Fibonacci: International Supergenius

I got a box of books the other day containing foreign editions of my children’s picture book, Blockhead: The Life of Fibonacci. Thus far, the book has been translated into four languages: Japanese, Korean, Spanish and Catalan.

Spanish edition.

Japanese edition.

Korean edition.

Catalan edition.

It’s always a thrill to get these foreign editions and to try to puzzle out the meaning of the words in languages I cannot read.

In this case, I was especially interested in learning how translators made sense of the English word “blockhead,” which Webster’s defines succinctly as “a stupid person.” 

My use of this word in my title and story was deliberate, if a little controversial. In his day, Leonardo openly made use of his nickname, Bigollus, which people today translate as “traveler,” or “wanderer,” or even “dreamer.” 

No one knows what the words really meant in the Tuscan dialect of his day, but I am persuaded that it must have had a meaning close to the modern Italian word, “bighellone,” which means “dunderhead” or “absent-minded” or “idler” or “loafer.”

While some writers on the Web persist in saying that Leonardo’s name must have been a way for his neighbors to praise this well-traveled man, I say they probably haven’t spent much time in Italy. It seems entirely in character for small-town paisani to openly mock a well-educated math genius for being an absent-minded professor type. At least, that’s my story, and I’m sticking to it. 

Since I can’t read the Korean or Japanese editions, I’m setting these aside to share with a few friends who can help me out. 

But since I can muddle through in Spanish and Catalan, I was please to see that these editions translate the “Blockhead” of the title as “Sonador” and “Somiador” respectively. Both words mean “dreamer.” 

The title of the book in these two languages of Spain is therefore “Fibonacci: The Dreamer of Numbers.” Both are published by Barcelona’s illustrious Editorial Juventad, whom I thank profusely.

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Cover Story: Night Market

The images behind any book appear first in the author’s mind. What do my main characters look like? How do I envision their homes, their world, their nightmares? 

A writer can go weeks, months, or years carrying these visual images in his or her mind. 

Then the cover artist appears on the scene, and pits his vision against the author’s, striving to create a look that will be highly compelling and marketable. In this occasional series, we’ll look at both sides of the development of an ebook cover. Who was thinking what — and when? Which came first, the author’s concept, or the designer’s?

Today we’re joined by Hunter F. Goss, author of Night Market, and cover designer, Jeroen ten Berge.

Night Market intrigues me because I’m a sucker for novels and thrillers that incorporate historical figures. I loved books such as E.L. Doctorow’s Ragtime, Caleb Carr’s The Alienist, both of which feature appearances by the financier J.P. Morgan. As far as I can recall, Morgan does not appear in T. Coraghessan Boyle’s The Road to Wellville, but that book’s fixation on food reminded me of some of the over-the-top dining scenes in Night Market. The nonfiction book Appetite City, by William Grimes, about the culinary world of old New York, also conjures up for me the feeling of sumptuous dining in Goss’s fin de siècle world, minus the vampires, of course. Let’s get to the interview.

What is your book about?

Goss: Night Market tells how and why the Undead helped the American financier John Pierpont Morgan rescue some of America’s largest banks during the Panic of 1907.

How did you pick your cover artist?

Goss: I looked at a lot of cover artists who were doing work for indie authors, but Jeroen ten Berge’s work stood out far and above the crowd. When I saw Jeroen’s cover for Steve Richer’s The Gilded Treachery, I knew he could connect with the sort of “what if” historical novel I’d written.  

What instructions did you give him?

Goss: We exchanged a few emails, and Jeroen told me how he works. When I sent him a synopsis and manuscript to work with, I told him about two images I kept getting in my head. One was a kind of Wall Street Journal look, but we knew Mr. Murdoch wouldn’t be amused by this. The second image was that of a female vampire against some sort of Wall Street backdrop. I originally saw her as having her fangs bared and ticker tape for a tongue, but Jeroen didn’t think it fit with the book’s premise. He was right. After that, I just let him alone to do his work and the result is what we see here.

What did you like about the cover he created?

I really liked the central elements Jeroen chose to focus on: Veronica Fontera, one of my two protagonists, and a recognizable Wall Street landmark. That landmark is Federal Hall, which at the time Night Market takes place was being used as a gold depository called the Sub-Treasury. At the very beginning of the story, the Sub-Treasury’s reserves were being depleted by Europeans cashing in government bonds for gold. It was called the Gold Crisis, and the solution to it is what brings my other protagonist, Andrew Kirkland, and Veronica together. 

Jeroen reinforced the idea of money and finance by using a font reminiscent of what we see on United States currency. He uses a serene image of Veronica with a splash of blood at her mouth that’s dripping down over the Sub-Treasury building, suggesting violence and the paradox she represents. The image is completed by the use of varying shades of red, playing up the gothic suspense elements of Night Market. All told, I’d say Jeroen hit the bull’s eye.  

What reaction, if any, have you gotten about the cover?

Goss: Really positive. I actually showed it to two stockbrokers, who immediately “got” what the story is about just by looking at the cover. And that’s what any writer needs in order to sell a book. When my editor saw it, she was blown away. Then she told me we were going over the manuscript one more time. “One more time,” though, ended up being eight weeks before she said, “OK — publish it now.”

Can you tell us anything about yourself, particularly how amassed the knowledge of 19th and early 20th century economics to be able to pull off this book?

Goss: I grew up around the hide and leather business, and except for a couple of years in academia after graduation doing economic research, that’s where I spent most of my working life. I call it the most obscure and unglamorous corner of the fashion industry, but it gave me an opportunity to travel to a lot of places that end up appearing in my stories. Paris was one of those places, and some important scenes in Night Market are set there.

I left the business a few years ago when just too many of our customers decided it was a great idea to manufacture in low-wage countries. It didn’t pay to keep the operation going, and it wasn’t really fun anymore, so I got serious about the only other thing I’ve ever wanted to do: writing. 

Besides papers for academic journals, some wine articles, and promotional material for leathers used at trade fairs, I’ve done some comic and graphic novel work for the European market under another name.

I live and hang out in the Rust Belt along the Pennsylvania-Ohio border. Pittsburgh is in one direction and Youngstown, Ohio is in the other. 

Okay, so let’s switch over to Jeroen. What challenges did you face creating this cover?

ten Berge: I was immediately intrigued by the story, the fact that it mixes historical fact and characters with fictional ones, setting a stage for something that might actually be true. (Well, we now all accept Wall Street is rife with vampires, so it must be true!) Alternate history fiction, or “What if” fiction as Hunter calls it, has always fascinated me. Robert Harris’ Fatherland, which offers a scenario of Germany winning WWII with Hitler still ruling when the Beatles consider touring Berlin, is a prime example of the genre. One of my favorite books in the genre is Resurrection Day, by Brendan DuBois, set in the 1970s, after the Cuban Missile Crisis escalates to a full scale war, devastating Russia and leaving the United States reliant on aid from Great Britain. Both are fantastic reads and come highly recommended. But I digress.

The challenge for me was finding imagery that conveyed the story. I had the elements for the design in my head quite early on. Initially I looked for historical images of New York City and Wall Street, but aside from a few dainty old photographs there was nothing I could use. Then I stumbled on a current photo of Federal Hall I could potentially use. I photoshopped out modern-day trash, street lights, and a railing, to give it a sense of it being 1907. Veronica’s image was easier, as I used my wife for a model, bar the teeth. When I had those two key elements, the rest was pretty straightforward. I added fangs, blood, and text and then played around finding the best composition, most suitable typeface and a striking color scheme. 

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That’s it, folks. Night Market is available via Amazon and Smashwords. Thanks to Hunter and Jeroen for participating in this inaugural post on ebook covers.

Note: Both of my ebooks, designed by Jeroen, are on sale through the holidays for $0.99.

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Flowers, and the One Where I Phoned Ellroy

The weather changed for the worse this weekend in my neck of the woods, but not before I shot some photos of the last few flowers struggling in my front yard. It later occurred to me that both of the flowers I shot had literary connections for me.

The cosmos, which displays its customary 8-petaled Fibonacci number, reminded me of an interview I conducted with organic farmer/poet Scott Chaskey some years ago when I was writing The Newman’s Own Organics Guide to a Good Life, with my co-author Nell Newman. Chaskey, who later went on to publish a charming book entitled This Common Ground: Seasons on an Organic Farm, told me then that cosmos are one of his favorite plants: 

“I know they’re simple and gaudy, but I like them. Last year I planted a long hedge of them, and people would immerse themselves in these six-foot plants and come out happy.”

I myself find these plants really delicate. Every year I dream of sowing them in a thick hedge like the one Chaskey speaks of, but never manage to pull it off. I love watching them bob on their spindly necks. I can’t plant enough of them, and thankfully there are lots of different varieties.

Another Fibonacci eight-petaled flower is the dahlia, which isn’t perennial in most parts of the U.S. In colder climates like ours, if you want them to come back, you have to dig up the tubers at the end of the season and carefully preserve them indoors for planting the following season. I haven’t been able to pull that off successfully either. (Whaddaya want? I’m a writer, not a farmer.)

But I cannot look at these lush flowers without thinking of crime fiction. These days anyone who knows anything about mystery fiction has heard of the famous Black Dahlia murder, probably thanks to James Ellroy’s fictionalized version of the case, and the subsequent film based on the book. But far fewer people probably remember the 1946 film noir called The Blue Dahlia, starring Alan Ladd, Veronica Lake, and William Bendix. The film was produced by John Houseman and is best remembered as the work of Raymond Chandler, screenwriter.

Back a hundred years ago, before I knew anything of Ellroy or the gruesome murder case, I saw the Ladd-Lake-Bendix film at a library film series near where I grew up in New Jersey. The series, introduced by a local college professor who specialized in detective fiction, opened my eyes to a bunch of films that I would never have seen otherwise. I also remember thinking it was cool to have a job as a professor analyzing and writing about mysteries. Who knew that they would let you do that? 

Years later, I became obsessed with Ellroy’s work after reading his Dahlia novel. I bought a bunch of his signed, first editions from The Mysterious Bookshop in New York City, and read them all in quick succession. Then, one day, I came across an article in People magazine that mentioned that this mad genius lived in a basement apartment in Easchester, New York. 

Gee, I thought, that’s not far from me. I could call him and tell him how much I like his work. Or something. I wasn’t thinking too clearly on this, I have to admit, but I called information and dialed the number.

“Ellroy,” the great man answered.

I panicked, and hung up the phone.

See what beautiful memories come from a walk in the garden?

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Reviewed in the Wall Street Journal!

Things settled down last week after we conducted more than 30 radio interviews during the launch week of our new book, Signing Their Rights Away. Since the book is tied to Constitution Day, we thought the excitement would die down after that little-known holiday, held this year on Saturday, September 17. 

But no. A number of reviewers and bloggers are only now discovering the book. That’s typical of the industry. You never know when someone is going to discover your book and do a review on it. (One of our books — an influential book about how freelancers can manage their money —came out two years ago, and was reviewed only last night on a prominent personal finance blog, The Simple Dollar.) Love when that happens.

This past weekend we were surprised to learn that our new book, Signing Their Rights Away, had been reviewed in the Wall Street Journal’s weekend book section. The reviewer seemed to hit on the all the key points we were trying to make about the signers. To quote part of the review:

“Though Ms. Kiernan and Mr. D'Agnese clearly delight in noting the warts and blemishes of the Constitution's signers, they maintain a refreshing reverence for the Constitution itself. Rather than ask readers to believe that an ‘assembly of demigods’ (Jefferson's words) wrote the Constitution, Ms. Kiernan and Mr. D'Agnese challenge the notion that the group that crafted this document of enduring genius was uniquely brilliant or visionary. If this raises the question of how exactly the miracle was accomplished, it should at least give readers some hope for our own seemingly uninspired political era.”

Cool.

If you haven’t already watched the book trailer, it’s right here. Denise outdid herself this time around. The new video is hilarious.

Thanks to everyone who continues to support this book with reviews and word of mouth. 

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Insane Week Ahead!

We’re doing a record (for us) 26 radio interviews this week promoting our new book, Signing Their Rights Away. Though the book officially pubbed last week, today begins our major promo week since the U.S. celebrates Constitution Day on Saturday, September 17. 

This is one of these holidays only federal workers seem to celebrate. Constitution Day commemorates the actual day in 1787 when 39 founding fathers signed the U.S. Constitution.

Our book is about those 39 men. Some were supergeniuses, others quite mediocre. At least one was an outright scoundrel who became the first person impeached in the U.S. government. No one ever seems to know that these men existed, while we routinely and slavishly fete the signers of the Declaration each Fourth of July.

I’d argue that the men in the new book are every bit as interesting as the men who signed the Declaration of Independence.

If you haven’t already watched the book trailer, it’s right here. Denise outdid herself this time around. The new video is hilarious.

Thanks to everyone who’s supported this book with reviews and word of mouth. The book is available wherever books are sold, and our local bookstore has plenty of copies in stock, available for autographing.

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New Book Out Tuesday: Signing Their Rights Away!

Tuesday, September 6 marks the publication of my new book, Signing Their Rights Away, with my coauthor Denise Kiernan. It’s a nonfiction history book about the 39 men who signed the United States Constitution in 1787. More notably, it’s the follow-up to our earlier book about the Declaration signers. The first book has done phenomenally well, so I’m really excited about the new one.

I’d argue that the men in the new book are every bit as interesting as the men who signed the Declaration of Independence, but they are probably less known than the Declaration signers. The book consists of 39 short biographies on each patriot, no more than three to five pages, tops.

Some of their stories are inspiring, others hilarious. You can get a sense of our approach in handling this material in the new book trailer we’re rolling out today:

People always ask how they can support us when a new book comes out. The most obvious thing is BUY THE BOOK, but you knew that already.

Knowing that not everyone loves history, even our humorous take on it, we point out that you can help us in other ways: mentioning the book to history buff friends, booksellers, librarians, book clubs, or social studies teachers.

You can share the book title with your Facebook or Twitter fans, or just watch the video and have a laugh. If you do read the book and like it, please consider leaving a review for us somewhere online. It really helps. I’ll be back next week, on pub day, to talk about other ways you can help us.

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What's Been Going On Around Here

Here’s quick rundown of what’s been happening around the Web with respect to my various projects...

JERSEY HEAT

My interview with cover artist Jeroen ten Berge and my new novel, Jersey Heat, got a dandy mention on Man-Eating Bookworm, a blog run by a gent named Peter Andrew Leonard. I’ve been following Bookworm for a little while now. Leonard’s taste runs from mysteries and thrillers to horror and graphic novels. I’m always frankly dazzled by how good-looking his site is.

 Another writer I enjoy and admire, Lee Goldberg, flagged the interview. Goldberg is the mind behind the Monk novels, based on the TV show of the same name. I’ve always enjoyed his other books, such as The Dead Man series, The Jury series, and his stand-alone about surviving the big one in LA, The Walk. His book Watch Me Die is on my reader right now, and I hope to get to it soon.

Mystery novelist Joseph Valentinetti asked me to contribute a Q&A post about Jersey Heat to his site. It’ll be up in a few weeks. Here’s a preview.

SIGNING THEIR RIGHTS AWAY

This book, about the men who signed the U.S. Constitution, will be out in only 24 days! You can pre-order now from any of the bookstores on this page.

For the last two years we’ve been shooting footage of all the historic sites we visit to promote this book series. You can catch a glimpse of three of the South Carolina films in this post I recently did for our publisher, Quirk Books.

MONEY BOOK FOR FREELANCERS

We’re giving away 5 books in a giveaway on Goodreads. Enter soon. The deadline’s Sept. 12!

We donated a bunch of books for the annual Freelancer’s Union auction.

We got a mention in this article on Media Bistro. (Subscription required.)

We’re busy right now compiling our video seminar for the upcoming International Freelancer’s Day. It’s September 23, so don’t miss it!

BLOCKHEAD

Just did a Q&A interview with Media Darlings about my children’s picture book, about the life of the medieval mathematician, Leonardo Fibonacci. The interview is here.

HAVEN HOUSE

* No, I am NOT the author of this horrifying new novel. It’s the bastard brainchild of Stuart Connelly, who I’ll interview in a few days. HAVEN HOUSE is a featured excerpt in the JERSEY HEAT ebook, and it’s out this week. You can grab it at Amazon and Smashwords. If you want to scare yourself, snag a free sample and read the first chapter.

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Paging Mr. Rash

My interview with Jeroen ten Berge, a Dutch-born designer who lives and works in New Zealand, brought to light a startling coincidence yesterday. It seems that Jeroen greatly admires author Ron Rash, a noted author who writes books based in Appalachia, where Rash’s family has lived for generations.

This surprised and delighted me, because I happen to live smack dab in the middle of Appalachia, in Asheville, NC, where Mr. Rash is regarded not only as a literary giant but is also likely to be hailed on the street with an effusive, “Hey, Ron, how’s it going?” (He’s also a professor at nearby Western Carolina University.)

It gets more interesting, and beautiful, depending on your perspective. Here’s what Jeroen had to say about one of his favorite authors: 

“One of my favourite authors is Ron Rash, who writes amazing stories set in the Appalachians. I love his style, the dire realism of his work, the love he has for nature and how he describes his characters, their relationships, the choices they make and how it affects them. I’ve read all his work except for Serena, of which I read the first two chapters only. I’m saving the rest for the perfect moment, whenever that may be. For my own pleasure I designed nine covers last year, for some of his short stories. After awhile I found the courage to send them to him, hoping I could sway him to publish his work as eBooks, featuring my covers. He said he found the illustrations wonderful, and referred me to his agent. Sadly it ended there. Rash did give me permission to show the covers on my website — haven’t done so yet.”

Jeroen shared the covers with me, and I’m posting them here, as sort of a testament to one artist’s love for a fellow artist’s work.

Since I’m anticipating some readers of this blog will be interested in buying Rash’s books, I suggest they visit the website of Asheville’s local bookstore, Malaprop’s, where buyers have the highest probability of finding autographed copies of Mr. Rash’s books. 

If you do call, tell ‘em you heard this charming story, and who knows? Maybe someday Jeroen will be designing those covers for real.

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Q&A: Jeroen ten Berge

“The cover of your book looks amazing!” people tell me. And I absolutely agree. The compliments I’ve been hearing lately refer to the two books I recently published. The striking covers were designed by the talented Jeroen ten Berge, a Dutch-born designer who lives and works in New Zealand.

Lately, every time I read about a hot new indie title—whether self-published by a name author or an up-and-coming newbie—the man behind the cover art is Jeroen.

I’ve been obsessed with illustration since I was a kid. In my career, I’ve been lucky to work with children’s book illustrators and magazine illustrators, but this is the first time I’ve personally hired and teamed up with a cover artist to bring my work to life. I thought I’d take some time to ask Jeroen all the little questions I’ve been shy about asking during the few months we’ve been working together.

He graciously consented. Here’s our interview, along with links to some recent cover art by the man himself.

How do you describe the work you do? Are you a designer, an illustrator, or what? (It might help if you tell us what your training/background is.)

I consider myself a designer first. However, illustration is a skill I almost always use to assist me in creating the design I have in mind. In some cases an illustration becomes the key element of a design. Your book The Scientist & The Sociopath is an example, but the Serial-series covers I created for Blake Crouch and Joe Konrath are also illustrations, as is Suzanne Tyrpak’s Vestal Virgin cover. I also use stock photography, sometimes my own. Several of the covers I designed for Marcus Sakey feature my photos, as do several of Blake’s covers. 

I guess I was fortunate to have studied graphic and typographic design at the Royal Academy of Arts in The Hague in the early- to mid-1980s. There was a strong focus on teaching the principles of design and typography, taught by people such as Gerrit Noordzij, one of the greatest type designers of his generation. There was, however, equal attention paid to illustration and photography. The philosophy was very much, "Why ask someone else to make an illustration or photograph for your design if you can do it yourself?"  In retrospect I can see that graduating the year before Apple MacIntosh was introduced to the Netherlands helped as well. Knowing how lead type works, and why there are certain rules of design helps me on a daily basis. That said, I have worked on an Apple for more than 20 years now, and would consider a career change if I had to go back designing old school.

Everywhere I look these days, I see your name and your work. I unhesitatingly tell people that you are probably the best designer of indie book covers on the planet. Do you have any problem with that designation?

If that is your truth — so be it, I’m flattered. However, I’m sure there will be many people who beg to differ, who prefer someone else’s work. I would never use the designation myself, or even consider the thought. Like most people working in the arts, everything I do is accompanied with doubt. Is it good or is it crap? Will the client like the cover, or think it is shit?

What other types of design work do you do and how important is the indie book business to your overall workload?

Before entering the book design world about three or four years ago, I designed logos, corporate identities, websites, wayfinding, and packaging. I still do, but designing covers has become something I’m very passionate about. It is hard to say what the balance is today. A year ago I would have said 80/20 in favour of the other stuff. Today it is probably 40/60 in favour of book covers. Who knows what it’ll be next year?

About how many covers do you create a year? Is that part of your business growing?

I don’t know — I haven’t counted. I can tell you that about a year ago I worked with about 7 or 8 authors, today it is over 40. So yes, that part of my business is growing.

Soup to nuts, how does a cover come to be? How long does the process take, and do the steps you take vary from cover to cover?

It depends. I usually receive a manuscript, sometimes accompanied by a synopsis. I read it, take in account additional information offered by the author and I think. And think, and doodle. And sometimes research. I think until I have an idea, or several, then edit, and usually only then start to actually design. Almost always I create one cover and present that to the author. I don’t do comps and send a bunch of ideas to the author. It creates confusion. It does, however, mean that I occasionally present a design that doesn’t work for the author. Which means that I then go back and present a new and different idea, taking in account the author’s feedback. Important to me is that the author receives a cover he or she feels completely happy with, and is proud to share with his or her audience.

What kind of software or other tools do you use to make a cover come to life?

Illustrator, Photoshop, and Indesign are my software, plus the thousands of typefaces I have bought over the past decades. My hardware are a MacBook Pro, two iMacs, and my beloved MontBlanc Meisterstück (which I bought twenty years ago as retail therapy after a particularly frustrating meeting with a client) for writing notes. I also use Steadtler Ergosoft and Omnichrom 108-3 Aquarell pencils for doodling and sketching in Moleskine drawing notebooks. I’m a sucker for nice stuff.

You told me once how ideas for covers pop into your head as a quick flash of insight or inspiration. Can you tell us what that process is like?

Annoying — because it never stops. I sometimes even design in my dreams. I’m not kidding. It is bloody annoying, especially for family and friends. We can have a lively conversation, and I see or hear or smell something that triggers a synapse in my brain and off it goes. I have to leave the party to write the idea down, or make a quick sketch, otherwise I might forget it. It drove my wife bonkers, but she’s used to it now.

Do you read all the books for which you design, or is it enough to simply get a feel for the concept from the author?

I read almost all the books I design covers for, or at least enough to get a feel for the story, its tone and style. Occasionally the author supplies a summary or synopsis of the book, which allows me to skip reading the book itself. I’ve probably read over 80 novels so far this year. I’m not a fast reader, so reading is expensive. Thankfully sometimes an idea can be triggered by a paragraph in the author’s email, talking about the manuscript. Then I only read enough to confirm my idea truly fits. 

It seems like you do mostly mystery, thriller, horror book covers. Are these your favorite genres?

Not necessarily. It is the quality of the writing, combined with great storytelling that makes me tick. One of my favourite authors is Ron Rash, who writes amazing stories set in the Appalachians. I love his style, the dire realism of his work, the love he has for nature and how he describes his characters, their relationships, the choices they make and how it affects them. I’ve read all his work except for Serena, of which I read the first two chapters only. I’m saving the rest for the perfect moment, whenever that may be. For my own pleasure I designed nine covers last year, for some of his short stories. After awhile I found the courage to send them to him, hoping I could sway him to publish his work as ebooks, featuring my covers. He said he found the illustrations wonderful, and referred me to his agent. Sadly it ended there. Rash did give me permission to show the covers on my website — I haven’t done so yet.

So are we unlikely to see a cover by you for a sci-fi or fantasy ebook featuring some kind of Hobbit-like creature in the near future?

I usually say I won’t design covers for books that are about scarcely clad guys toting oversized shining swords conversing with dragons — not my cup of tea. That said, someone I already work with sent me the first snippet of a novel that is very much fantasy, and immediately the ideas started bouncing. So watch this space…

We first met when I asked you to do a cover for my nonfiction science book. You said you were intrigued because you actually have an interest in all kinds of nonfiction books as well. Can you tell us about some of your recent favorite NF reads? 

I’ve always been interested in human behaviour. What is it that makes us do what we do, and why? Do we have any control over our destiny, is there such a thing as fate? Why do people fall under the spell of others — and would I? Right now I’m trying to read The Black Swan, by Nassim Nicholas Taleb, which is about unpredictable and improbable events, and once they have happened how we then try to explain it, rationalize it, attempting to make it appear less random, more predictable. Which Taleb explains is pointless, I think. Another one is Hitch 22, Christopher Hitchins’ autobiography. But I’m afraid both are too demanding right now. I guess I should book myself some long flights for those two books.

What also interests me greatly is how talented people utilise their artistic creativity to con people. Especially where it concerns the fine art scene. One of my favourite non-fiction books is Clifford Irving’s FAKE! The story of Elmyr De Hory, The Greatest Art-Forger of Our Time, published in 1969. Anyone remotely interested in fine art, the art of collecting fine art, and the gullibility and greed of people should read it. Also fantastic, and more recent, is Freakonomics: A Rogue Economist Explores the Hidden Side of Everything, by Steven Levitt and Stephen J. Dubner. 

Can you name some up-and-coming self-pubbed authors whom you think have great promise?

I think Blake Crouch will become one of the greatest thriller writers of his generation, if he isn’t already. J.E. Medrick has the potential to become a household name — her Icarus Helix series totally rocks. Roy Finch’s The Emperor of Glitter Gulch is an amazing and brutal debut. Steven Konkoly’s The Jakarta Pandemic, if you like a terrific novel about society unraveling after an event; Suzanne Tyrpak’s Vestal Virgin, if you are into the genre currently dominated by Robert Harris. Ania Ahlborn’s debut Seed is a terrific horror yarn, as is Robert Swartwood’s The Dishonored Dead, but for totally different reason — best zombie book I have ever read. And Saffina Desforges’ Sugar & Spice will more than satisfy anyone who loves a psycho-sexual thriller. There are more – should I continue?

Are you pleased with your increasing work in book covers? Is there ever such a thing as too much work for a freelancer?

Yes, I am — very much so. With designing ebook and print-on-demand covers I have found something that combines my love for reading, collecting books, and design. I have never been very ambitious, but having found this niche — and enjoying it immensely, I now want to build a large and diverse body of work. This is only the beginning.

What the heck are you doing living in New Zealand, and can you get us all a good deal on some sauvignon blanc?

That is a very long story I may tell you in person someday, while enjoying a bottle of that great sauvignon blanc or pinot noir growing in my back yard.

Thank you, very much, Jeroen, and here's hoping we'll meet in person someday.

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New Novel: Jersey Heat

Today marks the debut of my new book, Jersey Heat, a mystery/thriller that takes place in and around a fictional town in New Jersey.

I’m really excited about this book, because, while it’s not the first novel I’ve ever written, it’s the first I’ve shared with the public. The book’s available today via Amazon and B&N for the ridiculous price of $2.99. Over the next few days, it will slowly migrate to most other venues, such as Kobo, Smashwords, etc.

There are some really neat bonuses that come with the digital version, which I’ll describe briefly. First, the book features a gorgeous cover by artist/designer Jeroen ten Berge. In a few days I’ll be running an interview with Jeroen.

The book includes a free preview of Haven House, a new horror novel by Stuart Connelly. It’s a horror story with a twist: a mix of The Lottery, Rosemary’s Baby, and The Shining all wrapped into one. I dare you to stop after reading the first horrifying chapter.

Lastly, I’m offering a freebie with this ebook. Your purchase entitles you to a free copy of The Scientist & the Sociopath, a collection of my best nonfiction science stories, from magazines such as Discover, Wired, and Seed. All you have to do is send me proof that you’ve bought Jersey Heat, and I’ll mail you a coupon good for Scientist.

Here’s the pitch for Jersey Heat:

It’s a hazy, hot, and humid summer in New Jersey, circa 1993.

No mobile phones.

No Internet.

No Caller ID.

No DVDs.

No terrorists.

And the environment isn’t cool.

Luke Mulcek calls himself a businessman. He’s actually a thug in a suit, a former Brooklyn kid, ex-boxer, and mechanic who made good. Luke’s got an in at the water company in a dinky town, where he’s concocted a $200 million land deal to build condos on the reservoir. Ramming the plan through the town’s planning board is the tricky part. Shadow Lakes isn’t Brooklyn, and even before page one Mulcek has decided to cut through the red tape the way he would have done in the old neighborhood. 

With payoffs, threats, blackmail — and murder.

A retired cop and a young slacker are all that stand between Mulcek and his violent grasp at the good life.

Mulcek’s undoing — and the key to this environmental thriller — is a creature from the skies, bred by nature to be the ultimate killing machine.

The strength of this book lies in its voices: Cops, thugs, Brits, gigolos, ghetto kids, scientists and lawyers all come to life in a world that feels part Elmore Leonard, part Carl Hiassen, and 100 percent New Jersey.

Note: Both Jersey Heat and Haven House are intended for mature readers. Both feature scenes of sexuality, violence and strong dialogue.

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Yes, I am trying to post here more often. Thank you for noticing. If you want to sign up for my newsletter and claim your collection of free ebooks, go here. Thanks!