Thursday, 26 October 2017
'Rocco and the Nightingale' is the 5th title, following a couple of years lay-off, and I'm delighted to have got back to writing about this French detective. Set in Picardie during the 1960s, it's a world away from my usual output of spies like Harry Tate ('Red Station' et al), Marc Portman ('The Watchman' et al) and Gonzales & Vaslik ('The Locker and 'The Bid').
For a start you can forget all about technology like cell phones, computers, facial recognition cameras and, what seem these days like instant DNA and fingerprint analysis. Instead, there's old-school detection based on evidence, investigation, intuition and kicking down the odd door, French-style.
However, that doesn't mean we have to revert to forgetting current methods when it comes to actually publicising the book. And that's being aided this week by a blog tour, where a number of lovely
blogger/reviewers have kindly taken to flying the Rocco flag via their websites and social media.
Some are using Q&As to find out the how and why of my writing life, while others have asked for features, where I get a free hand to let it all hang out on matters Rocco.
It's been a very interesting experience thus far. I've never used a blog tour before, and this one has been brilliantly managed by Emily at The Dome Press, (who have taken up the baton of publishing my new Rocco book - there are 4 previously-published in the series by A&B): 'Death on the Marais', 'Death On the Rive Nord', 'Death on the Pont Noir' and 'Death at the Clos du Lac'.
'Yes, a lot of 'death', and I decided there should be a change of title style.
If you'd like to plug into these blogs to read a bit more about Rocco, drop the appropriate blogger @name into Twitter, and you'll find the link:
Ayo Onatade @shotsblog - 19th October
Philomena Callan @cheekypee27 - 20th Oct
Marion Grace Woolley @authormgw - 21st Oct
Megen Bailey @mgrnwrite - 22nd Oct
Kate Moloney @bibliophilbec - 23rd Oct
Linda Green @booksofallkinds - 24th Oct
Sonya Alford @ destinylover09 - 25th Oct
Alison Drew @drewcomps - 26th Oct
Karen Cole @karlou - 27th Oct
Lucie Poole @ifindoubtread - 28th Oct
Mary Picken @bethsy - 29th Oct
Janet Emson @janetemson - 30th Oct
Kerrie Waller @lovedreadingthis - 31st Oct
Victoria Watson @vpeanuts - 1st Nov
Jackie Law @followthehens - 2nd Nov
I'm grateful for all these bloggers/reviewers for giving their time and webspace to this blog tour.
'Rocco and the Nightingale' - in p/b, h/b and ebook, on Amazon, The Dome Press and in all good bookshops.
Sunday, 8 October 2017
Never one to pass up on a good quote, I read recently that Times columnist Robert Crampton described how conversations between him and his young son consist of ‘…taking two worlds that do exist and smashing them together to make one that doesn’t.’
My immediate thought was, what an appropriate way to describe writing fiction. As writers, we’re accustomed to using things that we know of in the real world and bringing them together to make another world which doesn’t exist. (Except in our heads, of course, where anything is possible and obscenely big book deals do happen).
One might argue that since everything we’ve used in our fictional scenarios has been copied to one degree or another from real life, then it is real. Well, not quite. Because we’re merely borrowing those things (scenes, characters, items, events) and slotting them into a world which only resembles the one we know, but is entirely false.
Of course, certain pseuds might argue that, look, dude, y’know, existentially speaking, what you’ve created is just, well, a construct, see, fashioned from reality, so in effect, it must be, well… real, right?
It’s made up!
Characters. We might dare, bearing in mind the ever-increasing litigious nature of those around us, ‘borrow’ certain facets of people we know, to help us give flesh to our fictional heroes and villains. Even characters in sci-fi or fantasy books will bear certain similarities to real people. But the personae we create are still not going to be real. They may seem like someone we know by appearance, sound or manner; they may even have a similar name – although I’d advise against that, personally, it’s pushing your luck a bit. They may even be based on fictional characters created by someone else. But they will only ever be what we have created in our minds. (Incidentally, just in case a certain someone down the street is wondering, the miserable old biddy in a blue hat described in my last book was pure coincidence).
Events. Many stories and books borrow from true events in history, to give weight or realism to the plot, or to attract a certain type of reader. Some may even be written as reconstructions of true events, but with a strong fictional twist. But whatever a work might borrow in this way, some of the original elements will eventually be taken in another direction entirely according to the whims and requirements of the author, because that’s what writing fiction is all about. We take what we know (or know about) and amend it where necessary in order to make it fit our scheme of things.
Items. Again, making allowances for specific genres, the majority of things we describe, be they cars, houses, clothes, guns or teapots, are familiar to us because it’s far easier to write about something you can see or touch than something you cannot. It helps if they also have some familiarity to the reader. An object which they have read about, used or seen before, brings instant recognition without the constant mental question mark popping up over something they’ve never heard of. Once or twice in a book might be acceptable, especially where someone is venturing into a genre they haven’t tried before, but too many of these and it becomes like a technical manual and the reader will begin to lose track and interest.
Scenery. There’s a healthy divide on this point, but like many authors, I prefer to use real places in my books, rather than invented ones. The main reason is laziness; real places are easier to write about and describe (even if I transpose them somewhere else entirely). However, if I do need to get a named location spot-on accurate, I can visit the place and do the necessary research. It’s worth bearing in mind that readers love to spot places that are familiar to them, too, and if that helps bring them back to your books, then all to the good.
That doesn’t mean you shouldn’t be able to alter certain aspects of a place if it happens to suit your storyline. And that’s the great thing about making it all up; it may be based on a real place, but it will never be entirely real. Put in a pub? Easy job. Straighten a road for an action scene? Couldn’t be simpler. Drop in a nightclub where there isn’t one? Consider it done, my son. Some left-over tarmac? Oh, hang on …
Outcomes. This is where the head really flies off the hammer, as my dear old dad used to say. (I never knew what it meant, either - I’m just borrowing … ) Anyway, the outcome of our story is where whatever else we may have borrowed from the real world, be it people, places, guns, cars, houses or rainstorms, becomes less than real. It has to, because what becomes of our heroes and villains is pure fiction. Most of us, after all, don’t consciously write an ending to a story which is true in real life. Where’s the fun in that? If, after having dragged our loyal and wonderfully generous readers on a journey which we’ve, y’know, dude, made up from elements of real life, the very least we can do is give them a larger than life, different to life and much more thrilling than life ending. That way, they might just come back for more.
It’s called make-believe.
· Using real people can help colour your characters – but be careful of going too far.
· It’s your fiction, your world; you can do anything you like.
Taken from my book 'Write On! - the Writer's Help Book' - (Accent Press) - available in p/b and ebook.
Taken from my book 'Write On! - the Writer's Help Book' - (Accent Press) - available in p/b and ebook.
Perhaps you know a writer who might benefit from this book? If so, check it out.
a writer who might benefit from this book? If so, check it out.
Wednesday, 27 September 2017
1. An alternate ending - so you can decide which ending is better;
2. A deleted chapter - which explains a crucial point of the main plot; and
3. The first four chapters of Ethan’s next spy thriller, The Cyprus Coverup.
Why would a Taliban commander ask for you by name?
Carrie O’Connor survived Afghanistan twice before and swore she would never go back.
But at the request of a high-level Taliban commander, the Europe Clandestine Service is sending her back to investigate a suicide attack that targeted a remote, provincial police station.
Reluctantly, Carrie agrees to the mission and soon after arriving, uncovers a widening conspiracy involving the Taliban, the CIA, and the Russians: a conspiracy that reaches all of the way to the President of the United States. Unsure of who to trust, she must rely on her years of training. Is the president the terrorists’ target? Or is that a diversion for something more sinister?
Entry Point is the heart-pounding spy thriller that will electrify your days, with well-crafted characters, captivating storylines, and pulse-pounding plots. If Daniel Silva, David Baldacci, or Lee Child is one of your favorite authors, you’ll love Entry Point by Ethan Jones, the new undisputed master of spy thrillers.
Monday, 25 September 2017
'What's your Problem?' deals with the knotty habit of repetition in writing. In my own case (on the first read-through of my latest project), my editor suggested I'd begun using the semi-colon a little too often. I have no idea why this had crept in, but it had.
Not content with that, I'd somehow got fixated on the same brand of car for different characters - in this case a Citroen. (I'd changed the model details each time, but the use of a 'Citroen' doing various things, sometimes when more than one on the same page, had indeed got a bit repetitive and likely to become confusing).
My editor was absolutely right, of course. No reader wants to get irritated by a habit like this, and I made the necessary changes and made a mental note to watch it in future.
My New Author this month is Naomi Hamill, author of 'How to be a Kosovan Bride' published by Salt Publishing in August.
Comprised of the stories of two young women in modern day Kosovo, one traditional and married, the other not, the narrative follows their journey, ably helped by Naomi's own close knowledge of and regular visits to the country.
Thursday, 14 September 2017
A common question from writers is: ‘How do I get my initial, basic, written-note-on-the-back-of-my-best-friend’s-neck idea to grow into something I can call a story?’
Well, there are lots of ways. And I should know, because I’ve tried most of them. There’s the starting at A and going through to Z method; or starting with the ending and working backwards; or even cannibalising two or more unused stories into one. To paraphrase the old cliché, whatever floats your particular bateau.
Many methods of creating a story from a smidgen of an idea are pushed by the subconscious. We don’t actually think about the workings of the process involved; it just happens, be it over days, weeks or even years. For the lucky ones, there won’t be any effort - the idea will blossom into something fully fledged, the words tumbling out of the brain and onto the paper, thus avoiding all the wailing and gnashing of teeth that most writers go through at some time in their lives. (And for those of you who never wail or gnash… you lucky, lucky b… )
Result: accidental death and end of love rival.
Okay, so I was aiming at dark humour here rather than high drama. But if we take the premise and run with it, what do we have? It’s a story of love, hate, jealousy, rivalry, resentment and finally, uncontrollable fury. A bit like a government press briefing.
But how do we make this idea grow into a full story? Where do we start?
Well, let’s dispose of one convention for a moment: You don’t have to start at the beginning.
I've touched before on the dreaded writer’s block (hell, who hasn't?), and advised circumnavigating a ‘muddy’ patch – a scene where you were ‘blocked’ for some reason - and jumping ahead to write a future scene instead. This is a useful way of freeing up your mind by concentrating on something else, until you can come back and write the sticky scene later. Another way is to break the proposed story down into ‘chunks’ or scenes, and deal with them as separate units. Then all you have to do is bring them together like links in a chain.
Some writers (me included) occasionally begin with a scene that may be somewhere in the story, but rarely at the start. Usually, it’s because we have a vivid picture of what we want to write, and it pretty much tells itself. We then go back later and compose what might be the introduction and subsequent scenes.
If we take our Bookshop Avenger (BA), the scene which called to me the most was the final busting of the bubble where she climbs a ladder and a huge book manages to ‘fall’ on her love rival’s (LR) head. (Okay, so how many really huge, potentially fatal books do you find in bookshops these days that wouldn’t be banned by a health and safety nut? But this is fiction – work with me, here).
Writing this scene might be your first choice, too. On the other hand, the story needs some background. Who is the lucky person who has two lovers vying for equal air-time? It could be male or female. How old are they? How did they meet? How did the BA find out she was being cheated on? Or is LR the one being supplanted – the cheatee - if you wish? That’s for you to decide.
The scene where BA watches LR walking round the store has a lot of potential for word-play in BA’s mind as LR browses the various sections: Mind & Body, Psychology, Fantasy, Medicine, Horror… but most especially, CRIME.
Equally, you could tackle BA’s motivation as she lurks behind the shelves, plotting her rival’s downfall. What will be the outcome in her own mind? Might it change her relationship with her lover – or does she give a hoot? You could, stepping out of the bookshop for a moment for a change in pace, try a scene where the person at the focus of these two women’s attention is preparing to meet one of them. This could act as a way of setting up a scene where our sympathies may undoubtedly swing away from this far from innocent party to one of the characters he/she is cheating on. But which one?
Wherever you start in your story, your writing is the most important thing. Each scene has to be consistent in quality, and must eventually fit seamlessly with other scenes. You have to bring them all together to form that whole story, from beginning, through the background, to building up the tension right through to the final, dramatic ending.
Most important of all, get writing. There's no other way.
· Don’t try to write the whole story at once - break it into separate pieces or scenes.
· Tackle whichever scene appeals to you at the time.
· Gradually flesh out the backgrounds of your characters, building description and narrative as it occurs to you.
· Constantly ask yourself whether what you are writing helps tell the story or not.
Alert! Christmas gift idea!!
Alert! Christmas gift idea!!
Taken from my book 'Write On! - the Writer's Help Book' - (Accent Press) - available in p/b and ebook
Taken from my book 'Write On! - the Writer's Help Book' - (Accent Press) - available in p/b and ebook
Perhaps you know a writer who might benefit from this book? If so, check it out.
a writer who might benefit from this book? If so, check it out.
Thursday, 31 August 2017
September's edition of Writing Magazine contains, as usual, a whole host of great advice, news and guidance for writers. My latest Beginners piece is called 'Lift Your Chances', and centres on the hook of the 'elevator pitch' of Hollywood legend, where a hopeful screenwriter has the time it takes to go up in an elevator with a producer to 'sell' his or her screenplay.
Now that's pressure.
Most would-be authors might start off thinking they don't have quite the same setting to worry about. After all, theirs is a book, not a screenplay.
Umm... I wish that were true.
The fact is, there might come a time, if you're truly serious about being a published writer, when you get a chance to 'pitch' your book to an agent or editor. This involves doing so in a matter of minutes (usually against the clock if it's in a pitch session), effectively selling your book - and to a degree yourself.
It sounds as if it's not for the faint-hearted, but many writers have done it successfully. And why?
Because agents and publishers are ALWAYS looking for the next book. And they're prepared to go out there and meet writers with an idea to sell.
So why not you?
Look for the writing conferences, book fairs and special events where there are 'pitch' sessions, and get practising. It could be your chance to get representation - or even better - a deal.
Friday, 18 August 2017
It wasn't a spam mailing or anything that could be seen that way, as I prefer to stay in readers' good books rather than drop into their junk mail box. It means tailoring each email to specific comments they've made where necessary, but to me that's all part of the interaction. If they've been nice enough - and taken the trouble - to comment on my work, the least I can do is keep them informed in as personal a way as possible.
One very heartening aspect has been receiving acknowledgments that readers I'd thought were perhaps only wedded to one type of book, such as the contemporary Harry Tate and Marc Portman spy thrillers, or the Gavin & Palmer crime series, are quite happy to make a sideways jump into what is classified as a historical series - the Lucas Rocco novels set in France in the 1960s.
(Having lived through that decade, I still find it hard to look on it as historical, because that makes me sound like Old Father Time! Still, it could be worse).
Perhaps their loyalty happened because I tend to write series rather than standalones. In fact I've so far only ever written two of these singular beasts, one a YA novel ('The Lost Patrol'), and the other a light-hearted fiction adventure ('Smart Moves'). I never really set out to write series, but each time I came up with a new 'first' book, either the publishers or my agent asked if I was aiming at a series. Sensing what in the sales business is termed a firm 'buying signal', I of course, said, 'Series'. Well, as a working writer, you take the opportunities as they arise. And it's not just publishers who ask the question. Not long ago I received an email from a reader who'd thoroughly enjoyed 'Smart Moves', and asked if there was a sequel on the way. (There isn't yet, but maybe... )
The good side of this following is that readers like a series for various reasons, whether it be familiarity of characters, enjoyment of the settings, or simply knowing that there's a good chance they'll get a satisfying read like the last one. And plainly that can translate across even if an author writes a different kind of book. It doesn't work every time, I know that. Some spy thriller readers won't follow my Rocco series any more than fans of these French-based books will make the transition into a contemporary thriller. But clearly many do and I'm glad of that.
Whatever the reasons, I try to write the best, most entertaining story that I can. And if people like it and come back for more, then that's my job done, and I'm grateful for their loyalty and support.
'Rocco and the Nightingale' - the 5th Insp. Lucas Rocco book. Available in hardback, paperback and ebook on the 19th October.
When a minor Paris criminal is found stabbed in the neck on a country lane in Picardie it looks like another case for Inspector Lucas Rocco. But instead he is called off to watch over a Gabonese government minister, hiding out in France following a coup.
Meanwhile, Rocco discovers that there is a contract on his head taken out by an Algerian gang leader with a personal grudge against him.
Against orders, he follows leads on the original murder case, discovering as he does so that the threats against him are real. When the minister he is supposed to be protecting is kidnapped, it soon becomes apparent that the murder, the threats and the minister's kidnap are all interconnected...
Sunday, 6 August 2017
A recent shopping expedition to find a birthday present for my wife found me in a similar situation, writing-wise, to a friend who writes short fiction. Surrounded by a plethora of goodies, all suitable (and, what’s more, all potential vote-winners in the pressie stakes) I dithered and shuffled like a nervous teenager on a blind date, not sure what to choose.
Basically, (and here I hasten to say I depart from the teenager analogy – my teens, anyway) there were so many possibilities on offer I couldn’t decide which one to go for. In the end, I allowed greed to heap disaster on me by snatching at something in haste… which, as it happened, proved unsuitable.
But back to my friend. He mentioned that in spite of an abundance of ideas, he had recently found himself in a cycle of constantly starting something, then running out of steam because he couldn’t focus on where to go next. This had resulted in a string of projects, all abandoned at various stages and each resembling a lengthy art-house film: no end in sight and not a lot that made sense.
‘Lucky beggar!’ I hear you mutter. ‘If only I had so many.’
The fact is, many writers experience moments like this, when they can't focus on one particular task. So eager are they to get their ideas down on paper they flit from one to the other like a honeybee on steroids and end up making a pig’s ear out of each one.
I usually find it hits me just after I’ve completed a large or difficult project, as I slough off the mental concentration of the previous job and try to fix on something new. With ideas collected all around me, I find my wastebasket becomes full of paper balls, my PC games get a hammering and I tend to drift around the house like Marley’s ghost.
This is where self-discipline comes in, and you have to rein back your enthusiasm for grasping at straws or launching into something without some forethought.
Begin by clearing your desk of all those project idea notes you’ve gathered save one. Yes, of course the others are wonderful gems, harvested in the bath, on the train or wherever it is your best ideas hit you. And yes, you want to write them all. But they are also a huge distraction. Stuff them in an envelope and put them somewhere temporarily out of reach, or give them to your neighbour with strict instructions not to let you near them for at least a week.
Now look at your choice of market. One way to help decide what to write, is to focus on the market you want to write for. Given that most magazines have a limited range of subjects or story styles they will accept, this immediately limits what you can work on. You should inevitably find yourself discarding all thoughts about writing anything that is not appropriate.
An alternative is to check the current stock of writing competitions. These may call for a genre or topic you wouldn’t normally try, but as a discipline it will focus your thinking away from that vast plethora of ideas swirling around in your brain.
This is also useful in that as well as a subject goal, you are automatically set a time limit. There’s nothing like knowing you have to meet a deadline for focussing the mind. It cuts out the temptation to dash off at a tangent – usually in pursuit of an idea which has just popped into your mind along with that little voice on your shoulder telling you it will be a real doddle to knock off in a couple of hours. It won’t, of course, and you know it.
Another stumbling-block to completing anything mid-stream is a lack of regular planning. This can be over a simple but important scene which, although small beans compared to the whole story, is enough to make you down tools in frustration and reach for something else.
Instead of letting this minor glitch derail your thoughts completely, take a long, hard look at the scene where you are stuck. On separate lines beneath it, type the key words of what you would like to happen next. (I generally use capitals to ‘shout’ at myself so I don’t miss anything – even if I eventually discard a particular idea). Forget grammar and punctuation – simply put down the points you need to cover.
For example, your key scene might have a character agonising over resigning from a high-powered but hated job, and the inevitable furore that will follow. You could end up with: FEAR – DECISION – DECLARATION – BOSS’S REACTION. Then think about what kind of scene could logically come next. You might end up with: FINANCES – OTHER CONSEQUENCES – ALTERNATIVES - WALKING OUT – FREEDOM – RELEASE. Repeat, as the old medicine bottles used to say, as needed.
In this way you are focussing on a small but crucial part of the story each time, instead of the whole feast. Rather than letting it defeat you, tempting you to grab hold of something else in the hope that it may be easier, you are building stepping stones towards completion of the larger picture.
Before you know where you are, you’ve got the path forward to the next scene and can repeat the exercise as required, instead of pigging out on ideas and ruining all your hard work.
TOP TIPS· Focus on one idea at a time. Trying too many at once will inevitably water down your efforts.
· Plan what you intend to do next and stick to it.
· Look for writing challenges (competitions, story websites requesting themed submissions) and see what inspiration they throw up.
· Read, watch and listen. There are ideas out there everywhere.
Taken from my book 'Write On! - the Writer's Help Book' - (Accent Press) - available in p/b and ebook D o you know a writer who might benefit from this book? If so, check it out.
D o you know a writer who might benefit from this book? If so, check it out.
o you know a writer who might benefit from this book? If so, check it out.
Tuesday, 25 July 2017
I should say up front that I've known Matt for a few years (we met, in fact, in Baltimore at the famous Bouchercon conference, and had been giving each other the cool nod and blink for a while in the main hallway downstairs before we actually decided to speak. (A clear indicator of English reserve, I reckon, but we've been firm friends ever since, even though we don't meet often enough).
I used the term 'professional' for Matt, and that's what he is. He writes - all the time - and treats it like the job that it is. He's constantly on the lookout for new directions, which is what you have to do in this game, and doesn't rest on his laurels, even after all the books he's had published to acclaim here and in the US. And most of all, he's incredibly modest and easy to talk to, which makes him one of the most likeable people I know.
So here's Matt, under the spotlight as 'Marked for Death', his latest Joe Hunter book hits the streets:
- Are you fully inside Joe Hunter’s head by now or is there more we have to learn about him?
- After twelve books and a bunch of short stories, you’d think by now I’d know everything there is to know about Hunter, but in the last few books I’ve noticed that even he is trying to figure out who he is and where he should go next, and I am learning new things as he tries to find his way. There’s so little I’ve explored in his past yet, that I feel there’s a wealth of hidden knowledge to be tapped for future books. Saying all that, I find I can slip immediately into his head when writing the next book. Familiarity I guess, where you are happiest when slipping into a battered old pair of shoes or easy chair. I think there is loads more for me to discover about Hunter, and as we both grow older, wonder how that will impact in the stories we tell together.
- What do you feel are the essential characteristics of a good action figure?
- For me the action figure should still be human, and fallible. An emotionless, robotic super killing machine only works when it’s called the Terminator. With Hunter I’ve made him highly skilled, but also too impulsive and reckless for his own good. Where’s the drama where there’s no possibility of a perfect hero failing? I like when there’s a good possibility that everything could go to sh*t and then see how Hunter extricates himself from the mess.
- You’ve spoken in the past of your admiration for author Don Pendleton and his creation Mack ‘The Executioner’ Bolan. Allowing for changing attitudes and circumstances, how different is Joe from Mack?
- I first read the Mack Bolan books back in the late 1970s and early 1980s. They were a product of their time, and probably less than the politically correct books we tend to read these days. At that time I probably wasn’t savvy to the politics of the books, and was only along for the action-packed ride. In many respects, Bolan was a product of the Vietnam War, and the political backlash the war brought to a generation of Americans. In some respects Hunter is also a product of pre-9/11 so it’s possible (probable) that his outlook on the world is very different than many of his current readers hold. Some female readers might find Hunter’s attitude somewhat misogynistic at times, whereas he only sees his behaviour as being good old-fashioned manners. Mack and Hunter are similar in that they are both stand-up guys who will do anything it takes to help those in need of them, and to take the war back to the bad guys.
- Give us a taster sentence or paragraph from page 99 of ‘Marked for Death’.
- You’re one of the hardest-working writers I know, but is it (a) harder, (b) easier or (c), about the same writing a new book than ‘Dead Men’s Dust’.
- Writing Dead Men’s Dust – the first in the series - was a totally different experience. Back then I was writing when I could, while also trying to hold down a demanding job and raising a family. I could only get to it as precious time allowed, so my output was nowhere near as high as it is these days. Also, it went through so many changes (even characters and situations), and I wasn’t that familiar with the characters or even where I wanted to take them, so it was a much slower process. These days I write full time, so my daily word count is much higher, and being able to write for prolonged periods I feel I’m more in tune with the book I’m writing, so I have to say that the mechanics of writing is easier for me. Of course other demands, and reader expectation adds new challenges, so I’m not suggesting it’s a simple process, just different and more manageable for me.
- Putting you on the spot now. In which book did Joe say the following, and at what juncture in the story?
- I won’t lie. I had to look it up. Hunter tends to have his little pithy sayings, and I wasn’t sure when he’d used this one. But I believe it was used in Slash and Burn, the third book in the series, and as per usual Hunter has got himself into a tight fix and has made the decision to get himself out of it, however uncompromising that plan may be. In this case, Hunter is caught in an untenable situation, where he is facing a corrupt sheriff and a bunch of deputies, while he is cornered in a motel room. However, the same sheriff has just kidnapped the woman that Hunter is protecting, so you can be reasonably assured that he won’t go quietly.
- Do you
decide on the location/setting for the story first, or does the plot
dictate that for you?
- I often make the decision beforehand about
location. For instance, I’ll think ‘this one is going to be a mountain
book’, or ‘this one will be set in the desert’ and from there then look
for a specific location. Often the location determines the action scenes
that play out, and often give me ideas then for the plot. Saying that
there have been occasions where I’ve written a scene where the location is
generic, and from there made a snap decision where it will go next. I
often use different environments in the books to offer contrast and also
adapt the action to that terrain – being hunted through an urban setting
would be very different from in the open in the middle of a blizzard, for
- What can we
expect next from the hot Hilton keyboard?
- My next book to be published is the fourth in a different thriller series that I write featuring Tess Grey and Nicolas ‘Po’ Villere. It is called Worst Fear, and pits the mismatched duo of crime fighter and outlaw up against killers targeting friends from Tess’s past. Severn House publishes it on 29th September 2017. I’m also working on a brand new series, featuring totally different characters, and anyone who knows me might be surprised to find that this time the books are set in the UK (the Hunter and Tess and Po books are all set in the USA). It’s early days yet on this new series, so I’m loath to say too much as everything might change in the writing. But fans of my books hopefully won’t be disappointed. And of course, Hunter is never far away in my thoughts and I’m already jotting down idea for his next outing too.
Thank you very much for your time, Matt. I appreciate it.
If you want to read my review of 'Marked for Death' in Shots Magazine, you can do so right here.
Saturday, 15 July 2017
TOP TIPS· Is what you have written clear to the reader? Clarity is fundamental, in detail and plot. Lose clarity and you’ll lose your reader.
· Have you explained who the characters are? It doesn’t have to be a whole page, as long as you let everyone know where they came from and what part they play in your story.
· Have you left out or fudged what happened to character X or Y? If so, you may, like the minstrel, get more than just your five portions of fruit and veg. Readers will fasten onto even minor characters, so you owe it to them to wrap up the detail.
· Have you brought the story to a satisfactory conclusion? You may know what the ending is, but have you made it clear to your readers, or will they be left forever wondering?
Friday, 7 July 2017
The first is on my 'Beginners' page, and called 'Nota bene' - which deals with the topic of making notes, especially of random thoughts - and why you should do so.
Like many writers, I admit to peppering my house with stickies, each containing a jumble of letters which are meaningless to anyone else. But these are what I call notes in transit, hopefully containing the potential to grow into something substantial - if I leave them to fester long enough and they don't get swept away with my other clutter.
The fact is, creative writing is not a linear activity but an on-going and often random one. And note writing is still writing. It's just a little scattered, that's all.
This month's New Author profile is on N.M. Brown, whose debut 'The Girl on the Bus' came out in April via Bloodhound Books. His story concept is simple and traditional: a girl climbs on board an interstate bus... then disappears. And a close friend enlists somebody to find her.
Sounds simple enough, although like all good stories, it's anything but.
Friday, 23 June 2017
A dilemma common to many writers is one of size – and I don’t mean of screen, hard drive or their latest advance. I’m talking about the newly completed novel. It’s a belter, with fantastic characters, plenty of action and love interest, and the ending is a corker. Frankly, Spielberg would hyperventilate if only he knew it was out there.
It’s like being made to wear shorts as a kid – they might have pockets and a zip, even creases down the front, but they’re still not real trousers.
So, how do you go about making a short book into a longer one without simply padding it to blazes?
To begin with, if you are convinced about the strength of your work, that it has ‘legs’ – in other words, it’s more than just a short story – you have to take a serious look at what makes it so good in the first place. Is it the theme? The power of the characters? The pace and tone of the storyline? The timing or relevance for the market? Could it compete with other books out there (assuming it catches and holds an agent’s or publisher’s attention)? And do you have such a genuine conviction about it that you can’t bear to chuck it in a drawer and forget it?
If so, then you have to look at ways in which you can use what you’ve got, and build on it.
It might end up bigger, as the actress said to the bishop, but will it be better?
First you have to step back from what you’ve written and look at how and where it could be expanded upon in a way that capitalises on its existing strengths. Don’t forget, you’re working with an already established storyline, and you don’t want to change it out of all recognition or water it down. Any scenes added must enhance the story and give it more depth. Similarly, whatever characters you bring in must add to the existing cast in a relevant way, rather than simply cluttering up the place like discount night at the local bath-house.
Could the storyline stand a second strand or a sub-plot, strongly related to the main events but coming from another start-point? This would allow you to bring in other points of view, with characters coming together later in the story. In each case, you have to stitch the new elements into the back-story so that they are not seen as a bolt-on simply to fill out the pages.
Be warned, though: once you start adding depth, character or new strands, the word count will grow – often alarmingly. It takes discipline and careful editing to control it, but as long as your new characters or scenes don’t assume a greater significance than your original, or skew the story out of shape, it can be done.
Like how? I hear you ask. Taking an example right off the wall, let’s say you have completed a book based on the Titanic. Unlike the ship, however, your book isn’t big enough. It’s actually more of a dinghy. It needs more size, more content, more oomph. You can’t add more description, because there’s plenty already and anyway, describing heaving open seas (or bosoms) can be boring. More dances and events are simply colour, you’ve covered all the on-board relationships adequately, so more of same would be gilding the lily. This is a dramatic tale, not an advert.
If the story is about a huge ship’s invulnerability, you might have already covered the enormous iceberg or some other unexpected disaster which is going to befall this leviathan (now there’s a word I never expected to use in print). Big ship full of bright souls versus even bigger, unstoppable object equals drama. But what about bringing in another human aspect?
For example, the engineer who built the ship. Was he working to required specifications, or had he been forced to skip some details here and there on grounds of cost? Was the original steel supplied of the right quality – and is there someone, somewhere who knows otherwise? Is there somebody with a long-term plan who wants to damage the ship mid-voyage for various reasons, but goes too far - with disastrous results? Any or all of these could be fed into the mix – along with their back-stories, of course.
In effect, what this is doing is introducing other characters who are as closely connected to the ship as those on board (perhaps they are even on board, too, and therefore suddenly pitched into a nightmare of their own making).
This new cast of characters allows a greater exploration of the build-up to the event, introducing more depth and more points of view to what in real life was a very human drama.
- Bigger is not automatically better. Additional material has to fit in with and improve the overall work.
- Analyse which parts of your existing work could benefit from extra emphasis, characters or scenes.
- Weaving in another strand can add depth and contrast, as well as giving an alternative point of view.
- Avoid padding, such as unnecessary adjectives, adverbs or birds in the trees.
Tuesday, 13 June 2017
The July edition of Writing Magazine is now out and about, and includes my monthly Beginners page - this one called 'Daydream Believer'.
No, nothing to do with The Monkees (although it does happen to be the title of one of my favourite songs), but rather about how the writing life is full of distractions. Doesn't matter what you do, noise, events, people - life in general, in fact - combine to intrude relentlessly.
There are ways of avoiding some of these intrusions - locking yourself away on a deserted island is one, albeit a little extreme. But is that really the best solution?
In my experience distractions can be useful. If permitted to intrude with a certain measure of control, they can even be beneficial. The odd break away from your PC or pen can allow you to see things a more disciplined mind might ignore. And with too much focus the brain can become stale, which is surely not what creative writing is all about. Ideas breed ideas, and so on and so forth.
The short answer is, don't cut yourself off completely. Allow some outside stimulus, even if it is a simple walk round the block (or island).
Thursday, 8 June 2017
It's not often I find myself in London, and even rarer after dark, but a few years ago I was a member of a cycle marshal team in a night-time charity walk around the city, along a route of 26 miles and with approximately 15,000 (mostly lady) walkers. My job was to encourage, help and watch over them, my writing hat parked on its hook for the night in favour of a crash-hat and a supply of water and emergency chocolates (well… nobody said we all had to suffer…).
I was therefore thinking of things other than storylines, plot points, deadlines, editing and how to get biscuit crumbs out of the keyboard – a sort of alternative writer’s retreat, if you will.
Part of my job was to keep a roving eye on traffic conditions, single walkers, limping walkers, walkers going off-piste, leery drunks, clubbers falling out of doorways and finding themselves face to face with a phalanx of ladies in decorated bras - more scary than you might think, even sober - and generally not doing a prat-fall off my bike in front of everyone.
In this fairly relaxed state of mind, I couldn’t help but notice some unusual, albeit unforgettable sights. There was the stern lady walking resolute but alone, whose face lit up when an elderly gentleman stepped out of a doorway as she approached and smilingly doffed his baseball cap; a pair of young tourists, luggage in hand, who stared in wonder as the walkers trooped along the Embankment and past the London Eye at two in the morning; two mallards in St James’ Park, standing quietly side-by-side as the human tide went by, totally fixated and therefore somehow part of the event; a policeman in Horse Guards Parade, gun held across his chest, alert yet nodding occasionally in approval; a young WPC on traffic duty, looking on wistfully as the column crossed the road under her direction; and a young man (very drunk) at three am, who asked me what the *@!* was going on. When I explained, he became suddenly sombre, before waving his friends away and staying to add cheerful encouragement to the walkers. (We didn’t understand all his words, but we certainly knew the tune).
I watched an urban fox near Vauxhall Bridge taking advantage of sandwiches left in bins, and some cheeky pigeons, ignoring the official mayoral line about not feeding the birds, picking up their share, too. The edifice of the MI6 building, sprouting cameras and spiked fences, loomed sinister and forbidding in the dark, yet improbably, within touching distance of every walker who passed by.
Buses filled with night travellers were the target of walkers, the passengers encouraged to wave back and show their support, and even emergency vehicle crews speeding by seemed aware of events while forcibly concentrating on other things.
There were many more such sights which came and went during the night, some poignant and human, others inanimate and fixed, all there to be looked at and stored in the mind or forgotten at will.
And suddenly I was in writer’s mode again, spotting scenes where others might not, noticing faces looming out of the dark, some smiling, others creased with effort, each no doubt with their own tale to tell, their own experience. hopes and fears.
Amid all these images and sounds was a welter of material, ideal colour for any genre, from human relationship dramas through to crime thrillers. All the elements were there for me as a writer to use, colourful and sharp; all I had to do was pick them up and let my imagination do the rest.
Oddly enough, what I recall most vividly alongside the above are flashes, mere glimpses of things seen and heard which have stayed with me ever since:
The dark, chilly recesses along the Thames; how my skin felt stretched and cold; the taste of tiredness in the mouth; the wind rustling discarded paper; ambulance lights bouncing shadows across shop fronts; the throb of an unseen helicopter high in the sky; a shop alarm in the distance; a figure in the bushes of Battersea Park; a pale face in the gloom by a darkened building; a siren from a riverboat, hauntingly atmospheric; and a mournful howl from an inmate of Battersea Dogs’ Home, no doubt sensing that while he was locked up inside, we lucky humans were outside having all the fun.
More than anything, however, especially right now, it's my reminder that there is true beauty in our cities, mostly unseen because we're in too much of a hurry, too anxious, too focused on where we're going, to take real notice. Hopefully, in time that beauty, whether in London, Manchester or any other place visited by the darker side of life, will rise up and help people recover.
Sunday, 28 May 2017
The capitals are deliberate, as this deals with the fact that to a certain extent (no doubt even a considerable one in some cases), writing requires a degree of what might be seen as selfish behaviour.
In fact George Orwell was said to have uttered about writers:
Thursday, 25 May 2017
· Take your writing time seriously and others will do so, too.
· Having sources of reference at hand will save time and effort.
· Give yourself time to think about what you are doing and where you are going.
D o you know a writer who might benefit from this book? If so, check it out here.
D o you know a writer who might benefit from this book? If so, check it out here.
o you know a writer who might benefit from this book? If so, check it out here.