Cards on the table. I love paperbacks. New ones. The smell, the feel. The glossiness of the cover (or mattness – is that a word?). I love being in Waterstones, or any bookshop really, WH Smith being the exception (they don’t know what they are at the moment, do they? Bookshop? Fast Food outlet? Bric-a-brac shop?). Bookshops with ambience. That’s what I’m talking about.
I can spend hours in bookshops – spend, not waste, note – and I’m still bemoaning the closure of Reading’s best bookstore, Waterstones, in the Oracle. Why did it close? It was a perfect bookstore; lengthy, walk-through (you had to walk through it to get anywhere in the Oracle – well, I had to anyway), well laid out, friendly staff. It even had a Costa, for goodness’ sake. I mean, what more do you need?
Now we’re left with the Waterstones in the main street. It just doesn’t have that same vibe. I don’t know why. Anyway, I digress. Paperbacks, they’re the thing. Yes, I sell eBooks as well as paperbacks, and the format is very popular. They’re handy, friendly on the purse/wallet, and eminently practical. It’s not that I don’t like the eBook format, it’s just that, given the choice, I’d always go for the physical version, not the electronic. The powers that be tell us that the paperback is enjoying a resurgence, and that eBook sales are in decline. I think that we’re finally getting a natural balance between the two.
Audio is a different kettle of fish. For me it all depends on the skill of the narrator. If I like his/her voice, no problem. If not, it’s an instant switch-off. A few of my novels are available on Audio, and wow, what a great job the narrators have done! It’s amazing how the right voice can bring a story to life. Wayne Farrell, my narrator for the first DCI Brendan Moran novel, Black December, almost epitomises the way I heard the detective speak in my head as I wrote the book. Have a listen.
Audio is great for car journeys, and pretty good for an alternative to TV if you’ve watched too many Emmerdales in a row. You have, haven’t you? Look, it’s no use denying it. Help is available, but you have to want to kick the habit yourself, OK?
Anyway, what’s your poison? Paperback, eBook or Audio? (I’m not even going to mention hardback … dang, I mentioned it …)
So now I’m told that, in the new world of agile authoring, I must produce three books a year. Or more, if possible.
It’s possible, but is it beneficial?
Author Jonathan Kaye completed his debut novel, After the Affair, in three years. He laboured over it, perfected it. I’ve not read it yet, but I probably will. There’s something appealing about a guy willing to put in so much effort, to make his novel the very best it can be.
I know, I know, there are authors out there who seem to churn out novels as if they were some mass-produced commodity. And I’m not saying they’re bad books. They’re probably very good. But could they have been better, given a little more time and love?
I can’t imagine JRR knocking out the final draft of Lord of the Rings in four months, and still enjoying an avid readership over sixty years later. Can you?
I’m willing to bet that Rohinton Mistry’s novels take a bit longer than four months apiece as well.
So, has the artful business of novel-writing also fallen foul of the ‘must have it now‘ social-media generation?
It takes me around twelve months to finish the first and second drafts of a novel. Am I too slow? I guess I’ll make less money than the three-times-a-yearers, but then again I’m not in this exclusively for the money. Sure, it helps, but for me it’s more about the craft itself than the remuneration.
So what do you think? Are you happy to purchase a novel dashed off in a few months, or are you likely to be more discerning?
Speed, or quality? Which wins?
The announcement in 2012 of the new UK Protected Persons Service, a National Crime Agency initiative designed to replace the old Witness Protection Program was greeted with a predictable raising of eyebrows and shaking of heads. The idea, as I understand it, was to introduce a more consistent approach to witness protection across the various UK constabularies.
Over the summer a few programs have been aired on the subject which got me thinking about what life would be like were one to be wrenched away from family, friends, home, school or work, and deposited anonymously into a completely new environment with no access to bank, social media – or anything really. Clearly it’s all about the safety of the witness(es) and the DCC in charge of the PPS has strong views on this subject:-
“We have to be very careful about who knows where they are and from the start, until we know they’re safe and secure, we would discourage them telling people where they are at any stage. But we can facilitate ways to maintain contact over periods of time,” says Deputy Chief Constable Andy Cooke, national policing lead for protected persons.
“We relocate both within the UK and internationally on occasions, depending on the level of threat on the individual circumstance of a case and whether it’s necessary. That doesn’t mean we’re going to relocate them to the Copacabana, but they do get a say.”
Quite how much of a say the witness actually gets is open to debate but having heard real life accounts of those living under the PPS it’s easy to conclude that the experience is hard on the nerves and less than ideal as a long-term life plan.
DCC Cooke says that no one has ever been seriously injured or killed on the programme, but people have been found – usually when they compromise themselves, for example by returning to their original location.
As an author in need of a short story the PPS seemed a fascinating place in which to locate DCI Brendan Moran for a brief period. You can read the story (which is entitled ‘Watershed’) as the first case in the DCI Brendan Moran Omnibus to be published this month as ‘The Irish Detective’.
They’re crammed into a huge glass cube.
They can’t move a muscle; ten million others press against them, all fighting for room, all shouting the same thing – it’s hard to hear exactly what because the noise is deafening.
Outside the glass, fast-moving shapes zoom in, take a quick look, and zoom away again. This happens so swiftly it’s hard to follow. Sometimes one or two shapes part the glass, reach in and touch one of the shouting people. Most times they just look, hover and leave.
Every day, the roof of the glass cube opens and more people are poured in.
The shapes mill around in confusion.
They hover. They squash up against the outside of the glass and peer in.
Very occasionally they suddenly converge upon one individual in the crowded glass cube. Some common agreement has been arrived at. There is something different about the person they have selected, something which makes them stand out from the others.
This individual is plucked from the glass cube, never to return. They are taken to a clean, roomy cube where they are nurtured, communicated with and, most importantly, read.
How did this happen? What was different? How did the mysterious shapes make their unanimous decision?
The glass cube, of course, represents the online bookstores. The cramped millions are the indie authors – and traditional authors too (let’s not forget them).
The zooming shapes are the internet surfers, the book-buying public.
They can, and do, find authors who write books they want to read. They support them, and in doing so make the author a success.
Case in point? How about Rachel Abbott?
So, here’s the thing: How do you get noticed in a vast, glass room where you can’t move for people? Where the noise is so overwhelming that it’s impossible for the shapes to think, let alone make any kind of decision?
The decision you want them to make.
A buying decision.
Here are a few ideas:
- Stop shouting ‘Buy My Book!’ Or, as more often seen (conceptually, of course), BUY MY BOOK!
- Check out Joanna Penn’s very helpful website/blog
- Interact with your shopping and browsing shapes (I like to think of nice shapes!) – they are your potential buyers, after all. You are nicely shaped, right?
- Keep these potential buyers up to date by blogging/updating your website with interesting and informative stuff regularly
- Keep writing!
- Consider occasional promotions – free books/reduced price for limited period
- Wear smart, attractive, intriguing clothing (this means ‘get a good cover design’!)
- Diversify. Publish on Kobo, Nook, Audiobook, Kindle, Print
- Be realistic. Rome wasn’t built in a day (or in a glass cube, I know ….)
Enough from me. I’m off to practice what I preach. Move over, I’m getting squashed …
More info about my books (in a quiet whisper) at www.scott-hunter.net
This is one of many blog posts which will run for four days from 15th-19th August, 2013, celebrating Roman historical fiction…
…and there’s a prize for the most interesting comment!
My novel, ‘The Serpent & The Slave’, is set in Britannia, in 367AD, a turbulent time of invasion which hinted at Rome’s loosening grip on our sceptred isle.
Below are my notes from the afterword which I hope you will find intriguing!
At the time of the great ‘Barbarian Conspiracy’ of 367 AD, Valentinian was the emperor of the West. Historians reckon that such an invasion would have required a coordinator of some stature; someone familiar not only with the structure and strength of Roman military deployments but also with a keen understanding of which political issues were likely to affect the emperor’s judgement. Paulus Catena certainly fits the bill and it seemed rather a waste to allow the man known as The Chain to rest in peace after his execution in Africa.
In terms of the ‘look and feel’ of fourth century Britain, I have tried to paint as accurate a picture as possible.
The provinces were divided as described, Corinium being the capital of Britannia Prima. Interestingly, there was indeed a fourth century governor by the name of Lucius Septimius, although I cannot claim that the character described in ‘The Serpent and the Slave’ bears any resemblance to the original, save for the fact that the real Lucius was also a dedicated pagan. We know this because he is noted as making an ‘almost aggressively pagan dedication at Corinium’ by Peter Salway in his excellent work, ‘Roman Britain’. The Alamann chieftain, Fraomar, also has a real counterpart in an Alamannic chieftain who was sent to Britain in 372. Salway confirms this to be a known fact and I quote: ‘Fraomar was in fact sent to Britain as a deliberate act of Imperial favour by Valentinian 1 as a military tribune to command a normal Roman unit of Alamanni already stationed in the island’.
The fourth century was a time of religious change. Constantine had legalized and formalized Christianity during his reign in the early years of the century but there was still a strong pagan tradition, particularly amongst the civil magistracy. The short reign of Magnentius whose tolerance, even encouragement, of pagan worship caused many to ‘come out’ and resume their old ways of worship led directly to the Pauline persecutions when Constantius gained control of Britain. No doubt there were many who simply continued their pagan practices in secret. Valentinian himself was of Christian persuasion, although I suspect that he, like so many others, could best be described as having a ‘nominal’ rather than a ‘life-changing’ faith, such as demonstrated by the character of Freia. Many slaves, the downtrodden members of a corrupt society, embraced the new religion as being one that offered hope, salvation and equality. What more could a slave wish for than this? Small wonder then that many found the answer they sought in the person of the humble rabbi from Galilee, Jesus Christ, the chosen one of God.
The Roman Army
The army saw many structural changes during the 3rd and 4th Centuries. The legions were redeployed and reabsorbed into two distinct groups, the limitanei, operating on the frontiers and the comitatenses, originally stationed with the emperor, but later becoming more of a mobile field army to be deployed as the need arose. The thinking behind this change was based on the premise that a reasonably well maintained border force combined with a high quality mobile army would be the most effective way to deal with the many and varied threats to the empire. Britannia did suffer from a degradation of troops as demand across the channel became more pressing, but the double defeats in 367AD of the Saxon Shore Count, Nectarides, and the dux Britanniarum, Fullofaudes, left the country vulnerable in the extreme to the invaders. Many Roman troops deserted after the defeats and took to wandering the countryside, no doubt undertaking a little plunder and pillage themselves. In ‘The Serpent and the Slave’, the character Scapulus and his men had awarded themselves ‘leave of absence’ from the army, and this is indeed what many of the army remnant actually did. It was only when Count Theodosius arrived late in 367AD and offered free pardon, food and supplies to any renegade troops wishing to give themselves up that the Britannic army began to reassemble itself into some sort of order. For the hapless ordinary folk of Britannia, particularly those living in the countryside, it must have been a very unpleasant and trying time to have lived through.
Excerpt from ‘The Serpent & The Slave’
The Rhine Frontier, Gaul – Sept 367AD
In the headquarters tent of the Rhine campaign, the Emperor Valentinian, arguably the most powerful man in the known world, leaned back with some discomfort on the curule, an elaborately carved oak seat inlaid with ivory. The chair had been especially commissioned for his imperial behind, and was the only obvious indication of his status, except perhaps for the imperial purple of his cloak. The emperor’s back was playing up again and he was not in a good mood. ‘Well?’ He barked at the tribune.
Well, don’t just stand there like a wilting vine, man. Show him in!’
‘Caesar.’ The tribune saluted and signalled to the tent guard.
The tent flap opened and a man entered. He had a pinched, hunted appearance in marked contrast to his speech, which was direct and confident. ‘You sent for me, Caesar?’
‘I did.’ The emperor stood up carefully with a grimace of pain. The seat was murdering his vertebrae. He drew a hand wearily across his eyes. ‘Nipius. I seem to remember that you had a hankering for foreign travel.’
‘Caesar?’ Nipius frowned.
‘I’ve had an interesting communication from Britannia. From Septimius in Corinium.’
Nipius raised an eyebrow quizzically.
‘They have, apparently, in custody a member of the royal Alamannic line. One named Fraomar. Ring any bells?’
‘Chnodomar’s brother. Went missing after Strasbourg.’
Valentinian nodded approvingly. ‘The same.’
‘We were outnumbered three to one,’ Nipius recalled, ‘but Julian led us to a great victory.’
Valentinian allowed himself a smile. ‘His gods certainly seemed to be with him that day. But I heard it was the Magister Equitum who deserves the credit for the victory.’
Nipius bowed stiffly. ‘Caesar is too kind.’
‘A shame that the victory of Strasbourg was marred by Fraomar’s escape.’
For the first time, Nipius seemed uncomfortable. Rain began to drum softly on the leather covering of the tent roof as Valentinian continued:
‘But you are a popular man, Nipius. Your exploits are legendary. You have – what can I say– ’ Valentinian stroked his chin thoughtfully, ‘a loyal following?’
‘I am fortunate enough to have the respect of my men, yes Caesar.’
Valentinian grunted. ‘Well, naturally I thought of you for this little job.’
‘What does Caesar command?’
‘A simple ‘go fetch’ job, nothing more. Give you a break. God knows you probably need one. And a chance to set the record straight.’
Nipius smiled thinly. ‘I am most grateful to Caesar.’
I hope you enjoyed this excerpt from ‘The Serpent & the Slave’, by Scott Hunter
Here are the other links for this Blog hop:
Dominus mihi adjutor
The idea was very straightforward:
Buy some stock, get a small display unit/table, bring the laptop. Use a few posters. print some flyers.
Find a comfortable slot in the town centre. Chat to the public. Sign and sell some books.
Busking, but with books.
The local council said: ‘Sorry, we only have six street trader licenses to give out and they’re all allocated.’
The Oracle Shopping Mall said: ‘Sure, but you have to use one of our display units. We only rent them for a week and the rental price is £1000’.
I’m working on a solution because these licensing and rental restrictions/impositions are crazy. Free enterprise? Where?
Anyone else thought of/had issues with doing this? Let’s talk!