Friday, 24 August 2012
Breathless
By Richard Parker
Just like a thriller shouldn't allow you to draw breath I'm not giving myself any opportunity to allow my pulse to slow between books.
Having today delivered my polishes for my stand alone being published in April I'm straight on to my next thriller, the idea of which has already been given the enthusiastic thumbs up by my editor.
May sound frantic but in fact I've been working up the idea for some time and, now the decks are (momentarily) cleared, I can concentrate on getting some words down. I'm sure I'll still have to read next year's book a few more times before it's signed off but I'm looking forward to spending some hours with a new concept and characters.
Probably because us writers spend so much time waiting for feedback and news it's sometimes good to just get on with something new and exciting.
It's daunting to have your cursor flash on that first page again but this time next year I hope I'll be in the same position I am with the last.
Now, I've got the twist... Just need the 100,000 words that lead up to it.
Visit Richard HERE
Follow him on Twitter HERE
Storybook Pro
By Peter Stuart
Smith (AKA Max Adams, James Barrington, James Becker, Tom Kasey, Jack Steel and
Thomas Payne)
Matt Lynn and I have talked on several occasions about
writing, which shouldn’t come as very much of a surprise, because we’re both
full-time authors and authors, like people involved in any other trade, usually
taken a keen interest in how other people approach their work. In our
respective cases, we’re entirely different. Matt has the patience and the
ability to work out an enormously detailed synopsis for each book, a synopsis
that might approach one third of the length of the finished manuscript, and
then he basically writes the book exactly following that synopsis.
One of
the things I like least about writing is doing a synopsis, even a one-page
effort, and I simply wouldn’t have the patience to work the way he does. I tend
to start with an idea and a blank page in Word. I think of a decent opening
sentence – or I try to – and then go on from there. I always know more or less how
the book is going to end, but I very rarely have any idea of the twists and
turns which the plot will take during the writing, and for me this system
works. Neither of us is right or wrong. Like all authors we work the way that
seems to suit us best.
But
occasionally I do stop and wonder if some form of specialist software might
help me to organize my thoughts rather better than simply trying to keep the
entire plot and all the characters tucked away in various compartments of my unreliable
brain. Hence my decision a short time ago to try Storybook Pro. I played around
with the free version for a short time and then decided to buy the ‘Pro’
version and see how that worked.
On the
face of it, this should be a remarkably useful program for any writer, offering
the ability to create major and minor characters, describe locations and all
the rest of it, inspect the timeline and use various charts and other tools. In
reality, and in use, it’s precisely the opposite. The program is non-intuitive
in many respects, and the parameters are so rigid that it actually acts as a
dampener on creativity. I doubt if any working author had any input into the
design of the program at any stage.
For example, in most of my books I begin with a
prologue, normally set many years, sometimes many centuries, before the action
which takes place in the present day. This program simply won’t let me do that,
because it insists on a precise date for each section, and it also won’t allow
me to call the first chapter ‘Prologue’. In fact, I did eventually find a way
around this, but it took me the better part of half an hour to do so. The
dating system is particularly rigid. You either had to insert a specific date
or what it calls ‘relative dating’, where a particular section occurs a number
of days after the previous one. It’s so much easier in Word to just type the
date I want – rather than the date the program wants – at the head of the
chapter.
As well as chapters, there are also ‘strands’ and
‘parts’, neither of which seem to be particularly useful for any purpose I
could discern. The program is also irritating in that various icons on the
screen don’t do anything – for example, at the beginning of each chapter is
either the word ‘draft’ or ‘outline’, each followed by a different icon which logically
you would expect to allow you to switch views. They don’t. Neither the name nor
the icon does anything at all, which makes you wonder why it’s there in the
first place.
Other niggles with it are that it’s incredibly slow
to load, so slow, in fact, that usually I end up clicking the icon again, when
it generates an error message telling me that the file is already in use. Word
is a big program, but it loads in less than half the time that Storybook Pro
takes to appear. It’s even clumsy when you leave it. Clicking the close button
doesn’t close the program, but generates a dialogue box which asks you if you
want to close the program. Oddly enough, that was why I clicked the close
button, but the program – or more accurately the programmer – appears to be too
stupid to realize this.
But
perhaps my biggest concern with this program is that shortly after I purchased
version 3.2, the company sent me an e-mail explaining how much better version
4.0 was, and how much less rigid the parameters were, and offering me a
substantial discount off the purchase price of the new program. The idea was
that existing users could input a code during the purchase process, and the
price would then be adjusted accordingly. So I tried this. In fact, I tried it
about a dozen times, and it simply didn’t work. I e-mailed the company. I
actually e-mailed them six times pointing this out and asking if they could fix
it. The last e-mail went off last week, and to date I have had no response
whatsoever to any of my messages.
Bearing in mind that all I was trying to do was
purchase the upgraded version – to send the company money, in fact – the total
lack of response is extremely worrying. If that’s the way they treat potential
customers, I very much doubt if they even have a support staff, and if they
have I suspect that you’d be most unlikely to get any kind of sense out of
them.
So in short, my personal review of Storybook Pro is
‘don’t bother’.
You can contact me at:
www.James-Becker.com
Friday, 17 August 2012
The mighty Amazon rolls on – electronically
By Peter Stuart
Smith (AKA Max Adams, James Barrington, James Becker, Tom Kasey and Jack Steel)
First, something of an apology, as real life has been rather
ganging up on me of late. Getting an Internet connection on board a ship is
never an easy thing to achieve and, because the link is provided by a satellite,
the download and upload speed is usually little better than dial-up, which
means there’s no real incentive to spend much time on the Web. So while I was
on board the Queen Mary 2, cruising
from Southampton to Hamburg, and then up to Honningsvaag on the northern tip of
Norway, I just gave lectures and wrote stuff for the next book, and didn’t
bother with much else.
Back on dry land, we’ve had a few problems as well,
trying to sort out various houses for reasons I won’t bore you with, because
they’re really not very interesting, and then, when I finally got to France and
should have had time to write an entry, I discovered that I had helpfully left
the power cable for my laptop in Andorra, a hot and sweaty six hour drive
south, so I’ve been out of e-mail contact for almost two weeks while I found
one on eBay, using my wife’s netbook, and could get it sent out to my address
here. Anyway, it arrived today, just in time for me to write this, so thank you
to all_mobilecompaccessories2010 for such a prompt and efficient service.
Leigh Russell
has already touched on this topic in her contribution to this blog, but I
thought I’d expand on it somewhat.
About a
week ago, to coincide with the second anniversary of the launch of the Kindle
in the United Kingdom, Amazon UK announced that it was now selling more ebooks
than paperback and hardback books combined. The figure the company came up with
is that for every 100 printed books sold, Amazon sells 114 ebooks. This statistic
is specific to Amazon in Britain, and does not necessarily reflect the balance
between printed and electronic books bought from any other outlet.
The Kindle
became the bestselling product on Amazon within just a few months of its
launch, and is still selling extremely well, because it’s very good at what it
does, which I’ve mentioned on this blog before. It’s not the only electronic
reader, of course, but it is far and away the most popular. One reason for the
success of these devices is the huge number of sales of novels like Fifty Shades of Grey, some 2 million of
which were apparently sold by Amazon in under four months.
I’ve read
elsewhere that this book is a contender for both the title of ‘fastest selling
novel of all time’ and ‘worst novel of all time’, though because I haven’t read
it – and have no intention of doing so – I’m not qualified to comment on the
latter opinion. One reason for the success of this book and its kin is arguably
the fact that women – and it is aimed squarely at this section of the market –
can read it on the Kindle without anybody knowing that they’re immersed in a
racy and semi-pornographic novel. Interestingly, this is exactly the opposite to
one reason given for the success of The
Da Vinci Code, which was undeniably a dreadful book, and which was supposed
to be popular precisely because it had the words ‘Da Vinci’ on its cover.
Another reason
for the success of the electronic side of Amazon is self-publishing, and the
company states that it has seen a 400% increase in the use of Kindle Direct
Publishing over the past year.
But perhaps one of the most important – and encouraging
– pieces of data released by Amazon is that, according to the company’s figures,
the average Kindle owner buys four times more books than people who only buy
printed versions. I’d agree with that, because it’s certainly true for me.
Precisely because I can buy between three and four cheap Kindle downloads for
the price of one paperback, and have them delivered in a matter of seconds, I
tend to cruise the bestseller lists and buy books in clumps, or whatever the
correct mass noun is for more than one book.
And, because each of them costs less than a cup of
coffee, even if I decide they’re complete rubbish it really doesn’t matter. And
while it’s true that most self-published books have been turned into Kindle
downloads precisely because they’re nowhere near good enough for any commercial
publisher to even consider, most of the ones I have bought are quite readable. I reckon
that out of every 10 Kindle books I buy, one or two will be unreadably bad, one
will probably be of publishable standard, and the rest will fall somewhere
between these two extremes.
So although the publishing world is in something of a
crisis at the moment, not really knowing what to do for the best and how to
cope with the rise of the ebook, we can at least take comfort in the fact that
the future of reading looks as bright as it ever did, even if the medium which
is used to display the type on the page has changed dramatically.
You can contact me at:
www.James-Becker.com
Thursday, 9 August 2012
What Are Olympics?
By Richard Parker
Am now in receipt of SCARE ME edit notes from Exhibit A and I'm relieved they don't do what the title says.
When I edit I always try to be as objective about my own work as possible and the best way I've found to achieve this is to pretend it's somebody else's. It's been a while since I read the whole manuscript so this will certainly help the approach.
A bit of time away from your project does help you to see areas that can be enhanced. There's always room for improvement and adding those finer details is like adding a final dash of spice to a dish.
Whether or not readers will happily digest what I've prepared for them is an entirely different matter but now the book title and publishing date have been added to the new Exhibit A website it all seems so much more official and I realise the day of publication is drawing nearer.
Advance review copies should be doing the rounds by the end of the year and it will be in the hands of paperback and Kindle readers by April.
So I really should get on with these final polishes. 27th of August is my deadline. Olympics? Barbecues? Cold beers? What do I need those for when I have bloody murder and mayhem for company?
Visit Richard HERE
Follow him on Twitter HERE
Monday, 6 August 2012
The Waterstones Debate
In the light of recent news about e-books on amazon can anyone tell me why Waterstones is complicit in the disappearance of the printed book? While Amazon report that sales of ebooks (excluding free downloads) now outstrip combined sales of paperbacks and hardbacks 114 to 100, Waterstones have introduced a counterproductive events policy.
Nothing is ever achieved by being defeatist. Trends are not inevitable.
With passion, hard work, and some common sense, the printed book can survive alongside its electronic partner - yes, partner, not competitor. Why not, when ebooks are attracting more people to read?
Waterstones have a responsibility to readers and authors who want to see them come out fighting in defense of physical books. There is no one else who can do this on a significant scale (with no disrespect intended to the fantastic dedicated smaller chains and independent bookshops).
Read about "Waterstones Faulty Logic" on Book2Book (booktrade.info site)
http://www.booktrade.info/index.php/showarticle/42274/nl
I make little personal gain from sales of my printed books. Two of my titles are on offer on amazon kindle, one on the Summer Kindle Reading Marathon. Most sales of my books are already online.
http://www.amazon.co.uk/Death-Geraldine-Steel-Mystery-ebook/dp/B0071CQV8U/pocketessentials
But I would hate to see printed books disappear. If you agree, please join in the debate. Visit your local bookshop to discuss what is happening. Post online, join in debates taking place on my blog and others, on my facebook page, and twitter.
Don't wake up one morning and express surprise that Waterstones have gone.
Think about Ottakars, Dillons, and others, recently taken over by Waterstones. Then think about Borders, more recently morphed into stores like Primark. Then think.
Posted by Leigh Russell
Nothing is ever achieved by being defeatist. Trends are not inevitable.
With passion, hard work, and some common sense, the printed book can survive alongside its electronic partner - yes, partner, not competitor. Why not, when ebooks are attracting more people to read?
Waterstones have a responsibility to readers and authors who want to see them come out fighting in defense of physical books. There is no one else who can do this on a significant scale (with no disrespect intended to the fantastic dedicated smaller chains and independent bookshops).
Read about "Waterstones Faulty Logic" on Book2Book (booktrade.info site)
http://www.booktrade.info/index.php/showarticle/42274/nl
I make little personal gain from sales of my printed books. Two of my titles are on offer on amazon kindle, one on the Summer Kindle Reading Marathon. Most sales of my books are already online.
http://www.amazon.co.uk/Death-Geraldine-Steel-Mystery-ebook/dp/B0071CQV8U/pocketessentials
But I would hate to see printed books disappear. If you agree, please join in the debate. Visit your local bookshop to discuss what is happening. Post online, join in debates taking place on my blog and others, on my facebook page, and twitter.
Don't wake up one morning and express surprise that Waterstones have gone.
Think about Ottakars, Dillons, and others, recently taken over by Waterstones. Then think about Borders, more recently morphed into stores like Primark. Then think.
Posted by Leigh Russell
Wednesday, 11 July 2012
Anyone For Cannibalism?
By Richard Parker
I'm losing the Jay from my name for Exhibit A. My UK debut
thriller, STOP ME, was published under Richard Jay Parker but there's another R
J Parker in the US and Angry Robot want to avoid any confusion when my new book, SCARE ME, hits
the shelves there as well as the UK.
So now I'm Richard Parker and this simplified name is not without
history - aside from it being the character in 'Life Of Pi.' In 1838
Edgar Allan Poe wrote a story entitled 'The Narration Of Arthur Gordon Pym ofNantucket.’ It concerned Richard Parker, a mutinous sailor who is
cannibalized by survivors after his whaling ship, The Grampus,
capsizes in a storm.
Real life was later inspired by untrue events. In 1884 a
yacht, The Mignonette, sank leaving four members of the crew drifting in a life
boat. They cannibalized the cabin boy who had perished after drinking sea
water. His name was Richard Parker.
This is why I fly everywhere. Even Richard Parker, the tiger
in Life Of Pi ends up adrift in a life boat...
My editor at Exhibit A, Emlyn Rees, has just sent me this link to
a site which features work by a writer named Stuart Noss. Read more about
The Sad Tale Of Richard Parker here...
I just hope the only voyage I embark on for Exhibit A is a
literary one.
Visit Richard HERE
Find him on Twitter HERE
Sunday, 8 July 2012
Pierre Cardin, Rolex and goats
By Peter Stuart
Smith (AKA Max Adams, James Barrington, James Becker, Tom Kasey and Jack Steel)
I’ve mentioned before that I live in the mountains, in the
tiny principality of Andorra, which is a many ways a slightly strange country.
This observation was brought home to me fairly forcibly the last time I took
the dog out for a walk last week, before we headed north through France to
England, where another cruise beckoned.
In a
country where Alsatians and Huskies abound, we’ve kind of taken another route,
and our hound of choice is a Yorkshire terrier. Not the most macho of dogs, but
pound for pound every bit as tough as any other breed. That, at least, is my
story, and I’m sticking to it. The roads on our development only link the
houses, and on both sides of the fairly small urbanisation they deteriorate
into rough stone tracks that wind and meander their way through the high pine
forest. And on these tracks, it’s not unusual to encounter other animals, both
wild and domesticated, ranging from the occasional snake up to wild boar, and
occasionally cows and goats. Usually, the presence of domesticated animals is
signalled by the ringing of bells. Not by some attendant or herdsman, but
simply bells which are secured around the necks of some of the animals.
The
terrier – whose name, not that it matters, is Ted – takes a somewhat jaundiced
view of anyone and anything she sees on what she clearly believes to be ‘her’
land, and looks upon cyclists and joggers with particular disfavour. But she’s
not usually too bad with goats and so, when I heard the melodic tinkling of
bells around the corner on the track in front of me, I decided to press on, to pass
through the herd and continue along the route I had planned.
When I
got around the corner, the terrier and I were confronted by about a dozen goats
ranging from quite young kids up to full-grown adults, all of whom were busily
eating just about everything in sight in the manner of goats everywhere. The
animals were what I had expected, but the goatherd certainly wasn’t.
We
exchanged friendly greetings in the way that one does in Andorra, and the
terrier and I weaved our way around the animals and continued on. At the
corner, I paused and looked back. The expression ‘goatherd’ conjures up an
image of a scruffy and unwashed individual, probably leaning on a staff, and
raises unspoken questions about where he sleeps and how and where, exactly, he
attends to certain other bodily functions.
But this
goatherd was wearing a pair of stout brown shoes, neatly pressed tan slacks and
what looked suspiciously like a Pierre Cardin shirt. On his wrist was a solid
gold Rolex Oyster watch and he was smoking a large cigar. Not what you might
call typical.
And it
wasn’t as if he was just standing in for the regular goatherd: I’ve seen him
before and to the best of my knowledge these are his animals.
That’s
one of the oddities about Andorra. If you go back a mere half century or
thereabouts, the population had essentially a subsistence economy, farming
cattle, goats and tobacco, and living in stone houses where the lower floor
functioned as a barn in the winter. And then a number of foreigners,
principally English but some other nationalities as well, discovered that the
Andorran government, such as it was, had no idea what the words ‘income tax’
actually meant, and promptly began buying up whatever land they could lay their
hands on.
As a
result, Andorran families suddenly found a huge demand for building land from
foreign investors, and land itself became so valuable that it was sold, not by
the acre or even by the square metre, but by the pam, or the palm of the hand. Twenty-five pams make up one square metre, as a matter of interest. There was a
sudden and pronounced influx of wealth, and farmers who until then had barely
been able to scratch a living from the land suddenly found that they were able
to buy new houses and drive Mercedes and BMWs and generally live the life of
Riley. But the only profession that they knew was farming, and so despite their
swelling bank accounts, they continued to grow tobacco and herd cattle and
goats just as their fathers and grandfathers had done before them.
Hence our
local goatherd. And personally, I think it’s rather sweet.
And there
was one other interesting fact that I’ve just remembered, from the very early
days when we first had a property in the country. I can recall seeing the local
postman walking, and sometimes jogging, down the road followed – for reasons
which I was never able to ascertain – by his wife driving a car. A little
eccentric, perhaps, but there you go.
But that wasn’t the interesting fact. I learned later
that this man, this postman, with responsibility for one of the most populous
valleys in the country, could neither read nor write. Both, one might
reasonably think, would be fairly important skills to possess if your job
involved delivering mail. Apparently, he had obtained the job through his
family connections – in Andorra it’s often who you know which is most important
– and his technique for delivering letters was simply to compare the writing on
the envelope with the writing on the outside of the building, and if they more
or less matched, he would then stick the letter in the communal mailbox and
walk away.
And I
suppose the really odd thing is that the letters were usually delivered to the
correct building.
You can contact me at:
www.James-Becker.com
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