BEWARE WHAT YOU WISH FOR!
Coming very shortly, first to Amazon, November 28th, then to Apple, Barnes & Noble, Kobo and paperback in Spring 2020.
Themes: Identity, family, illusion, dark secrets, misrepresentation, ethical dilemmas, disillusion, personal growth and the craziness of human beings
At 28, Terry fantasises a life more exciting than his marriage or job provide, but then he meets someone amazing on his daily commute and his life is changed forever. He rushes home to tell his wife, Gudrun, but events prevent him. But what is she hiding, and why? Both have developed some awkward secrets. When Terry opens his Pandora’s Box it traps him into increasingly bizarre situations. Bizarre can be funny, but also tragic, and this novel offers both, as well as a great deal of mystery.
Will Terry ever discover what he really needs to know? Is Gudrun a heroine, a victim or a packet of trouble?
Katie Fforde said: “Quirky and Intriguing”.
This short story collection is certainly not erotica; hardly a glimpse of bare flesh– but a subtly dark edge instead. Most, at first, seem light-hearted; then there’s the twist. After finishing the book, readers have second thoughts about the characters.
Just right for the daily commute. Read one story before you reach your station and hurry off to work. Apple, Barnes and Noble or other ebook?
The paper-back — neat enough to slip into a handbag or breast pocket — is available in bookshops and on Amazon. It makes a good present for a friend, mother-in-law or male colleague. It can be a silent comment: you’ll know a woman in here! Some use it to make a point about the recipient…
A top 100 Amazon reviewer said of the short stories “…their hallmark of wry humour reminds me of a female, modern-day Saki.”
In the collection, you’ll encounter obsessive women, an array of fish, a pile of hot money, a loving mattress, a mangy dog, a range of bras and a prosthesis. I hope each story will perk up your commute or dispel your night-time preoccupations, and send you to work or to sleep with an uneasy smile of recognition on your face. Do enjoy, do write a review.
I wrote this in the third person but from the main character’s (MC) point of view. (Close 3rd person). The narrator is unreliable, which makes for more effort from the reader. S/he doesn’t have to like the MC. A sneaky liking for an unlikeable character makes the reader uneasy. (What sort of person must I be if I feel sympathy for him?) The edginess can derive from the reader’s being in the MC’s head. The reader has to be drawn to him/her in some way – despite even horror or outrage.
Something unnerving, uneasy, something left ambiguous, can make you read on. There’s a question: is this character telling the truth, or will there be a revelation that will make me re-think? Questions precede page-turns. Edginess is by its nature, an unclear signal.
Edginess doesn’t necessarily require extreme sexual or aggressive behaviour. Risk of some form, especially close to home, can cause the uneasiest feelings; an everyday event suddenly appearing to have a different significance.
I hope I’ve achieved this in the first of my Crime Shorts, A Boy with Potential. You can decide for yourself with the FREE kindle ebook 21st-24th November. One Amazon reviewer stated ‘The darkest, most horrible story I’ve ever read.’ (1 star) That wasn’t my intention: I’d aimed to provoke unease and reflection. Have I done this?
Do let me know in a review.
It’s not only Amazon offering a brilliant service to the e-reading public. Although many successful writers have made a killing on KDP Select, those days may be numbered. Going exclusive meant that readers could sample free via Kindle Unlimited, but now the payment to authors is much reduced, fewer writers speak of substantial income coming from KU.
The alternative to publishing exclusively to Amazon is to go wide. Publishing through a company such as Draft2Digital gets your books into many alternative outlets. However, by not including Kobo in the list, you can submit to them separately and this has distinct advantages. Why Kobo?
Firstly, any serious writer considers the reader’s enjoyment as paramount. Kobo Books sets out to keep the reader’s entire reading life in mind. The new Aura has one-touch library e-book access and a recent software update installed this capability in all Kobo devices. This facility, Overdrive, significantly increases the number of library users. How wonderful to bring more readers to libraries where new worlds await them!
This year, Walmart was made the only place to buy the various Kobo e-books. Before this, Americans had to travel to Canada or risk an on-line purchase which, if faulty, couldn’t be returned. Then, on August 21st, Kobo and Walmart launched a joint venture: Kobo e-books would now be sold there. Kobo’s share of the reader market rocketed up accordingly. Consequently, Kobo books have a greatly increased visibility.
Writers, going directly to Kobo with your books means that Kobo promotions are open to you. Kobo has them variously and often. They’re particularly good for romance and sci-fi, but general fiction and non-fiction can also be promoted. For instance, a 10% cut for discounted books aimed at Australia and New Zealand for a week, or a Free for Labour Day targeting the US, another for Romantic Suspense under $2.99 or Spy Thrillers at $0.99. These promotions are cheap for the author, perhaps a £3 charge, or a 10% reduction in royalties.
Moreover, Kobo automatically returns book prices to their proper price after the promo. Authors do not have to remember, as they do with Amazon. What a pain that is!
Much more significantly, your books may sell to 190 different countries: including very many countries that Amazon neglects. How pleasing to know that someone in Bhutan, Morocco, United Arab Emirates, Cambodia, Finland, Seychelles and Zimbabwe is nosing into one of my books!
Kobo is Canadian, so this is Kobo’s most prominent outlet and for those writing in English, a very important customer source. Canadian readers are surveyed annually by BookNet Canada. The most recent survey showed an increase in e-book reading, to 52% of the sample. The few copies I’ve sold on Amazon to Canada are dwarfed by what I’ve sold via Kobo.
Sales reports are great on Kobo. On Amazon you only get to know whether your sales are US, UK, Europe or Australia. Kobo provides a map showing the number and extent of your sales worldwide— very satisfying.
Kindle readers seem fixated on free copies, so many books will be excess to need, remaining unread. Kobo readers are more discerning, so willing to pay more than a few cents for a good read.
If the massive distribution of Walmart makes it easy to discover books and authors this has to be good for both readers and writers. Go Kobo!
It’s assumed there are two kinds of writers: those who have a writing plan, and those who write on the seat of their pants.
I would love to write a synopsis, the theme, the backgrounds of each character, the main events of each chapter before I ever begin, but that just won’t work for me.
When I start a novel I only have a germ: a snatch of dialogue, an incident, never a theme. I don’t even know what kind of characters will pop up or which will prove to be major or even where the setting of dramatic scenes will be. But despite the discipline of degrees and diplomas and a Ph.D. I’m an irrevocably, irredemiable pantser.
Working on the small germ, as I write something happens to the character speaking or experiencing the incident. That turns into a chapter. At the end of one chapter, I know what has to happen in the next but not further. By about the fourth chapter something emerges that enriches or expands the plot, becomes a sub-plot or develops one of the characters.
The novel outline falls into place when I know the ending. Usually that’s before I get halfway. Then it’s a matter of laying out the remaining ground, including character backgrounds, needed for reaching that end.
All my fiction has one thing in common (as well as their manner of creation) — they are character-led. I can’t write any other way. There’s no great plan but interesting things gradually emerge.
Here’s an example of my writing process. A Relative Invasion (a trilogy set in the Home Front of WWII) began with one tiny thread. An elderly man told me his school had been evacuated to a village where after milk and biscuits, the children were walked around the village in a crocodile seeking billets. A tall seven-year-old, (‘He’ll cost a bit to feed and clothe’) this man was the last to be chosen.
I thought, children must have been so resilient at that time. And so Billy was born, a sturdy well-meaning child. He was only aged five in 1937, and so I found myself writing historical fiction (with all the research that entails). The key figure at that time was, of course, Hitler, and his rise to power came as result of German resentment, humiliation and envy after the end of WWI.
Consequently, a cousin for Billy surfaced. He would experience these negative emotions and be a psychological bully to make Billy’s life a misery. I made him artistic and physically frail. However, this Kenneth would need to be a charmer for the adults to be blind to the bullying.
Now I had a theme for my novel: the feelings and tensions in Europe (macro scale) would be mirrored in micro by the two cousins in their developing rivalry. Billy then needed a secret symbol of power to support him. I hit upon a Cossack sabre, that then needed a background story of its own. This led me to research the Russian/Germanic conflict at the start of WWI. I realised that the sabre icon would need to filter right through the story.
I am not recommending this approach to writing, just showing how a novel can unfold as the narrative continues, and in this case, it was a trilogy that emerged.
Ideally, have a writing plan. There are loads of HowTos on Amazon. Don’t risk half-baked advice from ebooks. Some may be good, but play safe. A good book is Diana Doubtfire’s classic writers’ guide a paperback you may get cheap as it’s been around some years.
Are you are you an inveterate pantser? Then buy Scrivener and let it organise you. See my last post.
(I first wrote on this subject for the ALLi blog)
I wrote about this short story in a previous post Unlikeable character – makes you read on. I’ve just updated the e-book and reminded myself (slight shock) that I’d written horror rather than just crime.
Which writer was it who said we only know what our novel is about once it’s finished? A long time, and many thousands of words later, I remembered this because I had just had that flash of recognition. Potential…how it can work both ways.
I’ve written non-fiction, historical fiction and short stories, often humorous, but I never expected to write horror. Sometimes your story runs away with you and you find it is in a different place from the one you expected. To do this means writing in his shoes, the boy you come to fear.
It was seeing each news flash of school shootings and the consequent analysis of the boy responsible that started me on this path. I’d been painfully aware of the several times in my work as a psychologist I’d been asked to assess strangely difficult kids and/or school refusers and witnessed the same anomie and alienation that these perpetrators showed.
I created a character of a different age, imagining a potential perpetrator younger, more accessible, adding something positive – a potential event for saving the boy from causing disaster. But it worked the other way.
In attempting to walk in Jake’s shoes, I’d almost unwittingly written a story of horror. Although I’ve had very positive reviews, including a long-listing from Fish and a winner’s accolade from Bloomsbury, I had every sympathy with a 1-star reviewer on Amazon who said it was the nastiest thing he’d ever read.
It seems likely that many writers find they’ve ended up with a story they hadn’t predicted.
Here’s the beginning of mine: ‘I think I once killed a man and I don’t know why. The bloke lay at my feet, dead. I don’t think I knew him but I couldn’t look at his dead face and they didn’t make me. I’d never seen a dead person and I didn’t want to.’ The word ‘dead’ obsesses Jake when he’s ten.
If you’d like to read more about Jake and walk in his shoes, there are some free copies for the next readers who join my Readers List.
A Relative Invasion is probably the only trilogy I’ll write.
The first draft of this work was runner up in the Yeovil Prize (novels) 2011. It also reached the editor’s desk of Harper Collins’ writers’ site, Authonomy and therefore won a full review. Extract: “…a powerful and compelling narrative with strong and relatable characters, and offers an evocative portrayal of England’s war-time home front. Billy is immediately sympathetic and Minett perfectly captures a child’s viewpoint, adding a gentle and honest humour to the story. The mounting tensions between Billy and Kenneth parallel the rising agitation in Europe …”
Intrusion has been awarded a B.R.A.G medallion (Book Readers’ Appreciation Group USA)
In 1937 five-year-old Billy meets his cousin, the idolised, frail and manipulative Kenneth. As the adults worry about war emerging in Europe, the slow burn of a fateful rivalry develops between the boys. With emotionally distant parents, bullying uncle and manipulative cousin, Billy starts to stutter. The one thing that upholds Billy’s spirits is the Cossack sabre, owned by his father’s work colleague. Once seen, never forgotten, the sabre becomes an icon of power – but possibly, destruction.
Historical Novel Society Review. “…the author very skilfully portrays the misery of being bullied…. “thoroughly enjoyed the book. The reserch is meticulously done with convincing historical detail.”
“Very strong writing this; a book pleading to become a film.” Grady Harp, HALL OF FAME, TOP 100 REVIEWER, VINE VOICE
Receive Book One FREE when you join my Readers List.
Two boys, one family, a world at war – the invasion continues
Now it’s autumn 1940. Relentless bombing in London means evacuation once again. Billy is billeted with an elderly couple. Though happy in their care, sinister cousin Kenneth – who is billeted beside Billy’s mother and sister – haunts his life. Billy’s imaginary power from the precious Cossack sabre, now comes only from its photograph.
A catastrophe causes a new invasive threat from Kenneth. This one will affect both their futures permanently and increase the fateful rivalry. What’s more, the precious photograph goes missing. Can Billy become a hero when his parents are not?
Infiltration tells of childhood resilience in the face of war, rivalry and parenting ignorance. It follows a boy’s growth into personal responsibility.
1945. The VE party is over and so is evacuation. Bill must tear himself away from his firm attachments in the village and face a new life in post-war Wandsworth. Uncle Ted had returned from service, but in what state? And how have Bill’s grandparents fared through the blitz and just recently, the dreaded VIs and VII rockets.
So much is in ruins, not least the life Bill had known as a child. One area remains wonderfully stable: supportive Mr Durban and the exciting icon of his Cossack sabre. Kenneth, however, is even more present. Now adolescent, the cousins are developing their separate skills and identities but the home context is claustrophobic. Their fateful rivalry increases in intensity, culminating in a dramatic crisis. All the family’s lives change forever. It’s a terrible fall-out. Is it Bill who must take responsibility and find a fair way forward?
“Well executed emotional drama.” Historical Novel Society
“utterly compelling … the climax is utterly unpredictable yet shockingly apt.” Amazon reader.
How popular the psychological thriller is currently! Writing psychologically involves one character messing with another’s mind, or suggesting the mind of another is seriously in question. The pull for the reader is trying to work out the real from the imagined or the subtly misrepresented. Three high-selling books became prominent and myriads of attempted read-alikes followed. The three were Gone Girl, then more psychologically successful, The Girl on a Train; and best of all, Before I Go to Sleep. All three had tremendous success and films were soon made of them. Many authors have attempted to emulate this kind of novel, choosing titles very near to these three biggies.
The ‘psychological’ comes in because mind furnishes the plot. In some novels this use is more convincing than in others. Why? Simply that the actions of the characters stay true to their nature to the end. S.J. Watson fully understood the task of making his characters remain coherently believable. The first two books drop off in credibility around three-quarters of the way through.
If the action does not stay possible within the character arc, the novel is unsatisfying. Too many twists of intent and the reader’s credulity is stretched to breaking point. A heartless murderer is not likely to sit down and freely give his whole history to other characters, explaining how he came to kill. All this does is provide an explanation to the reader so that the plot can be said to end.
If you have no knowledge of guns, don’t embarrass yourself by describing one.
If your knowledge of serial killers is restricted to reading novels about serial killers, your character is unlikely to be convincing.
Novels that try to follow the pattern of unreliable narrator often fail because the voice does not convince. If you can’t hear your character’s voice in your head, don’t write his dialogue. Solution? There’s direct contact and there’s serious research. If neither are available to you, best to write about a character who is more accessible to you. You can always stretch his or her natural behaviour a step or two further to make it sinister.
Four years before this genre blossomed, Sebastian Faulks in Engleby took a character whose experiences Faulks himself shared or witnessed at close quarters. He used a setting he knew well: Eton, for describing gross bullying, just touching upon the earlier adversity enough to spark the reader’s imagination. By the time Engleby reaches Cambridge, the reader fears the damage the lack of love and relentless bullying has caused. When awful things are gradually revealed, then, they are wholly convincing within the arc of what the reader has taken in, bit by bit, as the plot progresses. Further, the character does not stay in one murderous state of mind, but develops over time. Events, situations, do have an effect, as does age. Perhaps predictably, Faulks being one of their own, journalist mainstream reviewers were caustic about this thought-provoking, well-written book but wrote glowingly of newcomers with more sensational but less psychologically accurate novels.
As a psychologist, I sometimes interviewed/assessed youngsters who had been referred for school avoidance. I can’t write about them, of course, but the experiences helped me imagine a new character in another geographical and social setting. That led to my story A Boy with Potential. In my next post, I’ll write more about this and offer a sample.