How long does it take to write a novel? How long is a piece of string?
Some authors tell us they spent years writing their novel. This is not strictly accurate. They haven't spent every day of those years writing it. The writing has been spread over those years. Perhaps some days, weeks or even months went by when no writing occurred at all.
The only way to accurately depict how many hours or days have been spent on a novel is to record the actual writing time on a spread-sheet.
I work in sessions - they could be 15 minutes (minimum, or I don't record), 30 minutes or hours or part-hours. I keep a tally so that every 8 hours equals one day.
In a recent article about personal finance, Jeffrey Archer revealed something of interest. "It typically takes me about 1,000 hours to write a book... Writing works out at about £10,000 an hour [from his earnings]."
For my current work-in-progress I've just clocked 100 hours for my 70,000 words. That averages out at 700 words an hour. Of course some hours I'll be writing more than that, and others considerably less. One thing is for sure, when the book is finished and published, it is not going to earn me anywhere near £10,000 an hour!
Jeffrey Archer is 76. His latest book, This Was A Man is the conclusion of his Clifton Chronicles and is published on 3 November. Archer lives in Grantchester with his wife Mary. (I wonder if he will ever appear in one of James Runcie's Sidney Chambers Grantchester crime novels? Probably not, different era!)
Monday 31 October 2016
Saturday 29 October 2016
Book review - The General
C.S. Forester’s fiction covered a wide range, though there
was a heavy leaning towards historical stories. The General (1936) is virtually
a biography of a fictional Army officer. It begins with Lieutenant-General Sir
Herbert Curzon, KCMG, CB, DSO being wheeled in his bath-chair along
Bournemouth’s promenade. Local opinion
in Bournemouth ‘is inclined to give Sir Herbert more credit than he has really
earned, although perhaps not more than he deserves.’ That ambivalent, cryptic observation then
leads into a flashback that covers almost the entire book.
The ‘virtual biography’ stems from the style and point of
view of the writing: ‘The day on which Curzon first stepped over the threshold
of history, the day which was to start him towards the command of a hundred
thousand men, towards knighthood – and towards the bath-chair on Bournemouth
promenade – found him as a worried subaltern in an early South African battle.’
At the time, Curzon was in the cavalry fighting the Boers.
By chance rather than design, he distinguished himself in the battle of
Volkslaagte and earned a DSO. Curzon is depicted as a man of honour without
much imagination. He desired to conform to type, particularly as his family
history could not compare with that of the majority of officers. ‘… it is
assumed that it is inherent in the English character to wish not to appear
different from one’s fellows, but that is a bold assumption to make regarding a
nation which has produced more original personalities than any other in modern
times.’ (p20)
The years passed and then the First World War was upon them.
Forester captures a great deal of the feel of the time: ‘There never had been a
mobilization like this in all British history…’ (p28) They conveyed some three
thousand horses to France for the expeditionary force.
Curzon believed in the maxim, ‘Feed the horses before the
men, and the men before the officers, and the officers before yourself.’ (p29)
He didn’t like to command his division by telephone, as other commanders did: ‘He
was still imbued with the regimental ideal of sharing on active service the
dangers and discomforts of his men.’ (p148)
Curzon had not mastered French, ‘which the civilians talked
with such disconcerting readiness. He had early formed a theory that French
could only be spoken by people with a malformed larynx…’ (p29) This is only one instance where Forester
employs his humour and irony. Another is: ‘Her Grace is not at home, sir,’ said
the butler at the door. By a miracle of elocution he managed to drop just
enough of each aitch to prove himself a butler without dropping the rest.’
(p68)
At length, Curzon was promoted to Major-General and given
the Ninety-first Division, to relieve a rather aged officer – ‘a doddering old
fool’ - and take his residence. The outgoing officer and his wife were not
pleased. ‘Until this morning they had felt secure in the pomp and power of
their official position. It was a shock for old people to be flung out like
this without warning… With the tenacity of very old people for the good things
of life they wanted to spin out their stay here, even for only a few days.’
(p88)
Eventually, Curzon marries well, the daughter of a duke.
‘The Bishop (he was a Winter-Willoughby too; by common report the only one with
any brains, and he had too many) went through the service…’ (p102) Afterwards,
at the reception, Forester presages the doom looming: ‘The sparse khaki amidst
the morning coats and the elaborate dressed would have been significant to an attentive
observer. Those uniforms were like the secret seeds of decay in the midst of an
apparently healthy body. They were significant of the end of a great era.’
(p103)
While Curzon might have been a bit of a snob, he was not as
out of touch as his in-laws: ‘… it gave the Duchess an uneasy sense of outraged
convention that aeroplane bombs should slay those in high places as readily as
those in low. She described the horrors of air raids to Curzon (on leave) as
though he had never seen a bombardment.’ (p175) The Duke’s sense of proportion
was less warped, if marginally so.
There are a few moving passages where Curzon’s stiff upper
lip almost falters with regard to his wife. ‘Curzon actually had to swallow
hard as he kissed her good-bye; he was moved inexpressibly by the renewal of
the discovery that there was actually a woman on earth who could weep for him.’
(219) [We’ll ignore the repetition of ‘actually’…]
As the war gets under way, Curzon’s 91st Division
is scheduled for Gallipoli, but he wants to face the Hun and manages to get the
orders changed. To the Western Front – Flanders’ fields…
Written just before the next global conflict, The General
shows that the adage ‘lions led by donkeys’ might have been good left-wing or
liberal propaganda, but it was unfair. The methodology of warfare had been
outstripped by the weapons. Common sense should have indicated that throwing
thousands of infantry at barbed wire and machine-guns was no way to wage war. ‘…
a convention had grown up under which the prowess of a division was measured by
the number of its men who were killed.’ They were playing a numbers game, not
dealing with human beings who had dreams, hopes and families.
Although Forester didn’t go into combat, he manages
nevertheless to convey some of the horror of trench warfare. The General is an excellent examination of a brave
First World War officer thrust into a situation largely beyond his
understanding where his beliefs and ideals are shattered by modern warfare.
Labels:
#Novel,
#war,
Boer War,
C.S. Forester,
France,
The General,
WWI
Wednesday 26 October 2016
Sleuths, Spies and Sorcerers
This alliterative title covers three episodes concerning Andrew Marr’s Paperback Heroes on BBC4. Last week we had Sleuths, this week we had Sorcerers (which is repeated tonight on the same channel), and next week it will be Spies.
Within the limited time of an hour, Andrew Marr attempts to
deconstruct these popular genres; you know those books that never seem to win
prizes, that the literary snobs decry and dismiss, those books that sell in
their millions.
Sleuths was patchy, giving over many minutes to the genius
of Agatha Christie, leaving less time for other practitioners. We had the John
Dickson Carr’s locked room mysteries, Ian Rankins’ Rebus, Chandler’s Marlowe, Dashiell
Hammett’s The Continental Op and Sam Spade to name a few. Interviewees
comprised Val McDermid, Ian Rankin, and Anthony Horowitz, among others.
The psychology of the sleuths was examined, and the times
they lived in obviously affected them. A long time ago, a reviewer of John D.
McDonald said the author didn’t need to write The Great American Novel (a holy
grail for American authors at one time), since he was doing that in his
installments of Travis McGee and his other crime novels. That’s more or less the
conclusion Marr makes concerning the crime writers, whether of the past or the
present: they reflect the society from which they sprang, a rich trove to delve
into for future archaeologists and historians.
Logically, Spies should have been next but for some reason
Sorcerers followed. Here we entered the realms of fantasy. While fantasy has been around throughout the
ages, in many cultures, Marr suggests that its modern popularity probably
stemmed from the publication of The Lord
of the Rings books. One of the prime attractions of fantasy is the
world-building that is required; that means multifarious aspects of life in the
fictional world, all logically fitting.
Besides Tolkien, Marr touched upon George R.R. Martin’s A Song of Ice and Fire sequence of novels, now filmed as Game of Thrones. Apparently, Martin was inspired to write the
series when visiting Hadrian’s Wall and studying medieval English history and
also the Wars of the Roses. The books contain ambivalent characters, people who
are not wholly good or completely bad, as in life, perhaps, with conflict
caused by ideology, greed, lust and a thirst for power. Other fantasists
mentioned include Ursula K. Le Guin (Earthsea series), C.S. Lewis (Chronicles of Narnia), J.K. Rowling (the
Harry Potter phenomenon) Alan Garner (The
Weirdstone of Brisingamen), Philip Pullman (His Dark Materials trilogy), Neil Gaiman (American Gods), and of course Terry Pratchett (Discworld novels et
al).
This episode seemed more coherent and covered a wide range
within the genre.
As with Sleuths, however, there are bound to be many
favourite authors omitted from this genre. It is now impossible to read all
books within any single genre (nor would that be a good literary diet anyway),
because there is so much choice.
Next, Spies. I can guess that certain names will crop up,
among them Deighton, Le Carré, and Fleming, but who else? I’ll be tuning in to
find out.
Besides being about books and authors, this series touches
upon several genres I enjoy to read and write: Spanish Eye (Sleuths), Wings of the Overlord (Sorcerers), and ThePrague Papers (Spies).
Monday 24 October 2016
Saving Africa’s Elephants
Tonight on BBC TV there’s part one of two of 'Saving Africa's Elephants' that features Hugh Fearnley-Whittingstall campaigning to save the African elephant. Although these magnificent beasts have been ‘protected’ for over two decades, they’re still being slaughtered for their ivory. It’s a sick illegal trade that should have been stopped long ago. But then again, we’ve been saying that about the human slave trade – which hasn’t been stopped either…
Endangered species and their
support have been close to my heart for many years. That might account for the fact that I’ve
featured various aspects of their plight and the illegal trade in my writing. No
preaching, just facts used in the story.
‘Endangered Species’. A short
story featuring half-Spanish half-English private eye Leon Cazador on the track
of dealers in exotic pets. See SpanishEye, a collection of 22 Cazador cases.
Blood of the DragonTrees. Laura Reid likes her
new job on Tenerife, teaching the Spanish twins Maria and Ricardo Chávez. She
certainly doesn’t want to get involved with Andrew Kirby and his pal, Jalbala
Emcheta, who work for CITES*, tracking down illegal traders in endangered
species. Yet she’s undeniably drawn to Andrew, which is complicated, as she’s
also attracted to Felipe, the brother of her widower host, Don Alonso. Felipe’s
girlfriend Lola is jealous and Laura is forced to take sides – risking her own
life – as she and Andrew uncover the criminal network that not only deals in
the products from endangered species, but also thrives on people trafficking. Very
soon betrayal and mortal danger lurk in the shadows, along with dark deeds …
Cataclysm. Third in the ‘Avenging Cat’ series.
We again meet Laura and Andrew, this time in Shanghai on the trail of illegal
trade in endangered species. This is primarily an adventure featuring Catherine
Vibrissae and her vendetta against the crooked CEO Loup Malefice, but her path
crosses with Laura's during her investigations.
* CITES - Convention
on International Trade in Endangered Species of Wild Fauna and Flora is an
international agreement between governments. Its aim is to ensure that
international trade in specimens of wild animals and plants does not threaten
their survival.
Saturday 22 October 2016
Writing - Competition - The H.E. Bates Short Story Competition
This competition was inspired by
the Northampton-born master of short stories, H.E.Bates, and was first
launched in 2005, his centennial year. It’s run by the Northampton Writers
Group; for full website details, see here
Deadline
- Monday 5th December 2016
Subject
- of your choice.
Open to all writers.
Length
- no longer than 2000 words.
* 1st Prize
£500
* 2nd Prize
£100
* 3rd Prize £50
Entry
fee - £6 for the first story submitted. (It is reduced to £10 for any entry
of 2 stories. Further stories have a fee of £5 each.) You can submit as many
stories as you wish, providing they have not been previously published or have
been prize-winning entries in another competition.
Judging panel - members of the
Northampton Writers Group. The Head Judge is Maggie Allen, author and
professional ghost-writer.
Postal entry: Send your story or
stories (typed please) with a first sheet giving your name, address, telephone
number, e-mail address, and title of story or stories to H.E.Bates Competition,
19 Kingswell Road, Kingsthorpe, Northampton NN2 6QB. Please mark the envelope
"f.a.o. Nick Hamlyn". Include a postal order or cheque (made out to
N.Hamlyn).
E-mail entry: e-mail your story in
Word format, complete with a first page as described above, to hebatescomp@gmail.com and pay by PayPal;
you will be invoiced on receipt of your entry.
Good luck!
Labels:
#competition,
#prize,
#short stories,
#writing,
H.E. Bates,
Northampton
Friday 21 October 2016
Writing - be patient, the story will come
'The End' might not be, after all. Stories have a habit of refusing to go away, insisting that there's still life smouldering between the lines, no matter how many times it's been discarded or rejected.
For years, I've advocated, 'never throw away your failed tales'. I've resurrected several and they've been sold subsequently. Certain stories - or their theme or idea - are just not ready; whether that's the treatment, the characters, or the lack of writing experience; for some reason the story needs time to gestate.
A writer friend, Ray Foster, can certainly endorse this viewpoint. A story that evolved in 2000, changed and morphed in the intervening time until finally being accepted for an anthology this year, the third in an ongoing annual series, Spectacular Tales. Let him tell you about it here.
Of the many instances where I too have found that time was necessary to let the story grow, perhaps the first adventure of Tana Standish is apt. It began as a short story in the early 1970s, transformed into a 50,000-word novel in 1975, and was rejected by Robert Hale due to its paranormal elements (a psychic spy), though their rejection did say 'it's better than many books that are published'. Years later, I returned to the manuscript, piled up a great deal more research, and it was finally published in 2007 as The Prague Manuscript (84,000 words). Then the publisher ceased publishing and the manuscript languished until I revised it yet again and it was published by Crooked Cat in 2014 as The Prague Papers (75,000 words). Since then, another novel in the series has resulted, The Tehran Text (85,000 words) and a work-in-progress is 60,000-words and counting, The Khyber Chronicle.
So, take heed of Ray's closing comments, and never give up.
For years, I've advocated, 'never throw away your failed tales'. I've resurrected several and they've been sold subsequently. Certain stories - or their theme or idea - are just not ready; whether that's the treatment, the characters, or the lack of writing experience; for some reason the story needs time to gestate.
A writer friend, Ray Foster, can certainly endorse this viewpoint. A story that evolved in 2000, changed and morphed in the intervening time until finally being accepted for an anthology this year, the third in an ongoing annual series, Spectacular Tales. Let him tell you about it here.
Of the many instances where I too have found that time was necessary to let the story grow, perhaps the first adventure of Tana Standish is apt. It began as a short story in the early 1970s, transformed into a 50,000-word novel in 1975, and was rejected by Robert Hale due to its paranormal elements (a psychic spy), though their rejection did say 'it's better than many books that are published'. Years later, I returned to the manuscript, piled up a great deal more research, and it was finally published in 2007 as The Prague Manuscript (84,000 words). Then the publisher ceased publishing and the manuscript languished until I revised it yet again and it was published by Crooked Cat in 2014 as The Prague Papers (75,000 words). Since then, another novel in the series has resulted, The Tehran Text (85,000 words) and a work-in-progress is 60,000-words and counting, The Khyber Chronicle.
So, take heed of Ray's closing comments, and never give up.
Thursday 20 October 2016
Book review - Promised Land
Third in the Hooded Swan saga by Brian Stableford, Promised Land (1974) briefly recapitulates some of the events in book two (Rhapsody in Black) as it is dead time for Grainger on New Alexandria. While sightseeing in the countryside, he spots a ‘girl’ being chased by two men. He’s the first to admit he’s no hero, but he intervenes, coming to her aid. The ‘girl’ wasn’t human ‘but she was very humanoid… Her skin was golden-brown and looked moist. Her eyes were big and orange. Her hands seemed to be very contortive – her fingers were tentacular and retractable. Beneath her clothing there looked to be some kind of ridge pattern on her back. She had no hair.’ (p11)
It seems this ‘child’ is one of the indigenous species, the
Anacaona of the planet Chao Phrya. (Of interest, perhaps, Anacaona was a
princess of Hispaniola, 1474-1504). Shortly after Grainger’s encounter with
her, the girl was kidnapped and en route to that planet. Charlot, Grainger’s
boss, tells him to fire up the Swan
and follow. It’s vital, though he doesn’t give any really valid reason.
The people of Chao Phrya are ‘neurotic isolationists’,
according to Charlot. They landed on the spaceship Zodiac and declared the planet the Promised Land.
They are permitted to land and Grainger and his captain Eve
are escorted by Zodiac crew members into the forest, led by ‘tame’ Anacaona.
This is where the story gets interesting, where Stableford indulges himself and
the reader with the flora and fauna of an alien world. Illness and disease
could be a problem, too, for Grainger was loathe to administer human antiseptics and bug-killing drugs to the
Anacaona, since there was no telling how their metabolism would react. The
Zodiac people didn’t seem interested in studying the indigenous humanoids.
The dense jungle is almost like a character in the story,
pervasive, intrusive and glutinous. Perhaps the most threatening creatures are
the crypto-arachnids – ‘about the size of black bears, except that their legs
were longer and made them look more spread out. They were furred like black bears
too’, moving ‘with sinuous serial scuttling movements…’ One of their Anacaona
guides is a spider-hunter; he plays a flute that immobilises them, ready for
the kill. When the guide is overcome with illness, and a half-dozen or so
crypto-arachnids close in on Grainger, we’re subject to a few tense pages!
Since the first adventure (Halcyon Drift), Grainger is host to a symbiote, which he calls ‘the
wind’; though here he calls it a ‘parasite’.
(p18) Their relationship is closer, the bonding now being two-sided,
each seeing the benefit of helping the other. This aspect is one of the
attractive features of the series; yet again, I felt that ‘the wave’ was
neglected for too long in the story.
There are some anachronistic oddities, for example: ‘He was
interrupted by the bleeping of his desk phone.’ Not a vid-phone, just simple
voice. Others include references to a ‘jeep’ a ‘train’, a ‘hovercraft’ and ‘helicopters’
and a reference to the ‘Mafia’. I suspect more futuristic alternatives could
have been used.
The first-person narrative by Grainger is unchanged, with
wit and irony and he’s still the anti-hero.
A fast, interesting read with a mystery at its core.
Labels:
#sci-fi,
#thriller,
Anacaona,
Brian Stableford,
Promised Land,
spiders,
The Hooded Swan
Wednesday 19 October 2016
#Writing - Spine-chilling fiction writing competition
Spine-chilling fiction writing competition
http://creativecompetitor.com/creative-writing-competitions/creative-writing-competitions-2016/haunted-writing-competition/
Length - maximum 1,000 words (including title)
1st Prize: £500
2nd Prize: £300
3rd Prize: £200
4th Prize: £100
Closing date: 31 October 2016
(plenty of time!)
Entry fee: £3.50
[Payment
must be made via PayPal.]
Do you love writing spine-tingling fiction and have a fascination for horror stories? If so, enter this new writing competition from the Creative Competitor. You can use the above photo for inspiration but they welcome imaginative interpretations of the theme. They recommend that 'to be in with a chance of winning, make sure you have a strong opening and you hold our attention throughout.'
Your
story must be unique and previously unpublished.
You must be aged 18 or over
Open to writers worldwide
You may include reference to the above photo
You may enter multiple submissions providing the correct fees are paid
You must enter on or before the closing date
Submissions must be pasted into the body of the email (unless otherwise specified) and sent to: info@creative-competitor.co.uk
Please mark the email subject line with the name of the competition i.e. Spine-chilling Fiction Writing Competition
Good luck!
Labels:
#competition,
#ghost,
#horror,
#prize,
#short stories,
#supernatural,
#writing,
spine-chilling
Tuesday 18 October 2016
Writing - Open competition - short story
Southport Writers' Circle Open Short Story Competition
Deadline - 31 October
Length - up to 2,000 words
Any theme or genre
Prizes - £150, £75, £25
Entry fee - £3 (or £10 for four!)
Online or postal entry. Plenty of time!
See full rules here
The judge is Robert Scott-Norton, a successful indie author "famed for his ongoing intricate sci-fi series ‘The Tombs Legacy’". He's looking forward to reading entries other than sci-fi, of course... Check his books on Amazon - he likes to get straight into the action, it seems.
Good luck!
Deadline - 31 October
Length - up to 2,000 words
Any theme or genre
Prizes - £150, £75, £25
Entry fee - £3 (or £10 for four!)
Online or postal entry. Plenty of time!
See full rules here
The judge is Robert Scott-Norton, a successful indie author "famed for his ongoing intricate sci-fi series ‘The Tombs Legacy’". He's looking forward to reading entries other than sci-fi, of course... Check his books on Amazon - he likes to get straight into the action, it seems.
Good luck!
Labels:
#competition,
#prize,
#short stories,
southport Writers Circle
Monday 17 October 2016
Reviews - authors would like them, but...
Of late, I've observed a noticeable drop off in reviews of my books.
Now, there could be any number of good reasons for that:
1) My reach is limited so I'm not getting new readers
2) My books don't appeal (hopefully earlier reviews will refute this?)
3) Amazon has scared off potential reviewers.
4) Most readers don't review
5) Readers aren't buying from Amazon any more
6) Amazon's new rules prohibit reviews if the reviewer hasn't bought $50-worth of product in their Amazon account, ever
It's quite possible that the third reason has some credibility. I'd recommend that if you're interested in Amazon reviews, you read Anne R. Allen's latest blog about the subject. Apart from analyzing the new Amazon review rules, there's a healthy injection of humour in there too.
And bear in mind, that reviews don't affect your book's ranking - sales do that.
Note: So far, the minimum spend relates to Amazon.Com - it would, since it quotes dollars, I guess. But watch this space...
Now, there could be any number of good reasons for that:
1) My reach is limited so I'm not getting new readers
2) My books don't appeal (hopefully earlier reviews will refute this?)
3) Amazon has scared off potential reviewers.
4) Most readers don't review
5) Readers aren't buying from Amazon any more
6) Amazon's new rules prohibit reviews if the reviewer hasn't bought $50-worth of product in their Amazon account, ever
It's quite possible that the third reason has some credibility. I'd recommend that if you're interested in Amazon reviews, you read Anne R. Allen's latest blog about the subject. Apart from analyzing the new Amazon review rules, there's a healthy injection of humour in there too.
And bear in mind, that reviews don't affect your book's ranking - sales do that.
Note: So far, the minimum spend relates to Amazon.Com - it would, since it quotes dollars, I guess. But watch this space...
Labels:
#Amazon,
#books,
Amazon reviews,
Anne R. Allen,
authors,
despair,
rules
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