If May can have more than one Moon

I haven’t been around here. Life has been so busy. I’ve focused (as much as I can) on developing a routine for things that require one. And simultaneously weaving the layers of life around and through those routines has been an ever-evolving challenge. As is the season of my life, it’s been all-consuming of this fickle and finite thing we’ve named time.

I don’t have any serious complaints about what’s most important. Life is what we make of the pieces we find and create, the energies we choose to connect and make new colours with. And those that leave a story on departing.

I haven’t been writing to publish, that’s why some of us are here, right? I’m sorry for that. It gnaws at my brain.

I’ve not committed to deadlines or accepted opportunities because I knew I’d unlikely be able to fulfil any promises, so I haven’t made what I’d break. A pause has been accepted for a time. I may not be completely on board —I sometimes think, ‘I’ll have time here!’, but it’s never so. The decision has been out of my hands. I’ve taken a while to accept that, actually—that I won’t be writing a new novella this week. But I will another day, the wheel is always turning.

You’ve heard my complaints of AI being used too deeply as writing tools, and with the movement there, how anyone can fire a line into a bot and publish what (surface level) appears to be a fairly decent constructed piece of ‘work’ via an article, poem, story, review, book by doing sweet fuck all is disheartening to say the very least. It kills a piece of my soul. A huge piece. This place is full of cheats, liars, manipulators—lazy, talentless, attention-grabbing fools masquerading as mentors, creators, artists—with their borrowed paragraphs kidding themselves that they could or would have created the piece—if they had the time or some other shit they tell themselves. Void of skill, void of an original fucking thought of their own, they’ll sign off a lie with pride, stamping their name to it. I’m not buying it. I never have. Perhaps that’s another reason why I’ve not found the energy to pour into the craft I love, nor had the drive to share—they’d steal your face if they could, as well as the real stories. Change a word here and there, and grin with a face full of stolen cream, declaring ‘mine’. Fuck off. I may be in a ranty place… it’s a human place though. You can trust that.

So, shall we have a sort of old-school bloggy lifey update? Yes, fuck it, let’s draw back the curtain for a peek.

I’ll start with this—since the close of my monogamous relationship, I’ve had the freedom to be myself more than I have in quite some time. Elements that had been neglected for a long time rose to the surface, needing nurturing and satiation, and those core needs have taken time and energy from other things—like writing, where my focus was already struggling. I recently shared some insight elsewhere into my life as far as my sexuality and relationship style(s) go, as these elements seem to spark curiosity, and have at points throughout my life, been used to pitch attacks. Growing up fairly openly pansexual (though bisexual was the term in my younger days) wasn’t all sunshine and groovy rainbows—have I shared the story here of when my parents realised that I wasn’t straight? That’s a belter. They were terrified I’d corrupt my younger sibling with my perverted ways—there were bible quotes and all sorts of hypocritical hilarity, and of course, what will people think of them to have spawned a queer daughter! The horror! And in those teen years, I was essentially made out to be ‘greedy’, and even ‘dirty’ for my sexuality. One of the people I trusted most at that time shuddered at the idea of dating someone who wasn’t ’straight’ or ‘gay’—‘pick one!’—because it’s a ‘choice’, right?

Sharing much in the way of specifics of friendships and romantic partnerships is something I’ve been reminded to be guarded with. People have a way of giving insights with a rusty blade straight to the gut (again, from my experience). Like they forget I feel anything at all. I’m not entitled to that—apparently. If I tell them it hurts, it’s twisted all about, (they may even raise an army by flashing a delusional doodle), and they say it’s me holding the knife—it’s bigger and hurts more. I’m (was) the doormat to drag their shitty boots on, who should remain mute for the privilege—perhaps that’s just family—mine at least. The fact that I have an abundance of self-acceptance and confidence in those aspects of my character has very much held steadfast against the grain of early criticism, judgment, and emotional attacks from ‘home’ outwards. How we process peace internally is of far greater value to one’s wellbeing and how we then engage with others than outside judgment and influences (even blood). Maybe that’s around about way of saying—fuck what anyone else thinks; it’s how you make peace and accept yourself, and how you treat others that really matters. Don’t be defined by how they treat you. 

Outside the ‘joys’ of the blood, I’ve always been questioned about my sexuality—some can’t read me—the gaydar might be screaming then I show up with a guy and my friends are like “oh, I forgot you like that too”. And alongside that, more recently, as I’m (happily) poly saturated, I get asked about my relationships too. I don’t hide who I am, but for the most part, I share what’s relevant to the conversation, and I’m mostly private about the one-to-ones. With that being said, I’m openly pansexual and polyamorous—closets are for shame, and I’m not ashamed of those parts of me. And yes, my children know too. As a parent, it’s important to demonstrate confident self-awareness, acceptance and diversity across the spectrums of sexuality and relationships, so I’d be a hypocrite if I ever concealed these aspects of me from the people I’m raising. I’ve never even considered that as optional. Why would I? I’m confident it enriches the dialogue and connection we share—they know they can come to me with anything, and of that I’m fairly certain. I only hope it sticks and helps them accept themselves as they experience their own path of getting to know themselves with confidence and acceptance. We cannot escape ourselves—inner peace and respect have to be priority (armour) against the outside noise.

My sexuality and attraction to another person are predominantly energy-centric. The evolution of my natural relationship style(s) is much the same. I’m very much of the mind that we should move in ways that enrich and enhance one another, lift each other, support, accept, love honestly—if that’s not the core energies, if any of that is opposite, then it’s not going anywhere but out of my life. Movement needs to flow mutually, respectfully and with communication that is clear in the particular connection—this, of course, has a natural variation of style. I’m also much a do as you say type; I trust action above words. I remind myself of this, as I’ve at times questioned my gut instinct when presented with lies from a mouth I believed I should trust, which creates a conflict between what we want to believe and the truth. Always go with truth, even when it hurts. My instinct is rarely wrong; I remind myself of this when something feels off. So many of us (sometimes with the best intentions) lie to ourselves—what we do and how we carry ourselves when we think no one is looking is the truth of the story. To quote a recent read from Bessel van der Kolk, “The greatest source of our suffering is the lies we tell ourselves”. I’m not keen on being in the fallout from such things. Though it happens with this human condition we’re afflicted with. I’m grateful to have communicative partners—even when we’ve faced some challenges (and will do again)—the developments have been enriching, as I’m sure they will continue to be. I’m grateful for each of them. 

I do not subscribe hierarchy in my relationships. It’s simply not in my nature. Each relationship deserves its own autonomy and room to breathe, move and develop its own rhythm. And I include my relationship with myself in those I consider—I now recognise, understand and respect my personal needs, specifically my need for physical space, alone time, and quiet. My energy needs time to reset and rest between just about every interaction—the amazing, the terrible and even the mundane. I am perhaps the textbook example of solo-polyamorous. When I use the term, it is in respect of my need for complete solo-autonomy; my relationship with myself is as important as those I have with my others. And with my current paramours and matamoros, I’m of a Kitchen Table Poly style overall. That fills my hippy heart with a massive hit of happy. I love and crave my partners’ happiness and fulfilment in their lives and other relationships. And it’s a privilege to know and experience the care they share with their others through their eyes—even when just a little.

We have different capacities when it comes to relationships. We have different capacities for time, for holding love, for being present. If we set aside the romantic and/or sexual for a moment and consider friendships. Some folks thrive and maintain many friendships, while others prefer a smaller circle—one that may or may not be connected. I prefer small circles. 

With my need to respect the autonomy of myself and other relationships, it is interesting the differences I’ve connected with—there are differing values across the board, which may or may not work out long-term—of that I am aware and accepting of. My style differs to each of my paramours (apart from one who shares a strikingly similar mindset and approach), with those that differ—one is open but of a romantically monogamous mind (for me, I’m very aware that at some point they could decide being with a pansexual polyamorous person is not within their capacity, and that monogamy or being with others who work with hierarchical values may be their natural default). And another is hierarchical with the primary relationship holding (the often controversial) veto power over others (again, I’m aware that’s another axe hanging over my head). With both of those differing items, I guess there’s a certain uncertainty—does that make sense to you? What I’m trying to say, is that there’s a comfort in knowing what it’ll be if one of those axes falls, and in either case it’s outside of my control—it’s  ‘not me’, and most definitely a them thing. Though we could argue getting involved in the first place was in part well within mine—they are things I’ve chosen to accept as I’ve gotten more emotionally involved. What I’m trying to get across is that in romantic relationships, just as it is holding space for multiple meaningful friendships, we can have differing approaches and values, but in those connections, we carve out our own design that can be profoundly fulfilling. 

I may pop back in, since this became more singularly focused than I first thought it would. And my waffling isn’t entirely finished but I have other things pulling my attention now.

Later!

Print Price Changes

I do not speak for all independent publishers.

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.

Natasha )O(

Art Inspires Art: Incesticide

I was asked recently about the cover for Incesticide: Collected Horror, so I’m sharing a wee bit about it here.

Music is a massive part of my life, inspiring me when I work. It helps me find grounding when the the Earth has fallen from my feet, and I can’t find anything else to tether onto. Art is a wonderful way of distracting us from pain or helping us face and conquer the demons taking up space. The title was chosen in homage to Nirvana — I am a huge grunge fan, and it is one of my comfort-food genres, so it felt natural to fall into that.

The artwork followed the title. What’s more grunge, punk and indie than doing it all myself? I love to paint too. I guess the creative streak is profoundly ingrained in my wheelhouse, even when I suppressed those urges in years gone by. I took this idea and continued my homage to the title. I didn’t overthink it and just went with the flow, inspired by and creating my spin on Kurt Cobain’s cover art for Nirvana’s Incesticide.

Dandelions (dandelion wishes) are my favourite flower. The invasive weed wields healing properties. Her seed is carried in the sweep of a breeze, and she’ll resist suppression, taking deep root wherever seeds land. She’ll bloom through cracks in the concrete — nature dominating and cleaning the disaster of man. I replaced Kurt’s poppies with dandelion seed heads. Though this element is scarcely visible on the Incesticide: Collected Horror book cover, as the figures took central focus on the wraps.

Those two forms: I switched the small figure to the opposite arm and painted them with only a loose nod to Cobain’s originals. I fleshed out my forms but maintained a skeletal accent to the larger figure. For the small child figure, I wanted to recreate that mannequin/doll base but with a dance that quietly echoed the larger one. I think they quickly transformed into ‘mother’ and ‘child’ when painting them, more so when I stepped back and saw a ghost of my daughter’s face in that child form. My ‘koala baby’. With that, it made sense that’s where my paintbrush went. That revelation then paints more sense onto the wide-eyed, dishevelled ‘mother’. The art for Incesticide became personal. Perhaps a bit of a mirror to PND. A little horror of life that has nothing to do with the collection’s contents.

As well as the Ts and Hoodies on my Etsy, prints of the Incesticide artwork are available if you find me skulking in the shadows with my books and other entwined wares at some cool events this year.

The Gothic Market

The Cast of Delevan House #9

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The Cast of Delevan House #3

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The Cast of Delevan House #1

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Time is Money

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.

Trust, Value, Editing

I will admit something that, like so many independent writers, can be torn apart. And I also acknowledge there can be pitfalls – some gatekeepers regard this audacious move as career suicide regardless of experience or qualifications.

Not only do I professionally edit works for other writers, businesses and publishers, but I do something else regarded as a grave sin.

I, as a writer, self-edit, and I publish it!

I must be insane, right?

Imagine an artist controlling their art! Ensuring every stroke of the brush is theirs. The absurdity!

Editing is an independent skill in writing. This is a fact. With that, it is true that an editor isn’t necessarily a skilled storyteller and vice-versa. These can be common misconceptions. I have read poorly self-edited work and work edited by so-called editors who were glorified spell-checkers and saw themselves as prescriptive grammarians, thus stripping a piece of style and substance. Editing (in the independent writing and publishing world) is a highly sought-after skill and grossly undervalued.

I have spent much of my life writing and editing across many forms, and when I began publishing books in 2018, I honestly did not consider passing them through an external editor’s desk. Ignorance at the time was perhaps in part to play. I, admittedly, did not consider hiring an editor as part of the process. And now, with a couple of years of publishing experience where I have learnt something new with every title and even when working with others, would I change it? Personally, no.

Why? Well, I’ve worked with editors and writers who take prescriptive approaches, and in such methods, so not hold a place in creative writing. I’ve also been ‘edited’ by terrible communicators who have ignorantly ‘corrected’ spellings of Celtic or Scots words to a form of English, thus destroying critical seeds of the story and publishing their mistakes in my work under my name. An editor’s job is to polish and enhance, to bring out the best in a writer’s work, not diminish their voice and make them look stupid. I’ve learned many lessons from both. In my writing and skilled self-editing, I’d rather make my own mistakes that I can correct than have someone else do it and not take responsibility and rectify their shortcomings.

Rigid, prescriptive processes can have their place when writing for a corporate audience and developing educational materials, in which I have much experience. But artistically, a prescriptive approach to editing has no place; one size does not fit all.

My choice to self-edit is not one I take lightly. As a freelance editor, I am not ignorant about the depth of such a task, and as with any other piece of written material that crosses my desk, I consider, correct and develop: punctuation, spelling, syntax, morphology, overall structure, make cuts of redundancies, tautologies and lines or passages that don’t drive the story forward, and of course, consider developmental opportunities, and the author or publisher’s specified needs and style which I always discuss prior to working with them. I consider the narrative voice and those of the characters to ensure they read authenticity. And another vital component is style — a piece of creative writing should have rhythm and motion, like a great painting or music. If it’s rigid and static, as it would be following a prescriptive approach, it would be stale.

Even with such vigorous attention to my work and my clients, I am not infallible. No editor is, and I don’t trust anyone who portrays themselves as so. Neither should you.

2022: The Year of Birds

Hogmanay nears, as does what can barely be avoided — the annual consolidation, the ‘review’ as we step over the next threshold.

It’s been another year of tumultuous news and events stabbing the air in-house and in close proximity. Health issues have arisen in many, some near and dear, some farther but no less dear to me—several with fatal implications, where time somehow runs faster on the clock. My heart has shattered a few times. Such is the way it goes.

Covid hit my house with a bang. I was pregnant, and the baby, Averey, died inside my womb when I had the worst symptoms. Since our second bout in July, long Covid symptoms have persisted, including with my young children. The year that we hoped to grab some social normality has demanded much push.

One of the many benefits of home educating (not home-schooling) is that the pressure and stress on children not to ‘fall behind’ on a prescribed curriculum and being ‘marked’ by ‘poor attendance’ due to health issues beyond control is absent, avoiding undue pressure on my kids’ mental health, to which almost anyone who has been schooled and has health issues can relate. All public services in the U.K., including schools, seem to be on a steep downward slope, faster than ever before. The unrest is palpable. That being said, home educating isn’t all skipping through the daisies! Many days have their challenges, and being the literal full-time parent and educator is tiring — and that was before the long-covid fatigue. Still, we get each other through, and the alternative isn’t an option.

As always, writing has been a constant. Separate from my creative writing, it’s been my introvert-central-management system since childhood. Sketching is too.

Professionally, I have had the pleasure of editing works by some fantastic writers this year — some serious jaw-dropping, inspiring talent. One of the last short stories I edited had me reaching for my inhaler! That author painted a vivid anxiety, paranoia-ridden piece in their protagonist — I felt it all! The subversive angle of the work while playing off the backdrop was skilfully moving. I was in awe. In the massive catalogue of literary genres, the immense skill some horror writers portray is hugely underrated, all due to that simple label ‘horror’. You’ll find the asthma attack-inducing story in KJK Publishing’s The Horror Collection: Sapphire Edition.

This year Ruthann Jagge and I joined forces and created Brazen Folk Horror to share our collaborative works. We have been sharing weekly updates there and have many more ideas for the future. As with this site, readers can subscribe to receive those updates directly in their mailbox. The debut collaborative novel under our exclusive in-house imprint, Delevan House, releases on the 1st of February 2023, and the second book in that series is underway. I’ve shared before about how I adore working with her. We’ve each had much to contend with this year. At times, we’ve both been swimming against a ferocious tide, but we have prevailed and have created something unique from Scottish and Celtic folk inspiration. You better believe my girl and I are indeed Brazen as fuck.

Getting back into academic study has been challenging to make space for, but somehow It’s been working out, in sacrifice of sleep! I passed my first module and started my second towards my English Language and Literature degree. The second part has been immensely inspiring. I am enjoying it far more than I anticipated. It’s ignited old and new passions for my own language, those that I’ve been surrounded with and the broader scope of the world. I’ve been evaluating how this entwines cultural and individual identity. This leg of the course has lit a few fires.

Onto the books published under Clan Witch this year:

Asylum Daughter — my psychological horror novella set in Glasgow, Scotland. I’m proud of how this piece turned out. I loved writing it and got to exorcise the asylum.

The Crash of Verses by Rafik Romdhani — this is Romdhani’s second published collection. His poetry is among my favourites of recent years. If you have not read him, pick up this book. He is an exceptionally skilled modern poet.

Incesticide: Collected Horror — my second collection of short horror fiction. It includes nine stories featuring urban folk horror, a touch of splatterpunk and fairytale horror twisted with BDSM, among other assorted flavours for those who enjoy a taste of different things.

Clan Witch: Found Shadows, my collection of free verse poetry and drabbles. This brings together small pieces scattered with other publishers and some never before published poems. Not all truth and not all fiction.

There have been other written pieces published throughout 2022 in the form of short stories, poetry, articles, forewords and copy for other titles.

What about the birds? Birds have been a significant and symbolic component in my year. Before the baby was born, magpies started frequenting my garden. They never had before. In truth, I was never a fan of the species. (Largely due to a childhood memory or a magpie killing sparrow chicks in a neighbour’s garden. It was such a brutal attack, not for a meal or anything. It seemed to enjoy causing the suffering and instigating horror in the flock of sparrows screaming at the beautiful beastly creature.) Other corvids, such as their cousin, jackdaws, yes. But never the magpie. Of course, going through pregnancy and loss again, this felt strikingly symbolic. For the longest time, there would be one—a dark omen. One for sorrow… as the months have passed, groups of them now frequent the garden along with the smaller birds, which have their daily routines flying in for a feed and natter. Adopting ex-commercial laying hens scheduled to be slaughtered has been tremendously healing. We brought them home less than two weeks after our loss. Building for them and supporting their transition to domestic retirement felt like a productive and helpful use of grief energy. Then the hens have taken in robins. The birds have been inescapable and have become a significant feature of Delevan House too.

Life and creativity can be inseparable, at least elements of each. Twisting tendrils that reach out to be touched and woven into new patterns.

I am wrapping up, as I didn’t intend on doing this kind of update this year! There you have it, a wee mixed-bag summary of 2022. I best be off again, I’m currently hauled up with an unwell small. Her feverish chattering dreams spill out into the dark in a torrent, and I wish, as many parents do — I wish I could soak up the fever and take all the pains away, for always. But life has so much more of that in store. I will have to be content with holding her for as long as I can and as long as she needs.

The darkness is drawing in, approaching the longest of nights, and I wish for what I always do here and the world over, peace.

Natasha )O(

Incesticide: Collected Horror

NEW RELEASE

Incesticide: Collected Horror has almost emerged! Due to some interruptions within the industry and the panic rumour mills spinning, I decided to get things placed early to ensure the print edition launched in time with the digital. Well, this strike was swift, and the print editions are now (quietly) available ahead of the official release of December 14th.

The collection features nine unique short stories, each followed by a few words on how they came to be.

I painted the artwork for the book. Taking loose inspiration from the book’s namesake – Nirvana’s Incesticide cover art by Kurdt Cobain. I was delighted with how the painting turned out, and have created some exclusive products featuring the print available on my Etsy store.
Thank you to everyone who had preordered. I hope you enjoy my little morsels of horror.

If you fancy a listening to me reading a story from the book, Fuckin’ Maggots is featured on my Youtube.