Wednesday, April 17, 2013

Martin Nyberg, Since Tomorrow

AUTHOR: Morgan Nyberg
BOOK TITLE: Since Tomorrow
PUBLISHER: Independently published

What gave you the idea for this particular story?
I had an urge to create a future world based on the remains, both cultural and material, of our present one. Perhaps this impulse emerged from my reluctant but  increasing pessimism about the future of planet Earth. Also, both the challenges and the creative possibilities of a post-apocalyptic setting were extremely attractive. Having lived outside of Canada for a quarter-century and having written novels set in South America and Europe, the idea of bringing the narrative home to Vancouver was also appealing.

Are you a full-time writer or part-time, and how do you organize your writing time?
Technically I’m retired. This should mean that I write a lot every day. I do try, but as an independent author I’m forced to promote my own work, and this activity requires a surprising amount of time and energy.

What do you hope readers will take from your writing?
All writing is entertainment, so my first hope is that my readers will be enormously entertained. I would also like them to feel that they are participating in that unique, moving and powerful process that only art can supply.

Which genres do you write, which do you prefer, and why?
I’m not a genre writer. I simply write the best books I can. But in order to promote Since Tomorrow I have had to classify it as post-apocalyptic or speculative.

What is the toughest part about being a writer and how do you get past it?
The toughest part of being a writer is rejection by traditional publishers. You don’t get past it. You bleed. You keep on for no other reason than that you believe in yourself. Independent publishing has meant salvation for many writers.

How much is your protagonist like you? How different?
My protagonist, Frost, is my age and, now that I think of it, similar to me in temperament.

What kind of research did you do for this type of story?
Writing about a post-apocalyptic future requires a lot of research about technical matters. Some of the subjects that I had to look up are listed in my blog post at .

Do writing violent or highly sexual scenes bother you? Why or why not?
Narrative tension has always led toward violence. Look at Shakespeare. Look at Homer. Violence can also lead to more tension, which is why it is such a common narrative tool. Since Tomorrow is a cover-to-cover experience in sensory detail, all showing with no telling. In such a context scenes of violence can be especially powerful.

I write about sex if it’s necessary to the life of the story, as it was in my novels El Dorado Shuffle  and Mr. Millennium. But so far I’ve had no need for detailed sex scenes. I certainly have no interest in “erotica”.

What about your book makes it special?
1. It’s a realistic novel in a genre (post-apocalypse) that is awash in shallowness, predictability and stereotypes.
2. The fact that there is no commentary about what the characters are thinking or feeling. In that respect Since Tomorrow is like a verbal movie, but hopefully more engaging than any movie because of the superior ability of the printed word to manipulate the consciousness of the reader.

What is your marketing plan?
Promotion is the bane of independent writers. The main organ is the internet. But the channels for internet promotion can change from one week to the next. More and more writers are flooding the market, clogging what were once effective channels such as Facebook and Twitter. Advertising on book blogs is becoming daily more expensive and less effective. The next opportunity might come from well-respected journals and newspapers: they can’t ignore the indie phenomenon forever. The problem for critics will be finding a method to separate the wheat from the chaff. But it will happen.

Where can people learn more about you and your work?
My Facebook page:
Other interviews:
                  With Carl Purdon:
                  With Joseph Valentinetti:
                  With Kevin Rau:

What’s in the future for you?
Reader response has demonstrated that Since Tomorrow has the potential to become a commercial as well as literary success. I’m waiting for word-of-mouth to work its magic and bracing myself for the experience.

From reviews of SINCE TOMORROW:

“SINCE TOMORROW is the best post-apocalyptic novel I've read since Cormac McCarthy's THE ROAD”
Jo VonBargen

“The most realistic post-apocalypse book I've ever read”
D.K. Gould

“On par with McCarthy's ‘The Road’ but with intrinsic threads of hope woven within the narrative.”
Michael Johnson

“…a magnificent book that lays out an exquisitely formed vision of a broken world.”
A.F. Stewart

An old man rides a workhorse through the night, across mudslides, past stores abandoned for decades, past the rotted corpses of automobiles invisible under mounds of blackberry. Rain courses from his rabbit skin poncho. He carries a sword and a spear. He knows where to find the murderer. He will face him alone.

SINCE TOMORROW is a novel of a world in the remaking. The old man, Frost, remembers the "good times". Those who live on his "farm" among collapsed warehouses and the foundations of vanished houses struggle to maintain human values. But when others in this makeshift world are driven only by greed and the need for power, all values must ultimately be replaced by the simple instinct for survival.

In this full length novel Morgan Nyberg takes the reader to the West Coast of Canada, where the city of Vancouver has been transformed by climate change, pandemic, economic collapse and earthquake into "Town", a squalid, lawless place inhabited the desperate, the diseased and the dying. Taking advantage of this state of affairs is the formidable Langley, who grows poppies to produce "skag", a crude form of opium. Langley has amassed enough power to control a small private army. Now he is determined to acquire Frost's farm for himself. Recklessly opposing Langley is Frost's fearless but impulsive granddaughter, Noor.

Like Cormac McCarthy's THE ROAD, SINCE TOMORROW demonstrates that there is room in the post-apocalyptic genre for exceptional writing. Morgan Nyberg tells nothing - he shows everything. In clear, sensuous prose free of commentary or explanation - prose as addictive as Langley's skag - he leads the reader toward that climactic night with Frost on his horse, and farther, to the threshold of a new, perhaps happier, era.

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