So, the day finally came. After twenty five years of being distracted from book writing by the animation industry, my first novel ‘The Multiverse of Max Tovey’ is actually released. It’s a strange feeling. Obviously every novelist dreams of being sat in a book shop at this point with eager purchasers queuing around the block, but not all of us can be JKR. Well, only one, obviously. But given that it only came out today, it’s managed to reach number two in the Young Adult Time Travel chart on Amazon, which of course is very exciting. OK, it’s not a huge category, but there are a good few hundred in it, so number two will do very nicely thank you. It’s only the first day – the real hard work has only just begun, for myself and my publisher.
Friends and family on Facebook and Twitter have been fantastic in helping to spread the word, and the wonderful Alex Marwood was kind enough not only to give me a quote for the front of the book, but also to recommend it on Twitter. The trick now is to keep the momentum going, and expand it to outside the immediate F&F circle. We don’t have expensive publicists, or even a track record, just the willingness to work social media for all it’s worth, in the hope that the word of mouth starts.
The reviewers and bloggers so far have been very kind – my favourite quote so far is from Author and Blogger Sean P Carlin:
“The fictional universe—the multiverse—of Max Tovey may be more challenging than your average YA offering, with its esoteric regional folklore and convoluted internal mythology, but the purposefully fractured linearity of this particular hero’s journey may very well resonate with a “postnarrative” generation born into a hyperlinked reality in which time isn’t so much a thing that moves forward but rather branches outward, rendering us all a bit whiplashed by the digital multiverse of Facebook, Instagram, text messages, and e-mails that yanks us to and fro without warning or transition, and leaves us longing to have the power, like Max himself, to exercise some small measure of control over the technological maelstrom. In times like these, that’s the sort of thing that seems like a superhuman feat indeed.”
I’ve never been called ‘post-narrative’ before, and had to think about it for a while before I realised what Sean meant. What he’s talking about is the fact that the plot doesn’t progress in a straight line, but instead jumps backwards, forwards and sideways as Max’s journey has a butterfly effect on Time. I’ve said this before elsewhere, but it’s worth repeating. Imagine having a dream/nightmare, then waking up momentarily before going back to it, only to find things have changed. That’s how I wanted the reader to feel, because that’s how Max feels. Turns out that’s ‘post-narrative’. Hey, I can handle being compared to Pulp Fiction!