We’ll Always Be Together, However Far It Seems

I think I’m going to have to just accept that I’m going to be getting up earlier than I’m used to, now that I’m back on Abilify. I’m productive, I’m creative, and I’m starting to feel like myself again, so i don’t quite know why I’m surprised that sleeping eight hours, though perfectly normal for most people, really isn’t the norm for me. If I sleep for four hours, I’m functional but a bit run down and crunchy. But six hours seems to be a perfectly serviceable amount of time that seems to improve my mood and productivity levels nicely, at least for the first half of the day, which I guess is key for getting work done anyway. Somehow, typing in the dark, though not precisely the way I imagined my ‘career’ as a writer, just makes a certain amount of sense.

So, who saw the cover last night? Doesn’t it look neat? It’s got a little bit of everything in it, without being a really complicated or highly symbolic illustration that tries too hard to tell the whole story and fails. Plus, I’ll have the traditional blurb on the back jacket, in case anyone gets confused about what the cover is trying to convey, and thinks I’m merely trying to represent Richard as a loudmouth. (He’s not, FYI)

For those actually wondering what the blurb says, here you go:

It’s the fall of 2007, and Richard Burley is riding a losing streak. Not only is his marriage on rocky ground, but his writing career has devolved from co-writing one best seller thirteen years ago to writing freelance ad copy for brochures and radio commercials. And he has a dark secret; an under-the-table script doctoring gig he’s doing for some movie producers whose head writer is out on the picket line. The only thing keeping Richard sane is his rock opera, and even that might not be as healthy an outlet as he needs it to be, as it tells the story of a cartoonist who loses everything including his mind.

Then one day, Richard runs into an ex-girlfriend who reminds him that he used to be an ambitious novellist, and introduces him to a group of fellow aspiring authors, which reawakens his desire to write fiction. However, his wife Kara becomes angry at him for associating with the woman who left him for the man who stole the rights to the book series he spawned, and, accusing him of infidelity, sends him packing.

From there, Richard drifts from sofa to sofa and into the arms of one woman after another, trying desperately to reinvent himself and preserve the dwindling remains of his own self-respect, all the while fearing he is being haunted by the ghost of his not-dead, not-yet-ex-wife. He begins having real-life encounters with the characters of his various writing projects, even as the relationships with his friends are eroding. And his fear that the scab movie script project will be discovered finally comes true when he receives an email from an unhappy Edwin McKay, the author and head writer of the movie.

Can Richard save his marriage, revive his writing career, avoid being blacklisted, stage his rock opera and keep his sanity, or will he lose everyone he loves and everything he has worked so hard to build for himself? And if he loses, will he be in any condition to tell the difference?

I may rewrite it one more time to make it shorter and less detailed; these things are usually meant to go on the inside front of the dust jacket, and then later transferred to the back of the mass market and trade paperback editions. The beauty of it is, Ebooks don’t really have space for these things. However, I’m starting to think I need to include them anyway, because, really, what are people supposed to remember about your book when it’s on their eReader or in the Ebook collection and all they can see is the cover?

For the record, Terminal Monday just needs a little more editing of one or two chapters, and then I’ll be releasing it as well. Probably December 1st, if I’m any judge of how this is going, unless I decide to focus on the Bride of War rewrites beforehand.

Alright, I think that’s enough for the early morning edition. Hope you folks are doing well,  I’ve got to get back to work preparing the files for the two stories I’m still bound and determined to self-publish this week.



  1. I recall you were always into writing. Great job of keeping it going. I dabbled but all my reading and writing is non-fiction – economics and political articles and hate mail to clueless newspaper columnists and inept politicians.
    There are so many good writers out there today so how come the quality of writing in most of tv and cinema is so garbage?
    Rob J

    1. Well, Rob, as you and I both know from long nights of discussing your novel (which I take it you never published), the most important thing about writing is that you have to write something that you yourself would enjoy reading first. Television and movie writers make a living writing things that are fun–or at least interesting–to watch, which, on the whole, isn’t really the same thing. The best television and movies out there are brilliant stories, regardless of medium, and some books become great movies or television series as well. But the real problem, as far as I can see, is that many professional writers are writing average material because they aren’t being allowed to write what’s really inside of them.

      Just an observation. I could be totally talking out of my ass here.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.