Endings and TV Reviews

(Mainly a proof of life continued existence post)


I seem to have watched the endings of a number of TV series in the last few months. Only one of those listed below actually on broadcast TV (and that probably a bit behind US screenings), most of them being on DVD or alternate sources.

While you can’t really judge a series solely on it’s ending, it obviously play a large part in how you remember it. It’s been years since I’ve watched any Blake’s 7, and over 35 years since the final episode was screened, but I still have that ending seared into my memory (also, I feel old).

It can, of course, depend on the type of show. The more episodic type doesn’t necessarily need as satisfying a conclusion  as a serialised story, the latter justifiably having more expectation on it’s dénouement. Many series these days straddle the two.

One recent series I’m still undecided on is The Mentalist. They dealt with the big bad in the middle of season six, then went on for another season and a half . I can understand wanting to deal with the repercussions of the ending of the main story, but it made the later season feel like it was killing time.


Covert Affairs

I kind of wish this had finished with season 4. It’s big bad had been around since the beginning, and gave the series a feeling of a larger story than the season arcs it was composed of. Annie had a great arc for that season, faking her death and operating on her own, and it ended strongly. It felt like a good final act for her story.

But it wasn’t the end. Season 5 was fine, but it was mainly bringing in new plots. Possibly I felt let down by it not addressing some of the issues I hoped from the previous season. I know it was probably complicated by casting issues, but how did Annie deal with explaining to her sister (who hadn’t been around for a couple of seasons, but with whom she would have kept in touch) why she’d had to fake her death. A lot of the series had been based around the relationships, so it just felt an odd omission (understandable, in a way that drags you behind the fourth wall).



The shorter fourth season made the ending feel a bit rushed, but it was an otherwise satisfying ending to one of the best SF series of recent years.

It was particularly good in playing up the moral ambiguity of who was in the right (or the less wrong) position, and the decisions they made. Time-lost cop hunting time-lost terrorists could easily fall into cliché, but the rounded antagonists helped make this good. And the ending, while rushed, hit the perfect final note of success at a cost.


The Following

To be honest, the story contortions probably started fairly early as they tried to keep this going after the first season. It was usually enjoyable, but the morally questionable situations in which the characters found themselves did start to feel like they were coming too fast.

It never really slowed down fast enough to feel more than a slight jarring from all the plot holes, and as long as you didn’t compare it to Hannibal it was enjoyable enough (I don’t know I’d say it was fun though).

The ending tried to give a kind of set up for future stories you’d never see, but for me it felt a bit, I don’t know, unfinished maybe. It made a kind of sense for where they’d taken the character, and was kind of in keeping with the feel of the show, but I’d have accepted a happier ending.


Person of Interest

While some moves in this long game seemed opaque, and at times it veered towards the formulaic, this series often managed to shift out of the formula as soon as you got too comfortable, and remained entertaining. Mainly because of the characters.

I’m not sure whether to class it as a hybrid SF/Crime Drama, or SF masquerading as Crime Drama, or whether it even matters.

Even with the final season cut short, they knew far enough ahead that they used it to focus on the main story, hitting all the beats they needed to and providing an ending that just felt right.


Penny Dreadful

The end of the final season felt a bit rushed. The entire season felt more disjointed than the previous ones, with having so many of the characters separated, having their own stories without as much interaction. Then it hurriedly brings them all together at the end. It feels like they were expecting another season, but had to quickly tie it all up.

It kind of works, but there were some parts I’d have liked to have gotten more room to breathe.



I doubt there’s much I can learn from these, since they’re so heavily influenced by their medium. Even if they have an ending planned from the outset, the practicalities of such complex collaborations probably require all kinds of compromise – both dealing with input from various sources, and the financial realities of what you can afford to create visually rather than just with words.

If a story is complete over one season, such as with True Detective and similar shows, you have greater control over what can be achieved. Multi-season series are more at the whims of viewing figures and other factors, often ending up unable to provide a satisfying ending, or having to cram so much in that you can feel the artificiality of it.

In prose, you don’t have those excuses for weak endings. It can still be worth thinking about why certain endings work well, though. You simply need to distinguish the story elements from the structure in which they’re presented.




The Book of a Thousand and One Destinies

I noticed a few months back that Amazon UK had a competition for stories to be published between Feb and May 19th on KDP Select (which I dislike because of it’s exclusivity, but as a one-off I’ll see if it does me any good). I didn’t have anything ready to go at the time, and I think I thought it was only for novels. Also a lot of it sounds like a popularity contest, and getting readers is a problem to begin with.

Noticing a couple of days ago it’s for anything over 5000 words, and having a novella that I probably won’t find anywhere else to try submitting, I decided I’ll try it. Since it needs to gain some popularity by the end of the month, I doubt it’ll get anywhere.

It’s something to try anyway, and I’ll be doing a free giveaway of it next weekend (12th -14th), giving me time to submit to a few of the places that promote such giveaways, hopefully getting some attention.

It’s a shameless homage of the Book of a Thousand Nights and a Night (Tales of the Arabian Nights), with the language aping it in being slightly archaic. it probably won’t be for everyone. Or, likely, anyone. But it was fun to write.


The Book of a Thousand and One Destinies

A paranoid Sultan, an Assassin found only in stories, and a Storyteller caught up in their battle.

Once upon a time, a great Sultan was plagued by an Assassin who struck at him with stories and lies. A young Storyteller is gathered with her colleagues, and forced to share her stories with the Sultan before their voices are stilled forever.
In a war of destinies, enslaved jinn, and comparative truths, the Storyteller must tread dangerous ground in what may be her final recital.
A fantasy novella.






I’m undergoing another phase where I think I may as well give up on writing, or at least publishing.

I’ve tried submitting a couple of things over the past few months through the more traditional (or modern versions thereof) methods.

Self-publishing probably requires someone more comfortable with selling themselves to achieve success, which isn’t me. Marketing my books will be a waste of time and/or money without a number of reviews on them to encourage visitors to try them, and reviews are hard to get.

It’s only been a couple of months since I applied my latest book to a few dozen reviewers, so it’s probably still too early to expect much. A few replied to say their lists are too long, or they’re not interested, and a few to say they were interested. But getting reviews seems such a long process without a recognised brand.

The self-publishing route seems to basically boil down to hoping against all reason that your work will get noticed, or being the type of personality who can get their work noticed.

So I’ve tried a few other avenues, in hopes of finding other ways to draw attention to my work.

Those rejections feel more concrete than the general ignorance with which my self-published work is greeted. I can always hold out hope of them being noticed later, but a rejection is more tangible. Even bad reviews can be ignored, when they offer nothing constructive, as just someone disinclined to like my work.

But an actual rejection from someone whose job it is to read such things feels somehow different (and having two in one day doesn’t help). Even if it could just be a matter of taste. None actually say my writing stinks, but is that just politeness?

As with most of my work, they’re of awkward lengths for the traditional channels: there are few venues for novellas, and the novel (by certain classifications) is way too short for publishers to consider.

There are a growing number of independent publishers starting to take advantage of the possibilities eBooks offer to consider wider ranges of material, and it was mainly those I tried. They still have a large number of submissions though, so maybe I’m just not standing out.

I’m left with a couple of novellas and a short novel that are probably in publishable form, but I can’t find the enthusiasm to put them out there. Without some other factor in the mix, there’s no reason to think they’ll have any more luck finding an audience than my previous stuff.

And I’m also having trouble writing new stuff, everything feeling so bland and lifeless as soon as I start the actual writing.

Hopefully the phase will pass. But I’m increasingly certain my work will never really be read anyway, so I may as well give up the extra work of publishing it.


Flaws or Features

With every story I finish I seem to see more flaws in my writing style. And then have to wonder whether they’re flaws or features.

For example: I’m not good on descriptions, and tend to make them brief when I do use them. Which means the prose isn’t necessarily as immersive as some might like. Conversely, they don’t slow the story down. So in that way it could be considered good.

If it’s not something I feel I need to, or can, change, then I’d probably have to consider it a feature of my style.

I’m becoming convinced epic fantasy is not what I should be writing, because it doesn’t really fit my style. Or anything that long.

The third part of Dwimmerfall (I think it’ll be four parts) feels like it has too many meetings. It’s an inevitable part of the story, since much of this part is world building based on the disappearing of the dwimmer (magic) that’s so ingrained into civilisation. A couple of viewpoint characters are leaders, and getting stuck in meetings is unavoidable.

Some problems I’ve shown, where the character (either the leaders or another) can go to an example of the failure, and do other things while there. But there’s some stuff where discussing it is more useful for the examination, and I want differing opinions.

In meeting scenes, I try to have some degree of different agendas, but I’m not sure if that’s enough. I don’t necessarily have much real plotting (characters plotting, not story plotting), where the viewpoint character has to get seriously involved and have a sub-plot that occurs during the meeting, or over a few meetings.

I’m not sure whether I should have something like that, or whether it’d slow the story down too much. They aren’t really necessary for the overall story, and I could easily lose control of things if I go too far along that path.

My inclination is that unless such a subplot can actually say something about the situation that otherwise wouldn’t be covered, to leave it out. But I also worry that without the added drama the meeting scenes may fall flat, dragging on without having any real punch.

They’re only in first draft at the moment, and it could be a while before they get any revisions (maybe not until after the first draft of part 4, sometime after I work out what happens in part 4), but it remains a problem I increasing think about: am I writing scenes with too little depth?

Which of course comes from the idea that there’s a proper way to write stories, which is possibly ridiculous. I need only as much detail as is necessary to tell the story I want to tell. Everything else is texture and flavour.

Or is that philosophy simply an feature of my style?

Should I Just Give Up?

[Warning: Another posting in my depression cycle. May include mopery.]

So I had this idea for a crime thriller, and thought maybe this time I’d try the traditional publishing route. Just to see if I could get any kind of traction.

Less than ten days from starting pre-writing to finishing the first draft, and it turns out All Roads Lead to Hell is only 40,000 words. So on the border between novella and novel (by some definitions), depending where revisions take it.

It’d need padding out to twice that length to be acceptable for submission to standard markets. There area a couple of extra chapters that could go in , and there’re gaps in the story where other stuff could be shoehorned. Maybe.

A quick look around doesn’t find many markets for crime thriller novellas, but I could always search further.

For the immediate future, I’m setting it aside to cool down while I get on with other work.


I have real trouble estimating how long a story will be. Even after breaking it down into chapters, I seem unable to call on past writing experience to properly gauge such things. And I’m not sure I really want to. The story’s going to be as long as it wants to be, and trying to force it to be otherwise to fit a certain standard seems dumb. Unless you want it traditionally published.

And I seem unable to write things of a commercially acceptable length (as defined by the traditional publishers). I feel part of the problem might be I’m too influenced by movies and television, so my storytelling muscle memory is drawing more from those than from other prose fiction. I’m not sure whether I can unlearn that though.

I also wonder whether writing so fast is part of the problem. I’ve tried slowing my writing rate slightly, but do feel an increasing desperation to produce more in a vain hope of breaking out of obscurity.


The not knowing whether I’ll ever achieve any success writing is causing increasing anxiety. I kind of want someone who’s opinion could be subjectively classed as authoritative to tell me I can’t write, and to stop trying. (More so than telling me I can, since I have trouble accepting praise.)

It’s tiring to keep pumping out stories that never find much of an audience. The readership for most of my stories is probably only in double digits (okay, some are in five digits, but that’s the free stuff). And even that might be too optimistic a view, since there’s no way of telling how many have been completed, or even read at all.


Of course I have no idea what else I’d do with my existence, so I’ll probably keep writing for now.


Behind Her Eyes – A Hype-Enhanced Reading

I can’t be the only writer, or reader, who takes the marketing of a book as having an ending you’ll never guess as a challenge. Which it basically is.

Can you outsmart the writer? Which is a stupid way of thinking of it. Because its the marketing campaign that’s making such a big deal of it. I doubt there’s many books where you can’t try to beat the author by guessing how it’ll end. But when the marketing campaign out and out challenge you like that, you can hardly not try to beat them.

Behind Her Eyes probably isn’t the kind of book I’d normally read. It sounds a bit too domestic, to be honest. But Sarah Pinborough had been entertaining at a convention I’d seen her at, and on twitter. And the book had good word of mouth. And there was that challenge. And it was on sale for a fiver in the first week (and not simply as the fastest in history to the bargain bin).

The writing draws you in, making it hard to put down. While the description makes it sound like a primarily relationship-centric story, the mystery behind it propelled me through the parts that may be less interesting to me. (Not that relationships aren’t at the heart of most stories, but it did sound a bit too soap opera-y for my tastes, and that kind of thing can rely on characters acting stupid.)


Looking For Clues

The pre-publication hype (of which there was quite a bit) and ARC reviews, while staying free of spoilers (that I saw), did admit there were supernatural elements. Which may be good, since it could discourage those inclined to dislike such on principle. It also gives a larger scope for what kind of things to look for.

And I found as soon as I had some ideas (and I had a few), I was looking for more buried beneath the obvious ones.

Since I did work out the two twists before they were revealed (around chapters 46 and 51 I got the end twist, and the deeper twist, respectively), I have to say it felt fair on the reader. No cheating, out of left field, surprises here. It was foreshadowed if you looked at it the right way. Admittedly a twisted way. Even then, though, I wasn’t certain I was right until the end.

It was only after finishing the book that I realised they were vaguely similar to twists I’d used in one of my stories, which may explain why I got them. And I can imagine the author had to resist the same impulse to laugh out loud when the idea struck.


Did the Hype Damage the Reading Experience?

Not for me.

I don’t feel that going in knowing there was, and looking for, a twist detracted from the story. If anything it may have encouraged engagement, getting me to look deeper than I might otherwise, in the hunt for clues. I did find myself admiring the way information was laced through the story, and how the pacing kept you moving too fast to necessarily focus on the clues.

I may well read it again soon, to deconstruct exactly how it was done.

Progress Report

I’ve finished an initial tidy up and review of the state of Paragon Protocols. The main bugbear must have cleaned up the last time I revised it (seven years ago), but there’s still a couple of things (at least) that need addressing.

First of all, there’s too much plot packed in there. Too much background detail on stuff that happened, which was sometimes a problem with some of my early work (shut up). I’d include too much detail to avoid plot holes, which then slowed down the story. So I’ll need to do a pass to pare that back. Not so much dumbing it down, as clarifying the main points and then getting out of the way of the story.

Secondly, it doesn’t feel all that novel, and I’m not sure how much of that’s down to my familiarity with it. Stories need an element of originality, even (or especially) if they aren’t really. As a result, I’m not sure how much time to waste on polishing it.

I might do the pass for the plot cull and see how I feel about it then. It’ll at least be a useful exercise. (Not that I don’t have other, more productive, work I could be getting on with.)



I do occasionally submit stuff to the olden publication routes. Mainly short stories and such, since few of my longer works are long enough for the traditional markets. I usually try and put it out of mind until the inevitable rejection.

The anticipation gets more assertive when the story stumbles across themes that happen to become topical. Such as the alternative facts that kind of play a part in the novella I wrote in November. I submitted it to Tor.com’s novella imprint back in December. Their reviewing, of course, slowed over Christmas, and my weekdaily checks of its position say it hasn’t moved in a few weeks.

Not that there’s necessarily much I could do with it when they reject it (it’s easier to just assume stuff will be rejected, rather than get my hopes up every time and face the deepening of my default state of depression). I could possibly revise it to enhance that element, although I’m not sure how far the story will stretch in that direction. Then I’ll try submitting it to one place I know will accept something of that length (and then wait for them to reject it).

But even accepting there’s little I can really do with it, it’s frustrating to have a story that’s vaguely topical and not be able to do anything with it.

Although, now I consider it, probably not as frustrating as having it available to use and no idea what to do with it.

Take your time, Tor.com.


Still having trouble focusing on actual work, but I have managed to spend the last couple of days compiling a list of potential reviewers (thanks to The Indie View) and sending requests to around thirty of them. A process I find far more excruciating and stressful even than blurb writing. It’s communicating with people directly, no matter how remote the communiques.

I also busied myself making new covers for Stoneweaver and Coral Throne. They’re not perfect, but the old ones were really starting to irritate me. I need to do more with them, since they look slightly bland. But they’re closer to my aesthetic tastes than the Createspace ones I had, and at the smaller size they’ll be viewed at on estores I feel the simpler designs stand out better.

Post-Publication Depression

My books don’t really sell. Which may (or may not) come as a surprise to anyone reading this. But there probably aren’t many of you either. They certainly don’t sell well straight off, even using pre-order.

Which is mainly because I don’t do enough marketing or selling of them. I know I should, but I’m just incredibly awkward at that kind of thing. I usually start looking at ways to market the book beforehand, but there are so many options, most of which many say don’t work. So eventually I get fed up with the entire process, and get on with some actual work instead.

I know reviews are what I really need, but that runs into the same problems. I get incredibly anxious about approaching reviewers to look at my books. And when I’ve done it in the past it’s not paid off (no responses or reviews from maybe a dozen, with one largish review site closing down to review requests within a week of me sending them the request).

I really need more reviews, but I could seriously spend a day trying to write a request, getting anxious over every word, and still end up with nothing comprehensible. The very thought of trying threatens a panic attack. It’s something to do with writing as myself (blog posts are mildly less disturbing, because I’m sure nobody reads these).

Yet even being aware of this deficiency, I find I’m at a loss for how to address it. It would functionally involve changing who I am. While not necessarily opposed to changing, I also don’t know who I’d need to be. So generally I get stuck in a spiral that I only get out of by ignoring the whole thing and writing.


Why Bother?

Whatever the reasons, I don’t sell much. Which bring inevitable wave of self-doubt, and why do I bother spending extra time getting this stuff ready for publication. I’m wallowing in obscurity, and there doesn’t seem any way of dragging myself up out of it.

Not that I feel compelled to stop writing. I’ll do that anyway. It’s just publishing that feels pointless. I want it to be read, but part of me wonders whether I should just give up on releasing any more until my existing work gets noticed.

But there’s the traitorous voice whispering that maybe the next one will be the one that gets noticed (what’s the definition of madness again?), and surely that little extra work to get it ready for publication won’t be so much.

So I’ll continue this pointless cycle, telling myself that the more titles I have out there, the more chance people will find my work, that I’ll build an audience.


The Depression Wall

Not that that thought makes it any easier to get work done when the depression sets in. I’m supposed to be working on breaking the third part of Dwimmerfall (working title). I’ve managed to get the general structure, break it down into chapters, and know what happens to whom in each.

I’m partway through breaking the chapters down, so I’ve got a decent plan of the various story strands. Then publication day hits. Now I’m barely getting anything done. Maybe five minutes of an hour sat working on it I can concentrate on it. Which further frustrates me.

So I may set that aside for a while, and look at finally trying to revise The Paragon Protocols. This was the first novel I ever wrote, but never released. It’s been a decade since I originally wrote it, and seven years since I last looked at it. But I’m sure the general structure still works, and tinkering with existing work, even rewriting everything, I find easier than the pre-writing and first drafting. I have something concrete to tap away at, and can focus on the words rather than the ideas.


Depression Renovations

Also spinning around my head is the financial cost of this writing experiment. I’m still in an overall deficit at the moment.

The largest expenditures have been the couple of edits I’ve been able to afford. I still look back at them occasionally, to remind myself of the general flaws they highlighted in my work, to ensure I don’t relapse. I could probably do with another edit sometime soon to look for flaws in my current writing style, and consider these worthwhile investments.

Close on that cost is hosting and domain costs for my website – which also hosts this blog. I’m not sure it’s worth the cost. It gets some visits, but I’m not sure whether they lead to sales, or how useful it actually is for visitors.

It’s started me wondering whether I should stop them. My hosting is paid up until 2018, so I won’t be immediately shutting them down. But I am considering moving relevant information from here to free sites, like maybe Facebook. I could probably (I think, having only limited experience with it) use Facebook for storing the blog postings, and maybe additional material from the website. And I already use Twitter for notifications mirroring this blog.

The only thing offhand that could be difficult is the listing of my books. Being able to order them in a more comprehensible arrangement than say the Amazon author page does. (It occurs to me that having the default Buy buttons go to Smashwords rather than Amazon may have been an initial design flaw. Most of my sales have been other than Amazon anyway, but not so many on Smashwords, so I wonder whether that put off casual visitors.)

While I have issues with Facebook and Twitter, I’m just not sure maintaining my own website is really worth it. So that’s another thing on my list to think about, and hopefully take my mind off the depressing sales.

But probably not.