FROM TRADITIONAL TO INDIE AUTHOR

A writer takes a leap

 

Author Photo 2019There are many reasons why I decided to go indie and not one of them had anything to do with my original publisher, who was great and very supportive. In fact, if there’s anything I miss more it is the community that came along with them. So many writers came up with me and it was from one another that we learned how to write better books.

 

I’m on my own now, and with that isolation comes the daunting task of self-teaching through trial, error, tears and YouTube “how to” videos. How to format. How to submit. How to deal with roadblocks. It wasn’t easy.

 

Perhaps the biggest lesson I’ve learned so far is that publishing platforms accept or reject works based on their own set criteria. For example, what some may see as funny or amusing others could interpret as insensitive or offensive. When that happens, it is up to the writer to decide whether to alter the work or move on to the next platform.

 

Rejections can occur for simple things, too, like submitting confusing keywords or author names. What if your legal name differs from your nom de plume? Be prepared to explain and explain again until someone actually contacts you from the mothership.

 

It all takes time and a level head.

 

Which brings me to my next points: go slow and be patient. Imagine working on a platform’s unique formatting program only to find that it’s an older version and won’t upload the finished book because of it? When this happened the other day, I had to let out a huge yell. Then I downloaded the current program version and started all over again.

 

Note: I ran into a lot of trouble using open source programs as well as sanctioned proprietary ones. This was because of my laptop’s unique firewall configuration. To download formatting software successfully, it may be necessary to turn off your firewall. I had a pro do that for me for the price of food and beverage. I strongly recommend this.

 

Because the process is slow and precision driven, I would recommend engaging a professional for some elements of the process. For my first release, I went with a fantastic cover designer who took my vision and turned it around in a matter of days. I would have taken weeks had I dared to try that myself. For my next release, I will employ a line editor. No matter how good a writer thinks they are, there is nothing better than a fresh set of eyes. Grammarly is great and I wouldn’t send anything to the line editor without running it first. But it doesn’t catch everything: pore and pour. The difference is huge when it appears in a paperback glaringly out of context. Cringe is all I’ll say about that.

 

I’m told by those that know that the first self-published book is always a hair puller. Until the DIY author masters the rules of pagination, kerning, cover trims, and—here’s the big one—different formats for different platforms, it’s going to be a long march to getting everything out there in a way that we like. There will be do-overs a plenty. I left two family members out of the acknowledgements section in the ebook. Luckily for me, they are back where they belong in time for the print version.

 

Whether the writer is indie or trad, the pure act of creation is what makes all this worthwhile. We are lucky to be living and writing in year 2019. More than ever before, we have outlets where we can offer our creations for sale at prices we choose.

 

That is the stuff of variety.

Write on everybody and keep learning.

Adult, unapologetic and wholly cognizant (I wasn’t the other day, believe me),

 

I am

 

A.B. Funkhauser

May 11, 2019

 

A.B. Funkhauser is a multi-genre author with three titles currently undergoing do-overs and three new unreleased works that may see daylight before the end of the year.

 

Morticians and Mayhem: Take a walk on the wild side of funeral directing.

Facebook author page 2019

 

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HEUER LOST AND FOUND, The Second Edition, FREE TODAY thru February 26th

JPEG NEW COVER 2018I am thrilled to share HEUER LOST AND FOUND, The Second Edition. Out now as a #FREE #DOWNLOAD on Amazon, Heuer traces the day to day goings on at a ramshackle family-run funeral parlor.

Equal parts #paranormal #romance #horror and #humor, this novel has enough freak for the living and the dead.

Giveaway runs February 22 thru 26, 2018. Get yours today!

https://www.amazon.com/Heuer-Lost-Found-B-Funkhauser-ebook/dp/B00V6KLAMA/

FUNERAL DIRECTOR AS WRITER

It was my great honor recently to address the Sisters in Crime­ – Toronto Chapter at their monthly meeting this past April. Not only did the experience tease me out of the relative safety of my writing vault, but it also, as a newcomer to the mystery scene, afforded me the opportunity to examine the challenges faced by funeral directors like me who endeavor to write.

It’s an exciting time for funeral directors in Ontario. Legislative changes in force since JulyBAO 1, 2012 continue to filter through the industry; the most recent realized April 1 with the creation of the new Bereavement Authority of Ontario. What this new body will mean for service providers and the client families they serve can only be determined through anecdotal experience. Let these be positive as the spirit behind the changes intend. What it means for me—a purveyor of gonzo, paranormal, mortuary, fiction—is how important it is to tell the story of the industry in a way that is accessible without compromising my duty to protect the deceased person and family he/she leaves behind.

A lot of what a funeral director sees and, indeed, does remains confidential for obvious reasons. Human beings do not stop being human beings with the cessation of breath. In fact, their humanity is heightened, given that their ability to protect themselves from harm is now taken from them. Dignity, privacy and integrity of the individual falls under the purview of the funeral service professionals charged with their care. This is the funeral director’s oath and the writer’s oath as well.

loved one movieIt is not surprising then that confidentiality as a mainstay of funeral service lends itself to broad artistic interpretation. As I revealed at the April 21 Sisters in Crime meeting, it is easy to lampoon/throw rocks at something that cannot defend itself. And yet, examination from unusual quarters can only strengthen the dialogue. There’s a lot of fine satire out there to drive the discussion; some older, but classic pieces like Evelyn Waugh’s THE LOVED ONE and the newer gothic horror AFTER.LIFE whet the public’s appetite to ‘know’ what really goes on.

after.life poster 1

Which is why I turned to gonzo as my genre vehicle of choice when I chose to weigh in not as expose—because I love my industry—but as a spotlight to inform and, yes, entertain those who rarely, if ever, set foot inside a funeral establishment.

Gonzo, as I’ve said before in previous articles, is a kind of first person journalism created and perfected by the late great Hunter S. Thompson of ROLLING STONE fame. Taken off road into fiction, it is both a humorous and slightly subversive means of drawing attention to difficult subjects and making them whole.

Later this month, I will attend professional development seminars at my alma mater. There, I will be brought up to date on the latest innovations in an industry undergoing constant change. I’m looking forward to it. Where there is education, there is dialogue; where there is discussion, there is growth.

Such is the stuff of the journey in both life and art.

Adult, unapologetic and wholly cognizant, I am

FUNKHAUSER SIGNATURE

 

LINKS

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FAQ’s: https://abfunkhauser.com/faqs/

 

 

 

 

THE CLOSED WORLD OF THE FUNERAL DIRECTOR

The closed world of a funeral director is rarely glimpsed owing to the strictures of confidentiality scrupulously maintained by industry professionals. In SCOOTER NATION, the second novel in A.B. Funkhauser’s Unapologetic Lives Series, confidentiality, or more keenly the silence naturalized by a desire to protect the privacy of others, leads to inflated misunderstandings underpinned by a culture of myth and lore. What follows are a chain of events both comic and chilling.

 

E   X   C   E   R   P   T

Krause looked like she was going to cry: “Don’t you knobs get it? We’ve been sold to the Flexor Group. I just know it.”

Carla stiffened. “What did you see? Who did you see?”

The death business was a small, closed community with few strangers. Everybody knew everyone else and their business too.

“I only saw their feet,” Enid replied. “Black shoes. Square toes.” Her face whitened. “Loafers!”

Scooter Creighton dropped his lighter. “Are you sure? No mistake?”

Eyes 1“No mistake. I was wearing my bifocals. There can only be one person behind this.”

The ancient intercom on the garage wall crackled to life. Jocasta Binns had found them: “Put the damned cigarettes out. Meeting starts NOW.

Scooter Creighton nodded meaningfully at his companions. The rude bitch was clearly on a roll. Like most funeral homes that hadn’t caught up to the twenty-first century, Weibigand’s had a front door equipped with a tinny doorbell that sounded whenever the door swung open. More modern establishments employed greeters or hostesses that manned large semi-circular hotel-lobby like desks for a more personal touch. But Weibigand’s, experiencing a steady decline in business year over year, lacked funds to pay for such a person. So the bell, on duty since the 1930s, was the only way to know that someone had come in. It had not sounded.

“Jocasta turned the bell off!” Enid shouted. “Why the hell would she turn the bell off?”

There were only two possible explanations: Either some non-staffer had been assigned to inside doorstand watch at the door and had shut the bell off, or the doors were being locked and the bell wasn’t needed.

“My god,” Carla gasped, thinking of the square-toed, black leather shoes that, beyond any doubt, now stalked the hall above. Though there were many, only a single pair held any relevance.

Every profession had its own share of false gods and banal superstitions. Those, carried forth on a wave of feverish gossip backed by assertions that everything said was ‘true’, gave rise to fantastic mythologies that made a chosen few more significant than they actually were. Graeham Grissom of B.H. Hoage, for example, was the undisputed embalming god of their age while “Count Floyd” Aiken could ‘will’ new business into being with a stroke of a pen. That old age, arthritis, early-onset dementia and the public’s annoying preference for cremation over medieval embalming procedures decreased the field of competitors, and so guaranteed Graeham’s mantle in the first instance, had nothing to do with the stories spread: he made esoteric concoctions in the old Hoage basement that rendered his people ‘pliable’ ‘natural-like’ ‘soft to the touch’ and even ‘warmer’ without the slightest sign of decay, even after a fifty-four day hold. The same held for Count Floyd. No one could turn a prearranged funeral into an ‘at need’ simply by sending a get better card, yet Floyd’s people did die suddenly whenever he did, whether sick or not. That the deceased had crossed the century mark in every case had little to do with a great tale.

But there were other stories out there: stories not so benign and infinitely more sinister. eyesSome, it was said, enriched themselves through the weak willed. These were the mendacious pocket-liners who evaded the law and curried favor with popular opinion regardless of talk.

These were the ones to watch…

And fear.

The little group assembled in the Weibigand garage knew that fear and felt it now because it was right on top of their heads. Scooter Creighton, jaws clenched, ground the words out first, like a metal vise in need of oil: “It’s Clayton. He is in the building.”

 

SCOOTER NATION

OFFICIAL SCOOTER COVER

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