The Ending of the Bull

The Slaying of the Bull is almost there. I am working on the last few sections. When I originally wrote the book, I was very much interested in getting it published the traditional root. To be successful in this endeavor, it meant that I had to keep it around the 100,000-word mark. As it is mostly historical fiction, there is a little cushion given, but still. You would think by looking at Stephan King’s thick tomes that you could write as much as you want, but the reality is that publishing is a business, and the majority of books that sell are around the 100k mark. Authors like Stephen King can do what they want, but the rest of us are confined, especially if it is to be our debut. For the Bull, this meant that when I got to the end and saw the word count, I was quickly running out of space. Also, after working on the book for so long, I just wanted to get it done. This means I rushed the ending and the dramatic event that started my interest in the topic, made up a small portion of the book. But now, with not having to worry about a publisher and just wanting to tell the story, I am not confined to the 100k limit. I can draw out the ending to make sure the story is complete. All the loose ends can be tied up, and I can set the stage for the rest of the Tocharian Gospel series!

That means this blog post will be short because I need to write if I want to get the book out in May! Oh, and don’t forget to comment, like and follow my blog and if you’ve read Island of Stone, I would love to here form you either as an Amazon review or here.

Cheers!


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Published by scottatirrell

Scott Austin Tirrell writes dark fantasy because apparently the real world doesn't contain enough dead people, ruined faiths, and gods with questionable motives. Most of his stories take place in Lucardia, a world with a long memory and a rather serious problem with its dead. Its people have been taught many comforting things about history, religion, power, and what happens when the reaper’s sickle swings. Unfortunately, much of it is wrong. Scott is less interested in heroes than in complicated people who stumble into mysteries they probably should have left alone—and then have to live with what they find. When he isn’t writing, Scott wanders old cemeteries in search of character names and thinks about fictional people as though they have personally inconvenienced him. He lives near Boston with his wife and maintains a healthy distrust of ravens.

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