Did you know I grew up in the place that inspired the primary settings for the book Asylum Daughter?
The building I lived in no longer stands. Like much of Easterhouse, it has been flattened. Unlike other parts of the suburb, nothing has been built on that site. The land remains derelict, forgotten. Woodland sprawls behind where blocks of flats once stood. Bishop Loch stretches out within the woodland, then a little behind the loch stands the blackened sandstone twin towers of the old, foreboding, gothic administration building of Gartloch Asylum.
Bishop’s Loch, with the towers of Gartloch’s administration building.Bishop’s Loch, with the towers of Gartloch’s administration building on the left.
Since its establishment between the 1950s and 1960s, the suburb of Easterhouse is, unfortunately, more known now for drugs, gangs and poverty. Still, the area is historically significant to Glasgow (and Monklands), though being on the outskirts, it may seem unlikely. Bishop Loch (Bishop’s Loch of Bishoploch) was home to Iron Age communities. During medieval times, it was part of a vast estate owned by the Bishops of Glasgow. Check out the historic environment record of the site here.
Gartloch Asylum (inspired the fictional Lochwood Asylum in Asylum Daughter) was located by Bishop Loch, between Gartcosh Village and Easterhouse. Glasgow Council acquired Gartloch estate in 1889 to build the hospital. Receiving its first patients in 1896, after that, a tuberculosis sanitarium, and nurses’ home were built on the estate. The hospital supported the war efforts during WWII and then became part of the National Health Service when it was established in 1948. The hospital declined from the 1980s and closed in 1996, one year before her centennial. In her almost 100 years as a functioning asylum, Gartloch has stories to tell. Just before the closure, the hospital was used as the fictional setting of St Jude’s Hospital in the Scottish drama. ‘Takin’ Over the Asylum’ (staring one of my favourite doctors as a patient!). Explore the historic environment record for the hospital here.
In the present day, the estate is known as Gartloch Village. Several buildings were converted into homes and apartments, with new housing built around the site. The grade A listed Administration building still stands looking over the village, though derelict, it continues to deteriorate year-on-year.
Until the development of Gartloch village (and for some, even now), the spot was favoured by urban explorers and those who love the thrill of the mysterious and abandoned with the enticing ‘do not enter’ signs.
If you fancy exploring how I used this estate as my setting, pick up a copy of my psychological horror, Asylum Daughter, and let me know what you think! Bishop Loch also inspired the stage for two of the stories featured in A Life of Suicides.
In October, I posted on my social media about my decision to pull A Life of Suicides (one of my first published books) from print.
This wee book is going through revisions and edits now. I knew I’d be mortified as soon as I looked at it! And again, I apologise to my readers for the errors. I’ve been on a continuous journey of learning and refining my craft(s), with much improvement since that book was published in 2018.
If you picked up A Life of Suicides before it was pulled, I’d like to offer a complimentary digital copy of the revised edition when it’s released—please reach out with proof of purchase (if you bought from me direct and don’t have a receipt, message me, I’ll remember you!).
The new, vastly improved second edition will be wrapped up by gorgeous original art by Don Noble of Rooster Republic Press.
These are the markets where you can find me loitering behind a table this month. If you fancied picking up a wee book or two direct from me, you know where to find me. I’ll have some framed art prints and a few original framed OOAK pieces as well. As always, I carry limited hardcovers to events, so if you want any of those, you are welcome to order in advance to avoid disappointment. Just drop me a direct message / email.
Titles that I’ll have on hand:
#BeBrazen Autumn Equinox Edition
#BeBrazen Summer Solstice Edition
Delevan House
Clan Witch: Found Shadows
Incesticide: Collected Horror
Murmur: Collected Horror
Asylum Daughter
A Life of Suicides
Concoction V1
Concoction V2
One Step Forward, Two Steps Back: A story of love & survival through NICU
I don’t carry any threads except for those who have pre-ordered to collect, so if you fancy a cool Tee or hoodie, visit my Etsy.
As we enter the 7th month of 2023, and I realise that my next module results for my degree are due this month, I’m pausing for a quick recap of the year so far. I’m pausing, not panicking.
Health-wise, I hate to admit that it’s been another trying year. Since contracting covid last July, then again in January, my lungs have struggled, and fatigue has plagued my body and mind. Of course, the nature of my life—caring for and educating young children, caring for the adopted animals, and running a home and business, means there’s little time for proper rest and solid sleep, but that sickness has added another weight. And, lest we forget, there’s this writing gig!
Nonetheless, I still breathe, even through crackles, pain and coughs. The wheel keeps turning, and for now, I’m still on it.
January’s focus was liaising with early readers of Delevan House and grinding over those pre-publication checks to ensure a smooth release of digital and print editions.
February saw the launch of that debut novel, Delevan House, co-written with Ruthann Jagge.
Delevan House synopsis
With the development of our collaborative Brazen Folk Horror brand, I’ve tightened up our logo design. I continue to work tirelessly on refining the website and managing both solo sites to reflect the work.
Ruthann and I have co-written a few short stories for select invites, which will be published later this year.
My literary partner in Brazen Folk Horror was keen for us to develop a newsletter, something that I wasn’t entirely on board with, but one day I began designing, and the Brazen Folk Horror zine was born. Our quarterly #bebrazen launched on June 21st digitally exclusively for subscribers, with the print edition releasing to the public on July 5th.
Weekly updates on Brazen Folk Horror have continued throughout the year (which are also shared here). However, these will now wind down with the newsletter launch and focus sharpening on The Delevan Diaries, which releases late this year.
The Delevan Diaries
I have been selective with the Word Refinery workload, taking on smaller editorial, copywriting and graphic projects only, so that clients get the attention their projects deserve. I may open my diary for a couple of larger manuscripts next year, but spaces will be limited. Clients are encouraged to contact me now. Spaces are not guaranteed.
My home has welcomed a few adoptees this year—two ex-caged hens (Yvie Oddly and Brooke Lyn Hytes) adopted from British Hen Welfare Trust joined us in March and have now merged happily with the existing flock for their retirement. Supporting their transition can be a lot of work and requires patience, but it is worth every second. Since taking on our first rescue hens a year ago, I have learnt so much about this wonderful avian species and still am. Unfortunately, because of how they are bred and commodified in the animal agriculture industry, they can experience many health complications that can quickly become fatal. For the most part, I’ve effectively managed issues at home. However, loss is inevitable at times, and one of our girls, sweet Bimini, had to be euthanised due to a severe prolapse and irreparable issues in her overworked reproductive system. It was devastating but also a relief that we could end her suffering.
Ginger Minj—flock leader
We also had to say goodbye last month to one of the most beautiful souls I’ve ever known, one of our adopted rabbits, Sally. This left our boy bun, Presley, without the companionship of his species. This companionship is vital for rabbit health—physical and emotional. Therefore, we adopted another rabbit needing her forever home from the wonderful volunteer-run charity Beloved Rabbits. Our newest family member, Fraoch (readers of Delevan House may recognise her name?), has added fresh energy to the household. She has settled in wonderfully, with full-on Giant Continental confidence and youthful sass. I’m excited to bond Presley and Fraoch after her spay.
Fraoch
I’ll be vending at several markets in Glasgow, which has required a lot of preparation in stock and design. I will have limited hardcovers on hand unless preordered through me in advance to pick up on the day. The same goes for T-shirts and hoodies on my Etsy store. I won’t be carrying stock of those not ordered in advance. If you fancy something from there, check out the market deals and get your order in for collection. Prints were designed by me, and all garments are sourced and made in the U.K. and are vegan.
Market dates 2023
#BeBrazen Autumn Edition releases September. Again, the zine is delivered digitally, free to subscribers only. And only subscribers are entered into the quarterly prize draw. If you aren’t signed up, join us today! The print edition is available for purchase after the subscriber-only digital release and draw.
I begin studying for my next university module in October! I am seriously swamped and planned on delaying my next module. However, I have set goals, and the next intake for this particular module is over a year away. Even with everything booking up for next year, I couldn’t defer for that long.
I have some beautiful cover art waiting their time for when I can invest energy into solo work that’s simmering. Perhaps, I’ll find some hours in 2025!
I must run now. The pause is over. Full speed ahead!
This is my base rationale for why I’ve chosen to utilise POD (Print On Demand) services.
I make no secret that when I began publishing, I never considered the traditional route. Honestly, I like the control and freedom of running a project end-to-end on my timeframe. And I need to understand processes end-to-end as much as possible and practical to do so.
Why print on demand?
Environmental: I don’t have to print more books (and other products) than I need to meet the demand of readers (and merchandise customers).
No stock goes to waste.
Books are shipped direct from printer to customer without the middle person (me) and extra costs.
Practical: As an independent, I don’t have the means to store bulk stock quantities.
Financial: To bulk print is a significant financial outlay avoided with POD.
Surface deductibles from the list price are the print cost plus royalty share shaved off from the distributor. Much more goes into the production of a book than those, of course.
KDP (Kindle Direct Publishing / Amazon) has informed publishers utilising their POD platform for book printing and distribution that print costs are rising from June 2023.
This will directly affect all softcover and hardcover books for publishers and our readers.
Publishers working with the KDP POD service are encouraged to review and amend list prices immediately.
I won’t be increasing list prices until June 7th.
Sorry, it’s outwith the control of us indies.
Thank you all for your continued support, and please continue to support #indepedant writers, artists, editors and businesses.
As with everything, it’s behind the doors, in the background, where the hard work happens. A carnage of crafting, ideas and all the building blocks to be meticulously chiselled.
Long hours of designing, creating, researching, writing and refining everything to a standard to be proud of. Work that will stand the test of time.
As individuals and as a collaborative partnership, Natasha and Ruthann are passionate about quality and giving our readers authentically creative material that they won’t get anywhere else. We take pride in controlling and executing our design because we appreciate the personal connections our work makes with readers in a world so fast, divided and disconnected. We are passionate about our work and respect every reader and supporter who invests time with us.
There is much in the wings….
And the only way to hear it all first-hand is to #BeBrazen with us.
We will be landing in subscribers’ mailboxes quarterly, starting from Summer of 2023—fresh and unique content designed exclusively in response to you.
It fills me with terror when I see short turnaround periods offered for manuscripts on some freelance service platforms, where folk offering many different services can utilise to garner business. Often a guaranteed timeline is presented upfront without assessing the writing requiring the work. Is it arrogance or ignorance of editing skills involved?
Editing speeds vary from person to person. Yes! this is a set of skills that requires the human brain, not AI, not an app!
Multiple factors feed into how long a project will take, such as the type of editing, word count, language(s) used and the overall condition of the manuscript. Another critical factor is the editor’s familiarity with the writer’s work. The more familiar, the more we know the nuances and common errors that arise and the slicker one can become in completing a manuscript.
When I see small house publishers or independent writers churning out book after book, I wonder how much time is spent on this essential process and how many passes a book undergoes before publication. I also wonder ‘who’ is editing. It’s a dangerous assumption that any writer or reviewer can also be an effective editor. Editing is far more than reading and spotting the odd typo. Unfortunately, the latter is a common ignorance in particular writing circles and some so-called ‘editors’.
As a serious writer with pride in your work, you should consider these questions too. Consider what an editor and publisher can genuinely do to add value to your process before signing a contract.
From my desk (and I’ve already explained how many factors play in), I average 1k-2k words per hour. I reiterate this is editing, not reading.
As a simple example, a 60k manuscript = 60 hours of work. What would you expect to be paid for working 60 hours?
This little example is worth considering when you are pricing an editor — who will have additional tasks before the edit begins on your piece. The essential set-up stages also cost them time. And as the saying goes, in business, time is money.
When I set up my editing business, Word Refinery, I offered introductory rates. As a passionate freelancer and supporter of creatives, I supported small publishing houses with additional discounts at my own expense. Independent businesses incur more costs than just time — which is one of the most valuable commodities. And, of course, the cost of everything is rising worldwide. With that, Word Refinery fees are under review.
Professional relationships between writer and editor or publisher and editor require a two-way level of respect. Fees are an integral component of that.
Clan Witch & Word Refinery 