I don’t speak enough to my readers. I’ve learned this recently. Much of the content on this blog speaks to other writers (which are generally readers, for sure), but I need to change my game a bit, I think. With that in mind, I want to start writing a bit more about my in-progress projects.
I know, I know, writing about work that isn’t finished comes across as a bit masturbatory. I’ve often been annoyed by such posts. My goal here isn’t to be annoying, though. Rather, I want to give those who are interested a peek into my projects. The primary goal is to get people excited about my work. The secondary goal is to keep my current projects top-of-mind for me so that I keep my fingers to the keyboard as much as possible. Simply put, I’ve been feeling a bit unproductive lately and am looking for a way to stay motivated while possibly at the same time helping keep readers informed.
So what’s in the hopper now? A collaboration with Pablo D’Stair with the working title of The Bettor Stories. The concept: two people at a bar make a bet: each chooses a victim for the other with the goal to get the victim to commit suicide. Whoever’s victim kills him/herself first wins. We’re in the early stages (I’ve barely started writing) but you can expect some really cool layout effects and perhaps some deep explorations of the difference between suicide and murder. This will be the first fiction collaboration ever between Pablo and myself. Long overdue, if you ask me.
The idea for the collaboration actually came to me a couple of weeks ago during a bar conversation between myself and author/intelligencio Phil Jourdan. He asked me, hypothetically, when I look back on my life 50 years from now how would I determine whether or not I’ve lived a “good” life. I responded, jokingly, that if I could get someone to commit suicide because of my writing, then I’d have lived a good life. That got my mind spinning. When I approached Pablo with a project idea based on my response, he was cool enough to play along.
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About Caleb J. Ross
Caleb began writing his sophomore year of undergrad study when, tired of the formal art education then being taught, he abandoned the pursuit in the middle of a compositional drawing class. Major-less and fearful of losing his financial aid, he signed up to seek a degree in English Literature for no other reason than his lengthy history with the language. Coincidentally, this decision not only introduced him to writing but to reading as well. Prior this transition he had read three books. One of which he understood.