Great Press for #TheYearOfPublishingWomen!

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Yesterday, January 30th, The Oregonian published a great article by reporter Jenn Knudsen on Not a Pipe’s endeavors:

Oregon publisher accepts challenge to sell only books by women in 2018

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Then story was then picked up by Bustle thanks to reporter Sadie Trombetta:

An Indie Publisher In Oregon Is Only Publishing Books By Women In 2018

 

 

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This morning, an interview with one of Not a Pipe’s co-publishers, Benjamin Gorman, aired on  Portland’s KXL-FM by reporter Madeline Hall. Listen to the two clips below!

 

All this happened on the same day that author Mikko Azul's novel The Staff of Fire and Bone hit store shelves! Quite a day for Not a Pipe Publishing!

#TheYearOfPublishingWomen's Short Stories Series: "Buzzards and Bathtubs" by Jessica Mehta

During 2018, Not a Pipe Publishing has accepted Kamila Shamsie's challenge to only publish women for one year. Beyond the nine (nine!) novels we'll be publishing, we'd also like to promote even more women's voices, so we'll be publishing short fiction here. If you would like to submit, check out the information HERE.


Buzzards and Bathtubs

by Jessica Mehta

 

Note on this story: This is part of an unpublished book titled Gimme the Familiars. Each chapter (and in this case, the story) begins with a "mini chapter" that's a re-telling of a Native American myth in contemporary settings. The following story mirrors the myth, and addresses a sexual encounter of the protagonist.

Editor's Note: I believe it takes a lot of skill to effectively mix myth with modernity, but Mehta does it so gracefully that it suddenly looks easy. The writing and story are equally captivating. If the rest of Gimme the Familiars is as good as "Buzzards and Bathtubs," I cannot wait to get my hands on a copy. -Sydney Culpepper, Assistant Submissions Editor

 

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The Buzzard of the Highways

He watched from his post on the evergreen top, that one good tree that was could carry his pride. The other branches, the weak ones of the pear trees and the hybrid apples, they shook and wailed under his hooked feet like scared things. Desperate things. The types of things he glanced over, flipped his top knot like they were so ridiculous in his presence, but they were. They couldn’t help it, those struggling branches, and not even the Oregon moss gave them a coat thick enough to act tough. Not like the buzzard would have noticed anyway. Not like he cared.


The four-wheeled monsters, the two-wheeled ones, they whipped by fast along the asphalt, as fast as he could fly. But they were scooted along in the filth, and sometimes their bellies scraped the bumps. Pathetic little things. Sometimes they were just as useless as the prey he watched sprint across the yellow, dashed lines.


Buzzard tousled his top knot over his scapular, glorious atop the world. Death was beneath him, bits of snake pancaked from a worn-out wheel. An hour ago, he’d watched it happen and for just a moment—he swore it, just a slip of time—he’d thought about snatching the slithering miniature beast for himself. Then it wriggled of course, spilling over with life and energy. He hadn’t even been hungry, wasn’t even thinking of slipping scales and long, long bone between his beak today. Snake was tough, not his favorite. But the eyes he could imagine popping in his throat, juices sluicing quick into his belly. And the tongue, the tongue. He liked to think of it splitting all the way to its other end, filling him with ribbony pieces of pink that soaked into his hollow bones.


Just look at them down there, pitiful and shrieking at each other. Crow bounced around ridiculous, pecking between wing flutters of the Vultures. “You’re pathetic,” he called down from his perch, waiting between the highway horn blows to rain down his judgments.


“Says who?” Young Vulture asked, tiny entrails spraying from his beak. “The one who thinks he’s too good for us, sitting fat like a god in his tree?”


“Disgusting,” said Buzzard. “All of you, the lot of you. Eating deadness. Eating trash.”

 

Young Vulture fluffed himself, rolled his eyes as his elders shushed him. Crow, he never spoke to Buzzard, pretended like he couldn’t hear. Stupid, Buzzard knew he heard all.

 



As dusk slid its slippery black fingers over the pines, Young Vulture played the afternoon over and over in his head. Idiot Buzzard, so prideful. So vain. Him and his stupid pile of hair-feathers balanced like a crown in the sky. “Why’s he gotta do that?” he asked his elders, but they quieted him like always with no answers. And he was sick of it.


Young Vulture, he knew where Buzzard slept. Knew the tree where he buried down in the night, the one with the wires wrapped around it and the bed made of dried grass and decaying pine cones. And he knew Buzzard slept well, slept hard, stomach full and heavy with the dying animals he’d snatched that day, their blood keeping him warm ‘til morning.


He waited until the nests in his own tower were quiet all around him, nothing but the dream-induced fluffing and quivers in the purple sky. Grabbing the old knife from the storage branch, the rusty one that still held sharpness, he tucked it into his claw and delighted in its weight. He’d never touched it before, though he’d loved it the minute his brother had carried it home. “What are you, a magpie?” his mother had laughed. He’d always adored the shiniest things. Only then, with the slicer cradled like a scared rat below him, did he leave the roost, hop in silence from the commune before taking a wobbly flight into the deep.
Buzzard’s nest wasn’t far, and Young Vulture knew he’d be back before anyone would miss him. I thought I’d seen a mouse. Today’s carrion made me feel ill. He ran over the excuses, rolled them across his tongue to make them taste natural in case any elders saw him come back and required an excuse. Something believable.


He’d never seen Buzzard’s nest up close. The smell was different, the acid from the pines making it softer and warmer than his own. And he slept different than Young Vulture’s elders, not curled up nearly as tightly. He slept alone, could spread out and let his feathers fall like grace across the branches. Now, in this moment, he looked almost peaceful.


His top knot, it really was beautiful, thick and grand. Young Vulture didn’t really get the point of such a vanity, but like everyone else he admired it. Not that he’d ever tell Buzzard that (nobody did), but it was Fact. His own head was clean and bald, not a single feather to be found. It’s what made him ugly.
The snip was over fast, but the memory burned into his brain. The sound the top knot made when the knife flashed through it. How it felt so much lighter than he’d imagined clutched in his talons. Buzzard didn’t even move and now—now—now, now, now …


Buzzard was ugly, too.


 


Fear gripped Young Vulture on the brief flight back, even as the river beneath him glistened like the shiniest of all greatness. And the top knot grew heavier, heavier in his grip, so heavy he couldn’t keep hold. So he let go, let all that beauty get wrapped up in the winds and scattered like droppings to the earth below. The knife, too, the evidence of his badness.


Young Vulture slept late, a rarity for him. Like the rest of his family, he was often up early, eager to see what treats had been broken, beaten and splayed open like a gift on the black flattops below. Why didn’t anyone wake him? Why was everyone lined up like dutiful soldiers on the big wire?


“What time—“ he began to ask his mother as he settled next to her, his eyes still full of sleep.


“Shh,” she said, motioning to the earth.


What seemed like miles below, Buzzard was hunched, looking bald and naked, amongst the empty cans and discarded sandwich wrappers. In his feet, a smashed squirrel’s head lolled backwards. Young Vulture could smell the wheel-death of the big-tailed animal from way up here.


“Is he … why’s he eating carrion?” he asked his mother. She shrugged, eyes embarrassed for the poor thing, and nudged her son back to the nest.



***
 


Sex starts small, I learned that young. I was four, and (like most inching towards Kindergarten), I don’t remember much. I remember this—standing on the autumn leaves while my father built a little house for me in the backyard. Years later, it would be home to the big pool pump even after the water had dried up and the lining got cracked. I remember finger painting with my mother on the rickety metal card table in the living room, her screaming at me to be happy and enjoy myself. I hated finger painting, it made me feel dirty. I remember the eyes of the Indian woman in the hallway painting, how they’d watch me no matter which way I walked, and how she’d only do it when nobody else was looking.


And I remember the time in the bathtub.


Our water came from the well, and I hated the taste. Like metal gone bad. Sometimes it had a rusty color, and I didn’t want to bathe in it, but my mom didn’t believe in showers. Demanded that baths were relaxing and, like her, I was only allowed to soak. But I’d throw a fit when the water was too brown, so she’d squirt in half a bottle of blue food coloring to bury my silence. “It’s like a lagoon! A tropical paradise. Hawaii,” she’d crow, even though she’d never been anywhere beaches were warm. She’d only seen the sands of Oregon, and we called them coasts here. And once, once, I’d been told we’d seen the blinding white sands of Florida, but I wasn’t sure that was true. She said I was still in diapers and didn’t remember, and the people in the pictures looked like they were in a play. My mom looked too young, my dad didn’t have his moustache, and the baby they held had nothing of me in it. Those blue eyes in the photos had long turned to Cherokee green.


And sometimes not even the blue food coloring satisfied me. I swear, I could still see the grains of the filth. The well’s underbelly would sneak in through the pipes, deposit a dusting of what I was sure were crushed insects along the porcelain floor. I wouldn’t get in. “Jesus Christ, Justine,” my mom would say, and then glub-glub half a cup of dish soap in the tub. It covered the secrets up, but I could still feel the broken bugs on my too-thick thighs and flat butt. I just knew enough not to complain anymore.


I’d stay in the bathroom for an hour. It didn’t matter that the water went cold or that every last bubble popped. I didn’t care that the dish soap dried up my skin so much that it began to pain, or that I could feel the slime of it seeping into my pores. That my hair, no matter how many times I dunked it, never really got truly clean in the soupy well water. I was told that this was Relaxing Time and it was the only time my mother left me alone. When I was ready to get out, I had to call her. She hated the thought of leaving soap to line and sit in the tub, so I’d have to stand as the water drained and she hosed down each piece of the liner, inch by inch. Once the escaping water reached my feet that looked just like hers, she’d start to hose me down, too. The well, it was running dry, and by then the water from the hose was always almost-cool at best. Usually, it had gone cold. And she’d have me spin, turn, hold up my hair to spray down my slippery neck. At four, I’d already learned fast to hate this process. It was like being one of those hanged, headless, skinless animals at the slaughterhouse down the street. Hooked and waiting for the butchery to be done while my insides, my private areas, were on display.


We had one bathroom in the entire house, and so I wasn’t allowed to lock the door. My mom, in the summer, would always be in the yard, covering our one, long acre in discount perennials. Tending to the marijuana that she planted along with the tomato plants because they looked kind of alike. Pulling up weeds, yelling at my dad to mow the grass, swatting away the latest animal she had acquired, shrieking at it to behave against its instinct and act like she thought it should. Goats, turkeys, ponies, and rabbits. Sometimes, her or my dad would come into the bathroom, pull down their pants to defecate or stream yellow into the chipped bowl. I could only see the flanks of their thighs when this happened, the toilet was on the other side of the bathtub wall with the sawed-off spout. My mom’s white-white jiggly side-butt or my dad’s milk chocolate cream with the sparse black hairs. It always shocked me, how much lighter his Indian skin was on the parts where the sun couldn’t reach. To me, he was Hershey brown, a color that must have run out of me in birth.


Sometimes they’d say something to me, most times they didn’t. Especially not my dad—I don’t think he knew what to say. But this time, when I was squarely Four, I was well-armed. I was always swimming in toys, always used, always garage sale finds he would bring to me in soft, worn-out boxes from his Saturday hunts. My favorite was a plastic alligator squirt gun. My mom hated that, that I often went to the boy toys instead of the cutesy stuff she liked. She hated that I hated Sesame Street and picked He-Man or Thundercats when I had a choice.  She hated that I didn’t like dresses, preferred the black t-shirts with monsters on them. Werewolves, vampires and Frankensteins.


Just a month ago, my mom had painted big, fat blue raindrops everywhere on the bathroom walls. I had to help, and it was obvious which were mine and which were hers. Mine were fast, hurried. I didn’t want to be doing it. She did that, stuff like that. Our house was the weird one, but I was just now figuring out to be embarrassed. Embarrassment is something that comes in random bursts, like a growth. I guess it has to be that way, doesn’t it? Otherwise babies would be way too embarrassed with their poop and vomit and nipple sucking to ever get big. Embarrassment was coming in buckets to me that summer, like it had gotten lazy and was playing catch up.


It had only been a couple of weeks since the last big embarrassment. My mom, determined that I would know everything about sex since she had known nothing, had blasted words like penis and vagina at me since before I could remember. Intercourse, sex, orgasm, sperm. They were as common to me as yellow, blue, rectangle, and square. She didn’t want me to be like her, turn thirteen years old and come home crying because a boy had accidentally brushed his khaki-clad Penis against me in the school hallway and thinking I might be pregnant. So two weeks ago, while I stood on a chair playing with my dad’s long black hair, twisting it into twin mounts on top of my head and giggling, I caught myself when my mom walked by and asked, “What are you doing?”


“I’m making him horny.” I heard it, my try at making a joke—horns to horny—turn to filth between my lips. I knew it before I saw the shift in his eyes, before I felt the silence shoot at me from my mother’s presence. And I said nothing, just let go of his locks and scooted back down off the chair.


“What are you doing?”


My dad had come into the bathroom so quiet I hadn’t even heard the footsteps in the hall. He could do that, unlike my mom. Move like a cat, like a big sneaky thing. Her footsteps always announced themselves from what felt like miles away, a lumbering lack of grace before her musky smell announced itself.


“Nothing,” I told him. He stood before the vanity mirror, the one that opened with a soft press to reveal his green Barasol can that turned the shelves dark red. His old razor. My mom’s dull tweezers and silver hair clips. His back to me, he watched me in the mirror as he lathered his face. Like snow spreading across peaks and mountains. Something had changed in him. This mask, the snowy one, I’d seen hundreds of times. But always, I’d known what was below. Thought I’d known. It was my dad, the one who would drink an entire liter of Coke and half a can of peanuts. The one who took me to the Red Barn Auction on Thursday nights, to McDonald’s for their spongy pancakes and warm syrup on Saturday mornings after the first best garage sales had been ransacked. The one who flew me around like I was a plane in the photos, who grew that moustache because I got to watch Born in East L.A. and thought he looked just like Cheech Marin. “Grow a moustache! Grow a moustache!” I’d begged of him, and he had. It came in slow, so we all got used to it together. Now, it was the dad in the photos that looked like a stranger. I couldn’t remember what his full upper lip looked like anymore, but I knew what his moustache looked like after he ate all those peanuts. Dusted in salt and little nut skin flakes.


What are you doing? What are you doing. He said these words for a different reason than my mom. Because it made him sound like he cared, and he knew my answer would be short. My mom asked because she had to know everything, didn’t realize that children came with their own deep-inside personalities that she couldn’t keep choke-collar tight. I’d seen that after the horny incident, saw her face scrambling to contain the wild animal she thought she’d spotted in me. I wanted to explain that it was a joke, that my words came faster than my head could manage, but that would just make it worse. Wouldn’t it? Wouldn’t that just make it worse?


My dad’s face was half white snow now, the top half the same brown skin as always and those green-gold eyes. They crawled over me like insects, and I could feel the itchy dead bodies at my legs again. They had disappeared when I’d first lowered myself into the water. But now that water was cool, the bubbles gone, and the false blue wasn’t enough to offer any comfort. There were dark bits floating at the surface now, too. What body parts might those be? Maybe tiny little alien eyes, or a leg all akimbo. Flecks stuck to my skin where the water licked at my belly. My sides. Right below my nipples. And I was ashamed.
It was like in Sunday School, how they tell you about Adam and Eve. Eat the wrong thing, and you get embarrassed all at once. Not over time like you’re supposed to.  I don’t know if my dad had ever changed my diaper. Given me a bath when I was too little to do it myself. I know he’d never hosed me off—that was my mom’s job.


“You gon’ stay in there much longer?” he asked as he picked up the razor, held the blade to his cheek. It was old, and I knew he’d cut himself. Leave the bathroom with bloody bits of paper stuck like bows at the sharpest angles. His Oklahoma accent spilt something fierce through his snow-flaked lips.


“I don’t know,” I said. Penis. Vagina. I could see the start of my vagina at the depths of the blue, blue water. His eyes kept marching over me. Down my throat to rest in the hollow of my collarbone. Across my shoulders, peeling from the early summer shine. He carved out a piece of brown from the white, the soft scrape-scrape sound echoing in the tiny room. He’d shut the bathroom door. Why had he shut the door? It was too small with two people in here, the raindrop walls moving uncomfortably close. It was pouring.


“Hmm,” he said, revealing another section of skin. His chin, the one unlike mine. Mine was like my mom’s, a slight dimple. Butt-face, that one boy had called me at Vacation Bible School. Jesus hadn’t cared, just kept staring at the ceiling from the big cross up front, eyes faded and looking bored. Not like my dad’s eyes. They moved to my upper arms, the ones I already knew were too big.


“You can always tell when a girl is gonna be fat by her upper arms,” my mom would say, pointing out girls my age, younger, older, it didn’t matter. “It’s all in the arms,” she’d say, with a sad shake of her head. “It’s a terrible thing, to have to watch your weight your whole life. God, what I would give to be thin and rich. That’s all I want in my next life.”


In my water-logged fingers, the hollow alligator nuzzled close. I could fill it with one hand, I’d been practicing. Like an army man, and I hadn’t even known a war was coming. Just knew, like instinct. I had to be able to load this gun one-handed, simple as that. Slow, careful, tucking the alligator against my hip I pulled his orange syringe like I was lapping up all the poison. He grew heavier in my palm, didn’t want to pop up to the surface anymore. He was so full with the water, he was happy to stay weighted and deadly ‘til I was ready.


My dad moved the razor against the long moustache hairs, careful to keep each side equally thick. It must have been hard to do without looking. Or maybe you get used to it. I wanted to see if he’d locked the door or just closed it, but I couldn’t. I couldn’t look away, or his eyes could race too fast to somewhere they shouldn’t be.


To my elbows they went, the crooks of them at the water’s surface. The razor slid to his throat. His eyes to my nipples. Now. The alligator attacked.


It was perfect, not a sound or a splash. I took aim like I always did, arm stretched out, trigger ready. But I shot for his face, the one in the mirror with the searching eyes, and the alligator vomited a blue stream all across his back.


“Goddamnit!” he yelled, raking the razor across his barely-there Adam’s apple and it went from white to bright red in a second. “What the—Rhoda! Rhoda!” he yelled, calling for my mom. Her heavy feet slapped against the linoleum in the kitchen, just a few steps away.


“Jimmy? What is it? Is Justi—” she screamed from behind the door, and it flew open. It wasn’t locked, wasn’t locked, wasn’t locked. “What happened?” she asked, scanning him as he clutched a wash rag to his throat, me sitting with my knees drawn up to cover my nipples.


“She shot me!” he said, like he couldn’t believe it himself.


“Justine! What the hell are you doing?” she asked.


“No, I—I didn’t do it. It was the alligator.” It was the truth.


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Jessica (Tyner) Mehta is a Cherokee poet, novelist, and storyteller. She’s the author of eight books, which includes six collections of poetry: the forthcoming Constellations of My Body, the forthcoming Savagery, as well as Secret-Telling Bones, Orygun, What Makes an Always, and The Last Exotic Petting Zoo. She’s been awarded the Barbara Deming Memorial Fund Prize in Poetry, the Potlatch Award for Native Artists, and numerous poet-in-residencies posts around the world including Hosking Houses Trust with an appointment at The Shakespeare Birthplace Trust in Stratford-Upon-Avon, England, and Paris Lit Up in France. Visit Jessica’s author site at www.jessicamehta.com

Cover Reveal for Sang Kromah's Djinn

It's here!

The cover of Sang Kromah's

Djinn!

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We're so pleased with the stunning artwork from Mariah Bazan that will help folks notice this amazing novel by Sang Kromah! Fans of Red Queen by Victoria Aveyard, The Looking Glass Wars by Frank Beddor, and Twilight by Stephanie Meyers will love this YA fantasy romance. Bijou Fitzroy is strange. With the unwanted gift of being an empath, she has spent her entire life as a sheltered recluse, homeschooled by her secretive and overprotective grandmother who never allows them to stay in one place long enough for Bijou to settle and make friends. When Bijou and her grandmother move to Sykesville and she starts to attend the local high school, Bijou’s world begins to crumble, town locals begin to disappear, the creatures from her nightmares begin to take shape in her reality, and she finds herself at the center of a war she never knew was being fought all around her.

Djinn (Harcover ISBN: 978-0-9983880-6-9, Trade Paperback ISBN 978-0-9983880-5-2, eBook ISBN 978-0-9983880-7-6) will be released on March 20th of 2018. Ms. Kromah’s novel is the fourth of nine books by women we’ll be publishing during 2018 as part of our commitment to accept Kamila Shamsie’s challenge to make 2018 The Year of Publishing Women and only publish women for a year.

The novel will be available for pre-order in late February. Be the first to get a copy!

Update: Check out the full dust jacket for the hardcover edition. So cool!

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#TheYearOfPublishingWomen's Short Stories Series: "Senses" by Nicole Shuey

During 2018, Not a Pipe Publishing has accepted Kamila Shamsie's challenge to only publish women for one year. Beyond the nine (nine!) novels we'll be publishing, we'd also like to promote even more women's voices, so we'll be publishing short fiction here. If you would like to submit, check out the information HERE.


Senses

by Nicole Shuey

Editor's Note: This short story is rich with imagery as it paints a picture of the narrator's thoughts. The story dances through the narrator's mind and pulls the reader in through the stream of consciousness. Shuey has proven herself skilled with descriptive language, and the visions of color all but leap off the screen. This truly is a captivating story. -Sydney Culpepper, Assistant Submissions Editor

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Some words are hard to say.

Simple words, complex words, normal words. My lips can shape them, my mouth can pronounce them. My tongue tastes them. Hearing the words is one thing. Ignoring them, half-listening to others speak the sounds, I can forget to notice. I can forget to notice how sharp bile trickles down my throat, while everyone else is ignorant of the essence of what they say. I can forget how my toes curl up, my lips rolling inward, when I hear this word, or the immediate reaction to that other one. A liberal lack of concentration is key.

The first word is spelled with letters which are no trouble on their own, or in other words. This word is spelled with navy, dark brown, white, emerald. The navy and the brown make it a dark word, a black word, all the colour left out. It’s troublesome. It’s tiresome. It’s unavoidable.

The second word, the older word, is brown, red, and yellow. It’s musty, sour and old like empty and unwashed milk cartons. Even connected to other words, lined up like train cars, these words will taint my mouth. The more I hear them, the more I want to take my toothbrush to my tongue and scrub. I fight to keep my face from scrunching up. Because no one knows. And no one senses the same thing. They see me, but not the hate I have for these words, these tastes. They use them against me, accidentally, on purpose, again and again, repeat and repeat…

-Pete and Repeat are in a boat. Pete falls out. Who’s left?

-Repeat.

-Pete and Repeat…

Or is it Pete and Repete? Maroon red and dark brown, or maroon red and almost-green? Who knows? Do I know? It’s another thing I see that no one else seems to notice. Dark notice, quiet notice, that sees a little with a little openness. Flavorless notice. Flavourless notice? That extra letter does a lot of work.

Flavour.

Honour.

Colour.

Knowing it’s there, shading the sound with weight and pale light, my mouth moves differently. It feels different…differently. Definitely distinctive. Dark again, black or brown, and green and white, and maybe yellow, maybe not. Depends on the word, on the context, on the connotation.

Red and brown.

Brown and white.

White and yellow.

Yellow like sunlight. Yellow like summer, the light shining on the sea.

-She sells seashells by the seashore.

Does she who sells those seashells see the red haze in on that seashore? In the sand? And in sandstone, and salt, and…and.

And what does it—black, red, sturdy—matter?

I’m lying in bed, my head on the crook of my arm, and I’m not sleeping. I should be sleeping. I’m tired, so tired my eyelids can’t fight the Earth’s gravity. I’m listening to the deadened night sounds: my little fan humming; the wind pushing on the building, the wall near my head creaking like ship’s rigging; night birds calling in weird voices.

“They sound like cats,” I whisper to myself.

They also sound, sometimes, like they’re being strangled. Concentrating on the hum of my fan, I lose the bird calls. I escape into a blanket of white noise. And why do they call it white noise? White noise. If anything, noise is dark, black, blank. Colourless. Just the same as the ink the word is printed with. White noise… What else is white, really white?

Snow.

White as the new-fallen snow. Snow is ice crystals shoved into a solid form. True snow, not memory snow, is blue; it reflects the open, vaulted sky. Snow means ice. Ice means cold. Cold means a coming darkness, or a puff of mist.

I roll onto my right side, facing the dim wall. I’ve opened my eyes now and they stay that way. The quiet power of thought gives my eyelids strength. Nothing much to see physically, but with a world of ideas inside me, my attention turns back to that landscape. I decide, this landscape will be vast and low and slightly sepia. I should try to get some rest. What do people usually do…?

“Count sheep.”

My new mental landscape is the perfect habitat for a flock of sheep. The ground’s colour deepens to vivid green, the kind you see in children’s books and in paintings. The sky is the most archetypal blue. Both colours are at once soothing and too good to exist in reality. Hills rise in the background; a nice white fence is in the middle foreground. Maybe not a fence. Just one section of a white fence: two end posts with three horizontal slats. It’s an empty pastoral scene, obeying the rule of thirds—two thirds above the ‘fence’, one section sky and the other green grass. Are there clouds? A quick glance at the sky and the answer is…

No clouds.

Clouds would be nice, especially fluffy cumulus ones, but more white would be distracting from the main focus. Which is the fence segment. Or should it be something else? Something less standard, less generic, might be good. Besides, why would sheep jump just the one slice of fence? Granted, sheep are stupid, but surely they would just walk ‘round it.

The focal element, front and centre, should be a hoop. Oval, floating off the ground, but big so the sheep won’t have troubles getting through. The new oval hoop replaces the fence section, but it’s still white. The surrounding area’s saturation is turned down a tad, to more normal levels, though still picture perfect. There. Now time for the sheep. Time to start counting.

A slightly stylized, soft woolly sheep appears from the right. Its wool is the truest white, but its face and legs are midnight black. It gains speed and, with a ‘baa’, jumps. It clears the hoop with plenty of space all around it, as planned. Then off it goes to the left and leaves the field of vision.

“One.”

The black and white sheep is gone for the span of a breath. The next sheep is blue, the sweetest of the light blue family. In fact, it almost looks like a piece of the sky. It is just as fluffy, with an equally adorable, if vacant, face. It, too, gracefully takes a run-up, goes through the hoop with a gentle noise, and disappears left.

“Two.”

Then a rosy sheep, the ideal carmine red. (A strawberry sheep?) Here it comes, through the white hoop, and there it goes.

“Three.”

Four is a rich royal blue. It has no trouble with the hoop.

Five is like a living topiary from the rainforest, or a rare emerald cut to resemble a sheep. (Who’s going to want a sheep-shaped gem, though?)

Six has a yellow-orange tint. (Maybe it was a white one who fell into a vat of turmeric tincture.)

Seven: green, like the fifth one, but lighter. It almost blends with the grass.

Eight. This one looks stained with blackberry—or maybe blueberry—juice. (There must be a bramble patch further right, offstage, out of frame.) Dark and purple-red.

Nine is black. The fullest realisation of the colour. Not like the night sky, which is vaguely navy. Not like charcoal, which is vaguely grey. Not obsidian, which is vaguely brown. Sometimes. The ninth sheep is a little sheep-shaped black hole with shining, dark eyes. The contrast between this sheep and the brightly white hoop makes me think that this is the kind of thing people mean with the phrase ‘seeing things as black and white’.

Then the ninth sheep is gone and here come number ten, looking like a cotton ball, almost the same white as the hoop itself.

I am calmer now. Not exactly sleepy, but more ready to dream. I am also tired of counting sheep. Anything else would be better about now. It might have been less tedious—and cuter—with lambs instead.

-Mary had a little lamb; its fleece was white as snow. Everywhere that Mary went, the lamb was sure to go. It followed her to school one day, school one day, school one day…

*

Mary had black wavy hair. She tied it up with a red ribbon, in a loose ponytail like my older sister’s. Mary’s lamb had a red ribbon, too. She’d tied it around the lamb’s neck in a bow, so they’d match. I gripped the crayon tightly; my face was inches from the paper. My eyes were almost closed, narrowed to see better, even if my sister said that didn’t work. Next to me, all around me, the other five- and six-year-olds in the class all colored their work pages. Once we were done with tracing and copying the letters on the front, we could draw whatever we wanted on the back. The letters today were L, M, N, and O.

L is for…lemon, lion, lamb. So I started with the lamb. White crayon on white paper doesn’t work well. I changed to blue, a light one, just so the lamb wasn’t hiding on the blank page.
M is for…mango, mice, Mary. Mary had a little lamb. I wanted her to wear a red dress, to match the red ribbons, but when I was making the lamb’s bow, I broke the crayon.

Debbie, my tablemate, looked up from her shading. “Don’t color so hard.”

She said it with the same tone my sister used. The same tone that all Debbie’s brothers and sisters used, too, maybe. Debbie was the youngest of nine.

I blinked at her, my lips pushed tightly together almost until they hurt. I couldn’t decide whether to tell her to mind her own beeswax or tell her I liked her picture. It was a tree with yellow, red, and green apples in it. Debbie dropped her head to watch her crayon slide around the edge of the tree trunk, outlining in a slightly darker brown. I went back to my picture, too. I decided to color a little bit lighter, not just because Debbie told me to, but because I didn’t want to break more crayons. I gave Mary a blue dress instead. She’d match her lamb even more like that.

When I was done, I had a little more time. Two or three other kids were still tracing and writing their letters. I thought it might be nice to label my drawing. Just in case someone who didn’t know the rhyme saw my picture. Of course, everyone knew the rhyme, but adults could be silly sometimes about drawings. They saw things that weren’t there. I looked over at Debbie’s tree. She was shading in the sky now, and drawing little round-ended V’s for blackbirds. No one would mistake her drawing for anything else.

I picked up a yellow crayon first, again gripping it almost too tight and drew the L. Putting the yellow down, my fingers hovered over the other colors for a second. Then I put my hand up high, so my teacher Miss F would see me. She came over and knelt next to the table. Our heads were almost the same height.

“Yes, Jordan?”

“Miss F, how do you spell lamb?” I asked. I thought I knew, but I wanted it right.

“L. A. M. B.” She smiled. “I see you’ve already got the L.”

I nodded and picked up a red crayon for the A. I was in a matching mood. Not only should Mary and her lamb match, since they were best friends, but the colors should all match the letters, too. Yellow for L, red for A.

“Black for M,” I murmured. M black like Mary’s hair. Mary’s hair black like M. I met Miss F’s eyes. “Then a B?”

“That’s right.”

I frowned, my forehead getting lined. “But you don’t say the B…?”

“It’s silent,” she told me. “What color should we make it? Green?”

I shook my head wildly. “No, no, it has to match. B is orange.”

“There’s no other orange in your picture…” A classmate put his hand up and called for the teacher, so Miss F left my table with, “Keep up the good work.”

I looked over my drawing and wrinkled my nose. Who ever heard of a green B?

*

A rhythmic buzzing pulls me out of sleep. My hand swats at the bedside table, searching for the source of the sound: my phone. My alarm. Somehow, the night before, I’d switched it to vibrate only. I am definitely lucky I sleep light in the mornings. I tell the alarm to shut up, both out loud and by tapping a button. Then I curl under my blankets, feeling like a caterpillar. (But I don’t want to wake up and try and be a happy, beautiful butterfly.) Or else maybe I’m a burrito. In which case, I’m justified in never moving again. Unfortunately, being human, and being employed, and being alive on a Monday, I have to leave my wrap. Why didn’t I turn the heater up a bit last night? My bed may be warm, and cosy, but the rest of the room is chilly. That’s only all right if I’m a warm burrito.

“You’re not a burrito,” I tell myself. “Get up.”

I turn on my stereo on the way past; the volume is up high enough for me to hear the music in most rooms of my small house. I go on with my morning routine, shuffling around groaning like a zombie. Give me coffee: coffee will give me braiiinsss…

While the coffee is percolating, I hunt for something edible. The bagels in my cupboard are about to expire. I take one out of the bag and throw the rest in the freezer. If the bagels are going bad, then surely the cream cheese is out of date, too. I might just have to melt regular cheese on the bagel if that’s true. The toaster oven browns my bagel while I check the date on the cream cheese. Bonus! Still good. I smell it for extra safety. Yep, still good, smells normal. When the bagel is cooked to perfection, golden brown with darker edges, I slather on the cream cheese. Some melts down the side of the bread; it’s almost too hot to hold.

Maybe I’ll get coffee first.

I watch the dark liquid drip into the glass carafe. ‘Carafe’ is sort of close to ‘giraffe’, but they’re nothing alike. Other than the fact the first is inanimate and the other’s an animal. Carafe sort of blushes red, under the yellow of the C, and the brown of the F. Giraffe’s kind of green. Like leaves in savanna trees. If anything, the word ‘carafe’ is closer to the colour of a giraffe… Once the last of the coffee has gurgled down through the filter, I take the carafe out of its cubby. A spare drop of hot liquid sizzles on the warmer pad.

Mug. I need a mug. My favourite one’s dirty, so I take out a white one instead. The coffee makes a nice contrast as it swirls into the mug. I click the carafe back into place, and grab my bagel plate. Finally, I settle at the kitchen table, bagel and plain coffee before me, and lick some extra cream cheese off my finger. The clock ticks under the music still playing in my bedroom. I watch the second hand while I’m eating, calculating just how much time I have before I need to run out the door.

Speaking of doors, do I remember the alarm passcode at work? Wasn’t it coloured like fire? Red, orange, red, white…? Red, white, orange, red. That’s it. White like a zero or white like a one? I’ll have to check. I wrote it down somewhere.

The sharp-sweet of the cream cheese reminds me of something else. What else? I’m halfway through the bagel when I remember. I once read a story about a crow named Morgan. I always liked that name; it put a sort of tart taste in my mouth. Like the cream cheese, but not as…milky? The effect was only for a moment: think of it and it was gone.

Unlike some other words I could mention.


Nicole Shuey has been writing for over fifteen years. In 2016, she earned her MLitt in Creative Writing from the University of Aberdeen, Scotland. She currently runs a blog and is writing a fantasy novel series, in addition to her day job and her work as one of the Co-Chairs of the Southern Oregon Willamette Writers.

 

 

Cover Reveal for The Staff of Fire and Bone

It's here! Mikko Azul's epic fantasy, The Staff of Fire and Bone, is now available for pre-order. Check out this beautiful cover!

Front cover of The Staff of Fire and Bone

Front cover of The Staff of Fire and Bone

Here's the back cover of the hardcover edition:

Back cover of The Staff of Fire and Bone (Hardcover)

Back cover of The Staff of Fire and Bone (Hardcover)

Here's the back cover of the trade paperback edition:

Back cover of The Staff of Fire and Bone (Trade Paperback)

Back cover of The Staff of Fire and Bone (Trade Paperback)

Pre-order your copy from your favorite independent bookstore by asking for it at the front counter, or order it from one of these fine online booksellers:

Powell’s HERE

B&N.com HERE

Amazon HERE

Kindle HERE

Mikko Azul’s stunning epic fantasy novel, The Staff of Fire and Bone, will hit shelves on the 30th of January in hardcover, trade paperback, and on Kindle. Azul, a former Marine and mother of three, has been working on the novel since 2005, and she gained renewed inspiration when an earlier version of the manuscript won awards and recognition at the San Francisco Writers Conference. She then signed with Not a Pipe Publishing, a small press in Independence, Oregon and the first publishing company in the United States to announce their acceptance of author Kamila Shamsie’s challenge to make 2018 “The Year of Publishing Women.” Azul’s The Staff of Fire and Bone will be the first of nine novels released by the company in 2018.

The Staff of Fire and Bone is set in Muralia, an elaborate and richly conceived world filled with magic and different factions living in tension. It tells the story of Cédron Varkaras, a young man who is already isolated because he’s the Regent’s son and has a Shäeli demon for a mother. Approaching manhood, his demonic powers manifest, proof of his mother’s legacy. Cédron is blamed for the devastating ground shakes that have begun tearing the world apart and he flees. Hunted by those who would kill him and others who want to exploit his powers, he races against time to find the real cause of the destruction. With little hope of redeeming himself or saving his world, Cédron must choose: become the hero that destiny has conspired to make him or join with the great demon and embrace his true heritage.

The early critical reception has been effusive. Karen Eisenbrey, author of The Gospel According to St. Rage and the forthcoming Daughter of Magic, writes, "The Staff of Fire and Bone is a thrilling tale of a misfit with a destiny to save the world of Muralia - and the power to destroy it. Like the best fantasy settings, Muralia feels both familiar and deeply strange. And the staff of the title? The most shocking and beautiful magical object I have encountered in 40+ years as a fantasy reader."

After so many years of toil to bring this world to readers, Azul has learned a lot about persevering through adversity and overcoming self-doubt. “My advice to aspiring authors is to follow your bliss,” she says, “to find bliss in your writing and your life, and to not worry about anyone’s definition of success. Relax and take the ride!”

Jason Brick on How to Write Query Letters

Jason Brick, your writing sensei

Jason Brick, your writing sensei

Not a Pipe Publishing's own Jason Brick, author of Wrestling Demons) has written a great guide to writing query letters. We're not open to submissions right now (Bonus hint: Sending query letters to agents and publishers who are not accepting them does NOT make you look like a go-getter. It makes you look unprofessional. We close submissions because we're focused on the authors we've already signed, and you should want to find a place that will prioritize you once they've signed you, so honor that). However, when we do open back up, please take Jason's advice. Our only other Not-a-Pipe-specific-addition: When Jason says, "Talk about things they’ve published that you read and loved (especially if they dovetail with your project)," this is particularly important to a small press. If you haven't read any of our books, that tells us you probably won't once we sign you, and that means you won't be able to blurb them, review them, tweet about them, or generally be a good team player. We're building a family of great authors, and we're picky about who gets adopted, so referencing our books tells us you'll take your turns doing the dishes and mowing the lawn in this family. 

Check out Jason's very practical advice, complete with templates, HERE.

SuperGuy Podcast is Here!

The hilarious superhero novel SuperGuy by Kurt Clopton is now being released as a podacst in the run-up to the relase of the audiobook, and the first episode has just dropped. Ruby Faux, of Faux Fiction Audio, has produced this wonderful show with a complete cast of talented voice actors and high quality post production to give the show and the forthcoming audiobook the complete audio experience. Check out the first episode!

 

Soundcloud: https://soundcloud.com/user-960756419/superguy-episode-1

 

And be sure to check out these interviews with author Kurt Clopton about the novel, the audiobook, and more!

 

Fat Packs Podcast: 9 - 28 The One With SuperGuy Author Kurt Clopton

Welcome Sydney Culpepper to the Not a Pipe Family!

Welcome Sydney Culpepper, our newest Assistant Editor and Assistant Marketing Director , to the Not a Pipe Publishing family.

Sydney Culpepper.JPG

Sydney hails from Klamath Falls, OR, and is a recent graduate of Western Oregon University with an honors degree in linguistics and American Sign Language.  She’s been a reader and a writer nearly all her life, and she loves reading young adult fiction, especially fantasy and LGBTQ+ subgenres.  She self-published her first novel, Pagetown, as her senior project in high school, and is working on her next book.  Her other hobbies include Netflix, drawing, and petting her cat.

Not a Pipe Publishing's Summer Kindle Book Giveaway!

As we gear up for The Year of Publishing Women and the seven (yes, seven!) new novels we’ll release from five new, amazing novelists, we want to celebrate the books we’ve released during 2017. We’re going to give away four free Kindle copies of our books (in honor of the four new books we released in 2017) to the people who want them the most.

Details:

How do you tell us you want one of them the most? It’s totally free and easy. Just choose the link below, quote-tweet on Twitter or re-post on Facebook, and add the right hashtag. Then we’ll search the hashtags and randomly select four winners. The more you tweet or post, the more chances you have to win!

We'll announce your winning on Twitter and Facebook, then send you a copy of the Kindle edition for your phone or tablet. It's that easy!

For Going Green by Heather S. Ransom, quote-tweet or share the link to the Kindle edition and add:

I want to read #GoingGreen

 

For SuperGuy by Kurt Clopton, add:

I want to read #SuperGuy

 

For The Digital Storm by Benjamin Gorman, add:

I want to read #TheDigitalStorm

 

For Wrestling Demons by Jason Brick, add:

I want to read #WrestlingDemons

 

For Corporate High School by Benjamin Gorman:

I want to read #CorporateHighSchool

 

For The Sum of Our Gods by Benjamin Gorman:

I want to read #TheSumOfOurGods

A Night at the Museum with Heather S. Ransom, Author of Going Green

On the evening of June 16th, the Museum of Art in Grants Pass, Oregon, experienced its own night of wonder and magic. Three young adults participated in a live art performance, bringing to life a chapter from Heather S. Ransom's YA novel GOING GREEN. Looking 120 years into the future, museum guests watched a trio, two cellists and a violinist, who had been genetically modified with chloroplasts engineered for humans, play beautiful music for all to enjoy. Portraying classmates of the novel's hero, Calyssa Brentwood, the musicians depicted members of the symphony orchestra at SciCity's high school. The three played, unaware of the increasing rebel attacks happening around the city. Interested? Want to know what happens in the story? Check out heathersransom.ink to discover more about this exciting new novel!

The event showcased local authors and illustrators who spent the evening entertaining the public and reading from their published works at the beautiful Grants Pass Museum of Art. Authors sold and signed their books for adults, young adults, & children.

Ransom would like to give a huge "thank you" to an incredible artist, Leslie Macpherson, for helping the trio "go green," and also to the Authors Innovative Marketing group for making this opportunity happen!

A second event and performance will take on Saturday, June 24th, from 1-4pm. Don't miss out on another opportunity as GOING GREEN once again comes alive!

Not a Pipe Signs its First Three Book Deal: Welcome LeeAnn Elwood McLennan to the Not a Pipe Family

Not a Pipe Publishing is excited to announce that we have signed the talented LeeAnn Elwood McLennan to a three book deal! The whole trilogy is scheduled to be released in spring, summer, and fall of 2018. This as-of-yet-unnamed YA superhero trilogy is so fun and so gripping that we know readers won't want to wait long for the next installment. 

LeeAnn Elwood McLennan is a perfect fit for Not a Pipe Publishing. Growing up in Fort Worth, Texas, she was always looking for any opportunity to read – under the covers in bed, in the car, and in class using the book-hidden-in-the-textbook trick. When her father introduced her to sci-fi/fantasy through a book of short stories from Astounding Stories, the possibilities in every word captivated her interest, and her daydreams involved other worlds, magical powers and time travel. Stories permeate her life from her multiple Alice in Wonderland tattoos to the names of her cats (Atticus, Boo Radley, and Finch).  

Though she graduated from Clemson University with a degree in English, LeeAnn has spent her career working in computer engineering related fields. LeeAnn lives in Portland, Oregon with her husband, Andy, and three cats (number of cats subject to change). Visit her at www.leeannmclennan.com, follow her on Facebook @lemwrites, Twitter @atticusmcl, and Instagram @atticusmcl.

BOOKS ABOUT WOMEN DON’T WIN BIG AWARDS: SOME DATA - Nicola Griffith

When I read the following piece, I immediately got in touch with the author, Nicola Griffith. She generously allowed me to republish the first half of it here. It illustrates precisely why Not a Pipe Publishing accepted Kamila Shamsie's challenge to make 2018 The Year of Publishing Women, and why it's a shame that more publishing houses won't make the same commitment. Of course, when margins are thin, publishing companies aren't going to leave money on the table. But it's just that attitude - that male authors or books about male protagonists are more likely to get reviews, win awards, and sell books - which becomes a self-fulfilling prophecy. There is no easy fix to the challenge of representation. A book is not inherently more worthy because it's been written by a woman or a person of color or a person with a disability or a person who is LGBTQA or a person who is a migrant or a religious minority. Some are worse than books written by boring old cis straight white guys like me, and a lot are better. But the whole multiverse of our stories is a shallow and stagnant puddle if it is not constantly replenished with the ocean of stories all of us can bring to it. Thanks to Nicola Griffith for running the numbers to illustrate that we still have a long way to go when it comes to recognizing women's voices when we decide which books are most praise-worthy. Next year, Not a Pipe Publishing will be releasing six or seven titles (a significant undertaking for a company our size). Our male authors, Kurt Clopton, Jason Brick, and I will be working on our own projects for 2019. 2018 belongs to our female authors, to Mikko Azul and Sang Kromah and M.K. Martin and Heather S. Ransom and more (announcements to come!), and I'm bouncing up and down in my chair just thinking about the about the quality of the stories they will be sharing with the world. -Benjamin Gorman]

 

BOOKS ABOUT WOMEN DON’T WIN BIG AWARDS: SOME DATA

by Nicola Griffith

When women win literary awards for fiction it’s usually for writing from a male perspective and/or about men. The more prestigious the award, the more likely the subject of the narrative will be male.

I analysed the last 15 years’ results for half a dozen book-length fiction awards: Pulitzer Prize, Man Booker Prize, National Book Award, National Book Critics’ Circle Award, Hugo Award, and Newbery Medal.


* Note: the headline to this graph is wrong. It should read 2000-2014. When I have time I’ll redo the graph and/or amend the headline. Meanwhile, thanks to Liza.

At the top of the prestige ladder, for the Pulitzer Prize women wrote zero out of 15 prize-winning books wholly from the point of view 2 of a woman or girl. Zero. For the prize that recognizes “the most distinguished fiction by an American author,” not a single book-length work from a woman’s perspective or about a woman was considered worthy. Women aren’t interesting, this result says. Women don’t count..

[Read the rest here.]

 

Welcome Brionna Poppitz to the Not a Pipe Family!

We're excited to welcome a second Assistant Submissions Editor and Assistant Marketing Director, Brionna Poppitz!

Brionna first fell in love with books as a child, when her aunt Diana gave her The Secret Garden by Frances Hodgson Burnett for Christmas. From then, on, her days and summers were filled with stories and adventures, but she never thought much of it until she took a Language and Composition class during her junior year of high school. Learning how to analyse texts in new ways opened up a whole world of meaning and depth that she had never experienced before. These days, she is just a few short weeks away from graduating from Oregon State University with a degree in English and a minor in Writing. She loves reading anything, from the rawest of creative nonfiction to the wildest landscapes of science fiction and fantasy. In the future, she hopes to help others polish and perfect their writing as a copy editor, while she spends her free time writing her own stories.

Follow her on twitter @trpoppinfresh

Cover Reveal for The Digital Storm

Okay, it's time. ...Well, it's almost time. Let's stall just a minute longer to build even more tension, because this is so cool, you're going to want to wait. And while you're waiting, let's reflect on what an exciting time this has been for Not a Pipe Publishing. Two weeks ago, Heather S. Ransom's Going Green started hitting store shelves. Then Kurt Clopton's SuperGuy became available for pre-order (get yours now!), and it will drop on April 11th. And then, on the 25th, you'll be able to pre-order Benjamin Gorman's The Digital Storm, the novel that started as a podcast which started as a play by William Shakespeare. 

Well, now we have the cover by artist K Loveless. Check it out!

Pretty freaking awesome, eh?

 

Now, here's the back cover and spine. This could still change slightly, so if you have any suggestions (or catch any errors) comment below or forever hold your peace!

Welcome Madeleine Hannah to Not a Pipe Publishing

Not a Pipe Publishing is excited to announce the arrival of the newest member of the team, Madeleine Hannah. Madeleine is a student at Western Oregon University, and she's starting her career in the publishing industry as our Assistant Submissions Editor and Assistant Marketing Director. 

Madeleine learned to read when she was a toddler and hasn't really stopped since. As a child, she used to annoy her mom by begging for new books and then finishing them on the way home from the bookstore. Now, she frequently spends inordinate amounts of time and money at local used book shops. She enjoys nearly all genres, especially fantasy, historical fiction, and mystery stories like the ones she read as a child. 


When not nose-deep in a book, Madeleine likes hiking, taking road trips, and generally exploring her new home in the Pacific Northwest. Originally from Georgia, Madeleine has declared Oregon her favorite state and intends to stick around.

Please welcome her to the team; when we re-open submissions later this year, she may be the one reading your manuscript!

Jason Brick: Remember the Tooth Fairy?

We were all born without teeth. We didn’t need them, and wouldn’t have asked for them if we knew how. Nobody had told us about fresh corn on the cob yet, so we were happy with breast milk.

Eventually, we got teeth through no fault of our own. A few years later, we lost those teeth. We lost most of them because in life you lose those teeth, a few from accidents or a playground fight.

Whenever we lost a tooth, the Tooth Fairy gave us a gift.

It’s the same with the fuck fairy.

We’re all born without fucks. Just look at a baby — that little bundle of joy gives exactly zero fucks. He’ll cry in front of everybody at the mall, and sit for hours in his own shit. Zero fucks.

As you grew up, though, you got a whole bunch of fucks. Your parents started making you give a fuck about rules. Your classmates made you give a fuck about your looks. Later, dating and work supplied a cornucopia of fucks to give about shit that doesn’t really matter.

But here’s the great part.

You can lose those fucks. Some of them you lose because as we grow up our priorities change. Others we lose as we become more confident with ourselves, or from the accidents and struggles that define us as we grow..

When you lose those fucks, thus reducing your total number of fucks given, the fuck fairy comes and gives you gifts.

She gives you the gifts of focus, motivation and clarity. She grants you the gifts of confidence, moxie and chutzpah. When you waste your energy giving fucks about things that aren’t worth a fuck, it saps your strength and fills you with doubt. When you lack spare fucks to give to anything but the most important things in your life, you can give those few remaining fucks the attention they deserve.

Enterprising people can also become enterprising about losing their fucks. You can cultivate an internal culture of giving a fuck about only the things that really deserve your time, energy and attention. For some folks, that happens when other priorities eclipse the little things. Others create this through martial arts training, or dance, or music. For others it's just an organic result of a life well considered and lived. 

Whatever your process for losing fucks has to be, make that process part of your life. Identify what matters most to you and yours, then give all of your fucks to them. Extraneous fucks you can shove under a pillow and smother to death.

You don’t need them anymore.

 

Jason Brick's novel Wrestling Demons will be available via Not a Pipe Publishing in the spring of 2017. If you'd like more of Jason's writing, get into his Shorts (the short essays he emails out once a week) by signing up HERE

Remember Boromir? Life Advice from Jason Brick

Remember Boromir?

If you don't, he's this guy:

In The Lord of the Rings, Boromir was one of the warriors responsible for taking the ring to Mordor. Along the way, he fights ferociously with a bunch of arrows in him to protect people he loves. The scene in the movie version is the definition of making a desperate effort.

In Forrest E. Morgan's Living the Martial Way, he makes a point about combat and real life. I want to share that point today. It goes like this.

  1. If you were fighting for your life, you would make a desperate effort. Everything you had, you'd put into it. Every last thing.

  2. That thing you really want to do, the thing that would make a positive change for you: You don't make a desperate effort for that.

  3. But you should.

  4. Because you're still fighting for your life. Not your ability to breathe, but the life you want to live.

  5. So go make a desperate effort to make that thing happen.

It's a way to look at things I hadn't considered, but it made sense immediately to me. Want that book deal? Your relationship to work out? That promotion? Your kids to do well in school? The respect of your mentors and peers?

Go after it like Boromir.

With three arrows in your chest, get the hell up and keep moving forward. Make a desperate effort.

It's your life you're fighting for after all.

 

-Jason Brick is the author of Wrestling Demons: The Bushido Chronicles, coming out in the spring of 2017 from Not a Pipe Publishing. Find out more about him HERE.

Art Contest for The Digital Storm

Announcing The Digital Storm Art Contest

Media: pencil, charcoal, ink, paint (water color or oil), mixed media, digital art, submitted as high res digital images

Prize: $50

Entry Fee: $0 and .00 cents

Contest closes at midnight, Friday, December 16th.

You can certainly do better than Benjamin Gorman's amateur attempt to depict the computer virus Caliban. 

You can certainly do better than Benjamin Gorman's amateur attempt to depict the computer virus Caliban. 

Benjamin Gorman (author of Corporate High School and The Sum of Our Gods) has been releasing his next novel, The Digital Storm, as a free podcast. Not a Pipe Publishing plans to publish the text of the serial audio drama as a novel this coming spring, and we'd like to augment the text with lots of artwork. The podcast retells the story of Shakespeare's The Tempest, but it's set in a science fiction universe where many of the characters are artificial intelligence programs, and the island of Shakespeare's Prospero is now a digital environment where the AI Prosper has been exiled. Entrants can listen to all the episodes here: bit.ly/podcaststorm

Not a Pipe Publishing is now holding a contest to encourage artists to submit their visions of the characters and settings described in The Digital Storm. Many entrants my find their work receiving recognition by being published in the print novel and in the eBook edition. All artists will be credited in both editions and on the website, so this is a great way to add a line to an artist's résumé. To sweeten the pot, the winning piece will earn $50 and recognition as the 1st place winner.

Because the show is a free podcast, artists can download it and listen to it without investing any money, and if they are interested, they can submit their visions of the characters and setting described in the show. Entries should be captured as high resolution digital images and emailed to notapipepublishing@gmail.com with the subject line "Digital Storm Art Contest Entry" and the artist's name. All artists who provide works that are selected to be included will be contacted so they can be credited properly, and the first place winner will be announced on Monday, December 19th.

We are looking for artwork that can appear throughout the book, so depictions of any of the characters or settings would be appreciated. You work could even appear on the novel's cover!


We're very excited to see what you'll come up with!

 

Term and Conditions

*All images submitted to the contest must be original works. By entering, the submitting artist attests that no other artist can claim the copyright, in part or whole, over the work submitted. By submitting the work, the artist gives permission to Not a Pipe Publishing to use the submitted digital version in the published editions of The Digital Storm and for any marketing purposes Not a Pipe Publishing deems fitting, though the artist will always be credited when the work is used.

**The prize money can be distributed via PayPal or a mailed check at the discretion of the winning artist. Not a Pipe Publishing reserves the right to cancel the contest and/or forfeit the prize if there are insufficient entries as determined by Not a Pipe Publishing. Judging of the winning entry will be carried out by Not a Pipe Publishing and the decision is not subject to appeal or review.  

Our Mission Statement

At Not a Pipe Publishing, we strive to leverage visionary thought leaders, gurus, and creatives in order to onboard them through our meta strategy to make them the influencers who can disrupt industry norms through outside-the-box thinking and be the game changers who produce the paradigm shifts that provide us with directionally accurate organic growth from the pre-revenue stage through cooption within the industry all the way to the synergy phase with our strategic partners.

 

Just kidding.


We want to get our authors’ great books in front of readers’ eyeballs.