BEWARE THE SCAM!

 BEWARE THE SCAM!

    As an independent author - with seven books under my belt and another on the way - I'm used to ploughing my own lonely furrow. Not only to have to plan the narrative, write the words, edit the words, help design the cover and arrange printing, distribution and marketing. I don't mind doing these things but sometimes it would be nice to be relieved of at least some of the burden.

    Obviously an agent and a publisher would be desirable but getting the latter means finding the former and, so far, I've had no success in this department, despite sending numerous letters. So, when an unsolicited offer came along I was, naturally, interested to find out more.

    I'm used to getting fairly regular emails offering editorial and publishing services but am wary as it's usually quite obvious that these are far from genuine approaches and, if I bothered to engage, there would come a point when they started asking for money with no guarantee of providing anything that would increase my readership. So when I got an email from a publisher in San Francisco, I was very wary. However, the message from Jody Mosley's at the Chronicle Books Company was different. It really seemed, from what she wrote that she really had read Blood on the Rocks. Here's an extract. 

What stood out overall is the novel's ability to combine procedural authenticity with high-concept suspense. As hidden agendas, dangerous medical practices, and international conspiracies begin to emerge, the narrative appears to maintain a compelling balance between meticulous detective work and escalating danger, particularly as the investigation places members of Russell's own team at risk.

See what I mean?

Anyway, I replied, with caution, and we started a correspondence. We were getting on well and she recommended an agent who, she said, would be interested in my series of books. Not wishing to get my hopes up I talked to my wife, who is not only my editor but my greatest critic, and she got quite excited about it. The agent was called Henry Y Sheperd and his website, although a little difficult to navigate, seemed genuine, so I started exchanging emails with him.

    I am quite familiar with the process of approaching an agent, as I have done it several dozen times, so I knew the format and sent off my bio details, a synopsis and the first ten pages - double spaced - and I thought that would be it. I'd have to wait several weeks for a yay or nay. But he came back and asked for a formal letter of approach and said he would be able to guide me in writing it. This seemed a little extreme but I ready to comply. Then I showed it to my daughter Saskia, a savvy millennial. She was horrified! In a flash she put the title of my book into ChatGPT and, would you believe it, the same lengthy description came up, almost word for word. 

    You can imagine how I felt. The hopes I'd build up were severely dashed. Saskia was very apologetic but I'm so pleased she enlightened me and prevented me from getting even more involved in what now was obviously a scam. And do you know, when I didn't reply, I heard nothing back. A hard lesson learned. 

    As an addendum, I contacted one of the authors who, supposedly, was represented by Henry Y Sheperd. He informed me that he was a self-published author with no connection to the agent and was going to report it.

THE FINISHING LINE!

 

THE FINISHING LINE!

I'm almost there. "At last!" I hear you cry. That's how I feel too. After more than two years working on this book it's almost ready to go to the printer. I've no idea why it's taken so long - I have usually managed to produce a book a year. All I can say is, I think it's going to be worth the wait.

This isn't the final cover, just my rough idea of how it could look. I will reveal the brilliant cover that my designer has produced as soon as it's confirmed.

Be ready to immerse yourself in a tale that encompasses questionable dealings in a sanatorium and even dodgier artefacts being palmed off by a dubious Egyptian. All of which taxes DI Sonny Russell to the hilt.

Talking of whom... This is my late uncle - Sonny Russell - who is the inspiration for the detective in my books. He was a lovely man and most aptly named.

A WAITING GAME

 

A WAITING GAME

Shabti in the British Museum

After a long time - two years as against my normal 12 months - Blood on the Rocks is finished. I've no idea why it took so long to write - I haven't even got the excuse of lock-down. I knew where the narrative was going early on; I didn't suffer from writer's block; nothing took precedence, it just took a long time. 

Winged scarab

The editing process was smooth - my wife, Greer, expertly edited, spotting gaffes I'd made and making valuable suggestions and contributions to the story. My beta reader, John Nutting, picked up on grammatical and technical errors we'd missed and I went over once more tweaking and finessing.

Trial cover

The next stage is the cover. This is probably the most important part of getting the book noticed. Readers see the cover before reading a single word so it has to stand out. I usually mock up a cover to show to Paul, the designer, giving him an idea of what I think it should look like. He also has a synopsis of the book and will create his own interpretation. This is always far better than my own, amateurish effort but, it takes time. Not only does he have to assemble the images but lay them out in such a way that the printer can easily use them to produce the finished book - not a process that can be rushed. So now, it's a waiting game.

The Grange, Iden

The working title of the book had been 'Blood on the Nile'. This was because one of the main threads revolved around Egyptian artefacts that had been stolen by someone trying to sell them on. But, the title didn't sit comfortably with the other books in the series so a decision was made to use another thread. Spoiler alert! Early on a accident occurs where a body is found below the cliffs, hence the new title. 

Hopefully, you loyal readers won't have to wait too long now, to read the continuing stories of DI Sonny Russell, and his faithful companion, Aggie.

EDITOR, EDITOR!

 EDITOR, EDITOR!

As previously announced, I finished book seven in the DI Sonny Russell series of crime mysteries at the end of last year. Now comes necessary but the arduous task of re-reading, editing and generally improving the manuscript.  

I am exceedingly fortunate in having an inhouse editor. My wife, Greer, was a journalist and reporter from when she left college then spent 25 years as a sub-editor on the prestigious Daily Telegraph. She has been going through my book with a fine-tooth comb, picking up on all the mistakes and omissions I've made and making valuable suggestions to further enhance the narrative.

My current job is to input all her hard, detailed work so the story not only flows, but makes sense.

In addition, we've been discussing the final title of the book. While I've been writing it the working title has been BLOOD ON THE NILE, as some of the narrative revolves around stolen Egyptian treasures. However, as much of the book, in line with the previous titles, revolves around Rye and Rye Harbour, we thought it more appropriate to reflect this and it seems probable that it's going to be changed to BLOOD ON THE RIVER BANK, or something similar. Hopefully we will have decided by the end of the editing process. 

Puttin' on the Style

PUTTIN' ON THE STYLE

Although 'style' does relate to the way I, and others, write, this may be a slightly misleading title as it's more about accents. 

Dick Strawbridge/Inspecteur Guillaume Bruissement

In my series of crime novels set in the 1950s my detective, DI Sonny Russell, has an opposite number based in Boulogne called Inspecteur Guillaume Bruissement. Throughout the books they becoem firm friends and Bruissment often helps with tricky international cases. Although not slavishly based on him, I have a picture in my mind of the tv personality, Dick Strawbridge, when I portray him. I guess there's a little of Poirot too and I like to mix French with English when I write his dialogue, as if he's thinking in both languages. This brings up its own set of challenges as he frequently drops his aitches and mixes his languages and parts of speech. But he is fun to write him and try to make him sound real.

One of the things I try to get right is the necessary accents when inserting French words. I do hope I succeed and I'm sure my readers will let me know if I get it wrong!

 

EGYPT BECKONS

 

EGYPT BECKONS

In my last blog post I talked about the struggle I've been having with my latest work-in-progress, Blood on the Nile. Well, you'll be pleased to know I'm making steady progress and approaching the half-way mark. Whoopee! Only another 40,000+ words to go. But I've got to the point where I have to decide if DI Sonny Russell will actually have to go to Egypt. If he does travel to the Middle East, I feel it will make for an interesting read but... it will involve me in some serious research.

 I've been watching a lot of documentaries about Egypt so I feel I'm partway there. It's a fascinating country with an incredible history but what's most amazing is the experts feel they've only just scratched the surface and there are still myriad treasures to be uncovered. In one programme I watched, an American scientist, using thermal imaging drones, uncovered huge areas of urban development buried under the sand. However, this is now, with modern technology, and I'm still in the 1950s, so not very far removed from the explorations of Howard Carter and Lord Carnarvon and the discovery of the tomb of Tutankhamun. So, more research is need but that is something I really enjoy. Now to find out how Russell will travel to Egypt and who he will liaise with when he gets there.

And, as an aside, for my loyal readers, do you have a picture in your mind's eye of the DI? Well, naturally, I do. He's inspired by my late uncle, Sonny Russell, who I remember as a lovely, cheerful man, always with a smile playing about his lips. 

Getting a wiggle on

 GETTING A WIGGLE ON

Bait digger - low tide, Winchelsea Beach

No, I'm not going to talk about lugworms or ragworms or those hardy souls who go down to the beach at low tide to dig for bait. Much as I realise this could be suitable topic for a blogpost, I'll leave it for another day. No, this is more about me getting a wiggle on.

Ornamental Egyptian scarab

On checking back, I discovered that I started my current work in progress, back in November 2022. Normally I aim to finish writing a book in about a year and all six previous ones have followed this pattern. I have no real excuse for why this one has taken 16 months already and I'm still only a third of the way through. I could make excuses - well I will.

Pectoral brooch

The working title is 'Blood on the Nile and the initial theme for the story was the illegal import of artifacts, possibly looted from the tombs in Egypt. Superintendent Stout put Sonny Russell on the case saying 'you were out in the East during the war'. Although the DI pointed out he was actually in south-east Asia, not North Africa, Stout dismissed his protest. In order to make sure I know what I'm talking about I've planned for some time to visit the Egyptian Galleries in the British Museum. I'm still waiting to go so this may be a reason for my slowness.

Sanatorium

As my readers are aware I always include more than one story line, and try to weave the different themes together until finally bringing them to a satisfactory climax. This book is to be no different and I've introduced a mysterious sanatorium and a body found on the beach. I'll say no more - I think I've given enough away already. I'll leave you with this image of a hidden camp in the woods and let you guess why.

Just one more thing. In all my books I start each chapter with a definition, or explanation, of something that appears a few pages on. I really enjoy the research involved and hope it adds to the book. But I'd be interested to hear what those of you have read any of the books think about me continuing it.

TREADING WATER

 TREADING WATER

Do you ever go through a seemingly endless period where a lot seems to be happening but you don't feel as if you're achieving much? Those times when however much you try to tick items off the to-do list, it never seems to get any shorter? And your diary seems to be piling up with so many engagements you wonder if you'll ever be able to do any of them, let alone all of them? Well that's how I feel at the moment.

But, I keep telling myself, it's not as bad as it seems. My sixth book in the DI Sonny Russell series of crime novels has recently been launched and is selling well*. Plus, the others in the series are still going out, particularly the first one, Blood on the Tide. This is gratifying as hopefully, if new readers like it, they continue with others in the series.

*I stepped into the breach and gave a last minute talk recently as the scheduled speaker had tested positive for covid. The talk was to quite a small group in Benenden in Kent but as much of the action in Blood on the Dunes takes place nearby, I sold quite a number of copies, which was most gratifying. 

Although I've started on book six, provisionally titled Blood on the Nile**, I haven't made much progress, due to the reasons outlined above. But, I have been asked several times, by readers who have already finished 'Dunes', when the next book will be ready! As it usually takes a year to write a book, there will be a bit of a delay.

** Does this mean that DI Sonny Russell will be venturing further abroad, I hear you ask. Well, possibly. For relaxation, I model narrow gauge railways and several of my books have been inspired by the layouts I've built. In fact, the whole series started with a model I made based on the quayside at Rye Harbour in Sussex. For a while now I have been building an Egyptian themed layout called Caravanserai, so this has provided some of the inspiration for the next book. But, book and model alike are a long way from being finished, so meanwhile, I'll continue trading water.

 

MAKING A SPECTACLE OF MYSELF

MAKING A SPECTACLE OF MYSELF

Posing at the George in Rye

Moving out of my comfort zone, as part of the Rye Arts Festival I gave a talk on The Potteries of Rye - in Rye. I'm used to talking to groups as I've been doing it for over ten years now, but doing it in my hometown, to an audience of locals, about a subject they probably knew a bit about was rather daunting. However, The 60+ who where there were responsive, attentive and even laughed at my jokes, so after all it went really well.

Potteries talk in the George

But, I can't rest on my laurels as I have a more daunting task this evening when I'll be interviewing the Reverend Richard Coles in Rye Church. He's written a novel called 'Murder before Evensong' and as a fellow crime writer I've been asked to talk to him about his book, and crime-writing. (I might even touch on his time in The Communards!) Wish me luck!

Reverend Richard Coles.

 

THE END IS NIGH

 THE END IS NIGH

When I started writing BLOOD ON THE DUNES I began, as always, with a germ of an idea but no definite plan of where the story was going or, indeed, how it was going to end. This is quite normal for me, as I write like a reader - to find out what is going to happen next. The trouble was, by the time I was approaching 20,000 words (about a quarter of the way through), I knew, not only the path the story was going to take but, more alarmingly, how it was going to end. This was definitely not good as either it was going to be a very short book or, more worryingly, I would have to start again from scratch.

By way of a diversion I had introduced a side story concerning the disappearance of a boy from a children's home. (This device is known as a MacGuffin*). DI Sonny Russell is sent to investigate. He is reluctant as he'd rather be involved in more serious crimes, but his boss, Superintendent Stout, insists it's important. Russell thinks that's because the man in charge of the children's home is one of his golfing buddies. 

Then it dawned on me. This diversion was actually a rich seam that I could mine. Suddenly the boy became pivotal to the whole plot and now, as I approach the conclusion to the book, he's taken on a life of his own, which was most unexpected.

In my first DI Russell novel, BLOOD ON THE TIDE, one of the main characters was a German, called Wolfgang. He wasn't a vey nice man but he was disabled and his childhood was rather unhappy. Talking to readers I've since learned that they felt sorry for him. It made me realise that I'd accidentally created a rather complex person that people related to quite differently from how I'd anticipated they would. With this in mind, I've now deliberately written a character, who is far from nice, but who has arrived at where he is because of past circumstances. Hopefully, I've pulled it off.

If you would like to know more about Wolfgang and haven't already discovered my series of books, set mainly around Rye and Romney Marsh in the 1950s, they are available in paperback and Kindle on Amazon and in paperback direct from the author

*In fiction, a MacGuffin is an object, device, or event that is necessary to the plot and the motivation of the characters, but insignificant, unimportant, or irrelevant in itself. The term was originated by Angus MacPhail for film, adopted by Alfred Hitchcock, and later extended to a similar device in other fiction. 

JUGGLING

JUGGLING

    I've just returned from a Maker's Market in the nearby village. It was mainly crafts and brocante so my books stood out as being quite different. It was an early - 8.45am - start and very little happened for the first couple of hours. In fact there were far more stallholders that visitors and I started to think it was going to be a bit of a damp squib. Fortunately, more people arrived, it picked up and by the finish, at 2pm, I was pleased with the number of books I'd sold.

But... and there had to be a but, didn't there? While enjoying myself, chatting to my potential readers, I couldn't help thinking about what I should have been doing. 

I'm really keen to get on with Blood on the Dunes, book six in the series, as it's taken a lot longer than the others. This is only partly due to the pandemic, more to do with the book itself. Like the writer Ann Cleeves - Vera and Shetland - I write as a reader, i.e. I start off with the germ of an idea but I've no real clue as to where the story is going and keep writing to find out how it's going to end. This time, I knew the ending before I'd even reached halfway. So It was either going to be a very short book or I'd have to start again. However, after several long walks on the beach with Aggie I started formulating an idea on how to extend it. 

I'd introduced a15 year old boy who'd disappeared from a children's home. Initially, he was written as a minor character, then as I became more interested in him, his character started to develop. Now much of the story revolves around what happens to him. I really didn't see that coming!

As I mentioned earlier, I realised I should be getting on with something else. Sadly, that's not writing but garden design. I'm up against deadlines on two large projects, so I'd better conclude this blog and get on with them!

I'M STUCK! Time to bump someone else off.

 I'M STUCK!

Time to bump someone else off.

I'm just over a third of the way through writing BLOOD ON THE DUNES, and I'm struggling. Normally, at this stage in a book I have several story threads going in different directions, not actually knowing when and where they will come together. But whether it's because of the pandemic or something else I seem to have reached a point where I know where the disparate stories are going to resolve, and I'm not even halfway through!

Without giving too much away, a skeleton has been revealed in the sand (hence the book title) and a man has been found dead after a big storm. Also, a boy is missing from a children's home. Unfortunately, I know just how these are connected, but it's far to early to reveal the connection. I've given this a huge amount of thought, on my walks on the beach with Aggie, without coming up with any sensible ideas. Then, yesterday, I had a brainwave. I'm going to have to produce another body!

This might sound drastic, and, on the face of it, not very realistic, but I think I can blend another death into the story, convincingly. I just hope it will provide enough fodder to help carry the story on for another 50,000 words. Fingers crossed.

A NEW BABY!

 A NEW BABY!

Well - new book anyway.

Blood in the Garden - trial cover

Well, book five is finished. It's been read and given a 'light editing' by John Nutting, who edits a specialist magazine for the canning industry, write articles for motorcycle magazines and was the one-time editor of the 009 News, a dedicated narrow gauge railway magazine. 

Then it was given a more thorough edit by my better half, who was a sub-editor on a national newspaper for 25 years. Not only does she spot my grammatical mistakes but is very good at suggesting how pedestrian passages can be improved and made much more interesting. 

I've been through the manuscript thoroughly four times - checking all 82,000 words, so, hopefully, we've corrected all the mistakes I made originally. I say, hopefully, because I bet one or two may have been missed. But I'm not too bothered, because even books by well-known authors, who have the services of professionals to read and check their work, have mistakes in them. As Esther Rantzen famously said, 'That's Life'.

Blood in the Garden - trial cover

When I was happy with it I sent it to Eddie, who works at the printers I use, who I trust to format it so it's ready for printing. I've now got the proof back to check. I've also got to insert a suitable dedication and make sure the detail of the other books at the back are up to date. But I still haven't finished. 

I had to write a 1,000 word synopsis to send to Paul, who does a fantastic job of designing my covers. He spent his working life as a graphic designer working on magazines, so knows his way around cover design. I'm now eagerly waiting for him to send me his ideas then we can decide what we're going to use. (The trial covers in this blog are my attempt but I know that Paul will come up with something much better.) So you can see, an independent author has a lot more to do than just write the book.

I feel that Blood in the Garden is a little different than the other titles in the series. It still has the same main characters, is still set in the 1950s and the actions still happens around this corner of the country. But, whereas the other books tended to be plot driven, I think this one is more about the dialogue and the interaction of the characters. It remains to be seen if it's as well received as the others. I do hope so.

Blood in the Garden - trial cover

Strangely, this book has taken a lot longer from inception to now than the other four. I can only think that the pandemic has had something to do with it. Now, I'm wondering what to write next. It will be another crime book and I've started on an idea for more contemporary story but I'm wondering if I should stick to DI Russell and the 50s. What do you think?

Putting plants into the story.

 Putting plants into the Story

Bewl Ridge House

So far, in my books, I have made occasional passing reference to plants and flowers. These references were used to establish the place and the season. In my current work in progress, BLOOD IN THE GARDEN, the fifth book in the DI Sonny Russell series of crime novels, I am trying to incorporate more of my plant knowledge. (I've made a living as a garden designer for some years now so hopefully I know what I'm talking about.) 

Battery Hill seaside garden

David Peters, one of the main characters in the book, runs a large nursery which supplies plants to garden centres and Woolworths (this is the 1950s) so plants can play a major part. His home is based on a place I used to work. It had a very large garden that I maintained for 10 years. Sadly I was never asked to use my design talents on the rather plain borders, so I decided to fill them with beautiful flowers in my book.

Chick Hill vegetable beds

Peters' wife has disappeared and DI Sonny Russell is tasked with finding where she has gone. He thinks this is a waste of time, believing that she is just a little flighty, and will return soon. However, things take a decidedly sinister turn when WPC Nettie Sharpe fails to turn up for work.

Rye Harbour

At every opportunity in the book I have tried to mention plants, so hopefully the reader will be informed as well as entertained.

Sovereign Harbour

All the picture I have incorporated in this post are of gardens I have designed.

JOURNEY'S END - well not quite

JOURNEY'S END

well not quite

A few days ago I finished writing the fourth book in the DI Sonny Russell series of crime novels, BLOOD ON THE CARDS. It came as something of a surprise.

I started writing it back in December 2018 with only the germ of an idea  - that the body of a fortune teller would be found in a WW2 pillbox near Appledore in Kent. Besides that, I hadn't a clue where the story was going to take me. 

I remember listening to Anne Cleeves, the author of the Shetland and Vera novels that have been so successfully transferred to the small screen. She was choosing her eight records on Radio 4's Desert Island Discs and said there were two types of writers - plotters and pantsters. 

Plotters know exactly where they are going, even to the extent of creating a graph or wall chart, showing the characters, the locations and the plots and just how they are going to react with each other. Pantsters, on the other hand, literally fly by the seat of the pants, following every twist and turn of the story they are creating. Writing like a reader, they are never sure where the narrative is going to take them. I'm one of those. 

I do enjoy the writing, above everything else - editing and promotion for instance - and feel quite bereft when I come to the end of a story that I have been wrapped up in for nearly a year. I would quite like to get on with the next instalment, but first the hard work really starts.

I will have to go through this first draft, carefully checking for inaccuracies, to make sure the chronology is correct and that the narrative floes. I will then hand my baby over to my better half, Greer, who after a lifetime in journalism is more than qualified to check for errors I've missed. I then like to pass it on to a beta reader* to get his opinion of the story. (Very sadly, a good friend who fulfilled that function on the last manuscript, passed away recently so I will have to find another trusted friend to take his place. Not an easy task.)

Then, when all are satisfied, it's off to the printer. So, although the writing is done, there's still a long way to go. However, if you haven't already met DI Sonny Russell, Aggie, his faithful Jack Russell terrier and DC Johnny Weeks, the first three books are available in paperback or kindle.

*A beta reader is usually an unpaid test reader of an unreleased work of literature, who gives feedback from the point of view of an average reader to the author.