2AM and just write out something strange until I was tired and went to bed. So, naturally, to see any of those stories shared on a global scale, translated into various languages, and inspiring other creators, can be confusing and wonderful.

MARTIN: So aside from the aforementioned “Pastas”, what other stories have you worked on, web-based or otherwise?

CHRISTOPHER: I’ve been trying to make the move away from Creepypasta, to “FearFic”, or “Fear Fiction”. Something that will ideally provide a more open area to work in, even if it’s just a label. With Creepypasta, there’s a strong idea that you must be writing something similar to Slenderman, Jeff the Killer, and so on. When you present work that very much doesn’t fit any of those molds, it tends to be overlooked or
rejected as not following the tropes and traditions. Prior to getting involved in the genre, I wrote comic book scripts. Mostly unpublished, but a few found homes with indie presses. I wrote a tongue-in-cheek graphic novel reimagining the 1920s film “Nosferatu” as a modern film in 2010, which is probably still available online somewhere. I also have another comedic look at horror, titled “Love Monster: The Ballad of Baghead”, which is available on Amazon. Beyond that, I’ve written short fiction here and there over the years, but nothing people would probably recognize. More for my own enjoyment and local distribution through zines, and the like. (You might also find something kind of interesting if you were to look up facelessinc.com, but it’s in the middle of getting a redesign.)

MARTIN: As a horror writer, do you ever feel that Creepypasta or horror fiction in general is a current target of scapegoating or censorship? I recently watched the HBO Slenderman documentary, and while I found it interesting, I also felt the film carried with it a slightly unfortunate message. The idea that internet-based independent entertainment is “dangerous,” especially for children. It almost feels as if it’s a modern (albeit less prevalent) version of the EC comics scare. Would you happen to have any thoughts on this?

CHRISTOPHER: In this case, I think Creepypasta benefited a lot from being a largely unknown genre. At least as far as mainstream news and entertainment was concerned at the time. Blaming video games, movies, and music brings in a lot of interest. Creepypasta, not so much. I think that, at a certain point, the majority of the “controversy” was coming from the community rather than outside sources… Sort of like a major PR issue would actually validate us. It was a weird time. I feel like we’ve successfully gotten past the problem. Slenderman as a character will always have the stigma, but I think the general realm of Creepypasta is unaffected, personally.

MARTIN: Can you tell us a bit about your Kickstarter project? Looks like some scary fun!

CHRISTOPHER: A few years ago, I wrote a story that “explained” where lost episodes of TV shows and movies come from. Essentially, it was a meta origin for a really popular sub-genre of Creepypasta. People would write stories about haunted VHS tapes, episodes of cartoons that suddenly turned scary, and so on. In my story, they were all created by a single person who was obsessed with re-cutting and replacing recordings of popular media. So now, I’ve sort of expanded on that general concept with the Creepypasta Field Guide. It lists 30 (or more, based on stretch goals) Creepypasta monster and killer “types”. The Stabby Teen, the Faceless Stranger, the Redactive Researcher, and so on. I then gave them various original origins and histories. Each character is described in detail so any prospective “victim” can identify them on sight. Basically, I’ve tried to disassemble all of the cliches and tropes regarding Creepypasta characters, and form them into a fun, funny read that will show off just what makes each type of creature unique… or not so unique, in some cases.

I’m hoping to fund the book well enough to commission an artist named Nikita Kaur to illustrate each of the original entries in the book. I feel like it lends an additional “Monster Manual” style to the project. Hopefully, this book will be something to go back and read over and over again as time goes on. Every time you see a new Creepypasta Icon emerge, you can go back and determine which type it is!

MARTIN: So what are some future projects you’d like to work on, or are currently planning?

CHRISTOPHER: Right now I have a bunch of projects going. I launched TooSpooky.com a while back as a place for authors to show their work, get critique, etc. without having to be “ready” to post them to other Creepypasta sites that require a finished version. There’s also FearFic.com, where I’ve enabled people to archive stories without the fear of having it deleted by staff for “not being horror” or being unrealistic, etc.
Beyond that, I’ve also launched a “Fear Fiction Podcast” on YouTube along with Abysmii and Dead Palette. We essentially take a look at any and all horror-related stories from the internet (even romantic fan fiction) and just have a good time discussing the content… and our reading errors. Pretty much anything I’m doing is linked at my main homepage, Slimebeast.com. Every so often I write an original story “inspired by” a popular pre exsting tale. I’m thinking of working with Eyeless Jack next.

MARTIN: How do you see the Internet affecting writers as a whole in the future. Like you said earlier, you were just writing these stories for fun, and they really kind of blew up. But with the advent of Youtube, Podcasts, Self-Publishing and even web serials like Worm, what do you feel the future of writing will be like?

CHRISTOPHER: I think the internet makes it a lot easier – and harder – for authors. It’s easier because anyone can (and should) publish their own work online, quickly and easily. It’s harder because that makes it very, very simple for others to take your work and use it inappropriately. For example, a Halloween mask company recently not only made a bootleg mask of a popular Creepypasta character (Laughing Jack), but actually had the audacity to copyright it. We’re in a weird place where creator’s rights are being trampled on a large scale. Since we’re talking about amateur authors for the most part, there’s little they can do about it. I feel like the future of writing on the internet will end up skewing toward authors becoming well-known/popular and then moving to closed platforms like Patreon. The more people are punished for freely sharing their art, the more we’ll all move away from the public forum. At least, that’s my personal prediction.

I guess if I had to give “advice” to anyone hoping to post “Creepypastas” or other creative work on the web, it’d be this… Enjoy yourself, do it for your own pleasure, and be ready to fight for your work. Don’t be shy about telling people what you do or don’t want. Look into Creative Commons licensing and pick the license that works best for you, then attach it to your work wherever you post it.

MARTIN: Aight, now for a spooky Halloween Question! As of now, you’re trapped in a room with the last horror monster you read about. You have at your disposal an iron crowbar, a crucifix, and a small bowl of mellowcreme pumpkins. On a scale of 1-10, with 1 being “not very” and ten being “I’m already dead,” how screwed are you?

CHRISTOPHER: I’d use the crowbar to open the door. 🙂

Christopher’s latest spooky creation, The Creepypasta Field Guide, is currently up on Kickstarter. With 40 days to go, there’s still plenty of time to jump on in and get yourself some backer rewards! You can also check out his website at http://slimebeast.com, or check out a narrated version of his original viral story for free on Youtube. Also, please consider liking and sharing this post on social media. Every share helps me get the word out about writing, and keeps the man with the traffic-cone face far away from your vital organs. Your precious…slippery vital organs….

And remember…avoid mirrors at 3:45 AM, or else ✡︎□︎◆︎🕯︎●︎●︎ ♌︎♏︎ ♐︎□︎❒︎♍︎♏︎♎︎ ⧫︎□︎ ❒︎♏︎♋︎♎︎ ■︎□︎⧫︎♒︎♓︎■︎♑︎ ♌︎◆︎⧫︎ ⧫︎♒︎♏︎ ♏︎❖︎♓︎●︎ ♍︎♒︎♓︎♍︎🙵♏︎■︎ ♌︎♓︎⧫︎ ♐︎❒︎□︎❍︎ ⧫︎♏︎❒︎❒︎⍓︎ ♑︎□︎□︎♎︎🙵♓︎■︎♎︎🕯︎⬧︎ ⬧︎⬥︎□︎❒︎♎︎ □︎♐︎ ⧫︎❒︎◆︎⧫︎♒︎📬︎

An Interview With Daniel Greene

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A while back, I came across a Youtube channel discussing a book series I was looking to get into. That book series was the Wheel of Time, and the youtuber is Daniel Greene. A rising voice in SFF, Daniel Greene discusses his favorite fantasy book series, ranging from Brandon Sanderson’s epics, to grimdark fiction like the Witcher series. As a fellow fan, and a writer myself, I reached out to Daniel to get his opinion on all things SFF, Youtube, and more!

MARTIN: So Daniel, can you tell us a bit about yourself and your channel?

DANIEL: When I was a very little kid, I was diagnosed with fairly severe dyslexia. It was so bad I had to get special tutoring for many years. I was fairly embarrassed by having this error in my brain’s processing so I began to overcompensate by reading non-stop. I would go to Barns and Noble, or Borders (remember that glorious store?) and pick up book after book to work on. I guess over the years it slowly transformed from work to a passion. I still remember the first fantasy book I picked up on my own. “The Eye of the World” the first book in The Wheel of Time series. That book changed my life. Reading that series honestly influenced parts of my life I cannot even begin to put into words. I believe I reread the series about eight times by the time the last book came out and three more times since then. In my channel, I will set my biases aside and recognize how other fantasy books can be better than The Wheel of Time in some ways, but in my heart, nothing else will ever come close to the experience I had watching the Dragon be reborn.

I was born and Raised in Virginia but moved around a lot in the last few years. If I stay in one place too long I get this feeling of being trapped, so I don’t plan on putting down too many roots anytime soon. I think that is part of the reason I like the fantasy genre so much. Helps me scratch the traveling itch in a roundabout way.

I also have a bit of an obsession with rhetoric and public speaking in general. Something about it fascinates me. The ability to captivate people by the words you choose and their delivery (cadence, tone, etc,.) seems like a glitch in the human brain. The information is the same, but the packaging transforms how you receive it entirely. This has resulted in me studying everything from Aristotle to stand-up comedy to try and best understand what makes rhetoric so damn important to people without them even realizing it.

Those three things seemed to have come together to be the basis of my channel. 

MARTIN: There’s lots of “lore videos” about games and movies (Vaatividya, Arch Warhammer, etc), but not as many about fantasy novels. Where there any notable Youtubers that inspired you? Or was it something you just personally wanted to do?

DANIEL: I had never even heard of “BookTube” before I started. That community is awesome though and so many people deserve so much more recognition for their awesome content. It annoys me seeing people doing such creative things talking about books and only having 5,000 subs, while other YouTubers will millions of subs…. do what we see in the headlines.

I have been watching Philip Defranco for about 8 years and love that man’s channel. Don’t agree with him on everything (most things), but he always gives a trustworthy perspective I respect. So I would say he is the most influential YouTuber to me in terms what I respect most.

Other channels inspire me to raise the quality of my content. Filmjoy, for example, does stunning work on his movie breakdowns.

KittyG gave me my first sub boost and I will forever love her for that. I was about to quit, then she got me to 1,000 subs, a community was born, and now I have followers I engage with on the regular and encourage me to keep going.

The internet is amazing.

MARTIN: You cover a lot of books on your channel, but one series stands out in particular. Robert Jordan’s The Wheel of Time. I recall coming across your channel when I first started reading The Eye of the World, and really enjoyed your summaries and character analyses. But why The Wheel of Time in particular? As someone who’s read a lot of fantasy, what do you feel that series nailed that other books (both vintage and modern) struggle with?

DANIEL: The series was responsible for my baptism into fantasy. I have read it so many times The Wheel of Time is now brain candy for me. When I have gone through hard times, it turns into my comfort food. The detail Robert Jordan put into that world goes above and beyond what I believe any other fantasy author has achieved. Just like Harry Potter holds a special place for so many people my age, The Wheel of Time holds that spot for me.

On a side note, Harry Potter is still great. The recent trend of hating on it is just a part of any fantasy series life cycle. Calling it now, in five years it’s going to be cool to hate on Game of Thrones.

MARTIN: It’s kind of funny you mention that because I’m kind of one of those people that’s not as stoked on Harry Potter. I think it’s really good as a kid’s book and later on as YA, but pales in comparison to adult-oriented series like Stormlight or The Witcher, which it often gets lumped in with. And well that’s like, my opinion, man. Everyone’s got one, and sometimes even beloved series (like say, a certain story about a red-headed music kid) might not click with you. for whatever reason.

So as someone who expresses these opinions sometimes, do you get blowback for them? Has criticizing a really popular book ever felt like stepping into a minefield?

DANIEL: Well, I get loads of constructive criticism for my opinions and I really enjoy the dialog that creates. In the comments, I have the opportunity to get down and nerdy with my community and they often have been able to change how I view certain aspects of various series. I rarely get negative blowback for criticizing a fantasy series, in the sense that people seem genuinely upset.

Even the scathing review I did of ‘The Name of the Wind”, was generally well received, even by the fans. People just like talking books and disagreement just leads to more interesting discussion. Of course, there have been a few people who seemed actually offended by my opinions, but they are usually kids so it’s understandable. The adults who seem upset… they have their own problems they need to work on. I will never understand a grown man or woman getting angry about a work of fiction.

All of that being said, just yesterday I got a comment on my Wheel of Time Vs. Game of Thrones video calling me, “idiot scum.’ So that was nice.

MARTIN: Overall though, it seems the community is really receptive to these videos, particularly the ones where you compare different characters. As someone who’s read a few of these books, it’s nice to see familiar faces compared to protagonists and secondary characters I’ve yet to read about. Even if it borders into spoiler territory, I personally find it motivates me to check these books out all the more.

…Speaking of your “versus” videos, which character match-up was your favorite to make?

DANIEL: One that has yet to be released and would spoil a lot of outcomes for me to say. It will be in the final four of the bracket and deciding between these two literally made me lose sleep. I can’t really say to much more, but I will make a note at the beginning of video when it comes out letting you know it is that comparison.

MARTINAs someone who’s covered a lot of different traditionally-published fantasy series, do you think you’d ever consider featuring books from indie, or even self-published authors? Certain books like Master Assassins have garnered quite a bit of praise recently, as have self-published works like Rob J. Hayes’ Best Laid Plans series. Is that a space you might look into some day?

DANIEL: Unfortunately, I had a few very bad experiences with ‘indie’ authors who had asked me to review their books. Basically, because I did not give their writing a 9/10 or above, one particular author demanded I removed the video and emailed me about every 30 minutes until I did. After I took it down they proceeded to write me a long letter basically calling me an idiot for not thinking they were the next Tolkien. It was about a fifty-fifty chance that the author would act in a way similar to this. I had an author complain I was not reading his book fast enough after having it for less than two weeks, and another claim I needed to read the 600+ page book he gave me three times minimum before I reviewed it.

Those experiences resulted in me just having a default, ‘Thank you, I am flattered, but no.’ response to authors reaching out to me.

MARTIN:  Despite putting in a positive word for indie authors, I guess stuff like this just proves how it’s kind of a mixed bag still. I mean, I personally think it’s gotten a LOT better in recent years, and I still swear by authors like Dyrk Ashton and Rob Hayes. There’s some utterly fantastic stuff to be found in indies. But sometimes you still get those authors who just need an editor and a reality check in a MAJOR way.

Speaking of authors, what advice would you have for anyone wanting to write a fantasy novel (indie or otherwise) of their own? What stories have you as a fantasy reader been itching to read, but never had the chance to?

DANIEL: Just this… do not care what I, or your audience wants to read. Write what you want to write. The greatest reads are the ones that were written with passion. If it feels like you are shaping your writing to what others want to hear, you will not stand out from the massive crowed. You may get some credit for mass appeal, but the books that have shaken up a genre, did not do so by reaching a common denominator. The authors wrote from a place of pure creativity that reflected themselves. This sounds corny, but it is so true. Many authors do want to write something that has mass appeal as, which is also completely fine. That is how something like Harry Potter comes around you make a billion dollars if you do manage to get momentum. But that is much more all or nothing in terms of success in my experience.

I really want to sit down and read the Sword of Truth series, because my subscribers have been so split on it, but I just have not had the time to. It will be fun to see what the comment section terns into. Hopefully well reasoned discussion. The internet is known for that right?

MARTIN: That’s great advice, and something I think a lot of new readers will want to hear. Obviously not every series is gonna be huge, but that’s really for the readers to decide. If no one takes any risks, what’s the point of spec fic?

Also…Sword of Truth. Jeez, I can already picture the flame wars. 

Anyway, last question! And this isn’t a serious one by any mean, but just for the fun of it. If your current top 3 fantasy series were flavors of ice cream…what flavors would those be?

DANIEL: Sword of Truth should be coming sooner rather than later, so we shall see.

To be honest not entirely sure how to answer that one. If pressed, I would have to say, The Wheel of Time is rocky road, Lord of the Rings is classic vanilla, and The Witcher is chocolate chip cookie dough. It has elements of past and presents blended perfectly.

And that’s a wrap! For more of Daniel Greene’s thoughts on the Fantasy genre and books, subscribe to his channel on Youtube. I personally recommend checking out his Wheel of Time retrospective if you’re curious about that series and not averse to spoilers. His VS videos and series reviews are also excellent, and a must-watch for any fan of the genre.

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