Showing posts with label Tankbread. Show all posts
Showing posts with label Tankbread. Show all posts

Friday, August 16, 2013

What Girls Are Made Of

Watch me cutting every string 
One by one 
See me cut out all the rot 
Bit by bit 
Watch me as I push you back 
Inch by inch 
I push you back boy 
Inch by inch 

~ Garbage, “What Girls Are Made Of.”


There are many battles being fought in popular culture at the moment. Battles against homophobia, racism, bigotry, sexism, and misogyny. There have been popular uprisings against the male-centric and medieval attitudes of comic writers, SFF legends and fan conventions are producing harassment policies for their attendees.

The controversially titled article in the New Statesman, by Sophia McDougall, “I hate Strong Female Characters” generates the usual polarised comments that are best avoided, typical of an article discussing gender imbalances.

McDougall’s main point is that male characters can have a full range of human attributes, female characters get to be ‘Strong.’ They still don’t get dialogue, a starring role, a front and centre position in the trailers, the posters and the media they are part of.

They act in stereotypical ways, kicking ass and kissing some random guy. Taking control, like strong women.

As a male writer, I mostly agree with McDougall’s arguments. I recognise that men are the primary demographic of comics, women who enjoy the stories and art of this medium are stepping into a world where attitudes haven’t changed much in 100 years.

Me, I’m not a comic book fan. I like a good graphic novel, but serial comics are something I grew out of when I left high-school. 2000AD was always a big influence from my childhood and on my writing. 2000AD was also quite unique in my reading experience, with really well written stories like The Ballad of Halo Jones, a female soldier in a dystopian future (written by the legendary Alan Moore). There was Judge Anderson the Psi division colleague of Judge Dredd. Even male dominated series’ like Rogue Trooper had female GI’s.

Halo Jones wasn’t “strong” she was just a woman trying to get through life the best way she could.

I like to write female characters. Three of my novels feature women as the lead protagonists and antagonists.

Else, from Tankbread, is a complex person. She starts out as a fully grown, but completely new person. A woman with the mind of a newborn. As a clone, grown for consumption by the world’s zombie overlords, she has a life’s worth of development and experience to go through in a short space of time. Tankbread is as much a story of her self-discovery as it is the story of saving the world, even after it has ended. Else develops as a character, through set-backs, discovery, exploration and ultimately tragedy.

Her experience is important because she goes through the stages of life from infant to adult in a month. She is vulnerable, violent, intelligent, curious, creative, selfish. She learns all the things that make us human, joy, sadness, humiliation, wonder, hate, love and grief.

In the following two books, Tankbread: Immortal and Tankbread: Deadlands complex female characters take the lead roles again. Perhaps more importantly, complex women have supporting roles too. Some assist and others oppose. But all are detailed and human and certainly much more than “Strong.”


Engines of Empathy (currently under contract for publication) also has a female lead. Charlotte Pudding is a self-described single, professional woman. She is intelligent, recently orphaned and employed using her college degree in computer psychology to help customers better interact with their empathic appliances.

When she finds herself drawn into a quest to save the world she deals with a range of situations and antagonists. Some are male, some are female. All are weird and fill Empathy Universe with a thought provoking and often humorous story.

In the sequel, Pisces of Fate, Charlotte’s brother, Ascott, is the main character in the story. He is supported by Shoal, a girl that he feels very strongly about, but her personality is entirely her own. She saves him (more than once) and like all good characters, she has a depth to her that includes good and bad. She has her own ambitions, motivations, beliefs and values.

I write characters like this because I love a good story. I like characters that struggle and suffer and succeed and find love, are struck by tragedy and get angry at the injustices of the world they inhabit.


For me, “strong” women aren’t enough. They need to be as complex and detailed and flawed and interesting as the male characters.

Saturday, March 16, 2013

Permuted Press Publishing Deal

For me, the difference between a writer and an author is that authors have traditional publishing deals. The ones with advances on novels and publishing contracts with commercial entities.

I've always been leery of calling myself and author, having self-published a novel and sold a multitude of short stories and edited an anthology for a publishing house.

Now, I feel I am an author.

I have been approached by Permuted Press with an offer to buy Tankbread and the unpublished sequel, Immortal.

This is why we write. We tell ourselves it is because we have stories to tell, it keeps the voices subdued, we don't do it for the money - yeah right. Billy Connolly once said that people say money can't buy you happiness, but that's bullshit. It's fucking great.

I'm in no position to quit my day job, but I feel I have been reimbursed for the time and effort and investment I have made in producing Tankbread.

Now I have a deadline to finish the sequel (September 2013) and working on that has made it clear that a 3rd book in the trilogy, which I am calling Deadland will have to follow.

After that, it could be anything. I have so many different post-apocalyptic tales to tell - some with zombies, some without. The future is bright (but also quite grim).



Tuesday, March 27, 2012

Subject of Scholarly Research

This is a book report written by Cameron Barnes (of Alloa, Scotland) Age 14

Tankbread
By Paul Mannering

The front cover of this book is well designed. It has a green background and what looks like bubbles of chemicals and a DNA helix at the front. Then at the top you have the title TANKBREAD in bold letters. The cover makes me want to read as the author has thought about the colours and the detail very well and made it look fantastic. The blurb tells us that the book is set in a post-apocalyptic world where zombies wreak havoc. It also tells us about an outlaw courier and a cloned woman called Else and their desperate quest across the wasteland of Australia.
The blurb gives you a good image of what the book will be like and pulled me into reading it. The first chapter tells us where The Courier is and what he’s doing. It also tells us that there are two kinds of zombies. There are Zombies that are more intelligent and can talk and ones that are more typical shamblers. The first chapter gives us an insight into the mind of Mannering. It’s dark and gruesome in here! The first chapter want me want to read more as it sounds like a thrill ride.

Thursday, March 01, 2012

Cover to Cover

Today I started the process of taking the formatted (for print) PDF of Tankbread and adding the expertly rendered cover and putting them together to make a printed edition of Tankbread.

The Createspace robot said my gutters weren't big enough - so I've sent it back to the formatter with a list of things I'd liked adjusted.



The cover looks great and also today, the artist David Naughton-Shires sent me this cover for the upcoming Knightwatch Press anthology I'm editing; Tales From The Bell Club


If you are looking for cover design - check out David at Image Designs

Thursday, February 16, 2012

Reformat

It's been a season for reformatting.

First my computer died, and then Damaris' computer died and that put me well behind.
Fortunately this too has passed. I finally got the money together to pay Lyle Perez at www.themadeformmater.com and he did a great job on reformatting the Tankbread manuscript for both ebook and paperback editions.

Coming up I'm reading and MCing the SpecficNZ writers afternoon in Christchurch on 18th March.

Saturday, December 10, 2011

Tankbread Reviews

I got three pre-published reviews for Tankbread.

One from Jonathan Maberry. one from David Moody and one from Rocky Wood (President of the Horror Writers Association and best selling author in his own right).

They all loved Tankbread. It's the best thing about horror writers. Even though it's a cut throat market out there, they are always prepared to write a good review of some little fish's book. I hope one day I can be in their position and do the same thing for someone else.

Beer

I drank a lot of beer over the last few weeks. Firstly there was my 40th birthday to celebrate. But more importantly, before that I saw Tankbread go up on Amazon.

It has been a long term goal of mine to have a book for sale before my 40th. So I achieved that. Actually I achieved that twice.

Tankbread is also available through Smashwords, and now I have removed the reference to the Kindle edition it should go into their premium catalog which means it should be available through other sites - like Apple and Barnes and Noble some time in about a week.

I'm mildly bi-polar (it was the official diagnosis about 20 years ago) so I've crashed a bit after the birthday. It's why I haven't updated the blog in a while and why I haven't sealed the deal with putting Tankbread out in a print edition.

The ebook editions are selling, of both books. Marketing is not a full time job so I'm not retiring soon. I'm experimenting with price and the idea of imputed value. It will be interesting to see what the right price for both books are.

Of course I'm writing flat out. I have a new collection of short stories in the works the title story is 'The Tao of The Tattoo' which I am still writing.

I'm also editing an anthology for Knightwatch Press, working on various other novel ideas, managing Tankbread: The Audio Book Edition and producing another Audiobook called 'The Last Ringbearer' which is a story set in Middle Earth told from the POV of the orcs.

Tuesday, November 08, 2011

Cover Review





Tankbread
on Google+


You have to push yourself in writing and publishing to get the results you want. Successful writers work their arses off and do things that might be unexpected in order to succeed. Not every thing works, but somethings do.

Case in point, I now have a few fine words from New York Times best selling author Jonathan Maberry for the cover of Tankbread. He liked it.

Wednesday, November 02, 2011

Tankbread Cover


Tankbread Sample




The Asian across the table from me is tearing great gobs of warm flesh from his girlfriend’s neck. Tendons and tissue hang from his mouth in bloody spaghetti strands while his jaw works tirelessly to consume. He chews her like gum.
The skull of the small dog, cooked and served on the plate between us, has me thinking the Asian is Korean. The crisped flesh with the dark ginger sauce and the crusty roasted eyes are probably a delicacy, I could be wrong or course, he might not be Korean. The cooked eyes might be garbage.
I look away from the dog head. It’s making me salivate in a way I’m not comfortable with. The Asian casually pushes the girl away. She hasn’t resisted him, cried out or shown fear. She’s Tankbread.
‘You like dog?’ The Asian’s voice is thick with juice but eloquent for one of his kind.
‘Reminds me of a pet I once had.’ I reply and let my right hand slide over the handgrip of the sawn-off shotgun holstered to my thigh.
‘Ha-ha! You had good dog yes? Now you good dog.’ Evol humour I suppose. Maybe some geek has written a paper on it. Something for the other geeks to consider as they push out Tankbread and keep us from taking that final step into extinction. The Asian leans forward, his eyes clouded, like dead fish eyes, but I can feel his intelligence shining through.
‘We do business now. You deal, you get dog.’
As far as opening offers go, I’ve had worse. Usually of the ‘Do what I say or get butt-fucked with a bayonet,’ pedigree.
‘I’m listening,’ it is true in the literal sense. I’m listening so hard I can barely think. The space behind us is filled with evols and the humans who serve them. Some of the walking dead are chowing down on Tankbread. The room echoes with the wet sound of living flesh being torn from bone. The low murmur of zombie growls muffled only by the thick wads of raw meat they are gorging on. And there’s the smell. Slow decay, the nostril-clogging stink of flesh starting to rot. You get used to it. You become immune or your nose just gives up and says screw it, this stench is normal. Fresh air is what smells odd now.
‘I’m listening.’ I’m listening for the one chance an outlaw like me can have. The early days of hunting these zombie pricks have long passed. It’s a new world order and each of us have to stake our claim and exercise our Darwinian right to exist.
‘You go to Opera House, tell them Soo-Yong send you. Bring back what they give you. Bring to me here.’
He knows I’ve understood. There is a change in his expression from the determined focus required for the formation of thought and words ,, to the more basic recognition of meat emotions. His grey lips constrict into a grin that goes well beyond mere rictus.
‘And what’s in it for me?’ I ask the age old question that was Yang to his Yin. Judas would have asked the same thing.
‘Passage, vehicle, supplies. You can run away like a bad dog.’
I swallowed. I wasn’t in a position to argue, but I could sure act like negotiating might be an option. ‘There’s some wild turf between us and the House. Whatcha got to get me there?’
‘Motorcycle, four litre fuel for bike. Two round for that shotgun. Fare for the boatman. House give you same for return. But must bring back what they give you or…’ Soo-Yong didn’t need to waste his rotting brains on spelling it out. Fuck it up, and I was worse than dead.
‘Okay.’
The evols do fine if they have time to marshal their thoughts, think things through and arrive at the same conclusion that you or I could come to in seconds. Except with them, it can take hours.
How the hell did they end up ruling the world?
I ate the roast dog while I waited, crouched in the evening shade under a tattered canvas awning. The diner, in the eastern suburbs of Sydney was run by meat, that’s live folk like you and me. They were the people who’d gotten over the crawling revulsion that the living felt for our zombie masters and worked for them. Doing shit like cooking dogs in ginger sauce for the occasional living diner like me and tending the tankbread.
All of us who are older than twenty-something still remember the war, the apocalypse, the end-of-the-fucking-world. Call it what you want, it all refers to when the dead started coming back to life and attacking the living. It’s the sort of shit we used to go to the Drive In to see. We used to go see movies about all kinds of things back in the day. Now we live in a state of cold war. Some of us have gone crazy, some of us are holed up in secure compounds and some of us are kissing dead arse. Yet we keep telling ourselves--at least we’re alive, right?
Evols, zombies, the walking dead. Early on, when TV still worked and we thought we had a chance, some geek labelled the risen dead as Extremely Violent Lucid Organisms. Evol was easier to Tweet and the moniker caught on around the world. Almost as fast as the virus, or meteor or toxic waste, or genetic engineering experiment. We still don’t know what caused the mess. When someone dies you destroy their brain or they get up again and start trying to eat whoever is close. What the geeks call the infection factor is transmitted by undead body fluids in contact with open wounds. I’ve never seen anyone survive a zombie bite.
There was a little time between my accepting the job from Soo-Yong and sitting astride a beaten up trail bike watching closely as exactly four litres of fuel was measured into the tank by one of Soo-Yong’s mob. He must have been thinking about this for a while.
The bike took some starting and evols don’t like loud noises. When the engine backfired the bunch that were hanging around set to moaning and shuffling in that way they do when agitated. I was sweating ice water throughout the next three pumps on the kick-start before the bike came to life.
Soo-Yong handed over the two shotgun rounds last, carefully wrapped in a scrap of old tinfoil. The foil was a valuable item in itself. I hadn’t seen tinfoil in I didn’t know how long. The fare for the boatman was in a stained sack on a rope, which I looped and tied over my shoulder.
I didn’t stop to wave, or make a speech; they wouldn’t have listened anyway. I tore out of the diner car park, past the burned out shells of long abandoned cars and through the streets of the evol-controlled sector of the city. The dead were walking the streets, they had no concern for day or night, and it was now well dark. They just got out and wandered around, reliving some parody of their former lives. The geeks said it was part of their re-evolution. The walking dead were reinforcing synaptic links by repetition of learned behaviour.
It still freaks me out to see them stumbling around, lining up for buses that will never come, wandering through decaying shops in silent malls, and no doubt when, whatever internal clock they are setting their time by tells them to, they go home and try to fuck their putrescent wives.
Meat live here too; the survivors who refuse to give up their nice north Sydney homes in suburbs like Roseville. They’re usually in well barricaded apartment buildings or parks. They keep some livestock, a sheep or a goat. I even saw a cow once, calmly chewing it’s cud in a rooftop garden. With no fence or tether to stop it stampeding over the edge and falling 13 floors to the empty street below. The city dwelling meat are hard-core survivalists and they tend to keep to themselves. I guess they know they are one failed crop away from cannibalism.
I rode through a silent city. Zombies, both solo and in small packs caught on to the noise of the bike and started following. There was never enough Tankbread to go around and most of these were feral zeds. A steady diet of ‘bread kept the evols who could get their hands on it intelligent and almost civil. Regardless, I usually walked, scuttled or scurried from shadow to bolt hole when I had to travel. The dead are everywhere and they have a taste for human flesh.  There’s been as much speculation as to why the dead attack the living as there has been about what caused them to get up in the first place. All I know for sure is that if they are eating tankbread, they aren’t eating me.
Many small communities in the great Sydney ruin would let me stay for a day or a night in exchange for some news or whatever job needed doing. Never longer; food was always a problem and they didn’t like extra mouths to feed.
Crossing the Sydney harbour is always risky and I don’t do it often. The bridge was blown back in the early days. No one thought ahead far enough to realise that evols don’t need to breathe. Whatever need was driving them on would push them into the water, along the septic bottom and up the other side.
They came out of the dark water, clambering and falling over the abandoned tables and chairs of the restaurants and cafes that lined the waterfront to scale the harbour side barricades.
I remember the screaming. It seemed constant, people just screamed and screamed during those dark times. We called it The Great Panic and I never got used to it. Though I miss the noise now that the world is so quiet.
The dead got through all our defences of course, they always did. Every one of us that fell became another one of them. The siege mentality and a need to secure a large number of civilians made the Sydney Opera House an obvious choice. So it was there, at the living heart of the greatest city in Australia that we made our final stand. The slaughter stopped at the barricades on those iconic steps.
Some survivors call it The War. It wasn’t a war. It was a fight to survive. We haven’t won it yet, and I don’t see how we ever can. In time we will die out, Tankbread or no Tankbread. We have a limited usefulness and if the evols haven’t figured it out yet they will eventually. Like they seem to with everything else.
I rode down the Pacific Highway, passing empty shops and dead faces. There was nothing worth scrounging from here anymore, it had all been stripped years ago. First, anything that could be used as a weapon, then food and finally anything that would burn, could be used as shelter or traded for food. The dead don’t need to eat to survive like us living folk, but they have a hunger. Tankbread soothe that, like a nicotine patch for a heavy smoker.
At the corner of Pacific and Freeman I came up on a roadblock. There were no dead around and this wasn’t their style. I stopped the bike, acting casual as I glanced around, looking for movement. The zombies following me hadn’t caught up yet, but they were coming.
The intersection had been sealed off with wrecked cars. I waited, the bike idling away underneath me, burning through the precious few litres of fuel I had.
With a flash of movement he appeared first on a balcony of the apartment building on my left. I kept looking around because he might have had buddies lining me up for a shot. A minute later a thin figure with long grey hair and beard appeared on the other side of the cars. He wore a business shirt that might have been white once and a filth encrusted tie. ‘Hey mate,’ he said in greeting. I switched the bike off and stroked the butt of the shotgun on my thigh.
‘Evening,’ I couldn’t hear the evols coming up behind me yet, but I could feel the skin between my shoulder blades crawling in anticipation.
‘Say,’ the guy wiped his matted hair back from his eyes. ‘Got any food to trade mate?’
‘Nope.’ It was true. I didn't have shit, the roast dog was the first decent meal I’d eaten in days. The man licked his lips and glanced back at the open door way of the apartment building.
‘You gotta have something,’ he paced up and down on the other side of the blockade. ‘We are dying here man. Rats got into my supplies. There’s no more cans you know? No fucking cans!’
‘It’s hard all over. How about you shift this car and let me through?’
‘Wait, wait, I got something you want. Yeah I got something every guy wants. Wait right there.’ He darted back into the shadows and re-emerged with two kids in tow. One a girl, maybe fourteen years old, bone thin, small breasts, and long dreadlocked hair adorned with bottle caps and shards of shiny plastic. She wore a long singlet and her legs were pockmarked with sores and scabs. The other kid was an even younger boy. As thin as the girl, his hair hung down past his shoulders too. He wore nothing but a pair of stained underpants that he held up with one hand under his swollen belly.
‘Gimme some food and you can fuck my girl. She’s a great cock-sucker. Just a can, some meat. Anything man and you can do her all night,’ He pulled the girl forward and swept her hair back, tilting her face up so I could get a clear look. ‘Maybe you like boys? You can fuck him too if you want. He kinda looks like a girl anyway.’
‘I told you man, I don’t have any food.’ Now I could hear them, the slow gait and moans of the dead. A whispering hiss of dry flesh shuffling down the street towards us. When the dead move they attract others, and crowds form quickly, which can mean certain death if they corner you.
‘Listen,’ I hissed at the bearded man. ‘You hear that? There’s a parade of evols coming up behind me, and if you don’t clear the way they are going to be all over you and your kids and then food is going to be the least of your problems.’
He started pawing the girl’s breasts, doing the hard sell, I pushed the bike’s kickstand down and climbed over the barricade.
The guy snatched at the sack over my shoulder. It had nothing for him in it, just my fare across the harbour. I pulled it out of his reach and yanked the car door open. Twisting the wheel I pushed back, rolling it slowly out of the blockade and opening up enough space to ride through.
‘Please, we are fucked, completely fucked!’ Shirt and Tie was crying, tears streaking white in the grime on his cheeks.
           ‘Dance for the man baby, show him you’re sexy.’ He pushed his daughter at me. She started twisting and moving in a listless way. I got the car moved and jogged back to the bike. Dark silhouettes appeared from the darkness down the street. I kicked the bike to life and rolled through past the family. ‘You might want to get out of here,’ I called as I rode past. I didn’t look back again and focused on putting distance between me and the following dead.

Tankbread News

Tankbread is ready to go to print. I've got some great feedback on it from various sources and I have been hitting up various famous horror writers for a one-line cover review - something like 'This book does not suck!' Got some heavy-weights agreeing to give it a shot. Nice.


I'm going to post the first chapter (or two) here as a sample.