Communion Of Dreams


Let’s talk economics.

Last week I went through the mechanics of turning words into books. Today I’d like to talk a little bit about the economics of that, as well as being an author.

When I set up the Kickstarter for St Cybi’s Well lo these many years ago, a lot of my estimates in deciding on what goals to shoot for were based on … blind faith, to be perfectly honest.

I’d published Communion of Dreams, and had some sense of the possible income that could generate, as well as the amount of work that went into writing/editing/formatting it. But I really had no idea what the costs would be for printing and hand-binding copies of that book or the yet unwritten St Cybi’s Well. I had a pretty good handle on how much time it would take me to do the hand binding, based on my book conservation work. And likewise, what the cost of materials would be, other than the printing. Now that I’ve gone through all of that with both books, I have a much better idea of how costs break down, so I thought I would share all of that.

Based on 55 copies (edition of 53, plus two author/artist proof copies), the actual out-of-pocket expense runs about $50 per copy for the two different books. That covers the cost of the oversize archival paper (so the grain/drape of the pages is correct for hand binding), the printing, and going to collect the printed pages. It also covers the cost of archival bookboard and cover cloth. (The leather copies are two or three times as much, depending on the actual leather used.) Were I to bind a single copy, it would take me about 2 hours of labor. If I bind multiple copies at a time, that drops to about 1.5 hours of labor. (Leather is about 2x the labor.)

My Kickstarter goal was $17,000. Which succeeded. After deducting the fees paid to Kickstarter, and the costs of the different “rewards/premiums” for the backers, I wound up with about $12,000. Which, truthfully, isn’t a bad advance for a relatively unknown author.

It took me seven years of writing work to finish St Cybi’s Well, rather than the one or two years I originally expected. That was both embarrassing and stressful, since I made promises to people I didn’t fulfill. But it’s over, and everyone seems happy with the end product, so let’s just talk about the amount of labor that went into it. I’d conservatively guesstimate that I have something on the order of 2,000 hours of labor in writing, rewriting, editing, and then composing (the last is mostly thanks to my Good Lady Wife) the book. That *might* be as much as twice as long as it took me to do the same with Communion of Dreams, though spread out over a longer period of time. So, do the math, and I earned about $6 per hour.

That’s just the Kickstarter, of course. Now that the book is done, I’ll continue to earn money on purchases of the downloads, printed paperbacks, and special order hand-bound copies. How much is hard to say. I have had about 40,000 downloads of Communion of Dreams, though a big chunk of those are free downloads. Still, with Amazon’s system, 2/3 of every sale goes to the author (as opposed to like 5-7% for conventional royalties with a publisher), and that adds up. To date, I’ve only had about a thousand downloads of St Cybi’s Well, and most of those have been free downloads. Which has been a little disappointing, but we’ll see how things go over time.

As for the printed paperback copies, there I earn a bit more from Amazon than I would for the downloads, but not a lot. And they don’t amount to very many sales. The signed copies I sell directly do a little better still, but again, that’s just a handful of books per year.

As for the handbound books, there I do make a lot more, about $150 per copy. But my conservation labor is billed at $200 per hour, so at 1.5 hours of labor, I’m making half of what I would professionally. The return on the leather bound copies is even worse.

So, why do it? Why even offer those books on the websites?

Because I enjoy it. I enjoy knowing that the books that I create will be enjoyed, perhaps cherished. Read, and passed down to children and grandchildren. Like most artists, I’m willing to trade some financial reward for that satisfaction, and I can afford to do so. Maybe it shouldn’t be the case, and it wouldn’t be the case ideally, but we do what we can under the circumstances.

Finished product.

Anyway, my books will be available for free download tomorrow (the First of the month, as always). Give ’em a try. If you like ’em, you’re always welcome to either purchase a download or one of the physical copies later, if you can afford to do so. But don’t feel guilty if you can’t; as noted I can afford to give them away, and take joy in knowing people read them.

Jim Downey



Turning words into books.

As I noted a couple of months ago, I found a printer to produce the pages for a hand-bound copy of St Cybi’s Well. This is a photo-essay of the process of turning those pages into finished books. This is not intended to be actual instruction on how to bind books.

My printer for Communion of Dreams had been bought-out and was no longer capable of doing the printing for St Cybi’s Well. I was able to source a new printer after some trouble. Everything was slowed down due to Covid, of course. Eventually I was able to drive over to Wichita KS to pick up the printed pages.

Printed pages and color cover stock. Note that these are oversize. This is necessary to make sure the ‘grain’ of the paper runs the correct way, so that the pages will turn properly once the book is bound. They get trimmed down after binding.

Each section (group of pages) has to be folded, then punched consistently to allow for sewing.

It’s easier to do the laser-design work on the section before binding. The design is that of the St Melangell Centre, of a hare, at Pennant Melangell. This is the location in the book where much of the action takes place.
Once the individual sections are all punched, they are gathered into books and then sewn. This style of binding is “sewn on tapes”.

Sewn text blocks. Note that these are oversize, using the full printed sheets.
The sewn text blocks, now cut down to finished size. This is done individually, using a c. 1915 guillotine.
I designed a simple thin-board jig using my laser, which allowed me to mark on the cut bookcloth where to mount the archival bookboard.
The marked sheets of bookcloth.
Mounted bookboard on the bookcloth.
Completed case, with the edges of bookcloth turned in and additional liners added. Those liners are needed to balance the strain on the boards cause by mounting the color cover stock label.
Exterior of the case, with color cover stock mounted.
Text blocks now lined with support paper along the spine, and endbands added at the head and tail. The outer page of the first and last section has been cut down to function as an additional hinge. This, combined with the sewing tapes, is sufficiently strong to mount the text block to the case covers.

Text blocks mounted into case covers, and allowed to dry under weight.
Finished books. If you look closely you’ll note a slight wedge shape to the text blocks. I wanted a flat spine to match the hand-bound copies of Communion of Dreams, but St Cybi’s Well is longer, and so required more sections. This made the swelling at the spine more noticeable. Once the books are opened and read once or twice, the wedge shape should disappear.
Finished copies.

If you would like your own hand-bound copy of St Cybi’s Well or Communion of Dreams, click the links. Each edition is limited to just 53 numbered copies, plus two Artist’s/Author’s proof copies. At either link you can also order one of the remaining copies of the Amazing Koob, as well as signed paperback copies. And of course, you can always download the books from Amazon (remember, they’re free on the first of each month).

That completes the next-to-last phases of my Kickstarter. The final phase will be the design and completion of the leather bindings.

Jim Downey



Reinvention in the time of Covid

So, about a year ago I made a fairly big change in my life, and posted the following to my professional website:

September 1, 2019 – Please note:  due to increasing difficulties with arthritis in my hands, I am curtailing how much conservation work I am doing.  Henceforth I am prioritizing established clients and works of notable historic value.

Yeah, this has been a developing problem for me the last few years, limiting just how much detailed work I could do. It’s gotten to the point where I can typically do only a few hours a week of the difficult, careful work required. Other kinds of hand work isn’t nearly as demanding, unless it involves shock to my hands, so for the most part I’ve been able to continue with the rest of my life with minimal difficulty.

So, after posting that, I started referring new queries about conservation work elsewhere, and focused on my established clients and institutional work.

Then Covid-19 showed up.

After we got a good handle on just what that meant, I stopped meeting with even established clients. Because while my health today is just about better than it ever has been, I am nonetheless at very high risk of having a very bad case of C-19, should I catch it. Frankly, I probably wouldn’t survive it. So I’ve been telling clients that things can wait until there’s a safe & effective vaccine, and I’ve gotten my dose(s) of it.

Which is fine, because there’s rarely a reason to “rush” conservation work. And besides, I had a backlog of work waiting for me in my safe, as I always have.

Well, had.

Last week one of my institutional clients popped by to collect the last couple of items I had to work on. Just a brief, masked, socially-distanced visit. Previous projects had been mailed off, or likewise returned to clients with minimal contact/interaction.

And now the cupboard is bare, so to speak. For the first time in literal decades.

I mentioned a couple of months ago that Covid had likewise changed something else for the first time in decades: my usual mild bipolar cycle. That’s still disrupted. Well, honestly, it’s almost nonexistent. I don’t really have any sense of change currently; I’m in just a new, vague limbo which is neither good nor bad. It’s an odd feeling. Like so much, these days.

Anyway, to ‘run out’ of conservation work isn’t really a problem for me. We’re fortunate enough to be financially stable at this point in our lives, and I had been accounting on much reduced income from conservation for a while.

And, in a way, it’s good. Just this last week I also got the ‘proof’ of the printed pages of St Cybi’s Well, so I can do the hand-bound editions of that book soon. Here’s the proof copy:

SCW proof

That’ll keep me busy for some time.

And beyond that? Well, reinvention is an American’s birthright. I have more artistic impulses to explore and revisit. I have more writing I want to do (no, I’m making no promises of anything). I have life I want to enjoy.

So, for the time being, I’m going to take reasonable precautions to make sure that I can enjoy it, and do those things. I’ll get back to meeting with clients, and doing book conservation, when it is safe (in my assessment) to do so.

Take care of yourself.

Jim Downey

 

 

 



The Covid Shift

I’ve been pretty open about my mild bipolar condition since I started this blog a dozen years ago. It’s real, and I have to pay attention to it, but I’ve understood it and been able to manage it safely for decades. My natural bipolar cycle (from trough-to-trough or peak-to-peak) is very long, about 18 months, plus or minus a few weeks, and has been remarkably stable since I was in my 30s.

Until now.

As expected, I hit the bottom of my trough sometime last December. I tend to be stuck in that condition (or in the manic peak, which is actually more dangerous) for a month or so. Then things will slowly start to rise, I’ll feel the depression clear, and energy will return for six or seven months until I get into a truly manic state. And early this year, going into the spring, that’s what happened. And that, in large part, is why I was able to finally finish St Cybi’s Well.

Of course, at the same time, the Covid-19 pandemic hit.

Now, I’ll be honest: Covid-19 has had minimal impact on my life. I’m semi-retired from book conservation due to increasing problems with osteoarthritis in my hands, so I seldom meet with clients. I’m a strong introvert, so I rarely feel the need for much human company beyond time spent with my wife, and easily resist temptations for socializing. I have plenty of things to do at home, and our financial situation is stable. The lockdown and need to be socially distant were not a hardship.

But still, Covid had an impact on me. More than I realized. Because rather than continuing my bipolar climb, I started the downturn back towards depression sometime in May without ever entering into a manic state. It took some weeks before I could be certain that this shift was real (minor fluctuations up & down is normal within the overall bipolar cycle), but it’s been long enough that I am now certain.

When you’ve lived with something like this for literally decades, it’s disorienting and a little frightening to have it suddenly change like this.  I can’t predict my baseline psychological state a month from now, or six months from now, or a year from now. I don’t know if this is just a one-off truncation of my more manic period, or if the cycle is now shortened, or is gone altogether.

Kinda like what the pandemic has done to a lot of things we used to consider ‘normal’. We’re left off balance, uncertain of the future.

Now, there’s no reason to worry about me. Having lived with periodic depression for so long, I well understand how to deal with it. My coping skills are very good (writing like this is one example), and I know what to watch for, when to turn to help if I need it.

But take this as a cautionary note, and pay attention to your own mental health. This pandemic is more far-reaching than you might realize.

Jim Downey

 



“If you’ve never experienced the magic that is Wales …”

I’m just going to post this entire review:

Reviewed in the United States on July 28, 2020

From the very first page, St Cybi’s Well steeps you in the rich culture and landscape of Wales. It has a feel of ancient otherworldliness—until the scientific and political realities hit you full-on.

This book sounds uncanny echoes of our present predicament: Pandemic. Police. Politics. Racism. Rioting. Revolt. You can hear the ripping of the social fabric as fear overcomes reason.

And yet, there is hope. Hope for healing. Hope for a better future. Hope for us all.

With protagonist Dernell Sidwell’s quest for hope/healing/redemption set in the mystical, ancient sites of Wales, the reader feels deeply drawn to the power of the past—all while checking over their shoulder for what new nightmare the present has to offer.

You’d think the author was a time traveler, considering how closely Sidwell’s journey parallels the challenges we now face. You will appreciate Sidwell’s determination, his acute survival skills, and his willingness to consider, confront, and accept some things that stretch his perceptions of what is possible.

If you’ve never experienced the magic that is Wales, take the trip now. This is an urgent adventure that will linger with you long after you’ve finished the last page. I’ll see you at St Cybi’s Well.

St Cybi’s Well, and my other books, will be available for free download this coming Saturday, as it is on the first of each month. Please download & share! And as I’ve said before: “And please, if you do read it, leave a review.”
Jim Downey


Thoughts while walking in the rain.

I’ve been in a bit of a funk the last few weeks. Which, on the one hand, is surprising, since I’m about at the top of my natural long (18 months), mildly bipolar cycle. On the other hand …

… we’re in the middle of a global pandemic, one which has been incompetently managed at the federal level to the point where we’re likely to see hundreds of thousands of additional unnecessary deaths here before the end of the year. (Don’t bother to post a political comment disagreeing — I’ll just delete it.)

St Cybi’s Well has failed spectacularly to find an audience as of yet, with fewer than 500 total downloads/sales. Given how long I struggled with the book, and the very positive responses to it by people who have read it, that’s very frustrating.

… I’m having increasing problems with arthritis in my hands, which greatly limits how much book conservation work I can do. Given that I love doing this work, that’s been another source of frustration.

So it’s not terribly surprising that I would have this reaction. Lots of people are struggling with the stress of this current time. I know I am extremely fortunate in most ways, so I’m not asking for sympathy or anything.

But it pays to understand what is happening to me, and why. Only by doing so can I decide on the best way to proceed. And my morning walk helped.

I now walk 3 miles a day, about 5 days a week. Two or three days a week I take a break to allow my joints to recover a bit, or to accommodate appointments, inclement weather, et cetera. This morning I was supposed to have a solid couple hour window between thunderstorms to get my walk in, but I took along an umbrella just in case.

And it was a good thing I did. About 2 miles into my walk the skies were too heavy and unburdened themselves. I decided it was something of a metaphor, and that I should do the same. Hence this blog post.

No brilliant insights from this to share. I know how to deal with the frustrations, and am well equipped to do so. More precautions, in spite of the isolation. More writing, in spite of the failure. More work, in spite of the ache. More reaching out and doing what I can for others, in spite of the funk.

Jim Downey



The Waltz Dystopic

Why on Earth would you want to read a novel about a pandemic during a pandemic? Or why would you want to dive into a world where America is a dystopia of racial hatred and theocratic overreach when America is, well, trying to sort out racial hatred and theocratic overreach? There’d have to be something wrong with you to join in such a dance, wouldn’t there?

This was touched on in an interview on NPR I listened to this morning on my daily walk. In it, author Josh Malerman said that reading about a pandemic during a pandemic was somehow comforting; it was a way of saying “we know how to deal with this”.

In writing St Cybi’s Well I used an old literary technique to create some psychic space between the reader and my criticism of our American society, by not placing the story in America, but by having characters in the story reflect on and discuss what a dystopia American had become. This way the reader joins me in a dance, following my lead, but themselves moving through the story I’ve set out. The dystopia is there, but together we have defined it, perhaps tamed it enough that we can see it for what it is.

Of course, our reality is not the reality of St Cybi’s Well. Though it is still very early in the Covid-19 pandemic, I don’t think that it will be quite as devastating as the Fire-flu is in my book. And though we are perhaps at a turning point in the political history of our country, we’re not yet in a constitutional theocracy.

Take the lesson — or the warning — for what it is. That’s why you join the dance.

Jim Downey



Comet NEOWISE over Carreg Cennen

I Love this image:

Image may contain: night, sky, outdoor and nature

That’s from a Facebook post by Alyn Wallace Photography.  It’s an image of Comet NEOWISE over Carreg Cennen Castle in Wales.

Carreg Cennen has long been one of my favorite castles, and plays a role in “Chapter 10 — Y Garn Goch” of St Cybi’s Well. The view of the castle seen above is from the south.

Jim Downey



“Did we actually go there, or … ?”

One of the early reviews of St Cybi’s Well added this note under “TRIVIA”:

Most of the chapters start with information that looks like it came from Internet websites. I typed in some of the URLs, and they are exactly what they seem to be, lending credence to the book.

And several people have commented both on Amazon and on Facebook that the book could function as something of a travelog.

That’s very much by design. The chapter header URLs & info I used in the book are straight from real sites online, though I intentionally used versions which date back to ~ 2012 (the date in the novel) whenever possible. And likewise, each location specified in the book is real. As well as every bit of Welsh history or myth I used.

I did this to lend the book verisimilitude. I really want readers to wonder just how possible the story is, to feel that ‘thinness’ I describe between one reality and another in the book.  I want them to visit the sites mentioned, to feel what I have felt there.

I didn’t start writing the book with this in mind. I figured that I would simply use my own experience in traveling in Wales to ground the book in reality, and use what little I knew of Welsh history & mythology to help add color. But as I wrote, I found myself digging deeper and deeper, spending more time visiting sites virtually, until they became very well known to me.

After a while, I started to lose track of whether I had actually visited some of the sites in person, or had only visited them online. This led to the very surreal experience during a trip we took in 2017 where in going to Craig Rhosyfelin I was absolutely certain that we had visited the site previously … but also absolutely certain that we never had (the latter which was confirmed by my wife). I had spent so much time exploring the site virtually, working through the descriptions and history of it, writing the interaction of characters there, that it really did feel like I had my own personal memories of the place. Bizarre.

The same is true of several other locations in the book, to the point where my wife and I now joke about it. “Did we actually go there, or … ?” has become a standard in our travels.

And of course now, with the limitations imposed by our own real pandemic, such virtual travel is all we have at present. So if you need a vacation, maybe spend a little time in my novel. The links included on the website will help.

Jim Downey

 



Easy to predict.

In Communion of Dreams, I have “experts” who are A.I. assistants. As I describe them in that book when I introduce one as the character ‘Seth’:

His expert was one of the best, one of only a few hundred based on the new semifluid CPU technology that surpassed the best thin-film computers made by the Israelis. But it was a quirky technology, just a few years old, subject to problems that conventional computers didn’t have, and still not entirely understood. Even less settled was whether experts based on this technology could finally be considered to be true AI. The superconducting gel that was the basis of the semifluid CPU was more alive than not, and the computer was largely self-determining once the projected energy matrix surrounding the gel was initiated by another computer. Building on the initial subsistence program, the computer would learn how to refine and control the matrix to improve its own ‘thinking’. The thin-film computers had long since passed the Turing test, and these semifluid systems seemed to be almost human. But did that constitute sentience? Jon considered it to be a moot point, of interest only to philosophers and ethicists.

In the world of 2052, when Communion is set, these “experts” are ubiquitous and extremely helpful. Seth is an “S-series”, the latest tech, and all S-series models have names which start with S. I figured that naming convention would be a nice way to track the development of such expert-systems technology, and in the course of the book you see earlier models which have appropriate names.

So when the time came to write St Cybi’s Well, I figured that I would introduce the first such model, named Andi. Here’s the first bit of dialog with Andi:

“Hi, I’m Andi, your assistant application. How can I help you?”

“Andi, check local restaurant reviews for Conwy and find the best ranked Fish & Chips place.”

“You’re not in Conwy. You’re in Holywell. Would you rather that I check restaurants where you are?”

“No, I’m not hungry yet. But I will be when I get to Conwy.”

“Very good. Shall I read off the names?”

“Not now. It can wait until I am closer.”

“Very good. Shall I track your movement and alert you?”

“No.”

“Very good. May I help you with something else?”

“Not right now.” Darnell shut off the app, then the phone, and dropped it back into his pocket. The walk back to his car was uneventful.

Now, I wrote this bit almost eight years ago, long before “Siri” or “Alexa” were announced. But it was predictable that such technology would soon be introduced, and I was amused as all get-out when Amazon decided to name their first assistant as “Alexa”.

Anyway, I also figured that since the technology would be new, and unsophisticated, that Andi would be slightly annoying to use. Because it would default to repetitions of scripts, be easy to confuse, et cetera, similar to encountering a ‘bot on a phone call. And you can judge for yourself, but I think I succeeded in the book — the readers of early chapters thought so, and commented on it.

So this article in the morning Washington Post made me chuckle:

Alexa, just shut up: We’ve been isolated for months, and now we hate our home assistants

“I’m not a bad person,” Angela Hatem said. “I’m so nice to people.” But Alexa, the voice of Amazon’s home devices, isn’t a person, despite how hard “she” tries to emulate one. And coronavirus/self-quarantine/2020 has Hatem feeling a bit stressed out.

“I say things to Alexa that I wouldn’t say to my worst enemy, if I had one. And I don’t know why. She makes me crazy. … I curse at her. I call her names. I’m very, very mean to her,” said Hatem, who lives in Indianapolis with her 1-year-old son. “There’s really few things I can vent at or vent to, and I’m making Alexa my virtual punching bag.”

 

Heh. Nailed another prediction.

* * *

It’s the first of the month. That means that both novels and our care-giving memoir are available for free download, as they are the first of each month. If you haven’t already, please help yourself and tell your friends.

Jim Downey