I like to have projects that belong completely to me. If done right, it can also pay better. But the majority of my projects are still destined for publishers.
Jeremy Robinson
Changing anything in the past, if you believe it's possible, could alter the entire future of the world, including my own birth, so I'd change nothing. Not a thing. As for the future... I think I'd like to see how it all ends, which is probably why I write about the future apocalypse so frequently.
When I was ten years old, I saw a big, fat beetle get squished. I don't recall the circumstances, but that's not important. It's the result that stuck with me. The beetle's thick, viscous insides so closely resembled a crushed blueberry that, to this day, I can't eat raw blueberries without feeling nauseous.
I produced audio editions of 'Beneath' and 'Kronos' primarily to grow my audience. I'd seen it work for guys like Scott Sigler and J.C. Hutchins and thought their audience might enjoy my books as well. The goal was to get them hooked on the audio and hope they would migrate to the print books.
What the podcast novelists do isn't all that different from what self-publishers do. We put the books out in different formats, but the goal is the same: build an audience and attract a publisher.
Getting 10,000 listeners for a free podcast novel is a lot easier than selling 10,000 hardcover novels at $25 a pop.
Godzilla. The big, green G-man has had a profound influence on my creative endeavors and imagination since I was blueberry-avoiding kid.
When I've pictured what Heaven would be like, I've always imagined myself free to explore the outer reaches of space.
