As a Machine and Parts: a novella (12/2011)


Mitchell, a twenty-something Cougar Cub with Marsha, his midlife girlfriend, wakes each morning, living an ever-thinning line between human and machine. As his literal condition progresses he looses his capacity for human emotion, and potentially with it, Marsha.  As a Machine and Parts is a story of Mitchell’s struggle to discover which assembly line he belongs Read more

I Didn't Mean to be Kevin: a novel (1/2012)


Jackson Jacoby is a motherless twenty-two year old boy with only the support of his crazy ex-military Uncle Marve and a kindred motherless peer named Creg. Creg holds fast to the hope of one day reuniting with his mother while Jackson maintains that his own life is so much better off without all the baggage that comes along with being somebody’s Read more

Charactered Pieces: stories


With Charactered Pieces, Caleb J. Ross presents a varied world of familial discord, one where a dead fetus evokes more compassion than its mother (“Charactered Pieces”);  where two brothers offer the destruction of a family legacy as a birthday gift for their aging father (“My Family’s Rule”); where one brother’s love of Holocaust documentaries pushes his family through the aftermath of his assumed suicide (“The Read more

Stranger Will: a novel


In this novel of impending fatherhood, an idealistic teacher recruits a pliant protégé to join her group of Strangers – a devout collection of kindred minds who have dedicated their lives to cultivating a unique idea of perfection. But joining is easier than Read more

Study (the world/the craft)

What is Domestic Grotesque Fiction and Why Do I Write It?

Posted on by Caleb J Ross Posted in Study (the world/the craft) | Leave a comment

I’ve called myself a writer of grotesque family fiction, but what does that term really mean? I give a brief definition of grotesque domestic fiction, or grotesque family fiction, by way of example, in an earlier blog post:

Take a family situation—usually some sort of broken family dynamic—mix in something grotesque—possibly morbid but not necessarily—and you’ve probably got domestic grotesque.

But I don’t know if that fully captures it. Up front, I have to say that I’ve always been the type to back away from definitions that try too hard to avoid definition. You know the type; those writers who say, “No, I don’t write horror fiction, I write transgressive commentaries on modernist life where social norms are exposed as metaphorical fangs in the collective neck…” But in the world of marketing, it is important to simultaneously embrace and reject established genres. You know, ride coattails while sewing your own. So, I write literary fiction but I actually write domestic grotesque fiction.

With that in mind, I coined the term “domestic grotesque” fiction, which Solarcide called a genre all my own (though, probably because I’ve been promoting the term as my own). In that Solarcide interview, I use a scene from Stranger Will to exemplify the term:

I find something inherently interesting with taking the trope of father/son catch and twisting it just enough to be jarring (re: dead raccoon) but still remain entirely relatable. These subtle twists are where I get the descriptor for my work, domestic grotesque.

So why do I write domestic grotesque fiction? Part aesthetics and part concept penetration. Domestic grotesque fiction isn’t only fun to write, it also allows me to very effectively zero in on an idea by pairing dissimilar concepts. Stranger Will = pregnancy and cleaning up dead bodies. I Didn’t Mean to be Kevin = lost parenthood and body parts. “Click-Clack” = newborn baby (implying potential) and mental retardation (no potential). It’s fun.


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Photo credit: http://www.flickr.com/photos/paulgrand/451080165/

Bookstores can get ebook readers into their stores. Here’s how:

Posted on by Caleb J Ross Posted in Study (the world/the craft) | 1 Comment

The slow eBook adoption of many publishers, and especially of bookstores, is not surprising. For the publishers, monetizing an eBook, with the lack of overhead and reduced production costs, makes justifying print book sticker prices tough. For bookstores, well, it’s pretty obvious why they wouldn’t jump on the eBook wagon.

But there has to be a way to keep bookstores alive, right? Bookstores aren’t like traditional commerce storefronts, in that they represent a mindset, a way of life, and the best ones promote a sense of community. People don’t just buy books there. People feel at home there. Which makes me believe that book shoppers haven’t stopped shopping in brick and mortar stores because eBooks are so much more convienent and so much cheaper. I think book shoppers have stopped simply because bookstores aren’t offering a “bookstore experience” for shoppers. If bookstores sold eBooks, I think readers who enjoy the bookstore experience would be willing to visit said bookstores to buy eBooks.

But how to make it work? Introducing the Wireless Purchase Radius.

Bookstores should set up a secured wireless network for their shoppers (most of them have these already). Now, instead of simply offering the wireless service as a convenience to coffee drinkers, use the service to entice readers to purchase eBooks at the bookstore.

Here’s the methodology: a shopper enters the store, logs on to the wireless network, and begins shopping online for eBooks. The store can leverage this shopper’s intent to purchase in one of two ways:

  1. The store has set up it’s own eBook storefront, available only to people logged into their secure network (hotels do this all the time), which offers eBooks either at a discounted rate or with value-added specials. Perhaps, in keeping with the sense of community, a purchase through the store eBook site also offers free copies of local writer’s books. Or maybe every purchase comes with a ticket to some local event or coupons for store coffee.
  2. The other idea is that the bookstore sets up affiliate programs with established sites (Amazon.com, B&N.com, etc.). Affiliate links are already something that anyone can set up; the bookstore would not even have to establish new relationships with the book sites. In this method, the shopper would log onto the bookstore wi-fi network, and would be greeted with a store screen (just like in the above example) only this time there would be links to each of the major book seller sites. Once a user clicks on one of those sites any purchase the user makes would be part of the total affiliate buy, meaning the store would get a percentage of purchases from each of the items that the shopper buys (not even just books).

This would work, right? Especially, if there is a way to set up affiliate code tagging on a mass level to anyone using the store’s wi-fi network (this would remove the need for a store screen when the shopper first logs on). Of course, I’m not sure if such a thing is possible.

But the general idea, of using a wi-fi radius to encourage in-store sales is a good one.

Someone do this now!


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Why I Write What I Write When I Write it: The Cymbal Analogy

Posted on by Caleb J Ross Posted in Study (the world/the craft) | 2 Comments

Picture a drum cymbal, delicately balanced upon a point, say, a pencil tip. This represents my general mental stability. Without any external force, the cymbal remains unmoving. This is me in a vacuum, a sensory deprivation chamber of sorts, without anything to shift my head in any way.

But of course, I don’t live in a vacuum.

Instead, I live in a world constantly shifting and changing, and with those shifts, my head shifts. Writing is a way to help maintain equilibrium. Not in a padded room sort of way. Simply, in the way that other people may watch TV or exercise or read a book to maintain that equilibrium.

But when I write something, despite the intentions to establish a stasis, the writing itself throws the cymbal off balance. Every word, every realized concept and idea, moves the cymbal. The more I write, the more the cymbal teeters further and further from stasis. This is the simple, unavoidable nature of creation. When other people read and comment on my writing, the cymbal moves more. Sometimes, if someone disagrees with what I’ve written (morally, aesthetically, whatever) the cymbal may continue to teeter. But when someone agrees with what I’ve written, finds a shared comfort in it (though, don’t confuse confront with blind dedication; intellectually stimulating topics, even those one may disagree with, can bring comfort) the cymbal may fall back toward equilibrium.

But remember, the cymbal exists in three dimensions. So, even agreement may bring with it some disagreement, thus shifting the cymbal off balance on another axis entirely.

You’re starting to see that establishing perfect equilibrium is impossible, right?

So, when I decide to start a new project, I consider the weight of previous writings, and the wake they may have caused, in hopes for narrowing in on a project that might encourage balance.

Example: I wrote Stranger Will, a novel about a man who does not want his child to be born. Cue nihilism. Cue concern from friends. Cue some agreement from readers. My cymbal, at this point, would resemble the tilted rings of Saturn, with the low end being weighed down by the general commentary about the book. All of the changes that happened to me, all of the emotions I felt, the attacks I fought against, everything that this book contributed to since its creation brought down the low end. So, I then wrote I Didn’t Mean to be Kevin, thinking that to write from an alternate, and almost opposite, viewpoint—that of a child wanting a parent—the equilibrium may return. Of course, this book, by the very act of its creation and publication, will put new thoughts into the world, which will alter the level of the cymbal in ways I can’t anticipate.

And on and on and on.


 

UpgradeToEbook.Amazon.com. Exchange Print for eBooks. It could work.

Posted on by Caleb J Ross Posted in Study (the world/the craft) | Leave a comment


A service that allows readers to exchange print books for e-versions. Why doesn’t this exist yet? Mail in the book, get ebook.
@calebjross
Caleb J Ross

It could work.

An online used book selling site, that also manufactures an eReader device, such as Barnes and Noble or the Amazon Marketplace, partners with publishers to provide kickbacks on used book sales in exchange for distribution rights of eBooks. Let’s call it UpgradeToEbook.Amazon.com. It would work like this:

Here’s an example:

Let’s say Bookseller_675 has a print copy of Stieg Larsson’s The Girl With the Dragon Tattoo. But he’d like to read it on his Kindle. It’s not in this reader’s best interest to purchase the book again. The publisher gets no new money. The book sales site gets no new money. The reader gets no eBook.

What do to do?

Bookseller_675 decides to sell the book on the Amazon Marketplace using the UpgradeToEbook.Amazon.com platform for $6. Amazon takes its cut (15%; $0.90), but for this transaction the seller agreed to kick an extra 35% to Amazon in exchange for an eBook copy. Amazon then gives that $2.10 to the publisher and facilitates distribution of Bookseller_675’s Kindle copy of The Girl With the Dragon Tattoo.

I know what you are thinking? Why would a publisher sell an eBook for $2.10 when they would normally net around $7.00 (70% of a $10 cover price, as an example)? Consider this: a person selling the print book has already bought a copy of the book. So the publisher, under the current model, makes no money off of Bookseller_675 for the $6 resale. Under the UpgradeToEbook.Amazon.com model, the publisher has the potential of making money multiple times.

There, a print book is essentially traded for an eBook.

What’s to keep the buyer of the book from reselling the book the same way? Nothing. The publisher gets money from each transaction, so the publisher, and the book site, would actually encourage resale.

Where are the holes? What’s to keep this from working?

For all those crime and forensics science writers out there, a bloodstain pattern infographic. You’re welcome.

Posted on by Caleb J Ross Posted in General News, Study (the world/the craft) | 1 Comment

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Solarcide interviews me, one of the most interesting interviews yet: The Digital Age of Domestic Grotesque

Posted on by Caleb J Ross Posted in Media, Study (the world/the craft) | Leave a comment

Nathan Pettigrew, one of the two minds behind the lit site Solarcide, asked me for an interview a few days ago. This guy knows how to ask questions, ones that not only evoke my own passion for the subject matter but also make it easy for me to answer in a way that is hopefully entertaining for readers.

Head over to Solarcide now. Read the interview. Learn of my greatness.

Here’s a taste of Nathan’s humbling intro:

He’s one of literature’s most lethal rising stars and highly prolific with not one, but four new releases in 2011.

His debut novel from earlier this year, Stranger Will (Otherworld Publications), established Caleb J. Ross as a true talent to be reckoned with. His writing can be described as stylistically beautiful while depicting some of the darkest and most disturbing worlds that fiction has to offer.

Picking up on concurrent themes throughout his work pertaining to family, some have begun to refer to his style as Domestic Grotesque—a genre all his own.

How do readers choose books? [Poll Results]

Posted on by Caleb J Ross Posted in General News, Marketing, Study (the world/the craft) | 1 Comment

I’m a data nerd. I’m a spreadsheet and chart nerd. Therefore, I could have made this lede a bit shorter and simply said “I’m a nerd.” Recently, I conducted a very unscientific poll on Twitter and Facebook, asking a general group of readers how they decide what to read when choosing a book.

While this is an admittedly small poll with a slight slant toward people I know, even if tangentially (they are connected to me via Facebook and Twitter in some way), I feel the findings are still valid, at least as part of a possible larger survey. If anyone has the resources to conduct a larger poll, contact me. I’d love to see the data.

Here are the results:

Observations:

  • It has long been said that word of mouth is the best advertising for books, so it is slightly surprising to see “Recommendations” appear 3rd on the list.
  • “Author” being so high on the list is not surprising.  We live in egotistical times. And with the embrace of ego comes the worship of ego.
  • I didn’t think that “Cover/Title/Synopsis” would have been so important.  It is especially interesting that this option was a voter submitted option.
  • “Price” is very far down on the list. In a world of so much free content, seeing that people are still willing to pay for perceived value is encouraging.