Exeter, a bustling town with a wealth of surprises, is now home to the Professor. He has set up his laboratory and has fished for active hauntings and, to his great delight, has succeeded in finding what could be the most perfect case on record, one that might be used for scientific analysis on the nature of the other world.
They’ve already had run-ins with the locals, and now they are wiser to the lay of it all, so it’s time to investigate in earnest. Of course, the city has its own surprises waiting for them. What will all this mean?
You can find out in less that a week! The official launch of Cooper Alley Ghost is on Sunday 26th of April, 2020. But you can get it now, on pre-order, with the eBook up at all major retailers:
The audiobook has been submitted and is currently under review, but there seems to be a delay on the publishing. I’ll keep you posted about that. I know Ah’dhu is a fan of the Audio versions, because then he can get his ghosts on the run.
I’ve always liked the name ‘Jolimont’, ever since I would walk down that street toward the Melbourne Cricket Ground to go sell pies and chips. And on the way home again, exhausted and covered in post-mix and fryer fat, I’d stumble under the sign for Jolimont Station and wait, half-dozing, for the train to come and take me away.
The darkest of the series, Jolimont takes a good look what happens when you let rumour and gossip go unchecked, when you take for granted the goodness in people, when you become confident in your own findings. Both the Professor and the narrator are blindsided by the goings on.
Yes, it was the narrator’s clumsiness that got them into that mess. It was his fault, intentional or otherwise, and so it was also his duty to rectify the situation. Does that make him evil that he unleashed the demon? I don’t think so. It makes him naive, and it shows the danger he poses if he continues to bumble about in a child-like fashion.
And so the voices needed to reflect this. Chester had that ye olde radio voice, not too hard to pull off, although I must say it was difficult to maintain.
Sergeant Hart was a little tougher. He had to be rough, yet exude that forced politeness of a man of the city. I had to imagine him in his bobby hat sporting decent hair on his lip and chin.
Something like this dude:
Lighter on the science, with more adventure, I reckon I like Jolimont the most so far, even more than Beaumaris.
As of writing this, Jolimont is out on all the major platforms. There was a delay in getting to Audible, probably because of the Corona Virus. Isn’t everything, these days?
Can’t wait for the next in Paranormology? Me neither! That’s why I’ve been working into the night, propped up alternately by coffee and gin, to work the red pen and exercise my typing muscles to get the second draft down and smash out the third.
When I was working at MacDonald’s, I learnt a very important quote: “Hustle, don’t rush.”
In other words, get your stuff done quickly without sacrificing quality. It’s about being efficient, and thorough, and, above all, not procrastinating. And that’s exactly what I did. By last night, I was completely bushed, but I had in my hot little hand a manuscript that I could call a book.
And do this morning I consolidated and checked and poked and corrected and pushed Cooper Alley Ghost into the Smashwords Meat Grinder. What does that mean? It means it’s up.
Up! As in, it is going through the motions of publishing. First it goes through the Auto-vetter. That’s Smashwords’ fancy device to weed out common issues with formatting and the like.
Then it gets an ISBN: 9780463495261. Woot! With this, and after it has been checked for premium status, it gets distributed to the book outlets like Kobo and Barnes and Noble and iTunes. For Google Play and Amazon, though, I need to do this myself.
Finally, on 26th of April, 2020, it gets released into the big, wide (scary) world!
Head on over to the Smashwords page and have a look. The process of submitting to the other retailers takes a bit of time, so be patient. I’ll update the links as I go. And I’ve knocked up a landing page here. In the meantime, I’m going to settle down with a gin & tonic.
The excitement builds. The whisky is poured. Draft two is complete. It is a relief. The first run, you see, doesn’t feel real, it doesn’t feel like the end product. It’s almost as if the first copy is a grainy image of what is to come. It can be lax. It can be unstructured. Things don’t necessarily need to follow or make sense. Great slabs of story are missing. Other flabby bits are hanging off the sides, waiting to be cut out.
What a mess! What a disaster! How can we clean this thing up and get it into something readable? Well that’s where the second draft comes in. Still on the machine, I read through it all, start to finish, and cut out what needs to be cut out and put in what needs to be put in. I correct obvious errors or grammar and spelling and correctness. I think whether the timing makes sense, the locations, the people and the settings.
Is that what this character would do? Is that really the best way to describe that? Bit by bit I massage the story out from its amorphous shape and, with a pinch here and a cut there, it becomes a story with a purpose. Great. That’s the point I’m at now. That’s the moment of ‘woot’ where I can take a breather and fix up the garage or fly a kite with Joey.
That’s not the end of it, though. For now comes the nasty part – the Red Pen.
The Red Pen is ruthless. The Red Pen cares not for fancy constructs, nor for passive tense. The Red Pen spots that naughty comma and herds it into the right spot. It scrawls its thoughts down in haste, it draws arrows and brackets and, when it gets really steamed, it draws thick lines through words, sentences, even whole paragraphs!
That’s what happens when you leave a Red Pen in a cup for half a year. It gives it time to plot and scheme. I only hope there’s something left after it has had its fill.
Is it Wear your Best to Work week? I’m all for that kind of thing. I mean, we live in a fantastic age where we have incredible choice for what to wear, so why not bust that suit out and wear it with pride? But no, no, it’s not that week.
Is it Stay in Bed week? Unfortunately no. While I would welcome the change of pace, I’m sure the economy wouldn’t enjoy workers dropping tools, wheels, keyboards and pens to take a kip.
Is it Put your Phone Away Week? I wish, I wish, I wish it was. You know how much fun it is when you can talk to someone without a black rectangle covering their face?
Alright, alright. I’ll let you in on the gag. It is, in fact –
And to celebrate, they’ve got a bazillion titles up on discounts. 25%? Yup. 50%? You bet. 75%? Even so.
100%??? There sure are! In fact, if you head to my profile page:
You’ll find all of my books for… free. That’s right, gratis. Go nuts. Get the entire set of Adaptation (Just get the compendium, it’s easier). Go on. What’s that? You want an octopus detective? OK, go get Tedrick Gritswell of Borobo Reef and, while you’re there, get Tedrick Gritswell Makes Waves.
Not your thing? Grab Atlas, Broken or the Bullet. Or if you’re into Paranormology, grab all five books and shove them in your cart. Electrons come free, baby, so go nuts.
Then, when you’re done, go and visit some other authors and give them some love. And then… and then… and thenread them! That’s part of the whole ‘Read an E-Book’ week deal. If you enjoy them, great! If not, that’s fine too. Oh, and if you don’t mind, please come back and leave a review when you’re done.
If reading really ain’t your thing, might I suggest you listen to the audiobook versions? It’s kinda sorta still almost and E-book, right? It still counts. It’s just that you’re reading with your ears. Yeah. Let’s run with that.
What are you still doing here? Go and read a book!
Read an E-Book week goes until March 7, so get in while you can.
Hampton court posed its own challenges. Female voices, specifically. How do I take my voice and make it sound more feminine? More than this, there were not one, not two, not three but four women to deal with. Annie and Miss Fitzgerald were ok – although I think Miss Fitzgerald ended up sounding similar to the Professor – probably because they were older.
Lisa and Sally, though, they… they were tough. Lisa had to have a condescending tone in her voice, be a bit haughty and snooty, overly affectionate and bossy. Sally was quite the opposite, being bubbly, chipper, and homely. And, of course, they were both young.
I couldn’t ask for help with this. It was a mission I had to face on my own. And so I did. For Lisa, I took on a breathy, higher pitched voice. It took a good ten minutes to get it ballpark. At first she was squeaky and not at all lady-like. It oscillated between a mouse and a baritone until I landed somewhere in the middle.
The best I could do was imagine someone like this in my head and try to match her voice.
Sally took longer. For her, I needed something a little younger. Cue the baby voice. Nope, no good, too young. So I experimented a little, holding my noise, squishing my face. Then I relaxed my cheeks, letting them flop about a bit. It’s hard to explain.
Think of Richard Nixon:
He’s got those jowls that flop about a bit, giving a kind of hollow sound to the mouth. Not that Sally has jowls in my mind’s eye. She’s more of a happy-go-lucky button that sees the good in the world before the bad, a tad naive, but not stupid. Only, I couldn’t get that playfulness in her voice to come through and, after experimenting a lot, I came to the conclusion that I could only do so much with the equipment God gave me, and that the whole ‘hollow-cheek’ thing would have to do.
Now I’m really sorry for Sally.
I’m really happy for Hampton Court Ghost, though, because that is up and out on Audible and Google and Chirp and all the good places!
I’ve used the same general layout for the Paranormology series – Two thirds picture at the top, one third writing at the bottom. The top is of the haunted building. The bottom contains the title and author upon a close up of some of the material making up the structure.
The Smashwords guidelines specify a minimum width of 1400 pixels, with a height greater than the width. I use 1400 x 2278. For the lower section, I’ve chosen a piece of wall with some cracks and flaking paint:
After that, I’ll add in the title and the author, along with a flourish to separate the two. I used the font Augustus because it was narrow and crisp. I’ve made a duplicate of the writing layer to have a slight coloured rim around the lettering.
Now that’s alright by itself, but the brickwork needed to be contrasted a tad more with the writing, so I added a glow to it, reduced the contrast and added in a purple and yellow wash. I then put a shroud on the outside and bordering the two images, to give it a slightly darker look.
I threw in some faint plasma for a swirling, mystic look and finally added some snow at the bottom panel to tie it all in. The result:
I really needed a picture of this house for the front cover. But taking the photo is only the first part of the job. Next was turning this rather old looking piece into something one might consider haunted.
The house, captured in broad daylight, was not exactly ‘creepy’ looking. Not only that, as you can see there are artefacts within that would not belong in a Victorian era story. Anachronisms, perhaps? Either way, they had to go:
We can see the walker, the plastic bins, the electrical junctions and the wires. The letterbox looks fine and the number on the door is too small to make out, so that’s good, too. Oh, right, and the compact fluorescent lamp as well. Another little ditty is the reflection in the glass – there’s a ute in there. Aaaand that building over to the right.
To get rid of these things, I used the good old ‘clone’ tool in Gimp. The technique is to carefully clone parts of the surrounding background and surface over the top of the unwanted anomalies.
This works best with consistent (like the grey bricks) or noisy (like the mulch on the ground) backgrounds. It’s a pain in the bum with distinct, contrasting objects like the fence rods and the window. For these, I had to match up the cloning very carefully indeed to avoid a glaring inconsistency with the straight lines.
Not that anyone is looking that closely, but still. It’s also a heck of a lot easier when you don’t have a Joey jostling your arm every few seconds.
I then removed the sky, twiddled with it, darkened it and kept it for later. The colour of the house and the leaves needed to be duller and more dreary. For this I adjusted the grey bricks to be more purple, and the green leaves to be more yellow. The top windows needed dulling (because we can’t reflect a blue sky at night, right?) which was a matter of using the magic selector and reducing the lightness.
With all that done, it was time to add some layering in there.
The story is set in winter, and while it is not full-blown midwinter, it’s still cold and there is a smattering of snow about. Well, that means I needed to add snow. Where and how the heck could I do that? It took some doing, but I think I got there. More on that in a tick.
In the story, it is winter. It is cold. It is snowing. The problem I faced is that this photograph is in Melbourne, in Summer, when it’s hot and definitely does not snow. I could think about, say, grabbing a can of shaving cream and spraying it about, but I doubt the owner would be impressed and the result wouldn’t cut it. The only thing for it is to add fake snow over the top of the image:
The snow was done in three passes. I use Gimp to do the dirty work, mostly because I’m comfortable with it, and also because there are a lot of little tools and filters that can help out.
First, I used the chalk shaped brush, with a white to grey gradient, and passed it over the ‘top’ surfaces of things, so the window sills, the fence posts, the railings. It’s not a heavy coating, more a smattering, because it’s early winter. I was going to do more on the footpath, but it turned out, when I did a quick check, that the image on the book wouldn’t be able to include the lower quarter. Ah, well.
The thing is, the image above is still too sunny and happy, so I wanted to add in some more, falling, snow. So be it:
So there’s snow on the ground, some falling snow, and I’ve gloomified the setting. It’s looking a bit more like what I had in mind, but there’s still more to go. I need the sky back, for starters, and I want some highlights on the house so that it’s not one grey, amorphous blob.
I duplicated the house layer and blended it together with the underlying house to bring up more of the detail. The clouds in the sky looked about right with a dark filter on there, so I left that alone.
Right, all that’s left is to add it into the general template for the Paranormology series.