Some Updates From the Brain Jar

Greetings, Lost and Lonely Blog Readers. It has, as they say, been a while. It’s the curse of having a lingering affection for an older, largely superceded form of online communication, plus the sheer pant-shitting terror of trying to launch a successful publishing company in the midst of global chaos. A good deal of the stuff that I used to blog about now finds its way into the weekly newsletter, which is itself supported by the Eclectic Projects Patreon where a lot of the conversations about what I’m posting tend to take place.

I’m also trying some new forms of online presence at the moment, which is a little terrifying in and of itself. I’ve fired up the ringlight and the webcam to start doing a little more video over on Facebook (itself a response to going offline for a week, and realising that a phone would still allow me to talk books and writing if people were used to seeing me on-screen as a face and voice instead of a stream of words).

Here’s the first attempt, talking about the recently launched chapbook edition of Angela Slatter’s No Good Deed.

There’s some slightly meatier vids coming about writing and publishing, which wil likely get crossposted here for folks who miss hearing me bang on about such things. Stay tuned, etcetera and so forth. More good things are coming.

In other Brain Jar news, we recently opened pre-orders on Kaaron Warren’s entry in the writer chaps series.

“Don’t write merely to shock. People are used to shock-horror. You need to get beneath the skin. Use a flensing knife and keep it sharp. It’s good to shock, but only as part of the story you tell.”

In these essays, Kaaron Warren—the Shirley Jackson Award-winning writer behind SlightsThe Greif Hole, and Into Bones Like Oil—explores the craft and philosophy of trapping dark and disturbing fiction on the page.

Drawn from essays, workshops, and articles about the craft and business of writing, Capturing Ghosts On The Page feature’s Warren’s tips on writing ghost stories, overcoming professional jealousy, working to an anthology brief, tapping your dreams for inspiration, and more.

Whether you want an insight into the creative process that drives Warren’s dark and enchanting fiction, or you are an aspiring writer seeking tips from one of the most talented authors of horror fiction writing today, this chapbook is a peek into the mindset and practice of a celebrated Australian author.

It’s an outstanding book of writing advice, showing the kind of wit and insight that Kaaron Warren fans have long come to expect from her fiction. It comes out on June 15, and details are over on the Brain Jar Press website

And Now We Are 44

Today I turn 44, and I’m returning to one of my most enduring birthday traditions: posting god-awful birthday selfies designed to worry my Mother about the kinds of content that gets put up on the internet.

Yaaar! Somewhere along the line, I grew a terrible pandemic beard and haven’t yet found a reason to shave it off.

It’s the first of these that I’ve done in a log while, largely because 2019 and 2020 where incredibly shit years for birthday celebrations. In 2019, I spent the day sitting vigil while my father passed away and my sister prepared for cancer surgery. I had plans to try and reclaim the day with happier memories in 2020, just so I didn’t spend the run-up to each birthday getting lost in memories and grief, but 2020 delivered us a global pandemic and the first wave of Australian lockdowns in March, so it proved to be the exact opposite of what I was hoping for.

Still, it’s another year, eh? And this year I’m going in with a plan. While I normally avoid having any expectations or desires around my birthday, this year I’ve given myself a present.

More specifically, I’ve started a Patreon to fun the creation of non-fiction content here, in my newsletter, and in a suite of other spaces.

Once upon a time, I would devote about eight to ten hours a week to producing free stuff about writing, publishing, pop culture, and more. It wasn’t always the most efficient form of self-promotion as an author, but I enjoyed it and people found a lot of useful stuff amid my weekly burble.But when you publish other people, and they’re trusting you to do right by the books you’ve contracted, inefficient-but-fun takes a back seat.

Over the past year regular readers have mitigated that by throwing some cash into a digital tipjar, but I’m hitting a place where I wanted something a little more formal and predictable. Craig Mod has probably the best take on fan-supported writing that I’ve seen, referring to it as implicit and durable permission machines. They free creators to go take chances on weird, commercially weak projects that still have a lot of value.

And when I sat down earlier this year, pondering what I really wanted for my birthday this year, that’s exactly the thing that appealed to me: permission. Permission to do the kind of writing I really enjoy, which is rougher and weirder and not-likely-to-be-paid-for in any other way. And the kind of writing I’m not going to be able to justify devoting the time to unless there’s a payment attached (even if said payment is small and token — it shows interest in a world where free writing gets less and less feedback).

If you’ve got a few bucks to spare, and you’d like to see me do more work in this space, join up and be part of the advisory board who gets to weigh in on future directions, rough drafts, and early research. More details here: https://www.patreon.com/user?u=5686487

New Release: Unauthorized Live Recording

Brain Jar Press launched issue 2 in The Kaleidoscope’s Children earlier this week. It’s shiny, in a LoFi kind of way; a 14,000 word novelette about unlicensed bootlegs, murder-happy fans, and family legacies being discovered.

All in all, this is a very different beast to Hornets Attack Your Best Friend Victor & Other Things We Called the Band. We switch to third person, mess with the timeline and bring in a new protagonist.

This was by intent.

The series is a kind of mosaic built up around a central conceit, which means we skip ahead five years and introduce a younger protagonist who grew up with YouTube and Spotify rather than CD stores and songs taped of the radio.

You can grab copies cheap at the Brain Jar Press website
and slightly less cheap at Amazon (US | UK | AUS) or Kobo.

And, of course, if you haven’t read issue one you can still pick it up for free.

I’m going to come back and talk about this release a little more next week, largely because it feeds into some of the thinkings I’d started doing about writing prose like it’s a comic (largely derailed by a Pandemic and publishing a hose to books by other people that went gangbusters).

For now, I’m just going to breathe a sigh of relief that it’s out in the world (which seemed like a dicey proposition at several points over the last two months) and get started on issue three.