Author: Scott William Carter

FREE for a limited time: THE GRAY AND GUILTY SEA

guiltyseaA dead girl on the beach. A private investigator haunted by his wife’s death. Get THE GRAY AND GUILTY SEA for FREE for a limited time.

Set on the moody Oregon coast, The Gray and Guilty Sea is FREE as an ebook for a limited time from all of your favorite retailers.  Readers have called the book, the first in the Garrison Gage mystery series, “irresistible,” “unputdownable,” and a “fascinating character study.”

Want to find out why?  Now’s your chance.

Download the ebook for FREE:
Amazon | B&N | Kobo | iTunes

“Carter’s writing is on target.” – Publishers Weekly

  

A curmudgeon. An iconoclast. A loner. That’s how people describe Garrison Gage, and that’s when they’re being charitable.

After his wife’s brutal murder in New York, and Gage himself is beaten nearly to death, the crippled private investigator retreats three thousand miles to the quaint coastal town of Barnacle Bluffs, Oregon. He spends the next five years in a convalescent stupor, content to bide his time filling out crossword puzzles and trying to forget that his wife’s death is his fault. But all that changes when he discovers the body of a young woman washed up on the beach, and his conscience draws him back into his old occupation – forcing him to confront the demons of his own guilt before he can hope to solve the girl’s murder.

Author’s Note:  A newly revised and reformatted edition of The Gray and Guilty Sea was published in June 2014.

  

If you get hooked on the grumpy Garrison Gage like many other readers, there are two more books in the series:

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A New Edition of The Dinosaur Diaries (and Some Thoughts About WIBBOW)

dinosaurdiaries2_ebookcoverMy first short story collection, The Dinosaur Diaries and Other Tales Across Space and Time, has been republished by Flying Raven Press  (links to retailers below).  This is my own publishing company, of course, which gave me an opportunity to package the book in the way I really wanted it, with a snazzy new cover and everything.  The eighteen stories originally appeared in places like Asimov’s, Analog, Ellery Queen, and Weird Tales, among others. I have nothing against the fine folks who published the book originally back in 2010, but it was just time to make a change. 

I never liked the original cover much, and I also didn’t like that in the print edition they tried to squeeze 80,000 words into under 200 pages. It made the book seem quite thin, and even if the number of words is the same, it can give a potential reader the sense that the book is not worth the money if they happen to pick it up.  This print edition stretched it out to around 250 pages.  The original ebook was also four years old, so I took the opportunity to reformat it with some of the better tools available today.

From a business perspective, this was probably not the wisest use of my time. Yes, I’ll see a higher royalty, but honestly, if I was interested primarily in what was in the best interest of my bank account, the time spent re-publishing this book should have been spent working on new material.

From a writing perspective, however, it feels great.

Here’s how I see it.  I know there are writers who can approach writing purely from a business perspective, but that doesn’t work for me.  A few years ago, when Dean Wesley Smith and I were co-teaching some “Indie Publishing” workshops to help writers get started in this arena (this was way back in the cave man days of indie publishing, you know, circa 2011), I coined an ugly acronym as a test writers could use whether some non-writing related task was worth their time:  WIBBOW.

Which stands for Would I Be Better Off Writing?

Lo and behold, this ugly acronym actually caught on and I see mentions of it around the Internet, often by people I’ve never met.  The idea was that as indie publishing gained popularity, there were even more tempting ways to spend your time other than writing new material that could make you feel productive but, when playing the long game, might not be the best choice.

However, the thing about WIBBOW is that it is entirely subjective. It’s up to each writer to decide whether something is worth doing when measured against spending that time writing.  For me, re-publishing The Dinosaur Diaries passed the test, because I also operate by another motto:  Write for yourself, publish for the shelf.  What I mean is that no matter what happens with my writing career, I want to feel good about my choices.  I want to feel like I wrote what resonated with me (hoping it does for others) rather than writing what I think resonates with others (and hoping it will for me). And when I publish something, I want to be able to look at it on the shelf (even if that’s metaphorically, online) and feel that the book’s presentation is giving it the best chance to find an audience—and even if it fails it that regard, that I’ll always be proud of it when I look at it.

I’m proud of this book.  I hope my readers will feel the same.

* * *

dinosaurdiaries2_ebookcoverThe Dinosaur Diaries and Other Tales Across Space and Time

More About the Book

Available Now:

Ebook:
Amazon | B&N | Kobo 

Paperback:
Amazon  | B&N

 

Presenter at North Coast Redwoods Writers’ Conference September 19-20

redwoodLife is so busy these days I don’t have a lot of time for workshops and conferences.  However, a couple years ago I was a presenter at the North Coast Redwood Writers’ Conference in Crescent City, California and had such a good time that I couldn’t resist making a return appearance this year when I was invited to be a presenter.

It’s a cozy little conference held at the College of the Redwoods, Del Norte. I have been to the area many times to hike in the Redwoods, which of course is why I have a hard time resisting the temptation to go again. There’s nothing quite like the feeling of walking among trees that were around when the dust was still settling on the Roman Empire.

On the panels I’m on and the workshops I’m presenting, I’ll be talking a lot about what’s happening in publishing right now, on both the traditional and indie side, and what writers can do to find success.  If you’re anywhere close to the area, take a look at the conference schedule to see if it’s something that might interest you. Since it’s a very small conference, there will also be a lot of opportunity to chat and ask questions. Hope to see you there.

The Point of Unplugging: It’s Not About the Technology

Casey N. Cep’s article, “The Pointlessness of Unplugging,” published a few months ago over at the New Yorker, is well worth a read for those of us who make an effort to occasionally disengage from what I call the Great and Powerful Hive Mind. From her conclusion:

That is why, I think, the Day of Unplugging is such a strange thing. Those who unplug have every intention of plugging back in. This sort of stunt presents an experiment, with its results determined beforehand; one finds exactly what one expects to find: never more, often less …If it takes unplugging to learn how better to live plugged in, so be it. But let’s not mistake such experiments in asceticism for a sustainable way of life. For most of us, the modern world is full of gadgets and electronics, and we’d do better to reflect on how we can live there than to pretend we can live elsewhere.

I confess I’d never even heard of the “Day of Unplugging” until this article, which either says something about how little known the movement is or how disconnected I am from it.  Maybe both.  Here’s the thing, though: While Cep mades some good points, I think she misses what unplugging, for most of us, is all about. It’s not about the technology.  It’s about disengaging from the hyper-connected information sphere.  It’s the modern equivalent of the introvert just wanting to be by himself— to be alone with his  own thoughts, to take some solace from the silence (even mental silence is a kind of silence), to find some inner peace away from all the digital noise.

For many of us, information overload, especially of the ephemeral “I had a donut this morning” and “I haz cats”  variety, can eventually be toxic.  You are what you eat.  You are also what you put into your mind. I took a two-year break from social media before realizing that I was being silly doing so, that I never really had a problem with social media, and I especially had no problem with technology (which, at its core, is a word that just means tools that make our lives better).  I just needed to find the right balance.  I agree that the person who makes a big show out of unplugging may be a bit of an exhibitionist, just another way to say “Look at me!,” but that’s not why I do it.  I do it because disengaging from everyone else, and the Internet in general, is a way of engaging fully with me.

The struggle for most of us is not whether to unplug.  It’s how. I’ve worked hard to completely unplug from the Internet while in my home, which works for me because of the circumstances of my life, but even that’s been a challenge lately because of how embedded the Internet is in everything I do now.  Do I tell myself it’s okay to look up the weather online, but that I can’t go on Twitter?  Do I avoid reading CNN.com, but allow myself to use Google Maps to get directions?  It’s not as clear cut as it used to be.

What I have found is that if I commit as much as possible to unplugging while in my home, then I tend to have a list of things to do when I permit myself to get back online. But it’s still not easy.  I’m still trying to find the right balance, and I suspect that most people taking part in the “Day of Unplugging” are the same. I just do it daily instead of once a year.