Thursday, 2 July 2015

The Romance of Radio

Do you remember Video Killed the Radio Star by The Buggles? There's wisdom in them there lyrics. Technology's fab and groovy, but sometimes it lacks romance. When I was a lad we would sometimes go to a caravan park in Essex (a trailer park for the weekend, for our transatlantic cousins). 

I used to lie awake in the dark, a transistor radio wedged against my face, listening to faraway lands. Sometimes I'd catch French programmes or lose myself in the magic of big band music. I didn't know Glenn Miller by name but I recognised his music the first time I was formally introduced to it. The signal would ebb and flow like the tide on the nearby River Blackwater. It's also where I first heard the haunting and poetically beautiful Shipping Forecast. (Made more beautiful now that I know Dogger hides a hidden land.)

I've had minor flirtations with radio over the years. I wrote some gags for the late, lamented (by me because the money was okay!) Channel 4 Radio, plus a couple of gags that made it on to BBC Radio.

My most enduring association with a radio station was as a foreign correspondent for KBRW, Alaska. My buddy, Earl Finkler, would ring me from Barrow in Alaska every month or so and we'd chat on air about European news, plus anything topical in the US. The show reached part of the USA, Canada and Russia. 

In the UK I was interviewed on The Source FM about writing fiction and shared a microphone on BBC Radio Cornwall, a few years back, to talk about comedy writing.  

Yesterday I renewed my romance with local radio by joining Tiffany Truscott on BBC Radio Cornwall, talking about the joy ebooks, blogging and my thrillers, Standpoint and Line of Sight. We also touched upon writing groups and the fine art of receiving difficult feedback.

If you fancy listening to the 10 minute segment, you'll need to be quick, as I believe it's only available for 28 days. The show is two hours long and my bit is at around 1hr 30 mins. Let me know what you think!

http://www.bbc.co.uk/programmes/p02tcb26

Maybe, like the great humorist Fred Allen, I do have a face for radio.


Standpoint - amazon.co.uk http://amzn.to/1JlndoY

Standpoint - amazon.com http://amzn.to/1H0zhKx

Line of Sight - amazon.co.uk http://amzn.to/1BKyWFF

Line of Sight amazon.com http://amzn.to/1EWvFmE



Sunday, 21 June 2015

Guess who? (Now updated.)

The internet is surely a strange and wondrous thing. There's so much information whizzing around that you can easily miss something interesting.

Not so long ago I added a blogpost to www.strictlywriting.blogspot.co.uk, a 'sister' blog that I have curated for a virtual group of writers. From time to time we get the usual viagra, earn a million quid while sleeping, and buy shares now in the Victorian era links, masquerading as comments to posts.

Here's my blog post:
http://strictlywriting.blogspot.co.uk/2015/05/things-i-never-expected-about-becoming.html

Here's the comment notification:

Okay, no biggie. Every blog gets these kinds of links. What was different about this one though was Elmina Kenley also had a google+ page:


The link, in the original comment, led to this:

You'd think that would be the end of the story, and that I should really get back to my current novel. However, I was curious, so I went to whois to find out where the site is actually registered (a co.uk site needn't actually belong to a UK organisation). It transpires the registrant is in Japan.


You'd think that would be the end of the story - a coffee time jaunt from identity to reality. It's a little stranger than that though. A quick trawl of the Net shows, among other sites, a LinkedIn account as well:


In fact, there are other pages in EK's name. The spelling on the LinkedIn page is not British English and there are some rudimentary errors. Again, live and let live, right?

What concerns me though is the ease with which information and references can be appropriated to give a false impression that could be used to mislead people. I contacted the Welsh School of Architecture to check if Elmina was a genuine graduate from their school, and I'm awaiting a reply as we speak.

Post script 25 June 2015
Although the WSA hasn't responded to my query, I did some more research and tracked down the true owner of the image. She has taken steps to put a stop to the spurious use of her photo. In case you didn't know, you can use internal search engines to find instances of an image, or a similar image - particularly useful to protect your intellectual property. I used Google and dragged and dropped the image to identify the source. 

Sunday, 14 June 2015

Crit Lit

Mountains and snow - they go together like books and critics.
Writers love feedback. It's like getting free samples on a visit to a sweet factory - first and foremost we're glad to be there at all and then there are extra goodies. What's not to like? Funny you should ask that! 

Does anyone remember acid drops? The sweets, not the psychedelic experience! Sweet and sharp, and surprisingly moreish (and yes, that does look a strange word). Is anyone else thinking: book reviews? We feverishly check Amazon and Goodreads, and are often drawn to the negative reviews more than the positive ones. I'd like to think we're looking for valuable pointers, in order to improve for our next book, but maybe it's simply hard to fathom why readers didn't appreciate the sweeping emotional landscape and the troubled yet finely drawn characters. Or, to quote a book review I received recently, they might just think your protagonist was way too sissified. 

Now, I'm fortunate in having a psychological quirk that means 'bad news' is often amusing to me. My own, I mean. So while I genuinely appreciate the fact that anyone thinks enough about one of my books to take the time and trouble to write a review, I'm also amused when I know I'm reading something that will make my ego bristle a little.

Goodreads has a sage view of the whole business.



As I often say, context is everything. One person loathing your heroine or hero is one thing; 20 people loathing her / him for the same reason is more of a cause for concern. Well, unless your character is called Mr Ripley or Hannibal and that's your intention.

So, by way of entertainment - for both of us - I thought I'd share some of the feedback I received about Standpoint before it was published. These are from agents, publishers and a reader. Enjoy, as I do!


OK: I liked your new spin on the thriller genre, with a hero who is a civil servant, but I found the plot a little too convoluted and far-fetched at times.

We felt that your novel was an old take in a genre that has been stale for a long time.

I've agonised over this. As the various reports that you've taken the trouble to commission say you write very well. My one reservation is that the book doesn't sufficiently stand out in what is a very crowded market. An agent with more experience of the current fiction market is a better bet for you but I'm sure you'll find a publisher and I'd love to know what happens.

We found the concept intriguing!  In a thriller, we're looking for mystery, intense action and vivid descriptions to really show us what's going on and make us unable to stop turning pages right from the opening.

I found Standpoint to be a little too 'laddish' for my tastes.

Just finished your book tonight. Really enjoyed it and thought the story was excellent. I don't do much reading but for what its worth I thought this was really good. I found it easy to read and follow which is a good sign it’s accessible to the masses. Thanks for the read.

The idea of a thriller based around a government special surveillance unit is quite interesting and the writing is competent but the characters do not stand out, excite or intrigue enough I am afraid.

While we enjoyed reading your submission, which stood out from the many we receive, we couldn't find an agent here who felt strongly enough to take it further and therefore we are afraid we are not able to offer you representation for this project.

We like the beginning very much, the writing is good with a humorous tone. But for a thriller it feels too little thriller-ish, and we feel it’s too long, so I’m afraid we’ll give it a pass.

What's the context I talked about? Early indications are that Standpoint has sold over 5000 copies since it launched at the tail end of March.  My point being that one critical swallow needn't ruin your summer. And if the book you write is, according to popular opinion, a bit of a stinker, write a better one.

Monday, 8 June 2015

Perhaps...you're a writer?


Perhaps...you're a writer?

With all due respects to Mr Kipling's exceedingly good prose.


If you can keep your word count when all about you   
Are losing theirs and blaming it on 'responsibilities',   
If you can trust your plot when your inner critic doubts you,
But make allowance for some valid observations too;   
If you can wait for months and not be tired by submissions,
Or being ignored, don’t deal in ignorance,
Or being bad mouthed, don’t give way to badmouthing,
And yet don’t look too pleased with yourself, or use the terms LOL and LMAO;

If you can dream—and not make dreams an excuse for not adding pages;   
If you can think—and not use cliches for the umpteenth time;   
If you can meet with a request for a Full and an outright Rejection
And treat those two impostors just the same;   
If you can bear to read the words you’ve written
Twisted by knaves to make a trap for fools in online reviews,
Or watch the stories you gave your heart to, trampled on,
And stoop and build ’em up with worn-out pens:

If you can make one heap of all your scribblings
And risk another full edit,
And fail, and start again from that chapter everyone liked
And never breathe a word about your pain, except on your blog, and Twitter and Facebook;
If you can force your brain and soul and fingers
To add to a first draft long after you've fallen out of love with the concept,   
And so hold on when there is no evidence it will work
Except the vague notion that there's a good book in there somewhere;

If you can talk with beginners and keep your humility and sense of humour,   
Or, meeting agents and publishers, not come across as desperate or arrogant (or weird),
If neither deadlines nor interruptions can hurt you,
If loved ones and friends count with you, but none too much, at times, when compared with the lives of your fictional friends;
If you can fill the uninspiring minute
With sixty seconds’ writing without fear,   
Yours is the text and everything that’s in it,   
And—which is more—you’ll be a Writer, my dear!

Tuesday, 2 June 2015

A Numbers Game


Safety in numbers?

I love the poetry of numbers, and the certainty. Two minuses added together (or multiplied) result in a positive number. Prime numbers conform to agreed rules - although I have read fierce debates over the inclusion of 1 and 2. And that 'adding up to 9' rule is very handy when it comes to Countdown. If there is a language of the Gods it's probably mathematics.

The only Freddie the Fly in the ointment is that the world of numbers can also be random. Algorithm generation, statistics and data analysis (weather forecasts, anyone?) - to name but three examples - serve to remind us that the dependability of mathematics doesn't always translate to predictability in daily life.

My fascination with numbers found new ground after my debut thriller, Standpoint, was published by Joffe Books. Because it was an ebook (now also available as a paperback on Amazon - just sayin'), with a low price point, business has apparently been swift at times. It's human nature to want to see or impose order on the chaos of the world, especially when there's something important at stake. Consequently, there is a tendency to see situations as static rather than fluid. 

I watched with gratitude as, once a special offer free period had expired, the rankings (and therefore the sales.) improved significantly. Before then, my book climbed the rankings of the Free on Kindle league table, amassing over 20,000 free downloads. Once the book reverted to its original price sales flourished. In a relatively short period of time Standpoint was No 1 in all three of its categories: International Mystery & Crime, Espionage, and Spy Stories. 

It didn't last forever though, partly because it's hard to maintain that level of new readers and partly because the mysterious metrics and measures Kindle uses (believe me, I have tried to find something useful to share with you on that score) also compares your sales against those of other books in the same category/ies. You can still be doing well, only others are doing better.

Then there are the reviews. Ideally, a healthy percentage of those 20,000 downloads will result in Amazon reviews. However, not everyone who downloads a book reads it straight away. Also, not everyone who downloads and reads an ebook feels strongly enough about it to leave a comment. The negative reviews may or may not be useful to you. (I maintain that if they have cogent points then they're still useful, even if you vehemently disagree with them.) Still, relevant and accurate or not, each review contributes to your average score, which is all some people need to decide if they're going to become a reader of your work. Positive reviews are no less tricky. Some people prefer not to give anything five stars, while comments such as 'nice' tell the would-be reader nothing at all and may even infer that the reviewer couldn't find anything more positive to say about the book.

When it comes to social media, numbers are all important. Every FB share or retweet or favourite is potentially a whole new community being made aware of your work. The greater the reach and the greater the diversity, the more opportunities there are to entice new readers. One friend of mine - hello, Sarah Campbell - went beyond the call and put a classified ad in an online staff magazine about my books. That's what I call brand loyalty!

Zen and the art of social media

1. What is the sound of one tweet repeating? 

2. If a Facebook post about a new book is only read by one person, in a forest, does it make a sound? (Certainly not a splash.)


Is it possible to beat the house and play the game when it comes to book promotion?

My experience suggests that certain things can give you a competitive advantage in the short term. One thing you can't predict is context. Write a novel about orangutans and you might get some airplay based on the novelty (no pun intended, this time) of the subject. But if the book is launched at the same time that a tabloid runs a front page story about Oscar the orangutan, and his uncanny ability to play Chopin on the piano, the odds are in your favour.

Perhaps, in the end, the writer's certainty lies not in numbers but in words. The better we write, and the better we edit, the greater the likelihood that an agent or publisher will take an interest. Or, that our feedback will give us the confidence to take the plunge and self-publish.

Yes, there are thousands, possibly millions of writers out there, ready to ply their trade. In the end though, you're only interested in one.


Standpoint



Line of Sight








Friday, 22 May 2015

From there to here - where my thriller came from.



It fits together nicely.
A little while ago, a friend of mine - also a thriller writer - asked me an unexpected question. We were chatting about writing and life and the universe, as you do, when he paused and said, "How did you manage it? How did you write your book and finally get it out there?"

I understood what he meant. He'd also been present at the 2008 Falmouth Uni novel writing summer school where Standpoint was born, one fledgling novel among the many. I don't know how the other writers have made out, apart from one who was published and another who secured a literary agent. 

To answer how I did it, I'd need to do a little time-travelling, back to childhood and forward to the steps I took after Standpoint was published by Joffe Books.

Yes, this could be a tea-break length read. Best grab yourself a cuppa, a comfy chair and the biscuits of your choice.

Let's roll back the years...

Unsurprisingly, I was a bookish child. I was able to read before I started school and loved language. I learned big words and clever synonyms and obscure words, none of which were a ticket to popularity! Words could haunt me, even book titles. Two books I have remembered only by name from school are Firelight and Candlelight and Moonshine and Magic. If anyone can tell me the contents please drop me a line. One event stands out for me - an inconsequential game of hide and seek on a housing estate. It was our side's turn to hide and I found a great vantage point to watch the other team. One by one our side were captured until I was the only one left. I could have given up and ended the game, but I wanted to watch and see what they did. It seemed like forever before they all went their separate ways. 

Books were also an escape. I wasn't what you'd call a very happy child, especially as a teenager. Naturally I went down the well-worn route of writing terrible (and terribly self-obsessed) poetry, and attempted my first novel at the age of 15. It was a book about a psychic and his best friend, and a government plot (spot the thread...), and I eventually burned the book. I still remember much of it and I included one of the character names in Standpoint. (It's Ann Crossley, in case you were wondering.)

After leaving school, I entered the world of employment where a wonderful man named Michael Phillips took some of my angst poetry and added music. I still have the cassette tape, but sadly I lost touch with Michael when I left that job. If I could travel back in time I'd thank him for helping to keep a flame alive. I went from poetry to song lyrics (progressed would be too strong a word), and formed a band with two friends. We rehearsed one song - called Coffin Nails - but the band disbanded before we played a single gig (or a second rehearsal). I have a cassette tape of our one practice session as well and we were bloody awful. I named the band Bad Timing, so the clues were there.

Around that time I was getting interested in politics - animal rights, local activism, protests. All  from the sidelines of course! I joined a couple of writers' groups and felt a mixture of awe and inadequacy. Around that time I started what eventually became a self-published magical fantasy, Covenant. I would be the one in the pub with friends, scribbling into a notebook. 

I went from noting life's dramas around me to having one or two of my own. I was mugged by a guy with a claw hammer and a place I worked was raided and someone stuck a pistol in my back. At 21 I took my second trip to the USA, intending to start a new life, in a new relationship, and to become a writer. Maybe that's a bit grandiose, but I wasn't planning on coming back any time soon. New York is a city filled with stories - as is London, except I saw New York through a foreigner's eyes. Fate and drama weren't done with me yet, however. A taxi I was in had a head-on collision with a van - resulting in a short spell in hospital, I had another gun incident - this time due to me, and my father died while I was away. 

Creatively, that fantasy novel progressed and I had some ideas for short stories. I didn't know it at the time but I was also squirrelling away experiences, scribblings, and other people's real life stories. I kept a series of diaries as well, each one more false than the last. It was a very long time before I could confront those lies and allow the colourful and occasionally bitter truth to seep through to a new set of pages. Scars & Stripes is my fictionalised version of those times, a transatlantic dark comedy drama. That one's still waiting for an audience.

When I returned to the UK, poorer, wiser and colder, I continued to keep writing journals. I got on with my life and - in the absence of a better plan - I kept writing. Two books had kept me company on my transatlantic adventure - Richard Bach's A Gift of Wings and Irwin Shaw's God Was Here But He Left Early. I loved the first book for the way it used flying as a stepping off point for fiction and philosophy. I loved the second book for its sophistication - tightly scripted with well-drawn characters and dramas. 

I picked away at various short story ideas of my own. In 1998 I had a short story, Behind Enemy Lines, published in an Australian Gold Coast Writers' competition. The Silent Hills was published online in 2010, and was subsequently released as a standalone short ebook by Musa Publishing in 2011. My US based short story, Diner, was published in The Coffee Shop Chronicles by A Word with You Press in 2010. My salute to Isaac Asimov, Rogue, was included in Beyond the Horizon by Bamboccioni Books in 2011. Between the Lines and other very short fiction was included in Kissing Frankenstein in 2012.

I realise, in reading this back, that I've omitted three formative events. Mum died around five years after Dad, and my brother died back in 2005. The third, minor event was my writing about David for The Guardian, back in 2008. Once I'd crossed that bridge, without it collapsing underneath me, I felt I understood what my writing is about. It doesn't have to be pretty and polite all the time. It can be raw, ugly, even untrustworthy at times. But always, I hope, there's an authenticity running through it.

That novel writing summer school I mentioned earlier revealed one of the limitations of Scars & Stripes and gave me an inescapable deadline. Those are usually the best kind - do or die. I always assumed I'd crime a detective novel, but Thomas Bladen stepped out from the shadows and introduced me to his world.

We have some things in common - preferring to be an observer, a working class upbringing, memories of the Miners' Strike, a life in London and bad experiences with guns! He worked for a time in the same civil service building as I did - State House - and we both took photos of the London skyline from one of the upper floors. (I merely took snaps on an Agfamatic 110 though.) He lives in Walthamstow while I lived just only a mile or two away. Miranda lives and works around Mile End / Bethnal Green, in London's East End - an area I used to know quite well.

Otherwise, to some extent, he is his own creation; albeit one crafted from opposites, and remembrances, and forgotten memories and untraceable inspirations.

Once I'd written Standpoint I refined it through several edits, including feedback from two writers' groups that I attended. I also commissioned an editorial report from Cornerstones (I paid for the report with some of the money I earned from my newspaper piece) and a couple of years later I did the same with TLC (thanks to a grant). Each step was vital in helping me breathe more life into the story and characters, and to cut away the deadwood.

I submitted my manuscript, of course. Boy, did I submit it. I'm almost embarrassed to review exact numbers in case my publisher reads this and wants to revisit his decision. No, sod it, let's talk numbers. 

There were 38 agents, of whom around ten never responded at all and three who gave constructive feedback. I must make special mention of Andrew Lownie, who I've mentioned elsewhere on this blog in other posts. He considered Standpoint back in 2009, but eventually turned it down and advised me to seek out an agent or a publisher who specialised in thrillers / crime fiction. He was not only very encouraging but also responded quickly and offered suggestions about who else I could try. I approached a dozen credible publishers (plus one or two shots in the dark). One kept me waiting for nine months, hanging on out of sheer bloodymindedness to see what they'd come back with. (Answer: virtually nothing.) Some of the feedback from agents and publishers was hard to hear, and some of it was funny, but that's for another blog post.

I eventually found my publisher through www.writethismoment.com - a subscription site I use for freelance writing leads. Jasper Joffe had some reservations about how Standpoint's international appeal (which were bang on the money), and he was keen to know what my plans were for follow-up books. 

Fortunately, I was so beguiled by Thomas Bladen and his world of surveillance, by the end of Standpoint,  that I wanted to know more too. So much so that I'd already written a second book, Line of Sight, and I'd started work on a third - currently called The Caretaker. Nothing helps sell a book like knowing there's another one in the wings. My winning pitch was very much about the series and how I saw it developing. 

This blog post is my way of answering those two initial questions:
1. How did you manage it? 
2. How did you write your book and finally get it out there?

I managed it, in the end, by keeping true to my faith over the years. Not necessarily that I'd be a published novelist, although God knows that was something I dreamed of. My faith was in the power of words, since my earliest days, and their ability to evoke emotion, spark ideas, create worlds for us to escape to, and to hold us spellbound. Like a prospector, I knew in my bones that if I just kept on going I'd find treasure even if it wasn't gold.

I wrote my book line by line. Yes, I know that sounds like I'm being flippant but I mean it. Over the countless hours spent thinking, or scribbling in books, or typing, or arguing them out in my head. I found an idea that entertained and enthralled me enough to want to continue with it, even when there was no prospect of a reader on the horizon. I remembered how other authors' books had accompanied me in good times and dark times, and it spurred me on. I put writing before other things and other people - rightly or wrongly - and made the muse my mistress. 

How I got it out there was by finishing a book yet continuing to work on it, choosing agents and publishers with discernment (eventually!), and by writing in all weathers. Good times, crap times, and times when writing was both a passion and an obligation. Sometimes I just wrote (and still write) because it's what writers do. I'm past the point of questioning it now.

Persistence, learning from my mistakes, luck, timing, serendipity, an ear for dialogue, a fondness for Raymond Chandler - take your pick. So many elements go into a book, and into its success. If I wanted to be poetic I'd say that my whole life was a preparation for being a writer. But that's not the truth of it. Writing demanded honesty of me - hidden within the pages, if need be. It gave me a way of opening doors that I'd kept locked and made me more courageous, more lucid. I finally got my book out there by putting everything I'd learned along the way into practice. No magic formula, just graft!


Standpoint
Thomas Bladen is as good at finding out other people's secrets as he is at hiding his own. So what's the deal with Karl McNeill? Is he just another surveillance man, working for the unit? Or is there a darker side to Karl's life that threatens to engulf Thomas's carefully controlled world, dragging the only woman he's ever loved into the maelstrom?

Who can he trust?
How do you fight an unseen enemy?
What lies at the heart of Europe? 

amazon.co.uk

amazon.com


Line of Sight
Thomas thinks he knows the score now - who the movers and shakers are, and who's pulling the strings in the Surveillance Support Unit. But when a young woman is found dead on an army base, and only he and Karl McNeill have any hope of getting to the truth, it's time to take matters into their own hands. 

But what is Karl hiding about his own past?




If you've already bought either of my books, please leave a review.

Tuesday, 19 May 2015

Brand on the Run

The student becomes the teacher. 
The teacher becomes the student.
The freelancer becomes an idiot.*

Sometimes the world of freelance writing is so outward facing that you can forget things. In an effort to mould into whatever sort of writer the clients need, you can lose sight of your own business identity. When I agree to write a series of pieces for a business I want to get a clear sense of their perspective. This may involve a little unpaid research - and not just with Companies House. I'll read their website, glance through some blog posts and see what one or two niche internet searches serve up.

Recently, I attended a business event because I thought it was time I networked face-to-face with potential clients and contacts in my region. I waited in line, notebook and business cards at the ready. I could get a lot of suits there, but that's fine with me. I wore a suit regularly in London, back in the late 1980s (albeit with white trainers for a while, when I first got back from the US). There were one or two creative types too, judging by appearances.** 

The line moves along and I get to the desk, where a bright-eyed young woman asks me which organisation I represent. I explain that I'm a freelance writer, as per my reply to the invitation. She looks confused and stalls. I wait, because I sometimes have that effect on people. She leans back and mutters to a colleague that I'm not on their list. Ho hum.

The colleague shrugs and suggests she just 'puts me through', as though I'm an item on a conveyor belt without a barcode. It is immediately apparent that I'm not one of the droids they're looking for. No badge and lanyard for me, no sirree; instead, I'm ushered in like a junior school student allowed to attend a university lecture. This is what the grown-ups do.

I'm exaggerating a little, but that's what it felt like. Things picked up a little inside the venue on account of:
a) The hot chocolate was pretty good and under £3.
b) They had free wifi, which meant I could keep in touch with existing clients and respond to requests for copywriting.

However, the exhibition stands confirmed my sense that I was at the wrong place. It was a good event, just not one for a business like mine. I bumped into a couple of other writers I knew, both of whom worked for organisations. Never one to miss an opportunity to try and learn something, I made time to take everything in and gave some though to the question that had nagged me since the hot chocolate (apart from: is it time for another hot chocolate): So what kind of business am I?

There's a tendency to see the world of business as a series of straight lines - different sectors, different marketplaces and clearly defined identities. Fortunately, that's not the case, but it is important to know which piece of ground you're standing on at any given time.

The mythologist Joseph Campbell condensed some of the wisdom of the Upanishads into "Follow your bliss." However, I'm also a great believer in the phrase: "If you always play to your strengths they're the only ones you'll ever have." I'm biased though, because I wrote it.


Market forces or the product of mixed messages?
One can't be prescriptive about how a brand is developed, but having a clear sense of who you are and what you do is as essential in business as it is in life. Unless you have that clarity, how can you expect to communicate it to others?

To help define your business brand, ask yourself some challenging questions.
- What do you do well, and what do you do not so well?
- What you are passionate about?
- What problem/s can you solve and for which sorts of client?
- How you make yourself distinct from the competition?
- Which areas you want to move into?
- What values are important to your business?
- What sort of work do you like doing?

I also think it's important to own your business identity and to not expend energy trying to be all things to all people. For example, I recently walked away from a potential client because they wanted a cheaper deal and I heard myself say some magical words: "I don't compete on price."


Decide who you are. Be who you are. See where it takes you. Vary your approach.



*Or amnesiac, if I'm feeling generous.
** Which we all know not to do.

Thursday, 14 May 2015

Line of Sight - now available on Kindle

Line of Sight is published by Joffe Books

There's a certain irony in my absence from my writing blog. That's right - I've been busy writing.  Plus some editing too. And a few rewrites. And several sentence fragments. Like that one.

My second thriller (can you have a debut sequel if it's part of a series?), Line of Sight, is now available on Kindle. It follows the continuing story of Thomas Bladen and his work as pretty much the only civilian member of the Surveillance Support Unit. 

Based upon reader feedback I can safely say, if you enjoyed Standpoint, you'll love Line of Sight. It deals with some of the consequences of the first book and gives you a greater insight into Thomas's sidekick, Karl McNeill, and why he plays his cards so close to his chest. 

There's an updated glossary of British slang used in the book and a host of interesting key words to search out on the Internet afterwards, including: Meccano, Bagpuss, Wormwood Scrubs, Ride of the Valkyries, Red Caps, the marvel that is the A406 - and its big brother the M25, funeral etiquette and the Vikings.

In other words, Line of Sight slots right into the world of Thomas Bladen and the SSU, while taking the reader further afield. I know authors are meant to say this, but LoS has been a labour of love. When I started it there wasn't a publisher or agent on the horizon so I wrote it because I wanted to ask that most tantalising of questions: What happened next?

Having answered that with a whole new book, the question I'm pondering now is: Well, what happened after that?

Stick around, things might get complicated!


Line of Sight on Amazon UK

http://www.amazon.co.uk/LINE-SIGHT-gripping-thriller-suspense-ebook/dp/B00XIOAOBK/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1431533352&sr=1-3&keywords=line+of+sight


Line of Sight on Amazon US

http://www.amazon.co.uk/LINE-SIGHT-gripping-thriller-suspense-ebook/dp/B00XIOAOBK/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1431533352&sr=1-3&keywords=line+of+sight