JUGGLING - AGAIN

JUGGLING - AGAIN

If I'd had a normal job, i.e. one with a pension, I probably would have retired several years ago. But as, apart from a a couple of short periods, I've always been self-employed, I've carried on long after normal retirement age. Also, as a nonagenarian friend said, you either use it or lose it, so I'm very happy to carry on, albeit slightly less intensely than in the past.

I've been lucky enough to have had a very varied working life and that continues. For a long time I was a professional modelmaker, often working to a deadline and a price. Nowadays I make and exhibit model railway layouts and they are usually well received and appreciated and I do it just for entertainment. That's me above with my Egyptian themed layout, Caravanserai at a recent exhibition in Hastings. Also above is a model of a signal box I made for another project

But, there are still bills to be paid so I do have to earn something of a living. After designing, building and exhibiting three medal winning gardens at the Chelsea Flower Show, I now concentrate on designing gardens for private clients. I do fewer than I used to but still enjoy working on several every year. In the last few months I've successfully designed and planted gardens in Cooden and Camber and there are a couple more in the pipeline.

Also, I have a cottage in Northiam I've owned for 40 years that I now use for holiday lets. My wife and I look after it, doing the cleaning and maintenance, something we both enjoy. It means we can make sure it's up to the standard we'd expect if we were renting it, plus it's good exercise! 

Another string to my bow is giving talks. I travel all over Kent and Sussex speaking to various groups: U3A, WI and gardening clubs, about Chelsea, garden design and one talk called 'From Pottery to Potting Shed, or how I became a gardener' which is mainly autobiographical and goes down well.

Then, out of the blue, I got a call from a pottery, asking if I'd be interested in doing some mouldmaking. Now, I trained as a mouldmaker and spent many years making moulds for potteries across the south-east but hadn't put my hand in a bucket of plaster for 18 years. But I agreed, made the moulds for an exclusive piece, and enjoyed the process, finding that it all came flooding back.

Finally, back to writing. I doubt I'll ever make it as a top flight writer, or earn a living at it. Although I know my books aren't bad, there's too much competition - but I do enjoy writing. I'm currently nearly a quarter of the way through book eight, in the DI Sonny Russell series of crime mysteries, provisionally titled Pikes Tale. The story revolves around a poisoning and a séance and will have the same mix of intrigue and information I like to include in my books.

So, you can see, life is far from dull and, I suppose I must enjoy juggling!

 

7th PAST THE POST!

 7th PAST THE POST!

Phew! I've done it! I know it should be first past the post but this is my seventh DI Sonny Russell crime mystery and I'm rather proud of it. Although it's taken a lot longer than the others - two years as opposed to 12 months, I think  - well I hope - it's my best one yet.

Some of the themes in it are much darker than before and I've been able to explore and develop my characters further than I have in the past. It's just as interesting for me to discover their back stories as it is for the readers. I never plan my books, just run with an idea and see where it takes me. In that way it's a voyage of discovery and always remains fresh.

I do hope you enjoy reading BLOOD ON THE ROCKS as much as I enjoyed writing it. I'm always happy to hear from my readers - whether praising or correcting - so please do let me know what you think. 

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.

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.

ANYONE AT HOME?

 ANYONE AT HOME?

I haven't written a blog post for a long time - not sure why. In fact I don't seem to be writing anything as intensely as I have in the past. Book seven, provisionally titled BLOOD ON THE NILE, is making much slower progress than the previous six. I guess I've just been concentrating on other projects. But, as my blog seems to be getting quite a number of views lately I thought I'd better write something.

The provisional title of the book may be a little misleading. The reason is that my detective, DI Sonny Russell is tasked with tracking down the origin of some Egyptian artifacts that are thought to have been obtained illegally. His boss, Superintendent Stout, thinks he's the right man as he was out in the East during the war, despite Sonny's protestations that Egypt is a long way from where he was stationed. Now, if I was a full-time writer, with a decent income from writing, I could justify a trip to Egypt for research, but as I'm only a poor part-timer it's unlikely to happen. So It will be the usual Google and Wikipedia searches for information.

As with my other books I try to weave several story threads together and the title of this post is a reference to another of those. Briefly, a man is found dead beneath the cliffs at Pett Level (I'm not giving anything away as this happens early in the book) and a nearby 'sanatorium' comes under suspicion. Strangely though, when the police return, the building is empty and the neighbours can't help. I've just posted on social media, asking where to find information about the ownership of the house and almost immediately a number of people have come back. The Land Registry seems the best port of call. I won't need to actually follow it through - this is fiction, after all - but I now know where the police need to go.

WORMHOLES - getting lost on the net

 WORMHOLES

getting lost on the net

Eric Ravilious - Drought

Wormholes. Do you ever disappear down them? I do, and I just have. As Blood on the Dunes is finished I'm having a break from writing and have been able to indulge in something else. I've long been a fan of the artist, Eric Ravilious, and came across one of his paintings I'd not seen before called Drought. It features an out-of-use steam roller with a living van, tar wagon and water bowser. I'd been planning a model railway layout based on another of his paintings, The Cement Works and thought the roller ensemble would make a nice little cameo on the layout.

Eric Ravilious - The Cement Pit 1

I already had a roller, I'd made from a kit, and a scratchbuilt living van, then I found an exquisite ready-made model of a tar cart on a model website. Now all need was a water bowser. The only ones available - in kit form or ready made were of a different pattern, and as I wanted to remain as faithful as possible to the picture, I would have to make my own.

I found a suitable photo and assembled the necessary components - a pair of wheels and little plastic vial. By combining these with some shaped styrene sheet and stiff wire I've fashioned a semblance of the water cart in the picture. Then, I disappeared down an internet wormhole.

I was struggling with resolving the shafts which must be used to pull the cart. In the painting they appear to be two parallel bars, suitable for a horse. This seemed strange as I assumed it would have been pulled by the roller. The other conundrum was the actual purpose of the wagon. Further digging revealed that there are two distinct types. One, is used for the sole purpose of transporting water, like this WW1 example.

The other, is for sprinkling water onto freshly laid tarmacadam, and this is the type in the painting. Luckily, as I travelled down the wormhole, I was able to find evidence of this in an article about the restoration of one at the Beamish Museum.

This clearly shows a box attached to the back, with holes drilled to distribute the water so this is what I will model. As to the shafts, do I leave them as is, or convert them so they can be towed by the roller?

CHARCOAL & PLAGIARISM.

 CHARCOAL & PLAGIARISM

Burning charcoal

Why the strange dual title you may ask? Let me explain. In my current work in progress, BLOOD ON THE DUNES, the main character, a runaway from a children's home, is hiding in the woods. He has a copy of Baden Powell's Scouting for Boys which he's read from cover to cover and is skilled in woodmanship and all manner of outdoor skills. So he plans to build a shelter, a bivouac, so he can stay concealed. He pushes deeper into the woods and is delighted to discover a readymade shelter. He doesn't realise that's it's an abandoned Charcoal burner's hut.

Construction of a charcoal burner's hut

Charcoal burning is an ancient tradition going back over 3,000 years. It was discovered that charcoal provided sufficient heat for iron-smelting, glass-making and working with precious metals. It was the discovery that charcoal could be used to smelt tin and copper together, hence the Bronze Age, which lasted from c3,500-800 BC. It continued to be used into the Iron Age although as this required much higher temperatures, coal and coke rapidly replaced it from about 1700 onwards. The production of charcoal then went into decline and almost died out until a revival during WW1 when it was used extensively as a filter in gas masks. Again, the craft faded away until a brief revival for the same purpose in WW2. Nowadays production is limited to the use on barbecues and in some incenses.

A charcoal burner's hut

So much for the history lesson, now to plagiarism. I wrote about a couple of  felons who took shelter in a charcoal burner's hut after a train robbery in BLOOD ON THE SHRINE, but didn't go into much detail. But, I went back to that book and 'borrowed' some of what I'd written for inclusion in the new book. I must stress that I haven't copied it verbatim, just used some of the ideas I'd written down. It also sent me down a research rabbit hole looking into the ancient craft. Here's a link if you'd like to know more. 

New Forest Charcoal Burners - Real New Forest Guide

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.

WRITER'S RESEARCH

 WRITER'S RESEARCH

As a writer I think it's really important to get all the details in a book right, even if it's a work of fiction. Subsequently I spend a lot of time researching all sorts of odd and esoteric things, many of which never get used. But, it's something I really enjoy doing. In the past I would have had to spend a lot of my time in the library doing this research but, now we're in the 21st century, most of it can be done online. As they say, 'Google is your friend.' Also, Wikipedia is a resource I turn to frequently.

Canadian Club

In the book I'm currently writing the skeleton of a Canadian soldier is revealed in the dunes after a violent storm. Later a bottle is found nearby and Lewis, the forensics man, is tasked with identifying it. Turning to Wikipedia I was able to discover the distinctive shape of a Canadian Club bottle, which Lewis was able to establish as being the one found in the dunes.

Stonepit Lane.

Later in the book, Detective Inspector Sonny Russell and WPC Nettie Sharpe are travelling in a police Wolseley. They are trying to track down a boy missing from a children's home and are looking for a farm where a woman who had visited him at the home is said to live. I decided that this is located in a little hamlet near Benenden called Standen Street. Before we moved to the coast we lived there for 10 so I decided that's where the fictitious farm would be located. We been here, in Pett Level, for nearly 11 years, so in order to remind myself of the lie of the land I've been looking at the surrounding fields and woods on Google Earth. This will allow me to accurately describe the journey through the lanes to the farm and landscape they travel through.

It might sound like a chore but I see it as part of the privilege of being an author. 

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.

TELLING A TALE - Story settings

 TELLING A TALE

STORY SETTINGS

I think it's really important to describe the settings in the stories I write. I like to paint a word picture so the reader can fully imagine the location where the action is taking place. In Blood on the Tide, a WWII bomb is retrieved from the mud at Compass Point (Rye Harbour). I tried hard to describe the concern of the soldiers as they sweated to get it out, while watching the tide gradually roll in.

In Blood on the Shrine, DI Sonny Russell is sent to a Buddhist retreat, almost as a joke by superintendent Vic Stout. But Russell is much more spiritual than his boss realises and delights in being there. I drew on my own, not insignificant experiences, of Buddhism to describe the peace and serenity encountered at a retreat.

The story in Blood on the Strand revolves around gold and silver valuables that were stolen towards the end of WWII. The net shops in Hastings play a large part in the story. I wanted to recreated the sight and smells of these iconic buildings and the surrounding fishermen's beach.

In the fourth DI Sonny Russell mystery the occult and fortune tellers come to the fore. During my research I was delighted to discover that the occultist Aleister Crowley, once named 'the wickedest man in the world', ended his days in a nursing home in Hastings. I described a visit made made by Septimus Pike, a sinister antique dealer, to the infamous character and the sad situation he finished up in.

My current work in progress, book five in the series, begins with an investigation into the disappearance of two characters. Quite a lot of the action takes place at a grand manor house, named Sowsden Manor in my story. But, it's actually based on a place I know well - but I'm not telling!