I am so incredibly thrilled to announce that my newest book, As a Machine and Parts, is now available for preorder. Simply click over to the Aqueous Books website to order. ALL PREORDERS WILL BE SIGNED. Unfortunately, they will be signed by me. I tried to reanimate Christopher Reeves or get Stephen Hawking here to do the signing--as that would not only be incredible, but would play nicely into the man/machine hybrid themes of the book--but for some reason I couldn't get their people to connect with my people. Maybe their people are dead and/or paralyzed, too. There are a few amazing deals going on that make preordering even more worth your time and money. If you preorder As a Machine and Parts (or buy any of my books, actually) you will get a copy of my newest short story collection, Murmurs: Gathered Stories Vol. One for FREE! Click here…
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A question many writers get is “where do you get your ideas?” This question often originates from one of two sources: 1) a desire for a new writer to find that secret arterial idea spring, or 2) a reassurance that the author isn’t insane (I assure you that the idea to embed fingernails into The Bible was not based on an actual event in my life). The truth is they come from everywhere. A mis-heard conversation, a sudden obsession with a particular song or painting, a dare; these things and more have been sources of my own stories for years. One of the recent areas where I’ve been seeing a lot of potential is infographics. For those not aware, infographics are basically graphical ways to show data. Data can be boring. Colors and drawings are fun. Therefore, the infographic. Below (way below, at the bottom of this post) I’ve included one such infographic that I think has some potential. I’ve isolated three of the data points following, and included a few initial thoughts on the possibilities each hold.
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That’s incredible. Imagine a what the science of such projection would look like in the hands of a madman. Or, imagine a climatic (though probably funny) scene in which a man stabs a guy and gets hit in the eye with blood. |
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So, The Matrix was full of shit, then? Still, knowing how little amount of power the brain actually takes to function could make for some interesting machine/man hybrid stories. |
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Stomach acid harvested for use in either torture or construction. What about when someone is murdered by way of a knife to the stomach? Has acid ever leaked out, leaving a permanent scare on the hand of the killer? Perhaps in your story it has. |
Literature lover and good natured promoter of all things indy, Jason Behrends offers up his newest episode of the Orange Alert Podcast with lovely side dish of yours truly. He has included my reading of the first chapter of As a Machine and Parts (from a March reading at Method in Kansas City) in this newest episode. Jason was one of the earliest supporters of As a Machine and Parts, so it means a lot to have him include me. Listen to the full episode here.
What follows is a conversation between myself and writer and Warmed and Bound editor, Pela Via. Why? We like chatting about ourselves. Or, read a much prettier version at Pela's blog.
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Pela Via: Thanks for talking to me again, Caleb. You are one of the hardest workers in contemporary fiction; I always love a chance to corner you into a long, stifling conversation. Are you as prolific as you seem?
Caleb J. Ross: Prolific is a term that seems appropriate at first, but really a better way to say it would be "got lucky all at once." Stranger Will and I Didn’t Mean to be Kevin, the two 2011 novels, were both written a few years ago, each a year or so apart. And the novella also to be released this year, As a Machine and Parts, was written even later than the novels. This is all to say that I spent about eight years writing the books, but the one year release schedule implies otherwise. I'm actually quite the disappointment.
PV: Hardly. Your short work is everywhere. Do you plan to release any books in 2012?
CJR: As for 2012, nothing is contracted yet. But I have plenty to write.
PV: What do these two novels represent in your writing career?
CJR: The books both deal with parenthood, but from opposite angles. Stranger Will is about a parent not wanting his child. IDMtbK is about a child wanting nothing more than to have a parent. IDMtbK was written later, and I see it as a reaction to Stranger Will; it is both a personal goal (as in "now, let me see if I can to the opposite of what I just did") and a reader-based goal (as in "I had better show readers that I'm not as crazy as Stranger Will would imply").
PV: Do you feel more official this year, as a writer? I know it's not your first book, but Stranger Will is your first published novel. Has it helped your ego?
CJR: The ego has taken a bit of a stroke, for sure. What makes me feel the most validated with Stranger Will is that I have a lot of strangers commenting on the book. With Charactered Pieces, my first book, I would say about 70% of the readers knew me personally. With Stranger Will that number seems significantly different.
PV: I'm frightened of reaching that place where my work is just barely popular enough to be reviewed by non-friends (and consequently panned).
CJR: I wouldn't worry about having strangers review your work. I've found that the panning is about the same with strangers and friends. The difference being that friends tend to critique you as a person along with the work ("Wow, I can't imagine you writing something like this") whereas strangers tend to focus on the work itself.
PV: Interesting. So does it sting a bit more, then, when it comes from friends, if they have a complaint? Does it feel like they're speaking to your general ability as a human and writer?
CJR: Most of my friends who read early drafts are writers themselves, so I understand that all intentions are good. That said, it can still sting. But the sting is more because of my passion for the work rather than my relationship to the reader.
Apparently there are a couple of Advance Reader Copies of my forthcoming book, As a Machine and Parts floating around out there, giving bad names to bookshelves across the country. One landed in Ben Tanzer's filthy mitts (creepy refection in the image above is actually Nik Korpon, however). Having the man behind You Can Make Him Like You and My Father's House say such nice things about my book makes me all crazy inside. His words, as he might say, have changed my life (that is a comment on the title of his own blog, This Blog Will Change Your Life, not a comment on Ben Tanzer's ego). His words, not mine: "There was once a Marvel comic book called "What if..." and in it Uatu the Watcher, a bald sage-like character with an enormous head spun speculative tales of alternative versions of the Marvel Universe you thought you knew.…
In the next few years I'm going to be pushing more paper on you than the schoolyard drug dealer's less popular friend, the Zig Zag dealer. My novella, As a Machine and Parts, will be published by Aqueous Books sometime in the future. Yes, I could qualify any of my unpublished books with such a loose time frame. But I mean it. The contract has been signed. The Zig Zags have been distributed. The party probably won't happen until 2012 or later, however. That should give you plenty of time to read my other two forthcoming books, vomit a few times, and forget them long enough to make that mistake a third time.
A couple fellow Cutlies (www.chuckpalahniuk.net members are called Culties, the site is called The Cult; I'm not at risk of drinking tainted Kool-Aid, I promise) very recently started a new online lit mag site called Lobster Cult. It's too early to tell what sort of material will become their foundation, but if my personal knowledge of these guys, Phil Jourdan and Jack Joslin, is an indicator, stories will be transgressive, brutal, dark, with bits of humor tossed in. The "bits of humor" part is where I come in, I think (I hope). Lobster Cult is kind enough to host the first two chapters from my as-yet-unpublished novella AS A MACHINE AND PARTS. This novella marks the deepest I've stepped into the illustrative metafiction world, in which I use the physical structure of the text as a way to tell the story. Take a peek at the first two chapters for…