The economy sucks, but I have few alternatives
This weekend I attended a regional book fair a few hundred kilometers north of Gothenburg. It was my second visit. Last year the organizers had asked me to attend and “sponsored” me. I was also able to stay with friends to minimize the cost. Not so much this year. I had sold decently last year and figured I’d do well again this year. Well being about ten books, if memory serves me right. We decided to take the weekend and take our son along, as he loves train rides and hadn’t seen this part of the country. While a fun day and fair for me, financially, it was a bad decision.
The economy of a non-bestselling author
Most people don’t like to talk about money or income. I don’t have much to hide. My royalties are non-existent and I still see (on average) a book or two per day, making my Amazon author rank zig-zag between 30,000 and 250,000. It goes up when I release a book and down again after a while. Every time I sell a book, it goes up drastically. Makes you wonder how many people actually make a living from their writing. I know authors who sell a lot more who still have day jobs. I don’t. More about that (and why) in a minute.
Let’s just have a look at this weekend and the cost I incurred: train ticket, hotel, a table at the conference, the cost of books v the income of books sold. Book fairs are fickle beings. Some years you sell well, some you don’t. This year, a combination of fair weather, plenty of other events and the “unknown” of the visitor composition meant that few people bought books. Writing in English, selling books in the Swedish countryside is challenging as it is, and given that some of my colleagues didn’t sell a single book, I have to be pleased with the two I did sell. However, comparing the cost I incurred (~$458), the revenue of ~$27.50 is a drop in the ocean. Two-thirds of my royalties spent in one weekend.
Why I make these “horrific” financial choices
The indie author’s daily reality: money down the drain.
Some might say I’m crazy. They might just be right. Some might not make the same choice. Why do I attend a fair like this, knowing full well that I will never recoup that cost. I will also add here that these events are like best-selling lists. Only a few will ever make money. At the fair this weekend, I reckon one, possibly two authors got their money back, one being the “star” of the show, the main event. Already making money, she likely made even more and was paid to appear. I’m not envious, but as these things go, the book world is a funny place: you need to be famous to get a book deal to make money which you already have, as you’re famous. Alas, it’s the world.
So why do I (and many others) attend these events? What could possibly motivate us to throw away money? Had I not better save that money for a rainier day (e.g. my retirement?) Obviously, I don’t. So why? I think for most authors, our “need” to tell our stories goes far beyond simply writing them. Many of us also invest a lot of money to get these stories published. ONE author in Sweden was lucky enough to be published by Nordic (and global) giant Bonnier last year. One author! I have a hunch that the picture is similar for the remainder of the “big five” (regardless of what country you call “yours”.) The rest of all debutants had to either rely on small niche publishers or self-publishing. Some might even have paid for expensive vanity publishing services. My publisher is a niche publisher, a small indie house, and they make about as much money as I do. The only real income is the love for stories and to be able to read and polish stories, to make them available for a wider public.
I think that applies to me as well. I enjoy meeting readers, to showcase my work, and the joy of someone buying a book (or two as it were) goes a long way. Will I make the same decision again next year, given the meager results? Probably not. But maybe attend another book fair?
An indie author’s drive
Money can’t be our driving force, that is clear. So what is? What keeps us going? Well, I think we have those stories bubble up within us and we just can’t help it. We have to tell them. And just as some people spend thousands of dollars renovating vintage cars, collecting stamps or coins, we spend money making these stories available, regardless of the cost (to a degree anyway.)
The decisions we make to arrive at where we are aren’t driven by what is most economically beneficial to us, or even from a marketing point of view. We often choose covers because they appeal to us, because they’re beautiful, not because they sell. We write blurbs that convey an emotion of the book, not one that hooks people into buying it, and we send our ARCs to those who would’ve bought the book anyway, in hope for a review, thus losing both money (and often enough not seeing a review.) We make decisions regarding our books from a place of love, not a place of making money.
Yet somewhere, in the depth of our subconscious, we all hope that some mysterious agent might pick up our work, that a film studio will stumble across it, despite the handful of reviews on Amazon, and love the story so much they’ll send us a contract worth six-figures to sign us with all the fame and glory that comes with that. We all do. One in a million actually sees that contract. Just like the American dream, for most, it remains a dream at best.
Are you crazy? Get out and work!
I’m sure that most of the handful of people who will read this post will have this thought on their mind by now: why don’t you get a job? Why don’t you go back to working full-time? The answer isn’t an easy one, and it implies a shameful admission: it’s not as easy as it sounds. Today’s job market is brutal and we compete not just within our own countries but with bright, well-educated people around the world. I’m old, and at fifty-one (soon to be fifty-two) my education isn’t “fresh”. I’m also quite expensive (and no, I can’t call an employer and say that I’ll accept a 28-year old’s wage because they’d think I’m nuts/desperate) in the eyes of an employer given my thirty-year experience on the job market.
I’ve applied for a great number of jobs, both within what the market considers my “core” competencies and within adjacent areas. The result: one interview in three years. I’m either considered over-qualified (aka too old) or I don’t have the right industry background. Add to that that every year that I’ve been writing widens the chasm to the so-called workforce and I’m considered too remote and useless. Spice it up with a pinch of Xeno- and homophobia and my job market is all but the Gobi desert. This is all doing a stellar job on my self-esteem. So I keep writing because I can’t sit still and twiddle my thumbs. I need to work, I need to do something. And yes, I’m keeping my eyes on job adverts, too. I am capable of multi-tasking. 😉
I honestly don’t know. I have no real WIP at this time. No inspiration for the next great Swedish novel (in English.) I’m working on a children’s book, but that’s a long-term project. Short term? Find my inspiration? Make sure my self-worth, my self-esteem and what Americans so often refer to as “confidence” doesn’t plummet further? I don’t want to appear as a pity-party because I’m doing well, especially compared to the millions and millions without a meal on their table, those who lose house and home to natural disasters or those who are constantly under threat from oppressive regimes. Who am I to complain? First-world problems, right?
Happy Release Day to me: the Golden One–Deceit is out
Early reviews for Deceit are very encouraging.
‘Tis time again. A new book drops at midnight PST, which is about an hour from now. I feel pretty good about this book because the reception by readers has been very positive. Yet still, despite all of this, I can’t entirely shake that nervousness that always beleaguers a writer on release day. Which is odd, right? ARCs have been out for weeks, people have been reading the book, it’s been on sale for a month and we have an idea of how it does. Still. Nervous. Even though it’s my umpteenth release day.
A lesson in philosophy dressed as action-packed fantasy
What’s Deceit, or indeed the Golden One, about? On the surface, it’s “young adult” (read: teen literature) fantasy, a shapeshifter story. But dig a little deeper and you’ll find a discourse about humanity’s treatment of Earth, how we treat the one home we have, the very fact that we are literally defecating our own living room, our bedrooms, not to mention our kitchen. If an individual were to do that, we’d commit them to psychiatric care, provide them with all the help and assistance they need. But on a planetary scale, we simply shrug and say “at least he shat in the corner!” or worse, we pretend it didn’t happen.
Another encouraging review.
The way the climate is changing all around us reminds me of the old folktale of the frog and boiling water. Have you heard it? Throw a frog in boiling water and it’ll jump out immediately, but put a frog in cool water and heat it gradually and you’ll have a nicely cooked frog before you know it. Mind you, this story is a fable and not true, but maybe that’s because frogs are smarter than humans?
The Golden One is a mirror of how we treat our planet, and it seems to me, as an adult, that the young generation is the one we need to turn to because my own, and the ones who came before me are utterly unable (or unwilling) to tackle the challenges we face. To hear that Greta Thunberg was nominated for the Nobel Peace Prize is a great symbolic step. She and the kids fighting for the planet are the real heroes out there.
No, it’s anything but boring…
Think this sounds rather dull? Don’t worry. The Golden One is action-packed, exciting and there is always something going on. Who is “good”, who is “evil”? Just that question will keep you busy during the second installment of The Golden One. Jason and his friends struggle with this question and they don’t really know the answer. Not even at the end. And what is driving people to do what they do?
Even though from my husband, but this is the reaction I wish all readers had…
Deceit is also a reflection of adult life vs that of children, the different perspectives we have, and what drives us. Without the burden of grown-up responsibilities, children are able to view the world differently. They have the luxury to see patterns that transcend our adult ability which is clouded by having to earn a living, making sure that we (and our progeny) have clothes to wear, a roof over our heads and food on the table. Kids take that for granted, at least in most of the world today.
Release day, so what?
Yes, it’s release day today. For the rest of the almost ten billion people of the planet, it’s just another Thursday, another day to go to work, another school day. Sunny in some places, rainy in others. A handful of people look forward to Deceit. I am very happy about that, of course, and I nurture a dream that more and more will discover the story of Jason and his four valiant friends. This is certainly a story worth any attention it gets. I say that in all humility.
Tonight, I’ll be celebrating the release of Deceit with a few friends and we’ll look at the final cover for the series, for the third book, Reckoning, which will release in September. Another release day, waiting for me…
How do you explain this to a five-year-old..?
I recently began writing the second book in the series about Valerius and Evander. Let’s be honest, it’s only really a series if you have more than one book, so duh, given that we called it a series, I needed to continue writing about the two princes whose love story was at the core of book one. I see Valerius and Evander as a way to use to “tool” of a fairy-tale to tell young kids (as a bedtime story) about diversity. Reception of the first book was really great, from both parents, librarians and some of the kids themselves. My son loves it (which is the most important praise.)
The second book deals with becoming parents. A challenging topic for every grown-up. I mean there has to be a reason we invented the stork, right? We use it because we feel uncomfortable talking about sex with children. And because it is difficult to explain the whole eggs and sperm concept to children.
To be honest without overwhelming children (or bore parents)
At first, I had this idea to explain all the various ways in which a gay couple (Valerius and Evander) could become dads. I introduced a Lesbian couple to explain the womb and IVF and surrogacy and suddenly I felt lost. I can barely grasp these concepts myself, from a medical point of view, even though I’ve done it myself in real life and wrote a book (primarily for my grown-up son, but also for adults interested in surrogacy and IVF) about it. However, this is all so very difficult and complex that I finally ended up abandoning the concept. The two queens are still in the manuscript (for now), but they might yet be bumped, as their presence fills no real “need” purely from a storytelling aspect.
Writing for kids, particularly very young children is challenging. As an author, you want to make it fun and exciting while at the same time tell the story and convey whatever lesson the book is meant to tell. Children’s books tend to be a bit on the educational side, and whenever I talk to schools and libraries, it’s what they tell me: we need this or that, we have no books on this or that.
Front cover of my coming children’s book The Dragon Princess, releasing September 20, 2018
Focusing on the child, the story, rather than the procedure
What I ended up doing was just writing. I subject Valerius and Evander to a challenge, or two, and then help them figure it out. In this particular case, it’s an orphanage. In the realm of the fairy-tale it’s workable, even though in our modern day and age, most societies don’t have orphanages anymore. We use foster care instead. To use children in an orphanage allowed me to talk about the plight of children who most commonly end up in LGBT families: orphans or abandoned kids.
To talk about why some parents can’t raise their own kids isn’t easy, and this is the most difficult aspect of re-writing and editing right now. I have enough text to fill the book, but is it the right text? The right words? It’s about teaching the kids new words, but also help them understand societal phenomenons and to enable a discussion between parent/teacher and child when reading the story together. In a way, I have to go back to being a teacher and use pedagogy all over again. Fun, yet difficult because in my daytime career, I used to work with adults. The irony…
So what is Valerius and Evander 2 all about?
The story highlights the wish of our Princes to be parents, that which we label as involuntary childlessness. While recognized and part of the medical profession’s arsenal when it comes to het parents, for gay couples, this is still a territory mired with discrimination and–frankly–lack of understanding and deeply rooted homophobia. That’s where the book starts. Easy, right? It then moves on to show how children are a natural part of society and how they are literally everywhere: in towns, on meadows and even in the forest. To use animals helps to keep things grounded for the kids.
That’s when the orphanage comes in and gives the two princes something to sink their teeth into, but as they busy themselves with helping those kids, their own needs are put on the backburner, which, eventually, leads to the big conclusion of the story, and a chance encounter… To find out what that is, you’ll have to wait for the book to be released.
I still feel that I’m a long way from being done with this. The first book in the series took almost three years to be done. Oddly, it’s so easy to write down the story in a rough draft, but incredibly hard to rewrite, to make sure it’s understandable, relatable and on par with the level of understanding we can expect from a four-, five-, or six-year-old child. Once the text is finalized, edited and proofed, I’ll contact Felicity for the illustrations. That’s when the real magic happens…
Are you looking forward to it? Any other topics you would like to see Valerius and Evander to tackle?
Throughout history, few authors were successful enough to be financially independent
As a resident of the Kingdom of Sweden, I am days away from receiving the “invitation” from my government to file my taxes for 2018. As for most of us, a somewhat sensitive topic. As a full-time author, I don’t have much to look forward to. With little to no income, I don’t really pay taxes and I never ever see tax returns, obviously. I don’t mind paying taxes, but these days, my financial “well-being” is on my mind. Income is so much more than just taxes. I’m lucky to live in a country where much of our social services are offered equally to everybody, regardless of income (or lack thereof.) But other things, such as my future pension, aren’t.
The future looks bleak
“Garantipension” is a thing here, it’s a minimum pension paid to those who haven’t saved enough to warrant a higher pension through contributions (by working.) Our current pension system relies heavily on employers diverting a certain amount of money every month. No employer, no savings. As an author, I’m my own employer and without an income (to speak of), I have little resources to save for the future. But this isn’t just about me. This is something a lot of artists share. But what income sources can we tap into?
Looking back in history
Historically, authors have relied on rich patrons, usually royalty. Every court that could, would employ a bard to entertain nobility at festivities. It’s how we were afforded the great plays, dramas and comedies alike from the ancient Greeks and Romans, and I have a hunch that circumstances were similar elsewhere in the world.
Patrons, these days in the re-invented Patreon-version, have always played a huge roll in the life of artists. Just look at how Italian and French nobility supported Leonardo, Machiavelli or Michelangelo. Many of these artists died in poverty despite their fame today. Nothing changed until books became a thing for a broad mass market. Suddenly you had authors who became celebrities, who sold books by the millions. Reclusive or not, they were famous and rich. But how many of them were there at any given time, globally?
Grants, stipends, crowd-funding or patrons
Few! Very few. But their visibility served like a beacon of light to the hundreds of thousands of authors who self-publish on platforms like KDP today. Of all those people, a handful per year, at the most, land a bestseller and a contract with one of the big houses who long ago abandoned niche literature for the benefit of celebrity literature, books they know will make them money.
So what do poets, authors do to pay their mortgage? Their utility bills? Groceries? Most of them work daytime and write at night. At my age, finding work is becoming increasingly difficult. My value on the job market is equal to the likelihood of global warming being a hoax. Some authors chase grants or stipends, spending many hours researching what is available and submitting proposals. For a shot at a few hundred dollars, these people spend days and weeks.
The advent of the Internet has not only changed publishing forever but also how we can earn money. Asking for donations online, Patreon (see above) or crowd-funding platforms are all ways to make a buck. One thing is certain: the only winners are the platforms… Oddly, the more famous you are, the more books you sell, the more likely you’ll attract money, whereas those who need the money most, they go without.
The Swedish Academy debate
In Sweden, we’ve recently had an interesting debate around income for poets and writers. With Katarina Frostensson offering to leave the Academy (her husband was convicted for raping women on two counts and has been suspected of using his relationship with her to gain financial benefits and access to many of the women he allegedly harassed sexually.) Frostensson refused to leave without financial compensation, having made millions on her “chair” every year. Most other poets make a tiny fraction of that money.
There is an interesting discussion going on in artist circles and in public access media about what an artist should make, what the value of a book is, etc. I think this is a valuable discussion. No doctor treats a patient without pay, the milkman won’t let you take his product for free, and no carpenter will make a table and chairs for you for free. Yet artists are often expected to give away their books, music for free. If nothing else, we expect to find them for free online.
Sometimes, people suggest a basic income. This has recently been tested in Finland, but not to a specific group of people and the trial has yet to be evaluated. The general idea is to supply every citizen with a base income above the poverty limit and to remove all other subsidies instead (housing, social welfare etc.) Some claim that a base income would be less shameful and would free up a lot of resources from the government (as the entire administration of pensions, welfare, etc. would cease.) Others call it a socialist vanity project. Personally, I’m on the fence.
It would certainly help artists and it would remove the angst of having money for the most basic aspects of life. As long as it would also count toward our pensions, all the better. But is it fair to ask for the working population to support artists? Would people still work? Are artists necessary for society to work? Do we add value? Or are we simply lazy leeches? Interesting questions that deserve looking at in more detail.
How much did I sell last year? What will I sell this year?
Sadly, my book sales have dipped in recent years. The first half of 2015 was my best-selling year, and while I had “bestsellers” on various lists in Canada, Australia, and the UK over the years, those books weren’t on the list long enough or the country too insignificant to warrant any major income. I don’t know how many books I’ve sold last year. Like all authors, I always dream that “the next one” will be my breakthrough, will be the one to propel me to the NYT bestseller list and a steady income to allow me to pursue my writing without turning each penny. It’s a dream all artists share, most of us being aware that we’ll never get there.
But we still hope. Thus I hope that 2019 will be a better year, with more sold books, ebooks, and audiobooks. Meanwhile, I enjoy the great reviews my books garner. They may not pay invoices, but they inspire me to work even harder on the next book.
How can you help?
If you are a reader, there are many things you can do to help an author you like. Apart from buying their books (thank you!), often at the cost of a large latte, you can help them at no cost:
- Tell your friends and acquaintances about a book you enjoy, and why.
- Write a short review. Tell people why you liked the book. Preferably not just on Amazon or GollumReads, but also on another site, e.g. Apple, Google, Smashwords et al. All those sites have sales, but very few reviews. Your review might make a big difference.
- Follow, like and share social media posts. Unfortunately, many of the social media sites and their algorithms only care about those metrics and will promote (i.e. make more visible) posts that are “popular”.
- Attend signings and readings. Often, those are instances where authors can sell books and/or are paid to attend.
The mighty power of words
A few days ago, I was invited to join Pen Sweden, a club within Pen International. I was deeply honored to be considered for membership of such a prestigious organization. As a writer, my pen, my keyboard and the words they create are my way of changing society for the better. I have always held a deeply felt conviction that we must speak up. Speak up about injustice, speak up against prejudice, persecution, speak up against racism, homophobia, misogyny. Pen International takes all of our pens and turns it into a powerful force to be reckoned with.
I first heard of Pen…
I will never forget the first time I had heard of Pen International. Salman Rushdie published the Satanic Verses and as a result, some priests in Iran were in desperate need of a diaper change. To have, as they believed, Islam sullied on the day of their greatest triumph was considered blasphemy. Shortly after that, a fatwa was issued against Mr. Rushdie. Mr. Rushdie deserved, the claimed, death for his words. That was in 1989. I was twenty-two years old at the time, I was working as a banker in Zurich and had never heard of Mr. Rushdie before. Yet somehow I noted the strong and global reaction by the literary community and the strong condemnation of the fatwa by Pen International.
Around the world, authors and writers rushed (no pun) to his defense and that was the first time I heard about Pen International. I have held this organization in the highest regard ever since, for speaking up in the face of death threats, and I have followed their work from a respectful distance. This is particularly true considering how some authors and some literary organizations with power, e.g. the Swedish Academy, who awards the Nobel Prize for literature, acted. They refused to speak up which led to some of the members to leave the academy. The final “empty chair” wasn’t filled until late last year when the last of the “Rushdie” members was finally allowed to officially leave the academy and a replacement was voted in. Almost thirty years later.
There is a risk associated with speaking up
To speak your mind, to exercise our “freedom of speech” is not without risk. Maybe the Swedish Academy was afraid of what might happen if they spoke up. Terrorist regimes, like the one in Iran, do not shy away from using violence against dissidents, even abroad. Just last fall, Scandinavian police forces stopped a plot by the Iranian secret police to kill exiled Iranians in Denmark. 2018. Iran is not the only country that has little regard to our human rights: Saudi Arabia and Khashoggi, China and Gui Minhai, the Swedish author and publisher who was abducted in Thailand and taken to China against his will, Dawit Isaak, a Swedish journalist who’s been imprisoned without a trial in Ethiopia and so on and so forth. Unfortunately, the list is so much longer.
A few years ago, I spoke up against the human rights violations in Russia, particularly for the LGBT community on this blog. Suddenly, I noticed that I no longer had readers in Russia (even though I had many Russian readers in the past.) It seemed that my criticism of the Sochi Olympics and the horrific treatment of its queer citizens had scared the government there into blocking my blog from reaching Russia. As feeble as my pen may be, it had stung someone somewhere.
Things in our society are far from perfect, but…
Last night, my husband and I had a discussion with our godson about equality in Sweden, and while we may be frustrated with the lack of progress here and there, and rightly so, our life here is still infinitely better than that for many other people elsewhere. Personally, I see no conflict between working to improve things locally with speaking up for those who are infinitely worse off elsewhere.
- In Sweden, we lament the lack of progress in fathers taking their six months of parental leave. In most countries of the world, the concept of paternity leave is completely foreign.
- In Sweden, we are frustrated by the fact that we still haven’t had a female prime minister. In Saudi, women can’t even leave the house without the approval of a male.
- In Sweden, we are frustrated about the red tape that queer families have to cut through to legalize their families and children. In fourteen countries, simply being queer incurs a death sentence and in another eighty or so, it will land you in prison. Marry? Children?
- In Sweden, I may be frustrated by angry and pointless letters to the editor. In many other countries, such letters are inconceivable, dangerous.
I add my voice to the chorus
The work of Pen International and its national chapters is incredibly important. We speak up for those who have been silenced. We speak up for those who have no voice, and we are a constant reminder to those who oppress, discriminate and hate, that they are seen and recognized for who really they are and what they do. “Freedom of speech” is such a treasure and the very foundation of a free society. And never before has it been more threatened than before, by novel concepts such as AI, fake news. Coupled with state disinformation campaigns, blatant political lies they become a real threat to the fabric of our societies. I can only hope that my pen will continue to be an annoyment to those who deserve to be annoyed by it, as tiny as the sting may be.
The art of photoshop or how to get to a great book cover
Most authors will subscribe to the need for a great cover for their books. It attracts the eye of a potential buyer, gives a visual clue to the book’s genre, maybe even what the story is about. All in the blink of an eye. That’s what a great book cover does for you. I’ve been lucky to work with some amazing cover artists over the years, from Christopher Allen Poe to Natasha Snow. My latest cover which I want to talk about today, the one for Deceit, was both easy and difficult to get to.
The cover for my new novel Deceit, book two in The Golden One. Cover by Natasha Snow.
I wish I could show you all the steps…
Alas, due to copyright questions, I can’t show you all the iterations from the very first concept that Natasha sent me to the final product shown here.
I love this cover, it’s almost exactly what I had envisioned in my mind. When I began writing books two and three, I ordered the two covers at the same time. I usually have an idea of where I want the cover to go. Sometimes, Natasha surprises me with something that completely blows my mind, sometimes we go through ideas I bring to her. Different from book to book.
For Deceit and the coming one, Reckoning, I had visions, with the one for Deceit more clearly formed in my mind than the one for Reckoning.
There was a dream…
In the book, there are a couple of dream sequences, where our hero, Jason, has a dream where he sees a couple of eyes approach from the background, coming closer and closer.
I wanted that on the cover. But to find the right image proved to be difficult. I have a friend in New York who’s an amazing photographer, and I knew that she had African models. I reached out to her, but we drew a blank. The images she had available didn’t have the right look, not evil, but inquisitive, peering, staring intently.
I began to look online, going through various sites for stock photography, as I often do to find material to visualize my ideas. I sent Natasha a bunch of pictures and she picked the three or four she liked the best. In the framework of the title and the color scheme she’d chosen, some just didn’t work out. The look–or stare–just felt wrong.
Back to stock photos…
A basketball player is holding a basketball and is looking intensely at the camera. Copyright: iStock by GettyImages
I was almost giving up, considering alternative scenarios, e.g. an “evil” cat that is also a part of the plot. But then I found a picture that I thought might work:
Can you see it? Yeah, he’s the guy on the cover, or at least his eyes. Thanks to the magic of Natasha, which included aging, removing the sweat and incorporating them into the cover, we finally had this amazing cover above.
It was funny because when I saw the photo with the basketball, the sweaty forehead, I wasn’t sure if she’d be able to pull it off, but I just knew that there was something in the way he looked into the camera that was perfect: determination, curiosity, but no malice or anger. Those were the exact qualities I was shooting for, pun intended.
I’m really happy about this cover, and early responses from my readers seem to prove me right.
Based on that book cover…
The book cover is important to the author and the publisher. We need it for advertising and marketing purposes. We create banners, use it for posts on social media etc.
I also love to create a short video trailer for my books, and I’m particularly proud of this one. Grant you, I’m an amateur, but I still like it. Given that I’m learning more about how to use various elements of the cover’s adobe files in my video program, I can create more visually appealing trailers.
To end this post, I leave you with this. Deceit will drop on March 14, and preorders for the ebook are available on all relevant sites. The paperback and audiobook will be available come release day, although no guarantees for the latter. ACX is always a bit of a hit and miss when it comes to release dates.