IndieView with Tyler Omichinski, author of Plague in Paris

For Plague I never had to: I always just knew the entire shape of the story. About the book
What is the book about? I knew the beats that had to be hit and they just sort of all fit together from the beginning. Hoping for a warmer reception in Paris, they are looking for a way to put it all behind them. In the rural wilds of Canada, in Ontario. They’re definitely fictitious, but are also borrowing factors from people I know. Do you have a target reader? Winters, Jeff Vandermeer, and so many more. Hahaha – definitely. It took root in my noggin and I kept working on it for awhile. So, it really depends on how you’re counting the editing parts of it. Naturally, I tend to be drawn to the bleak realities that we’re facing as a species. Then whenever I read or see Steampunk, I noticed that it tended to gloss over some of the worst things of the Victorian era, instead focusing on all the greatness, so I really tried to match that sense of wonder with all the things that we still have to discover and the greatness that we have, combined with the fact that so much of the time we’re not much better than monkeys. Any advice that you would like to give to other newbies considering becoming Indie authors? I have a larger plan for it, but I’m also making sure that I have a lot of flexibility to take on various opportunities and goals that can come up as I shift and shape it. The first draft took about two months, but then it went through a ton of iterations as it was shopped around until about September 2017. Hildebrand and his valet, Driscoll, have fled the British Isles for Paris amidst rumours of scandal. Do you listen to music while you write? It is going to be more work than you think. How we like to pretend we’re so enlightened but in whole swaths of the world we’re still engaged in the horrendous activities that defined us hundreds of years ago, especially when it comes to realizing on our own internal bigotries. Other books and stories require other music to get out into the world. Another book I worked on had to be worked on in the middle of the night, and the one that I’m working on right now needs to be worked on in the morning. We all know how important it is for writers to read. Naturally, I tend to be drawn to the bleak realities that we’re facing as a species. Then I would try to lengthen it only to find that I was adding things that were certainly not required. Plague in Paris was written in a fury of writing, adding a couple thousand words every time that I sat down to work on it. Where did you get the idea from? What would you like readers to know about you? I hired an artist friend of mine to do up the art behind it, creating something custom that didn’t exist anywhere else. I’m a big sucker for that kind of thing. From the beginning, I naturally got the triad of our main characters, and from the beginning I knew the general structure of the story. No matter how much work you think it is going to be – it is going to need so much more. I sit down, and I write. I have a novel I’ve been shopping around. Are your characters entirely fictitious or have you borrowed from real world people you know? Always after I’m finished. Get your copy of   Plague in Paris from Amazon US or Amazon UK. I shopped it around to a few different places and it kept coming in at this very odd length – too long for a bunch of places and too short for a bunch of others. A large part of it comes from the bizarre world we live in. How we like to pretend we’re so enlightened but in whole swaths of the world we’re still engaged in the horrendous activities that defined us hundreds of years ago …
Tyler Omichinski – 21 January 2018
The Back Flap
Mr. Were there any parts of the book where you struggled? I also design RPGs and board games, and we’re even in talks to have a board game tie in to Plague (which is crazy!)
End of Interview:
For more from Tyler, visit his website or follow him on Twitter. I read books all the time, averaging a couple a week. I try to learn from each of them, especially Neil Gaiman, Margaret Atwood, Max Gladstone, Cassandra Khaw, Ben H. They are forced to flee their home to try to find somewhere that is more amenable to them, only to find that there are many different kinds of threats that can face you. Was it a particular event or a gradual process? As above – it   depends on the story. If yes, what gets the fingers tapping? The editing! Driscoll borrows a couple aspects from me and a couple of my closest friends, as does Hildebrand and a few other characters. About Writing
Do you have a writing process? About You
Where did you grow up? If so can you please describe it? I always knew that the different pieces had to fit together in a certain way. When did you start writing the book? As Driscoll wanders the streets, tracking the gossip and searching for that special someone that could solve all their problems, he starts to get a hint of something deeper going on. I have to get it moving forward because if I turn back to edit I’ll just wrap around and wander, editing and rewriting forever. Usually, when I’m writing a book, I’m aiming for a specific friend of mine that I think would enjoy it. Rural Manitoba, rural Saskatchewan, I lived overseas briefly, and have been all over the place. This particular one was novella length and it was the result of getting positive feedback from some publishers of anthologies and other places it could have lived but didn’t get accepted. Battered and beaten, will they be able to survive? Are there any particular authors that have influenced how you write and, if so, how have they influenced you? Share this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to email this to a friend (Opens in new window) Do you have a marketing plan for the book or are you just winging it? Do you edit as you go or wait until you’ve finished? All of this is over a Victorian-esque steampunk adventure romp with all that sort of good fun. Did you get your book cover professionally done or did you do it yourself? What made you decide to go Indie, whether self-publishing or with an indie publisher? Tensions continue to rise and as the last British airships pull away from the city, they must determine if they can stay safe in their new home. How long did it take you to write it? They are going to have to leave Paris, the city they thought would be a safe haven, behind. I assembled that and added the verbiage to the front and I’m in the process of making the back cover myself now. People liked it, so I figured that going indie was the right call for this one. All over the place. Different music every time – Plague needed some very steampunky music: Abney Park and Beats Antique helped get this one out into the world. A large part of it comes from the bizarre world we live in. I create a new process for each book. Six of one and half a dozen of the other. Where do you live now? The first draft of the book was started in 2015, originally in response to a part of an idea that someone had posted online. About Publishing
Did you submit your work to Agents? As the city is wracked by chaos, the ties that bind are tested. Though the Parisians are more welcoming of their unaccepted views, it is not long before they face problems worse than they had found back home. Not this particular one: it was a weird length they weren’t interested it. If so, do you do so extensively or just chapter headings and a couple of sentences? This one was written for people who would enjoy a lighter read, but one that’s also willing to turn on you. This led to a number of edits where I struggled to pull out things that were definitely important to the story. What came easily? Other books take a different process. It is about a couple trying to live through an era that doesn’t recognize them as valid. Do you outline? There’s a lot of occult practices involved in it.