2016: What’s In Store

Here’s what I’m aiming at in 2016:

I’ll be independently publishing the second and third parts of my September 1919 trilogy, Rule The State and Flee The State, as well as all three in one volume. Part two’s scheduled for March with part three and the entire volume following in June. Best way to keep in touch with developments? Subscribe and I’ll keep you right up-to-date.

There’s no point in all this writing and publishing without making sure that there’s an audience for it, so I’m working on a marketing strategy. Now, I’m not a salesman and marketing sounds tedious and unsavoury but it’s part of the whole independent publishing process. It’s also slow and drawn-out so I’m not expecting overnight success (would be nice though). A part of the process is building an email list of subscribers (see previous paragraph), and I’ll be blogging about the whole shebang here.

I’ve had to learn the independent publishing game from scratch. It would be nice to pull everything together and come up with some sort of training schedule for those who want to tread the same path.

As for actual writing I’m working on another collection of short stories with the provisional title of Sinister Vinister and other Tales. And I’m figuring out a follow up to September 1919.

I’ll probably keep more of an open mind when it comes to submitting stuff. I might just be able to relive the heady days of 2012 when I won a £30 Marks and Spencer’s gift card for three poems.

The 2016 Fringe might just see (and before August too) the reanimation of Beattie and Scratchmann’s Edinburgh in the Shadows. Might have new bits. Might not. But I do know we’ve got an outing scheduled for February in the National Library of Scotland. And a possible slot during the Kelburne Festival.

2016 may be the year when Benny ‘Deadbeat’ Blackthorn makes his breakthrough. About time too as he’s been trying since circa 1958.

And the screenplay based on my short story The Dead Fox might just resurface. Had offers earlier this year to produce it but when I learned what ‘produce’ actually entailed, I bottled it. 

Blind Poetics (that’s Roddy Shippin and myself) had a sort-of half-drunk agreement that we’d try and get Blind Poetics ‘out there’ by going to more spoken word events.


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