The Art of Sacrifice
Pre-orders for Futureland: The Nightmare Hour (affectionately known as Futureland 2 or F2) are here. It’s hard to believe that the first installment in the trilogy released just six short months ago. My life has been such a whirlwind since then. I’m excited to share the continuation of Cam’s journey with y’all.
This new story takes Team Futureland to New York City where they seek a fresh start after the events of book one. There’s an exciting new exhibit, a sinister force looking to expand on Southmore’s work, and a life-saver in the form of a friend. Cam learns more about friendship in this novel. There are risks and opportunities that come with stepping into an evolving version of himself. And most of all, he learns what kind of sacrifice it takes to be the person his family, friends, and the world needs. What kind of sacrifice it takes to meet the moment.
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I’ve learned my fair share of lessons about sacrifice on this writing journey. Publishing in the traditional space has exposed me to differences in the conceptual and drafting phases, editorial, marketing, publicity — you name it. The big tradeoff that everyone cites is “creative control” in exchange for reach and the possibility of volume. Volume in sales. Volume in payments, audience interaction, exposure. Disembarking from indie to pursue traditional means you’ll have to collaborate a lot more, compromise a lot more, let go of your way of doing things sometimes, and hopefully it’s all worth it.
It’s an interesting shift, for sure. I didn’t publish anything indie while I pursued traditional deals. This meant a four-year gap in publications, which sort of left my established indie audience suspended. A sacrifice for me, and for them as well. It also gave me a LOT of time to grow as a writer.
As I got deep into drafting and editorial on the traditional side (writing the book and then revising it from there), I learned how protective I was of my own ideas and the way things make sense in my mind. I wasn’t closed off to feedback, but I often felt like suggestions from others came from a place of not fully understanding my goals, my style, and what I was trying to achieve. How much could I bend without sanitizing the parts of myself that make my writing unique and interesting? How much did I need to bend to meet the reader where they are? To sell books? To be successful.
I’ve grown and learned a lot through iterations of editorial.
I’ve sacrificed a lot as well.
One of the big things up for grabs is the vision for the work. I went from being the only person working on a book, with help from maybe 3–4 contractors during any self-pub process, to being one (ironically small) piece of a massive puzzle. Dozens of people all with differing (and sometimes conflicting) ideas about what makes the best book, the best marketing, the best strategy. All with different access to leverage and influence, different goals, different expertises. In some ways, it feels like the best way to produce a successful piece of art.
In other ways, it feels like the worst.
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This is Cameron J. Walker. I’d like to reintroduce him to you all. It feels funny to say that, because in my mind, this is the first version of him. Gagen created a couple of ‘Cam’ portraits based on my original notes for the character. I love her art style and was overjoyed at her conception of Cam. Especially when he smiles. Please support her art and find her on Patreon, too. She sends really cool original stickers, monthly.
As you’ve probably noticed by now, this Cam looks much different than the rendition by brilliant Futureland illustrator Khadijah Khatib. When collaborating with artists, I like to provide a baseline, then stay out of their way. Visual art is so expansive and it’s not my expertise. There’s no amount of micromanaging I could do, personally, that I believe could produce a better piece of art than the artist’s own drive, autonomy, and instinct. If, of course, I’ve chosen a formidable artist.
Still, I always envisioned Cam as a reflection of the young Black boys I work with in Atlanta. From his haircut, to his demeanor, his facial features. I wanted to kids off Panola Rd and Columbia Drive to see Cam and see themselves. I wanted kids in Austell and Mableton to recognize him. Kids in Riverdale and College Park to know him by name. I also wanted to get out of the artist’s way. This, is the art of sacrifice.
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In other exciting art news, Torment: A Novella turns five years old this month! In celebration, I’m hosting an art contest in collaboration with Niskayuna High School in Niskayuna, NY. Students in all grades have had the opportunity to read Torment and produce original art for a special, fifth anniversary edition of Torment.
The winner of the contest will receive a cash prize as well as have their art utilized for the Torment’s special edition cover, which I imagine will sell all around the world, just as the original has. The special edition will also include a letter from the author and an art card (written by the student) which explains the concept behind their art. I have already seen the submissions and found myself amazed at the quality and diversity of skill. I can’t wait until you all see the winner! And I hope you buy the special edition!
Until next time, my friends.
I welcome questions and comments on this article. As a reminder, I’m no longer on social media. So, if you see this article and think someone on your feeds might appreciate it, please do share it to your profiles on my behalf. Thank you.
