Interview with Ben Galley

Ben Galley is an award-winning fantasy author from the UK. He is the author of the epic Emaneska Series, the weird-west Scarlet Star Trilogy and the brand new standalone The Heart of Stone. When he’s not dreaming up lies to tell his readers, Ben works as a self-publishing consultant, helping fellow authors to self-publish and sell their books at www.shelfhelp.info. He joined me recently on Fantasy-Faction to chat about his latest release. Here’s what he had to say!

The Heart of Stone (cover)

Thanks for joining us, Ben!

Firstly, congratulations on your latest release. The Heart of Stone has met with praise across the SFF community – including right here on Fantasy-Faction! For those who’re unfamiliar with the book, can you tell us a little bit about it?

Thank you for having me! The Heart of Stone is a new grimdark standalone centred around a non-human protagonist – a golem called Task. He’s an ancient war-machine that has been bought by the losing side of a civil war. As well as being an unstoppable, nine-foot lump of stone, he’s a complex creature who has spent all his 400+ years serving the whims of humans and winning their wars for them. To put it bluntly, he’s pretty fed up of us, and just wants to get on with the ugly business of battle. However, a waif of a stable girl has other ideas for him.

Let’s talk about Task, then. What made you choose a golem to be the hero of your story? (Also, who would win in a three-way fight between Task, Smaug and Wun-Wun the giant?)

First of all, I needed something pretty formidable for the battlefield. A golem seemed to fit that role very well, especially as they rely on brute strength and their composition to break things, rather than magic or spells. They’re also exclusively man-made, which gives them a bond to a creator or a master. That gave Task his leash, so to speak, whereas with demons or dragons or any of the beasts I’ve used before, it’s hard to bind them to us lesser mortals in an entirely convincing way.

The other reasons was due to the intrinsic humanity that’s prevalent through all golem mythology I researched. There is a fragility to a golem that comes not only from their in-built weakness and ownership but from the fact they are always one step away from being human, and yet can never quite take that step. Because of this, there’s an internal struggle within a golem, and that suited Task’s mindset perfectly.

As for the big old fight, of course I’m going to say Task. He’d sit by and let the giant and the dragon go at it until Smaug turned Wun-Wun to cinders. Then, being stone, Task would endure the old drake’s fire until he was all out. At that point, Task would most likely go and snap his pompous little neck.

Ha! Now that reminds me – I’m a huge fan of Shale, the playable golem companion in Dragon Age: OriginsStone Prisoner’ expansion. Unlike Task, Shale enjoys crushing things… especially birds, mages and anyone who tries to give it orders. Which fictional depiction(s) of golems had the most influence on creating Task’s personality?

Sadly I’ve yet to play Dragon Age, so Shale wasn’t an influence during the book’s creation, but it’s now firmly on my to-be-played list thanks to you! I actually struggled to find a huge number of golems in fiction, so the characters I looked to instead were Ben Grimm/The Thing from Fantastic Four, and the rockbiter Pyornkrachzark (yeah, I had to look that up) from The Neverending Story. Both these characters struggled with loss – be it their freedom, their strength, or their humanity. Physically, they were what I initially imagined for Task – big, imposing beasts of thick and gnarled stone. However, as I got further into the book, and started working with my cover designer Shawn, I realised Task should look more refined than this, perhaps a little more like Gort from The Day the Earth Stood Still remake. And so, the personality of Task stayed, but the outer shell changed to fit with the cover. I’ve never done that before, but the artwork was so good it retroactively inspired me to make those changes.

The Heart of Stone (detail)I remember the buzz surrounding the cover reveal last year; it was incredible, as is Shawn Kings design. How much influence did you have in the cover-creation process, Ben – and how far do you think The Heart of Stone’s cover has impacted its overall success?

Whenever I’m giving advice to fellow authors, I always say that professionalism and quality are paramount. The book cover, almost always being the first port of call for a reader, is arguably the most important aspect of a book. For my first standalone, and for what I believe to be my best work yet, I knew I had to pull out all the stops. Shawn King’s work had already caught my eye, and I knew he would be the perfect artist for the job. He completely understood Task, and he nailed his physical appearance, as I mentioned above. That’s definitely been a huge help in building buzz and getting the book noticed. Everybody that’s seen it has been so impressed with the artwork, and I don’t think as many early readers or reviewers would have said yes without it, despite its concept and protagonist. Here’s hoping the innards of the book are equally as impressive!

It’s clearly very different in style from your earlier work. Speaking of which…

Emaneska by Ben GalleyYou have two completed series under your belt. What led you to begin work on your debut, The Written? How would you describe the Emaneska Series – and would you recommend it as a starting point for new readers?

The Written was as much a foray into fantasy as it was a career move for me. I’d had the idea of writing a grimmer sort of high fantasy for a few years, and one night, watching BBC’s Merlin, I got so enraged at the pre-watershed nicety of it, I decided to plan out a book. I had the idea of a mage with a spell-book tattooed right into his back, making spells intrinsic but brutal on both the caster and unwitting victim. And so, Farden the Written mage was born that night. His story, and the world I built around him, led me on to write a four book series. It also marked the point when I decided to jump into the publishing industry, and make a grab for my dream of being an author. As well as Farden, that goal was what helped me to churn out those debut books.

Would I recommend it? Absolutely! I’m very proud of the Emaneska Series, but there’s a part of me that can’t help but cringe over it now that my style and skill have progressed. It’s definitely me being too close to my own work, however, so I still frequently recommend it to readers who are interested in dark, epic fantasies that span decades and continents.

Bloodrush (cover)Your best-known book is (arguably) Bloodrush. Now, I can’t help but notice that reviews of this novel – and the rest of the Scarlet Star Trilogy – often tend to include the word ‘weird’. How would you describe this series, and who would you recommend it to? (In other words, is ‘weird’ an insult or a compliment?)

Definitely a compliment. I think it comes down to the trilogy straddling a few genres, and so calling it weird is probably easier. First of all, it is described as “weird west”. At the same time, it’s also an alternate history series, set in a twisted 1867. It’s also a little steampunk, and the eponymous magic system is quite… out there. So yes, it is weird, but weird is good in my book (badoom tish).

I’d recommend it to any reader who wants a fantasy series that’s a little closer to the real world, or who enjoy a younger protagonist and a wide range of POVs. It’s also very fast-paced, with lots of intertwined mysteries, and also very magic-centric.

Small wonder it did so well in the inaugural Self-Published Fantasy Blog-Off! (As readers may already know, Bloodrush reached second place, missing out on the top spot (which is determined by average score, and went to Michael McClung for The Thief Who Pulled On Trouble’s Braids) by just 0.25.) Ben, how did this affect you at the time? And in what ways has it impacted you since 2015?

For starters, I prefer “vice-winner”, and I shout the name of Michael McClung from the rooftops at least once a week, Kahn-style…

Of course, I jest, and in all seriousness, it was a fantastic opportunity and a pleasure to be ranked so highly. Bloodrush got a huge amount of visibility from it, and fantastic reviews from reviewers that might not have reviewed me without being in the competition. It also boosted the sales of the sequels, and other books too. It’s all about little steps when you’re marketing your own books, but the SPFBO felt like one big step to me, and in a great direction.

Speaking of steps, you’ll no doubt be aware that the SPFBO2 is in its final stages. Which authors (if any) have caught your eye? (Are you rooting for anyone in particular?)

Oho, that’s a toughie, as I’m honoured (and occasionally disturbed) to know a good number of the finalists. Currently, I’ve got my eye on Paternus, The Grey Bastards, and The Path of Flames.

You’re not the only one!

If there happens to be a SPFBO3 . . . how likely is it that we’ll Task in there, fighting to claim the top spot with The Heart of Stone? (EDIT 23/5/17: there is! And he is!)

He’s got his sights set on that top spot, as he’s keen to embarrass Merion from Bloodrush. Golems also don’t come second.

Regardless of contests or rankings, I have to say congratulations on living the dream as a full-time, self-published writer. Having managed to make a successful, self-sufficient career from self-publishing, I guess you could say you’re the ‘model’ self-published author. I’m sure you’re tired of people asking this, but… why self-publishing?

Thank you! That means a hell of a lot.

Over the years, I’ve distilled it down into the answer of, “because I bloody love it”. I’ve always been an independent person and somewhat of an entrepreneur, and so self-publishing fits me perfectly. I get to control every part of the polishing process, and then decide how a book’s going to be published. Not only that, I have more flexibility and agility in the meantime. Is it better than the traditional route? No, not better, but not worse, just different. The point is that authors now have the choice, and I will forever be grateful for that.

Shelf Help by Ben GalleyIn addition to being pretty prolific, you also help others find success through your business as a self-publishing consultant. How is it that you manage to put in all this extra work *and* produce quality, full-length novels on such a regular basis? What’s your secret to your success, dammit?

The ultra top-secret secret is basically a 12-16 hour working day, during which I’m flitting between writing, marketing and admin, normally in that order. I always put writing first. If I don’t get my words down for the day, I won’t do any marketing or admin until I have. It also takes a bit of discipline, such as knowing where to spend your time, and making sure you structure your day accordingly. That’s why every morning I ask myself, “what’s the most important thing to me today?”, and then plan around that. That, and being surgically attached to an iPhone and iPad also helps, as I can work anywhere at any time. Before I left work to focus on books, that’s how I got my writing done – either writing on my phone or emailing myself snippets. I actually wrote most of The Written on my mobile when I worked behind bars.

I’m going to go ahead and assume that when you say ‘behind bars’ you’re not talking about the cylindrical iron kind. If you don’t mind me saying, you definitely come across as more of an accomplished geek than a hardened convict . . . Which reminds me: Marc Aplin recently published a (somewhat controversial) article about the importance of social media in which he declared that author ‘branding’ on social media is just as important as (if not more so than) the actual quality of their writing. What are your thoughts?

That’s another tough one, as I believe the whole publishing game, both indie and trad, comes down to how you make the reader feel, page by page. Yes, quality covers, professional editing, marketing and a brand all have a part to play, but the writing is still the core part of success. It doesn’t have to be the most excellent writing (cough, 50 Something, cough) but it simply has to evoke emotion. I’m not saying I’m a fantastic writer whatsoever, but I spend a lot of time crafting my plots, worlds and characters to ensure they do this, then I bundle it all up inside a professional, branded package. Saying that, from a discovery point of view, you’re not going to know a book’s worth without being convinced to have a read. That’s where the brand and social reach come into play, and that’s why I agree with a lot of what Marc wrote.

Our Overlord is wise indeed, and I certainly agree that ‘discovery’ is one of the toughest aspects of self-publishing. That said, would you consider taking a different publishing route in the future? Small-press? Traditional? Owl post?

I make it a rule to always consider anything that adds to the success of my books, or for me as an author. Although I’m a huge proponent of self-publishing, I hold the fantasy imprints and houses in high esteem, and it would be great to work with them at some point in the future. There are aspects of the self-pub route that traditional publishers are just better equipped for. However, it would have to be a good deal, or for a book (or books) that I’ve written with traditional or small press publishing in mind.

Ben GalleyBack to your books, then. You’ve made it quite clear that The Heart of Stone is a standalone. However, you’ve also dropped cryptic hints on social media about your current WIP, Chasing Graves. Can you give us a clue as to what sort of story it is? (Also, is there *no* chance at all of seeing more Alabast and Lesky in the future?)

Chasing Graves started life in December as another standalone, as the single-story bug bit me pretty hard after finishing The Heart of Stone. A few months on, and as you might have seen from social, it’s now stretched into another trilogy of books. I can safely say it’s got nothing to do with Heart of Stone. Instead, it’s a new world with strong Egyptian influences, all about a society that revolves around the enslavement of the dead. It’s a concept that’s been rattling around my noggin for a few years now, and I had to get it out.

As for Task, I will be writing a few short stories based in the world, exploring some of his formative years, and I think I may do a few for Alabast and Lesky too, set after the climax of the novel. As for an ETA on those, it will most likely be after Chasing Graves is done and dusted in May/June.

Finally: if you were a golem, what material would you be made from, and why?

The flesh of my fallen enemies. Or perhaps gold. That would be gangster.

It . . . certainly would. Thanks, Ben!

Ben can be found being loquacious and attempting to be witty on Twitter (@BenGalley), Facebook (@BenGalleyAuthor) or at his website www.bengalley.com. The Heart of Stone is available to buy RIGHT NOW.

 The Heart of Stone

Self-published authors & the SPFBO: revitalising SFF


Note: For an updated version of this article, visit Fantasy-Faction.


Self-published authors get a lot of flak.

Even armed with a bargepole, many readers won’t touch them. These readers will assure you that indie books are unprofessional; that they’re inherently inferior and therefore not ‘proper’ books.

Yarnsworld #1 and #2 by Benedict Patrick

… and yet some self-published authors produce work that’s MORE professional-looking than the stuff you find in bookstores! (Image: the Yarnsworld series by Benedict Patrick)

Admittedly, it’s not too hard to find examples of substandard writing amongst the masses and masses of self-published works. Perhaps readers have simply had their fill of lazy prose and sloppy formatting and are wary of encountering more.

Or maybe it’s not the books that are the problem. We’ve all come across the ubiquitous indie author who takes the ‘stuck record’ approach to self-promotion. You know the one, whose constant passive-aggressive ‘BUY MY BOOK’ posts soon become so irritating that we have no choice but to issue the offending author with a cease-and-desist before gouging out our own eyes and/or unfollowing them on social media.

Whatever the reason, indie books – particularly within SFF – have garnered a reputation for being second-rate, amateur and inconsistent . . . a reputation which is (for the most part) unfair and undeserved.

‘Success stories’

Is there anyone who hasn’t heard of Michael J. Sullivan? Or Anthony Ryan? Both authors’ hugely popular fantasy debuts – The Crown Conspiracy and Blood Song, respectively – began life as (you guessed it!) self-published novels. Now, they’re practically household names.

Ryan, Sullivan

Anthony Ryan and Michael J. Sullivan both began as self-published authors before finding mainstream success

Inspiring, without a doubt. But in terms of popular opinion, such accomplishments have done surprisingly little to change attitudes towards indie authors. Using Ryan or Sullivan as the benchmark for measuring ‘success’ suggests that the singular goal of self-publishing is to become one of the ‘lucky few’ who eventually get picked up by traditional houses; in other words, it reinforces the idea that self-publishing is merely the means to an end.

But do all indie authors want the same thing?

300 authors, 10 blogs, 1 winner:

the great Self-Published Fantasy Blog-Off

(SPFBO)

While every author is unique, many share similar goals. Most prominent amongst these is the desire to be noticed.

SPFBO2 Banner by Matt Howerter

design by Matt Howerter

In February 2015, author Mark Lawrence (The Broken Empire, The Red Queen’s War) took to his blog to ponder the problem of self-promotion, observing that:

“…as a new author, particularly a self-published one, it is desperately hard to be heard. It’s a signal-to-noise problem. Who knows how many Name of the Winds or [fill in your favourite] are lost to us because they just couldn’t be seen? None? A hundred?”

He was right; moreover, plenty of voices agreed with him, and before long well-respected bloggers were clamouring to help him find a frequency on which some of the more deserving voices could finally be heard.

273 writers responded to the call for self-published authors. That’s 273 writers who submitted manuscripts to the contest. These were promptly split between ten participating bloggers, who spent the next six months wading through their ‘slush pile’ in the manner of a literary agent. Samples that failed to shine were soon cast aside, and eventually each blog was left with only one.

The SPFBO Final Ten (2015)

#SPFBO 2015: the final ten

Round Two kicked off as soon as the final ten were announced. Each blogger proceeded to read and review all finalists in full, eventually assigning each novel a rating out of 10. As you might already have guessed, the entry with the highest score at the end was declared the winner.

And the grand prize? Well, as Mark Lawrence announced at the start:

“There’s no other prize. The winner will get the publicity of being the winner, plus the bonus of being reviewed on the blogs of 10 highly respected fantasy bloggers.

“Frankly you can’t buy better publicity than that.”

The end of the beginning

Voila! The first step towards changing attitudes was complete. While the inaugural SPFBO didn’t exactly break down the barrier between indies and their potential readers, there’s no denying that it was a step in the right direction. The process gave a leg-up over the barrier for a handful of hidden gems, making them more visible while also filtering out less polished books.

In the end, 273 books were whittled down to one winner, and the title went to The Thief Who Pulled on Trouble’s Braids. The author, Michael McClung, landed a publishing deal with Ragnarok along the way, and is now preparing for ‘Rok’s impending release of the fourth Amra Thetys book, The Thief Who Wasn’t There.

In an example of a different kind of success, close runner-up Ben Galley has since continued to advance a professional and prolific self-publishing career that began over seven years ago. Galley not only provides ‘Shelf Help’ sessions for aspiring indies, but also spends an inexhaustible amount of time writing fiction, promoting his work and building momentum for the release of his eighth novel,  The Heart of Stone.

The Heart of Stone by Ben GalleyBloodrush by Ben GalleyThe Written by Ben Galley

SPFBO 2: 2016

Confession time: I had very little personal interest in the SPFBO when it began. I admired the concept and the mind behind it, of course, but initially dismissed the contest itself as a publicity ploy. Here, I thought, was a token gesture of indulgence, the same sort that spurs celebrities to adopt baby gorillas.

You know what? I’m ashamed of my former cynicism snobbery (let’s call it what it is, folks); and I couldn’t have been more wrong.

In March this year the process began again. This time around, my own involvement as part of Fantasy-Faction’s judging team has changed my perspective even more. The positivity, enthusiasm and professionalism of the entrants in our group swiftly banished any lingering reservations I may have had, as did the overall quality of the entries submitted.

In fact, several bloggers were so impressed by their batch of books that Lawrence hosted a cover contest during the early stages of the competition.

SPFBO Cover Contest 2016

Looks aren’t everything; but they do speak volumes about the amount of pride an indie author has in his or her own work. Though we know it’s shallow, most of us do judge a book by its cover. When our first glance shows us an attractive design and professional layout it makes the world of difference.

The Dragon's Blade by Michael R Miller

Sure, it’s what’s inside that really counts . . . but let’s face it, nobody would voluntarily show up for a job interview without first combing their hair and stepping into something smart. First impressions are crucial.

But even if you do everything right, what happens when somebody else shows up? Somebody who’s also done everything right?

On Ascension

Back in July, Jared at Pornokitsch was torn between two books for his finalist. He spoke so highly of both that Mark Lawrence himself was inspired to read the eventual runner-up, and was so impressed by the book that he now goes out of his way to make sure others recognise the author’s talent.Senlin Ascends by Josiah Bancroft

The author in question is Josiah Bancroft. The book is Senlin Ascends. Chances are that many of you have already heard of it; earlier this year, The Wertzone described Senlin Ascends as “SFF’s first genuinely evocative work of self-published literature” and suggested that it “may mark a serious turning-point in the field.” Lawrence’s baby gorilla has grown swiftly indeed, and now ascends the tower a la King Kong in New York. Bring on the bi-planes!

Though none have become quite as well-known as Mr. Bancroft (yet!) there are a host of other SPFBO entrants now fighting for pre-eminence on many a reading list. Authors such as Ruth Nestvold, Benedict Patrick, Daniel Potter, L. Penelope, Michael R. Miller, David Benem, Moses Siregar III, Blair MacGregor, Rob J. Hayes, T.A. Miles, Timandra Whitecastle, Tyler Sehn, Amy Rose Davis . . . talented folks one and all, who might not have reached the final but have earned a place on the SFF community’s radar nonetheless.

If these guys are so good (you might be wondering) then why are they self-published at all?

‘Can’t get published’

Just last month, a thread about this topic sparked a host of detailed and thoughtful responses from readers on r/Fantasy. The main issue of debate was around the barriers faced by indie authors, with most commenters agreeing that quality and discoverability are two major ones. Some suggested that the ‘good’ self-published books stand out by virtue of the author having invested in professional cover design, formatting and editing. But others argued that there are too many poor-quality products for sale on the internet to even bother looking. Why, they asked, should readers waste their time sifting for talent amongst those who ‘couldn’t even get published’?

Put it this way: if an author is struggling to find a publisher, does that mean their work is crap?

A lot of people will say ‘yes!’ (and in many cases, they’re probably right). Realistically, though, traditional publishing houses turn down manuscripts for all sorts of reasons. We’ve all heard how books like Carrie, Harry Potter, Dune, Dubliners, and even The Diary of Anne Frank received multiple rejections before finally finding success. Examples like these – along with Blood Song et al. – are proof that what G.R. Matthews refers to as the ‘snob factor’ is, in many cases, unjustified.

The Stone Road by G.R. Matthews Black Cross by J.P. Ashman Lady of the Helm by T.O. Munro

Clearly, not all books that ‘can’t get published’ are objectively inferior. But here’s what some folks are still struggling to understand: ‘going indie’ is more and more frequently becoming a first choice rather than a last resort.

‘Going indie’

Believe it or not, plenty of writers balk at the thought of handing over their intellectual property to someone else.

Michael McClung (winner of the inaugural SPFBO) spoke recently about the drawbacks of switching from indie to traditional, and observed that the benefit of reaching a wider audience can come at the cost of frustrating and unforeseen delays. Traditional publishing, he says, can be incredibly stressful for an author who is not prepared to cede control over the entire process to somebody else.Ragnarok Covers: The Amra Thetys series by Michael McClung

Perhaps this is why so many authors cite a determination to retain control over one’s own work (and agenda) as a motivation for choosing self-publishing. For some this is a purely artistic choice; for others, it comes down to practicality or expedience. Regardless of merit, every author’s reasons are unique, be it J.P. Ashman’s commitment to producing a full-length epic or T.O. Munro’s freedom to set his own deadlines in keeping with a busy day job.

Then there are the ‘hybrids’. Some authors travel both paths at various times to suit their changing needs. An example of this might be an author whose novels are trad-pubbed, but whose short stories require a different platform or be lost to obscurity. Or perhaps someone whose books have been trad-pubbed in some countries but not in others.

The Mirror's Truth by Michael R. FletcherAnd this approach supports authors who, for whatever reason, have been let down by traditional publishing. Michael R. Fletcher’s first Manifest Delusions novel, Beyond Redemption, was bought and published by Harper Voyager in 2015. The book was a critical success, but a commercial disappointment. When HV declined to publish the sequel, The Mirror’s Truth, Fletcher decided to switch to indie. Likewise, author Joel Minty is going to great lengths to prepare himself for self-publishing after falling victim to the collapse of Realmwalker Publishing Group – just days before his debut, Purge of Ashes, was set to be released.

Like so many others, these authors turned to self-publishing out of necessity; a necessity born of the determination to deliver to their readers what they promised.

The ‘Great Divide’

But readers shouldn’t presume that every self-published author has already tried – or even desired – to be traditionally published. Just like everything else in life, the pros and cons of each approach are entirely subjective depending on the author’s individual goals and definitions of ‘success’.

Moreover, the reflexive dichotomy of traditional ‘versus’ self is both divisive and demeaning. To borrow the words of author Blair MacGregor:

“Dichotomy is easy.  But conversation isn’t all that challenging, either.  The longer we permit “versus” to dominate, the greater the disservice we do to talented writers.”

MacGregor goes on to suggest that people seem less interested in talking about self-publishing than they are in debating its worth.

MacGregor’s contemporaries have also drawn attention to this issue: Timandra Whitecastle – whose grimdark debut Touch of Iron aims to redefine ‘strong’ female characters – recently expressed similar views about the frustrations caused by those who insist upon such a divide. When making the decision about which approach to take, says Whitecastle, she found little value in objectively comparing the two, and focused instead on which methods would best facilitate her creative desire to “break the mold.”

The Blood-Tainted Winter by T.L. GreylockSword and Chant by Blair MacGregorA Touch of Iron by Timandra Whitecastle

Dismiss the dichotomy;

break the mold

This is where the Self-Published Fantasy Blog-Off comes in. The SPFBO breaks down these barriers by encouraging readers to treat self-published books just like they would any other kind.

Book looks interesting? Check it out.

Like the sample? Buy the book.

Enjoy the book? Tell your mates; leave a review. After all, the SPFBO aims to recognise and reward talented, hardworking authors with honest feedback and well-deserved exposure. As I mentioned earlier, the greatest prize on offer here is increased discoverability . . . a prize which thousands of less-known writers covet dearly.

SPFBO2 (Banner design by James Cormier)

design by James Cormier

A great many of this year’s entries fell at the very first hurdle, cast aside after just a few pages. But after six months of indecision, the participating blogs have selected their finalists, and round two has begun! And here’s the most exciting part: in a contest largely hinging on judges’ personal tastes, it’s anyone’s game.

Standards continue to rise as more and more authors set their sights on the SPFBO. Indie authors are working harder and longer, pushing themselves to the absolute limits of capability, and it is they – along with those who follow, support and promote initiatives like the SPFBO – who help keep this genre fresh and dynamic. Everybody wins!

Finally, any indie authors still choosing to operate under a half-arsed mentality of, ‘eh, I’ll just publish it through Amazon’, will inevitably get pushed to the bottom of the pile as those who are serious about making things work will continue to hike to the top – egged on by readers, peers and other like-minded artists within this incredibly supportive community.

If you’re following the SPFBO final then let us know about any entries that have caught your fancy! Join in on social media and weigh in with your own opinions using the hashtag #SPFBO.

Oh! And check out this year’s final ten:

SPFBO 2016: the Final Ten!

SPFBO 2016: the Final Ten!