Tim Akers ⚔️ @TimAkers

@LordGrimdark @subpress_bill Having one of my books get a subpress edition was always a dream of mine. Guess it won't happen, now...

[Morgan Freeman walks on screen] "Pittsburgh. The very name brings about confusion. Is it the pits? Is it a burgh? What does it all mean? Sam doesn't care. He just wants you to buy his book. Oh, and leave a review. That would be nice of you." [Morgan Freeman walks off screen]

Jenn Nixon @jennnixon

14 hours ago

Not only does @SamRobbWrites have a totally awesome and righteous last name, but he's a fantastic interview. The MythBehavers get to talk portal fiction, the foibles of publishing, and the very, very exciting land of "Pittsburgh". open.spotify.com/episode/6OTQYv…

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@Dustinbarwrites Precisely

I finally have physical copies of The Last Dragon Knight available. I'll have some at Libertycon, but if you can't wait until then, you can get them below!

@boycereads thoroughly

Here is below: amazon.com/dp/B0H4GDMRJ9

@flyfoxpro That’s a follow

@bkgibsonwrites It doesn’t, actually. That’s a Norse word ;-)

Since he recently took a severance package from his job, now's a good time to start reading Zack Argyle's awesome books! Zack's not only one of the most humble authors I know, but supremely talented. Threadlight is an excellent trilogy - especially in its fanciest format!

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I’m making a show about buildings. The concept is simple: do for the man-made world what Planet Earth did for the natural world. But, when I pitched the idea, the answer was that nobody would watch it. So I released a pilot episode on YouTube. It’s got 5.4 million views, 379k likes, and 23k comments. People are interested, and now it’s time to make the full show. Six episodes, filming in the UK, France, Belgium, Germany, Italy, and the USA, and releasing on a streaming service like HBO, Netflix, or Prime. Why does this show matter? First: we’re surrounded by buildings all the time. Look around yourself, right now… what do you see? Buildings are the logical conclusion of everything a society believes in. That’s the real focus of this show: not the buildings themselves, but what they say about us. Second: there’s global dissatisfaction with modern architecture. This feeling gets written about online, but nobody’s given a voice to it on film or TV. That’s what this show will be. But this isn’t just about criticising modernity. That’s easy. This is about learning from the past in order to understand and improve the present, for everybody. Third: there’s a drought of high-quality culture shows. When I spoke to film executives they said that only documentaries about sports, music, or true crime get funded. That’s a colossal missed opportunity. Galleries are always full, content about architecture goes viral online all the time, and people spend their precious holidays visiting beautiful cities. Why no shows about architecture, then? Tourists flock in their millions to see (for example) the buildings of Antoni Gaudí in Barcelona. But, if you asked those same people if they’re interested in “architecture”, they’d probably say no. To put that another way: not many people want to watch “a show about architecture”, but lots of people want to watch a show that illuminates the real world they’re living in, each and every day. What will the show be like? Six episodes, going chronologically through history and arriving at the present, each focussing on the architecture and design of a specific period: 1. Middle Ages 2. Renaissance 3. Enlightenment 4. The Nineteenth Century 5. Art Nouveau & Art Deco 6. Present Day But, in each case, the point isn’t just to learn about that era; the point is to learn about our modern world through those eras and what they’ve left behind. If you watch the pilot episode (included below) you’ll see what I mean. So the show’s not really “about” the past; it’s about the twenty-first century. That’s why it’s called The Modern World. When you think of a typical history show there are loads of interviews, stock footage, archive photos, historical recreations, and graphics. We’re doing none of that. Everything will be filmed on location, because we’re telling our story only through the real world that exists right now. And, rather than going to the most obvious places, we’ll focus on buildings that aren’t well-known but should be more famous. But that’s all big picture; what will it be like on screen? Buildings used to look different in every country, and now they look the same. Why? Because the weather is different everywhere, and buildings were always a way of dealing with that weather, using local materials. Now we have air conditioning and we ship concrete around the world, so we don’t need to design our buildings with regard to local weather or rely on local materials. Look at really old clocks and you’ll notice something: they don’t have a second hand… because it was only invented 300 years ago! Then you look at the present and you realise we’re surrounded by timers, by seconds ticking down and ticking up relentlessly. If we’re looking for a cause of our anxiety-inducing culture, that might be it. When you spend time with the sun-softened bricks and time-warped timbers of old cities you notice that synthetic materials like plastic have taken over. When we’re surrounded by things that feel temporary, how do you think it makes us feel? It’s only by seeing 19th century train stations, designed like cathedrals, that you realise tradition and technology aren’t enemies. New things don’t have to look boring: if the Victorians had designed AI data centres, they’d look like Medieval castles. In the 1920s, at the zenith of Art Deco, people believed technology would uplift humanity. That’s why they decorated their buildings with statues inspired by electricity. Only by seeing their enthusiasm can we realise our own cynicism, and perhaps begin to fix it. All of that… and much, much more. But, above all else, this show is about a way of seeing. If you want to understand any society then you need to look at what it creates, not what it says about itself. There’s a worldview in every single object; our skyscrapers are designed the same way as our phones. Learn to look at this world, to notice its details, and everything else starts to make sense. What now? I’ve been quiet online recently because I’ve been researching and working on scripts for six full-length episodes. Production begins when we’ve raised the funding. The Modern World is coming.

@ZB_Steele @hajima_7 Hoooooly Shiiiiiiiiiii

@NoahRayWrites @bkgibsonwrites The Last Dragon Knight. Epic fantasy with a thriller pace. You don't have to start with the prequel novella if you don't want to (rights issues, again, I wasn't able to publish it until the first two books in the series were out, even though I wrote it first)

@bkgibsonwrites @NoahRayWrites But I *badly* want to get back to Wraithbound. I have big plans for that world. Its cancellation was a blow.

@bkgibsonwrites @NoahRayWrites Finished series = The Hallowed War, starting with The Pagan Night. The Bladecaster novellas, starting with Servant of a Pale Sword. Series I'm currently working through = The Dragon and the Crow. Intro novella is Knight of the Wyrm, first actual book is The Last Dragon Knight

I started this week by writing a whole bunch on Monday, then deleting almost all of it. Tuesday went to reimagining the scene I deleted and starting repairs. Today has been admin. That's what a writing career looks like.

@NoahRayWrites Then I invite you to check out my books ;-) (I MARKET! I SOCIAL!)

B&N's Best Books of 2026 includes a book that was first published in 2012, and was reprinted most recently in 2025. In case you're wondering how publishing is doing.

@NoahRayWrites Sorry for the diatribe. These are things I think about a lot these days. The bulk of my time is spent writing in a room by myself. There are few practices that could leave me less prepared for social media. And there are few environments worse for honest engagement.

@NoahRayWrites The one thing that are within an author's control are the way they conduct themselves in (virtual) public. And social media is always an ocean into which we merely bleed. Without persistent and creative engagement, we get lost.