Olives - A Violent Romance And The New Book Cover

Look, first things first. I've always loved the original cover of my first serious novel, Olives - A Violent Romance, which published back in the mists of time (well, 2011). I asked Lebanese artist and designer Naeema Zarif to create it for me and her artwork was very dear to my heart. She brought together the soil and the sky, the sea and the sandy Citadel in Amman, a layer of peace treaty adding the final texture to her multi-faceted visual.

It's a lovely piece of work. But it's not a commercial book cover. Let's not forget, at the time I hardly expected to be publishing another four books and more. Beirut - An Explosive Thriller's sexy lipstick bullet (by Jessie Shoucair) set a new look for my front covers, cemented with Shemlan - A Deadly Tragedy's pill skull (by Gerrard King). I've been lucky to find wonderful collaborators for my covers.

The new cover of Olives - A Violent Romance: bang on brand!

By the way, can we just remember that Olives was always a rubbish idea for the book's title? I even knew it at the time, but try as I might I couldn't break the result of the book having carried that title for years as a WIP. I added the 'A Violent Romance' line just to ameliorate some of the worst impact of setting my book up against the might of Crespo and other olive packers, let alone Mediterranean recipes and eateries of all sorts. It's as a result of this I can (and do!) with great authority tell people at talks I give about self publishing that self indulgence is a terrible, terrible thing.

With the new style covers, the world moved on. I had to bring Olives into line and so I set about trying to find cover images that would work. Having failed on all fronts, I cludged together some blood and an olives graphic. The resulting cover was certainly striking but it was, to be honest, awful. Try as I might, I couldn't get anything better together and I was really focusing more on publishing A Decent Bomber (by which time I had learned to be more careful both about my book titles and cover images) and Birdkill. It was this last work introduced me, via a serendipitous little bit of searchery, to Mary Jo Hoffman and her gorgeous daily study of still life, the ethereal little slice of nature and tranquillity that is the Still Blog. A spit in the palm and handshake later, I had her little dead fox sparrow and Birdkill had its rather lovely cover.

As I readied for the series of writing, editing and publishing workshops I gave at the Emirates Literature Foundation last month, I started to find Olives' awful cover nagging at me once again. Swinging by Mary Jo's blog, an occasional treat I still enjoy, what did I spot but images of olives? And a rather wonderful idea dawned. Hoping against hope, I got in touch and asked her if she'd be up for looking at a cover image for my (newly revised) first book? Sure, she said, why the devil not?

And so we have a new cover. Mary Jo's still threatening to work on more treatments, so it may yet change a tad but in the meantime Olives has had a good hard edit in time for the workshop (rather more painful than I had first thought it would be, I unearthed a lot more sloppy writing habits than I'd thought I'd find) a new cover and the fruits of my laziness and self indulgence have instead been replaced by those of Mary Jo's cleverness and art.

What's the impact, you may ask, of a bad book cover design and title? Well, it's measurable - both Olives - A Violent Romance and Beirut - An Explosive Thriller are available on Amazon as free downloads. And they have run at a pretty consistent rate of about 20 to 1 in favour of Beirut over the past three months Will that change now we have a new cover in place? I'll let you know when things have bedded down enough for a pattern to emerge.

In the meantime, Olives has a lovely new cover and copies are not only available online as ebooks and paperbacks, but will also be on sale in the UAE soon, too. More on that piece of news soon!

Brave New World

I was talking on Dubai Eye Radio's Business Breakfast the other week about the wonderful story of Sonia Land and Random House.

Literary agent Sonia Land (of highly respected agency Shiel Land Associates) signed up prolific author Catherine Cookson to publish her backlist online under a new imprint, Peach Publishing. Over a hundred Cookson titles have consequently appeared on Amazon's Kindle Store. The covers alone are a talking point and have prompted more than one comment along the lines of 'If that's your idea of cover art, I hope you're better at the rest of the publishing skillset."

The teensy weensy fly in the Cookson ointment is that she already has a publisher, Random House subsidiary Transworld. Land offered a higher royalty rate, according to The Bookseller. In a Hollywood-style gambit, the news was followed hard by Random House signing top author Tom Sharpe to publish his backlist on Kindle with them, cutting out his literary agent of some thirty years' standing (see where this is going yet?), Sonia Land. At least the Tom Sharpe covers are pukkah.

Heavy hitter agent Ed Victor has followed suit and others have confirmed they are looking at launching their own imprints. You'd be forgiven for surmising that, faced with an existential threat, publishing is tearing itself apart.

The issue of royalty rates for e-books has been an increasing rubbing point between agents and publishers - Amazon takes 30% of a Kindle book, leaving a whopping 70% for the publisher (or, if you're self-pubbed, author). Agents are arguing that given the physical costs of print, distribution and returns are now out of the equation, a royalty rate of 50% of the cover price for the author is equitable. Publishers are currently paying 20-25%.

Agents get, generally, 15% of their author's income from books. So an e-book with a $10 cover price (incredibly expensive, BTW, in e-book terms) would currently give Amazon $3, the publisher $4.50, the author $2.125 and the agent $0.375.

The growing pressure many authors feel in favour of self-publishing, by the way, is only increased by the realisation that selling your book at a much more realistic $2.99 would net you, the self-published author, $2.09 - nearly as much money as going through a publisher and an agent and selling at $10. There's increasing traction around that $2.99 price point - and if your book sold at that price through a publisher/agent, you as the author would get a lowly $0.635.

Meanwhile, the most successful indie author of all time, million-selling Amanda Hocking, has signed a $2 million deal with a traditional publisher through an agent, presumably retaining her digital rights. Oh, to have the clout to do that!

The question now becomes, 'How much value do a publisher and an agent give me here? What are their roles in the e-book world?' This question is also being asked a lot by publishers and agents. Any answers on a postcard, please!

How To Self-Publish In The UAE

Image by saraab™ via Flickr

Here's your own guide to the process, just in case you decide to write and self publish your own book. And before you start with all yer 'yeah, right, like that's going to happen', don't write the idea off. It can all be quite cathartic, believe me.

1) Write a book.
This is generally considered to be a good first step in self publishing. Of course, if you're self publishing a picture book, or a collection of your watercolours you'll have to approach things slightly differently but I'm going to concentrate on the novel form for now.

2) Get a professional editor. 
I use Robb Grindstaff. I've always heard good things about UK based Bubblecow but have never used 'em. Update. Worked with them and they're good/recommended. You need a professional edit for two things - a structural edit and a line edit. The structural edit looks at your story and how you've put it together, aiming to cut redundancies, tighten things up and keep you basically on the straight and narrow. The line edit gets rid of all those stupid little errors that litter every manuscript, no matter how hard you search for 'em. People like Robb are born with strange compound eyes that pick these up in a way we normal mortals can't aspire to emulate.

3) Make sure you understand what you've written.
That sounds daft, doesn't it? But you're going to have to sell the thing all by yourself, so you'd better have properly scoped out the subjects, topics and characters of your book and sifted through them to find the best angles to promote, the things that are going to engage people. You'll need a strong blurb, too. More posts on this later, I'm sure. (Are you guys okay with all this book talk or are you longing for me to go back to whining about HSBC and stuff?)

4) Decide on your platforms.
It's essential to be on Amazon's Kindle and for that I used Kindle Direct Publishing. To support other e-reader formats, I went to Smashwords. I also put together an edition using CreateSpace, which lets me offer a printed book through Amazon.com. Of course, e-reader adoption in the Middle East is still low because Amazon doesn't sell either Kindle or content to the region, which really doesn't help us writers, I can tell you. Because of this, you're going to have to print your own booky book for the Middle East market.

5) Apply for permission to print from the National Media Council.
In order to print a booky book in the UAE, you have to have permission. Importing a book is different and requires a different level of permission, which any distributor will sort out. But printing one here means you have to get this permission. How? By going to the NMC in Qusais (behind the Ministry of Culture building) and lodging two full printouts of the MS. One of these will stay in Dubai as a reference copy and one will go to Abu Dhabi to the Media Control Department, where it will be read and approved or not for production in the UAE.

6) Realise that Dubai is going to take its sweet time over this and send another copy direct to Abu Dhabi yourself by bike.
I am so very glad I did this.

7) Obtain your permission to print
I got mine in an unreasonably short time thanks to a very nice man at the NMC taking pity on me and accelerating his reading of my book. It helped that he loved the book, which delighted me more than you could possibly imagine.

Update here - getting the actual document was a tad harder than getting the verbal go ahead!

8) Get an ISBN
This is actually a doddle. You nip down to the Ministry of Youth and Culture in Qusais and give 'em Dhs200 and a filled out form that gives the title of your book and some other details and they send you a fax (A fax! How quaint!) with your UAE ISBN number. By the way, ISBN numbers mean very little, they're a stock code and do not have any relationship to copyright or any such stuff. You need one to sell books, but that's as far as it goes.

9) Go mad trying to find novel paper, then give up and go to Lebanon.
By now you will have already got a quote from a printing press - all they need to actually print the thing now is that little docket. It's about here you'll finally make the decision that you don't want to use the 'wood-free' paper all the UAE's printers want to print your book on, but to actually use real book paper. It's actually called, wait for it, 'novel paper' and is a very bulky, lightweight paper. Pick up a book by the spine and it will tend not to 'flop', while a book printed on wood-free stock will.

Nobody's got it. It's as if nobody in the UAE has ever published a 'real' book, just books printed on copier paper. I'm not having it - I'm going to all the trouble and expense of producing my own book, it had better look like a book, feel like a book and, when you pinch its ear, squeal 'I'm a book!'.

So one goes to Lebanon - or Egypt, or Jordan. People write and publish books there all the time, so you'll find printers and novel paper abounds. Which means you never needed that permission to print at all, as now you're importing a book. Bang head repeatedly against brick wall and do Quasimodo impersonations.

10) Delay the UAE edition launch to the TwingeDXB Urban Festival, taking place on the 10th December 2011, where you're doing a reading and stuff.
I could have made it in time for the Sharjah International Book Festival if I'd settled for the other paper, but I decided to delay instead and get it done properly. So we're launching the online edition at Sharjah, with an open mic session where I and self-published Emirati author Sultan Darmaki will be doing readings and Q&A and stuff. That takes place this Sunday, the 20th November, at the SHJIBF 'Community Corner'.

That Was The LitFest That Was

I'm feeling slightly shell-shocked this morning. The weekend's whirl is over and I realised, probably massively belatedly but then I am a bear of remarkably little brain, from the moment I started the process of editing and formatting Birdkill, I was preparing for it.

I got roped into a panel on science fiction at the last minute, which was a little bit strange. One of the panellists decided we were all going to start with a reading which I thought odd, but I was feeling benign and generally happy go lucky and so went along with the scheme. There should be a law banning people who assert they 'read rather well' from ever reading their books to an audience.

The invitation to a science fiction panel came because of the mad eugenics, drugs and battlefield enhancement program that's at the heart of Birdkill. I thought of explaining that it's actually reflective of some real-life, modern-day programs run by people like DARPA but threw that up and just agreed to it. In all things bookish, I have a policy of never, ever saying 'no' to anything - something I have rarely had cause to regret, BTW.

It all went well enough, I suppose and we chatted happily about how Sci-Fi has sort of grown up and is no longer the guilty secret read it was when I was a kid, how writing 'near future' Sci-Fi is harder than space opera and other stuff. I was there more as a fan than anything, I suppose. I managed to get in a dig about how explorer of suburban dystopias JG Ballard would have loved writing a novel set in Arabian Ranches, which was all rather fun.

I went to Justin Marozzi's talk about Baghdad which was great. One of the perks of being a LitFest author is your wee badge gives you 'access all areas' and you can attend sessions without a ticket - something I always manage to make all too little use of. I had read Marozzi's history of Baghdad with fascination and similarly enjoyed his presentation. Of course he had to tell the Haroun Al Rashid story. Tsk Tsk.

The how to find your route to publication and onto shelves panel was an absolute hoot. Having in previous years found myself debating the role of traditional publishing vs self publishing with people like Luigi Bonomi (the world's nicest literary agent) and Orion's Kate Mills (an eminently sensible and most likeable lady), it was nice to finally encounter someone who represented the face of traditional publishing I felt I could really disagree with. Jonathan Lloyd is chairman of Curtis Brown, a very big London literary agency, and he was eventually provoked into aiming a sentence at me starting with 'With all due respect' - a phrase all English people know means 'I am about to be rude to you' and Jonathan didn't fail us, advising me that perhaps I might better spend my time learning how to write well instead of dancing around wasting it playing at book marketing.

I am very glad, in hindsight, that I noted the English preamble to discourtesy rather than trying to address the assumption behind it. I'd have come across as an angry and defensive person and I most certainly am neither of those (at least when it comes to writing and publishing my books!). I'm perfectly happy that traditional publishing should continue to strive to exist, as I am that they have clearly decided the things that interest me and how I tell my stories are not for them. Given that, the swipe rather back-fired. Mind, I don't think I'll be signed up by Curtis Brown any time soon...

Arrow's Selina Walker took perhaps a more benign view of the changing face of publishing and the opening up of the market to wider choice and it was clear that publishers and agents are no longer quite as aligned as they once were. Jonathan's assertion that agents were on the side of the author while publishers were in it for themselves drew a polite, measured but I felt slightly pained response.

This was the stuff though - I would describe the panel as lively and it must have been highly entertaining for the audience, which is what you're after really, isn't it?

But I had the most fun the next day, with the panel on crime I shared with Chris Carter and Sebastian Fitzek, both of whom write about serial killers, psychopaths and really, really bad people. I noted to the audience that I felt like something of a fraud - my bad guys are just bad, but they're pussies compared to Chris and Sebastian's bad guys. My bad guys steal ice creams from small kids, stuff like that. They won't rape you while they're sucking out your brains with a straw. Truth be told, my good guys are more of a worry...

We talked about research - meeting IRA members, serial killers and forensic surgeons; about inhabiting the grey area between good and evil; about creating empathy for horrible characters and how you handle putting yourself in the head of a killer. I did a lot of book plugging, for which I am truly contrite.

Both Chris and Sebastian are very nice guys who have some worrying stuff going on in their heads, but they're engaging and genial talkers who conjured a great deal of laughter from the audience. We wrapped up on the hour and it was clear both authors and audience would gladly have stayed another hour and more bouncing all these questions, ideas and experiences around.

We signed books afterwards and some people turned up to have me sign my books which is lucky because that doesn't usually happen and I was dreading getting sandwiched between two international best-sellers with my usual queue of three (mind you, they put me next to 'House of Cards' author Michael Dobbs the day before. As usual, a line disappearing into the horizon next to the yawning space left in front of me after I'd signed a few books. Le sigh.)

As usual, the LitFest team were glorious, wonderful, patient and kind. If there was a single hitch or hiccup, I certainly didn't spot it. Tens of thousands of people, 160 authors, hundreds of sessions, events, happenings, talks and signings. And it was all as seamless as a seamless thing.

So here we are. Facing a world without the Emirates Airline Festival of Literature - at least for another year. What AM I going to do?

Not write another book for a while, I can tell you...

How To Self Publish Your Book In Dubai. Or Anywhere Else, For That Matter...

I just thought this was more fun than the EAFOL logo, to be honest...

The Emirates Airline Festival of Literature is once again upon us. Yup, that was a year right there.

I'm doing  workshop on how to self publish in the UAE, although you'd be able to use the info to self publish in Copenhagen, Watford or even, to remain topical to our peregrinations last weekend, Kathmandu.

I'm also doing a Q&A panel session on publishing, apparently which seems to have become an annual event confirming me as the UAE's poster child for self publishing. Which is all very nice, but I'd honestly rather be talking about censorship, selling books, telling stories, spies in the Middle East or the region's troubled relationship with narrative fiction, building a sense of place in novels, terrorism in fiction or a number of other aspects of my booky life. Hey ho.

The How to Self Publish EAFOL Workshop is linked here for your ticket-buying pleasure: that's Dhs 250 to you, mate.

What do you get for your Dhs 250? Well, you get to be shouted at by me for two hours. You'll also learn about editing, cover design, page layout, formatting your core manuscript, file management, rights, ISBNs and copyright, dealing with the National Media Council and booksellers in the UAE, printing books and mounting to sites like Amazon - as well as ebooks and Kindle, Apple, B&N and other online outlets. Then we'll also explore book marketing and promotion, online marketing, using dashboards and other booky sales stuff.

In short, a grounding of all you need to know to publish your own book effectively, to the highest possible quality and directed at the widest possible audience. Not bad, eh?

Sign up right here! Right now! 

A Year In Self Publishing

 (Photo credit: Wikipedia)

Now Beirut – An Explosive Thriller is out, I thought I could afford to sit back a little and take stock of the past year and perhaps share some of the things I’ve learned since I decided to take the law into my own hands and publish Olives – A Violent Romance myself. I started to document them, then realised I was going to end up with a book about publishing books! I've put some of the top line things down here, but will post separately tomorrow on book promotion and marketing because it's such a huge topic in itself.

People are nicer than you think.
For someone with a generally low opinion of humanity, this has been a real eye-opener. The supportiveness and positivity I have encountered from total strangers has been breathtaking. I have been genuinely surprised at peoples’ reaction to learning you have written a book – it’s generally seen as something of an achievement. The next question is invariably ‘What’s it about?’ and I cannot stress enough how important it is to have worked out a snappy, crisp answer to that question.

Publishing online is easy.
Once you’ve got your head around things, it’s really just a few clicks here and there. While this is neat, it’s also dangerous, because you can get pretty glib about things – then find you’ve posted a document stuffed with errors. The great news is that it’s just as simple to upload updates – the bad news is you can lose hours or, in the case of print books, even weeks of sales availability.

Publishing offline isn’t.
The Middle East lags many other markets in e-commerce and this is very true of ebooks, with zero support for the region from retailers such as Amazon. This forced me to produce a ‘Middle East Edition’ of Olives, getting government permission to print a book in the UAE, finding a printer who could print novels and arranging distribution. I’ve lost a significant amount of money on that edition – printing 2,000 books has resulted in something like 300 sales (I still haven’t got sales returns from retailers beyond disitributor Jashanmal’s own stores, so can’t be sure of the exact number. Likewise, I haven’t got any money from them a year in!). I've made more money (and as many sales) with the online editions, by the way.

Editing is key.
The printed edition of Olives is a flawed work, with some awful errors in it. Apparently the average traditionally published book contains over 70 errors, but one is too much for me. The worst of these, IMHO, is two paras in which Lynch’s eyes change from green to blue. For the record they’re blue. Although the book was edited extensively, including an edit from pro Robb Grindstaff, it was also tinkered with post-edit. Send your final version to the editor and then leave it alone. This resulted in one snarling review on Goodreads – the only truly negative one I’ve had – which suggested Olives was a great story told by the wrong writer. Which was nice.

Book clubs are cool.
Don’t get me wrong – I could never belong to a book club. But they buy your book, read it then invite you to come and spend a couple of hours talking about yourself and your work (my two favourite subjects) then thank you for coming! Amazing. They’re also core readers and significant providers of word of mouth recommendation, so are worth assiduously courting. They are also a great way to get to understand your work from a reader’s point of view which, in my case at least, resulted in a totally new approach to the whole process of writing. It's scary when you first realise that people are actually reading your work, analysing your characters' motives, getting immersed in the world you made - and getting pitched unceremoniously out of it if you've made an error or flub. This has led to something of a catechism for me - there's a relationship in reading a book and it's two-way. The writer is an unwelcome guest in the room and it's his/her job to be totally invisible.

Book marketing is a bitch.
 Traditional publishers are struggling with book marketing in the e-age and I have some sympathy with them. I should stress when I say ‘some’, you’ll need nano-scale measuring equipment to quantify that. The good old days of stuffing bookshops have gone, you have to find new ways to bring your work to the public’s attention. Most of that involves putting yourself out there (so it’s lucky I’m not shy, isn’t it?) which can be unbelievably rewarding but is also exhausting.

An online presence is critical.
 Twitter, book websites, blogs, posts to Facebook. These things are wearying to maintain but critical to building engagement and pulling people in to your book. I’ll talk about them more in that post about book marketing tomorrow, but you absolutely need an online strategy. While I have come out of this with a huge amount of respect for the role of book reviews, I remain unimpressed by ‘blog tours’ as a tool for finding readers and selling books.

Book bloggers and media are frequently wary of self-published authors.
A professional, crisp approach and a website packed with glowing reviews help to get over that, but some simply won’t countenance self-published authors and I can actually relate to that because there are a huge amount of needy voices out there and, worse, there’s a great deal of dross. Finding the good stuff, however, is surely what book reviewers are there for, so it’s a shame that the volume defeats some. That volume is unlikely, BTW, to diminish!

It takes an awful lot to make people buy – and read – a book.
You’d have thought ‘buy my book, it’s nice’ would be enough, wouldn’t you? But it takes a great deal more than a single ‘touch’ to get people moving. In fact, it takes seemingly endless and relentless promotion, reminders and pushing. You’ve got to be like a literary Modhesh, popping up and wobbling your tentacles (sausages, whatever those things on his head are) at people. And it’s a fine line between engaging, nagging and irritating.

The most important book sales tool in the world is...
Word of mouth.

Platforms For Self Publishing

 (Photo credit: Wikipedia)

Sorry, long involved book publishing post warning...

The final edits to Beirut - An Explosive Thriller are done now that editor Robb Grindstaff's comments and changes have been incorporated. A few tweaks here and there, a few last squealing adverbs eliminated and we're on the home straight. I must reiterate here, you HAVE to get a professional editor - budget $1,000 to $1,500 for one. But don't for one second think you can self edit your way out of this one, buddy. And no, your talented friend who is a magazine editor/writer/English teacher won't do.

What platforms will I be publishing on? The plan is pretty much the same as for Olives - A Violent Romance, although there is a question mark over a UAE print edition, not least because the parcel containing the MS I sent to the National Media Council to obtain my Permission To Print in June has gone missing and nobody can find it. Which is not helpful.

Just in case you need a reminder, BTW:

The Olives - A Violent Romance website

The Beirut - An Explosive Thriller website

And yes, I would recommend you do a book website!

Olives was published on Amazon.com's KDP, on CreateSpace and Smashwords. Space, which I published more as a bit of fun than a serious novel, was only published to Amazon's KDP Select, of which more below.

Managing multi-platform publishing.

Things can get out of hand pretty fast with file management and so on, so I suggest keeping a separate folder for the core MS and a different folder for the files required for each platform (Kindle, Smashwords, Createspace, Print etc). One hard-earned tip here; DO NOT spin the files out from the core MS until you are 1001% sure you're looking at the last version you will ever create. You really don't want to end up making line corrections across four or more different sets of files for every niggly thing you missed. It's time consuming and, perhaps more importantly, dangerous - you've got four or more multiplications of that invitation to Mr Cockup.

You'll also have to change the copyright page on each version to reflect the ISBN or identify the edition. Do NOT, by the way, use your print book ISBN across other formats/editions.

Those folders can also contain the different versions of your cover - again, each platform will have a subtly different cover requirement.

Polish that blurb!

Before you start thinking about uploading books to platforms, make sure you're ready to start. Finished, professionally edited MS, clear idea of what you've got (is it a thriller, historical romance or what? And what tags would you put on it to make sure it's searchable?)? Got a GOOD cover that'll work as a thumbnail and still stand out? And have you polished your blurb so it DOES NOT contain ONE silly error, reads like a dream, is short and crisp yet will make people want to dip into your work and, gasp, even buy it? Then let us proceed!!!

Publishing to Amazon KDP (Kindle Direct Publishing)

Uploading books to Amazon's Kindle Direct Publishing is pretty easy, assuming your MS is in Word. You need to download a natty little piece of software called Mobi Pocket Creator (MPC, just to save my fingers). Here's a link. Now you export your Word file to an HTML, Filtered format file and then add it into MPC. You can also upload your book cover to MPC - note it should be a colour file to fall in line with Kindle Fire capabilities. Cover art works best for Kindle as 2500 pixels high by 1600 wide or thereabouts.

When you're working on MPC, don't forget to add the metadata - blurb, BISAC category and keywords. These all help to make your book more discoverable.


You can add inline images, glyphs or other logos and picture content by embedding a link to the file in the text, the image file should be copied to the same directory as the source file. Use the img src HTML tag, the image file needs to be in the same folder as the text you're linking from - the syntax is <img src="filename" middle /> - the 'middle' centers it, of course.

Correcting formatting glitches (pages that kick over, that sort of thing) will involve getting lightly involved in editing HTML, but nothing too daunting. The most helpful simple HTML tags for this sort of thing (all tags are enclosed between < and> are:

<br /> inserts a paragraph break

<b> at the start and </b> at the end bolds it - <i> for italics </i> but don't forget to close the tag or your whole book from that point on will be bolded.

<mbp:pagebreak> inserts a pagebreak. Note this is not 'proper' HTML, but a Kindle specific tag.

You can now connect your Kindle to your PC and upload your book file to view it and make sure it works fine and dandy. Just drag and drop your built book file into the 'documents' folder on the Kindle (Windows sees a Kindle as a memory key).

The rest of the KDP process is pretty straightforward - follow the prompts on screen. When you get to book pricing, note the different royalty rates - and note unless you enroll in KDP Select, you'll only ever get a 35% royalty out of India, irrespective of how you price your book (The 70% royalty doesn't apply below $2.99 or above $9.99).

Amazon has a program called KDP Select, in which you only upload your book to Amazon for a duration of at least three months (and not to Smashwords, iBooks or anyone else). This way, you get to give your book away for up to five days in that period and also qualify to share in the monthly pot of money (currently $600,000) shared between authors depending on how many times their books have been borrowed by subscriber to Amazon's Kindle Prime service. Space, for instance, has been enrolled in Select and I've so far run two giveaways, which have resulted in hundreds of books being downloaded. I have to say, that hasn't resulted in hundreds of reviews.

I won't be doing Select with Beirut - An Explosive Thriller as I consider Smashwords to be an important additional platform. As I shall explain below.

Publishing to Amazon Createspace

Createspace is Amazon's POD (Print On Demand) platform and it's pretty smart - it means anyone, anywhere in the world, can buy your work as a printed book. There are a number of considerations to using Createspace, I'll try and deal with the 'biggies' here, as it's a relatively straightforward service to use.

Creating a file to upload is simply a matter of formatting your MS to suit the size and format of book you pick. I found the most sensible (and smallest) to be the industry standard 5" x 8". You can download the standard Createspace templates and then run your MS text into it. Before you do, make sure your MS is sensibly formatted - 0.5cm para indents, bar the first of each chapter, 1.15 line spacing and text set at 9 points is a good start. When you've run your text into the template, you can start to experiment with fonts. At the basic level, stick to a nice 'standard' font like Garamond (my choice), Palatino or Times. POD printing is slightly different to offset printing and fonts will reproduce slightly differently. If you know what you're doing with fonts, you can obviously make your own choices, but POD books set in Comic Sans are really something the world doesn't need.

You can play around with margins, but note Createspace is very picky about gutters and the usable type area as POD printers are less accurate about stuff like trim sizes than offset. If you significantly alter the margins from the Createspace template, you might fail file review and have to go back to the drawing board.

You can buy your own ISBN or you can opt for a Createspace assigned one. I go for the Createspace one. Some things you must know about ISBNs include the fact they are purely a stocking code and give away no rights or other attributes. The ISBN is unique to this edition of your book - if you produce another format, even size of book, you'll need a separate ISBN. If you opt for Createspace's expanded distribution (It costs a few dollars, but just do it), anyone will be able to go into a bookshop, cite your ISBN and place an order for your book.

Your book cover will require a little skill and may well be worth outsourcing. I'm lucky in that I have long used graphics software, so I do my own with a little help from talented artist friends for the images. You'll need to create a single image file with your back cover, spine and front cover all in one. The spine is sized depending on your pagination - Createspace gives you the relevant multipliers depending on the paper you decide to use. Createspace will also generate the barcode for your book or you can create your own (using one of many websites that offer free barcode creation) and integrate it into your artwork.

Your files then go through automated review and then a manual check. At this stage you can order your proof copy. Although you can skip this step, I recommend strongly that you do not. It'll take a few days (one of many reasons why Aramex' Shop n Shop service is cooler than cheese), but you'll get the chance to physically check the product you'll be selling to people. Now you're good to go. Select your book pricing (you get to see how royalties and so on work at different price points) and take the expanded distribution option (just do it) and about five days later, your print book will be on sale at Createspace.com, amazon.com and then over coming weeks other outlets and vendors including, importantly, the Book Depository which will sell and ship books affordably and internationally.

Publishing to Smashwords

Smashwords is important because it supports spinning your book out into multiple e-book formats and publishing to a number of important platforms including Barnes and Noble's Nook, Kobo and iBooks. Smashwords is relatively simple to use and powerful. Founder Mark Coker has written much sense on the topic of ebooks and I do strongly recommend reading his excellent 'secrets to epublishing success'. Another must read document is the Smashwords Style Guide - you really need to digest this so you get your head around the requirements for Smashwords' 'Meatgrinder'. Meatgrinder is the engine that takes your Word file and multicasts it to Kindle, ePub, PDF, .txt and other formats - you can pick which formats you want, but the ePub one is vitally important as this is the format for Nook, iBooks and Kobo as well as many other outlets/readers.

Basically if your MS is sensibly formatted to begin with (Times 12 point double spaced, 0.5cm para indents and no use of spacebar to create tabs), you should have no problems. Meatgrinder does NOT support text above 18 points and will reject any document that contains more than four concurrent paragraph returns (you can check your MS using the 'show document formatting' button in Word).

Double check you choice of tags on Smashwords - Olives - A Violent Romance was filed under Theatre on iBooks because I used a 'drama' tag on the book - remember, Smashwords is populating multiple platforms with your work, so you have to be super careful to get it right - an error means updating could take weeks.

And that's it for now. Beirut - An Explosive Thriller is uploaded and sites are populating pages even as we speak - we're on track for that October 1st launch date now.

In the meantime, if you have any platform questions, I'll try and help if you pop 'em in the comments. And I'll try and put up a 'Olives one year on - what I learned' post soon. For now I'm off to carry on polishing up my book blogger lists and get those review copies of Beirut - An Explosive Thriller out there. Wish me luck! :)

How To Write, Edit And Publish Your Novel

I've done a number of workshops over the past few years which set out to help accelerate people's booky journeys by sharing with them some of the more useful things I have found out in my own sixteen years of writing, publishing and selling books. Mostly I have discovered things the hard way and the idea is just because I did, doesn't mean you have to.

Now I'm doing a new and expanded series together with the Emirates Literature Foundation, set to take place in their august and hallowed halls: four workshops which combine presentation-led talks with hands-on practical sessions where attendees can put some of the stuff we talk about into practice.

You can go straight here and sign up right away 'cos places are really limited!

Starting Saturday 17th September, each five hour workshop breaks into two hours talk, an hour's lunchtime chatting and a two-hour practical session. They run through until 8th October.

In session one, we'll be looking at how to write a book, a big picture overview of why you'd even want to, what to expect, how to structure your story and some guidelines for writing. The second session will look at editing techniques as well as some practical guidance on things like characterisation, dialogue, scene-setting and all that good stuff. 

We'll give session three over to understanding publishing - what the industry looks like right now, what that means to you and how you go about pitching your book to agents, as well as understanding more about what traditional publishing means to you as an author. 

And then, last but by no means least, we'll be looking in session four at how self publishing works and how you can do it for yourself, including what platforms to use, formatting books and covers, uploading them and a look at promotion and marketing.

All in all these sessions are intended to give you everything you need to get started on making that book you always thought you had in you happen, working within a sensible and supportive environment together with a bunch of people going through exactly what you're going through. As I said, I've done a number of these workshops in the past and people have generally enjoyed them, there have been a minimum number of breakdowns or violent assaults and no requests for refunds, so people generally seem to enjoy them and find them useful. Or maybe they're just too embarrassed to complain...

Here's that sign-up link again over at the ELF website - see you there!

If you have any questions, please do hit me up over at Twitter - @alexandermcnabb and if you haven't come across me or my books before (where HAVE you been hiding?) you can find out more over here.

Book Post - Shopping Beirut

Part of my list of the fourteen London publishers Robin shopped 'Beirut'  

to - pretty much a 'who's who' of publishing. One by one, I got to cross 'em off...

I started writing Beirut - An Explosive Thriller in late 2009, just after a reader working for British literary agent called Eve White rejected Olives - A Violent Romance after a ‘full read’ with the comment that it wasn’t dramatic enough. Right, I thought. If you want dramatic, mate, you can have it. It wasn't until I'd done with the book that I realised I had created precisely the type of novel I'd set out to spoof with my first attempt at a book, the amusing Space (although I have to point out that Space's first Amazon review cites the book as almost entirely unamusing!).

I finished in June 2010, but it wasn’t until spring 2011 Beirut was picked up by literary agent Robin Wade, who signed me on the strength of it.

Now, for the uninitiated, getting signed by an agent is quite a deal. Step one is typically a query letter which may lead to a request for the 'first three', which is the first fifty pages of your book and a synopsis. If this pushes more of the right buttons, an agent will ask for a 'full read' - by this stage you're very close to the top of the slush pile - let us not forget agents in the UK will receive something like forty brown envelopes full of someone's hope a day. If an agent signs you, you're bloody well made. They're not charity cases, these boys, they're running businesses with that most admirable of objectives in mind - making money. An agent signing you means they think you have commercial potential in the 'competitive market' they all remember to mention in their rejection letters.

I can't begin to tell you how much hope was packed in my heart as Robin touted Beirut - An Explosive Thriller around the London Book Fair. But I was giddy with it - 250 rejections from agents later, I was actually in with a chance here. Robin faithfully reported back on the reactions he got back from each editor. To a man, they rejected it. What's more, it took them seven months to get around to it! The rejection that hurt most praised the book’s qualities but noted the editor in question ‘couldn’t see it selling in supermarkets’.      

"There are lots of elements to it that I like – there’s an austere, almost Le Carre feel which I like and the author can clearly write. The dialogue and plotting stood out for me in particular. I’m afraid though that it is – for my purposes – a bit too low-key; the ‘commercial’ bit of my job title requires me to pick out titles which are going to appeal directly to supermarkets and the mass-market, and I feel that this would be too difficult a sell in that context. "     

It was that reaction pushed me over the edge into self-publishing. "Low key"? The book's an adrenaline soaked catalogue of machismo lunacy and violence! Caviling apart, there was clearly a major change – and massive contraction – taking place in the world of ‘traditional’ publishing and it wasn’t favouring a new author writing hard-to-peg novels about the Middle East.I was clearly wasting my time at the gates of Gormenghast castle. It was time to pack up my motley collection of carvings and take them to market myself.

The whole process had wasted a year. I lost little time in getting Olives into print in December 2011, with a view to following with Beirut the next Spring. In retrospect, this was silly - the whole wearying cycle of promotion sucks down time, as does editing and polishing - publishing Olives taught me an awful lot, not the least lesson being that there are readers out there. I'm not kidding - up until that point it had been about me and my books. Now it was about them and my books. Meeting readers, talking about the characters, their motivations and feelings with complete strangers changes the way you write, it really does. And then Beirut went off for editing and I started getting permissions, readying different files for print, Kindle, and ePub formats.

It's all taken pretty much a year. but a year better spent than one waiting around for publishers to think of new and inspiring ways to say no.

So on December 1st, at 7pm, the Middle East print edition of Beirut - An Explosive Thriller will launch at Jashanmal's book store at the Mall of the Emirates, Dubai. If you can't wait, or you're not in the UAE, you can buy your very own copy from the outlets listed here. The launch is going to be a lot of fun and I'll share details as I confirm things, but do mark the date in your diary!

Pre-Orders, Book Marketing And, Ahem, A Decent Bomber

(Photo credit: Wikipedia)

Quinlan passed out; a merciful release.

He should have expected them, should have seen the signs of quickening interest in his daily movements. The tailing moped; the sallow, bearded fellow he never saw before and then glimpsed all too often.

They came when Deirdre took the girls for a sleepover with their wee cousins. He had just poured a whiskey when the doorbell rang. His hand flew back from the latch as the door burst open. Their silent, brutal assault buried him under a flurry of expertly dealt blows. They pinioned his hands with nylon ties.

The torture was methodical. Quinlan shrieked himself hoarse, flailing around tied to the kitchen chair until he hurled himself to the floor. They righted him and beat him as dispassionately as they’d pulled out his thumbnails.

And not one word. Not a question. It made it all worse, to think there was nothing they wanted he could give them to make it stop.

They started on his fingers. He called to God, he called to his dear, dead mother. He begged them. Dear Jesus, how he begged. They beat him again to shut him up. His mind slammed down to buy him respite.

And so starts A Decent Bomber, my fourth serious novel and the first not set in the Middle East. I've been making a wee fuss about it being on pre-order and (sorry if you follow, know or are somehow linked to me. It'll go away if you buy the book, honestly) will continue to do so for a while.

Why am I so bothered about pre-orders? Because on the 5th November, when the book publishes, every pre-order will count as an order on the day. If you collect enough pre-orders, the book rockets up the sales charts and comes to the public notice. Briefly, probably not in a chart topping sort of way, but nevertheless in a more attention-getting way than shouting 'buy my book' from Dubai will do.

Book marketing in general is something of a nightmare for the self-published author. And, actually these days, for publishing houses, too. There's a lot of noise out there with all this self-publishing lark and a lot of people trying to find ways of getting their book in front of people. As the 'traditional publishing' model breaks down (catalogues and sales teams knocking on bookshop doors to flog this season's new offerings), even quite large publishers can be found on Twitter retweeting every time a reader says a given author's book is quite nice. There's a hint of desperation in the air.

It's hard to get horses to water and drinking, especially in today's online world. McNabb's Law of Clicks refers - thousands of impressions don't necessarily mean sales. Book bloggers have 'To Be Read' lists stretching for months ahead. It's amazing how many go out of business, breathless blogs with 'I love to read' in their headers shuttered and strewn with cobwebs, that aspiration to share great reads submerged in tottering piles of desperate authors pushing their dubious wares. Tracking coverage in Middle Eastern 'major media' shows a distinct lack of correlation between media coverage and book sales - even rave reviews in national media.

One challenge in marketing A Decent Bomber is that the book is set in Ireland and the UK. Without a Middle Eastern angle, its target market is really in the Western world - where I am not. Anything I can do to get people in the UK/US talking about the book, sharing it, recommending it or otherwise focusing their attention long enough to click on an Amazon link to swap $2.99 for 350 pages of mayhem will be considered.

Funnily enough, you can help. Tell the folks back home about it. Encourage them to tell their friends and family about it. Share a link to the book on Facebook. Let's face it, the sooner you do, the sooner it'll go nice and quiet around here again...

Headed For Cairo

(Photo credit: Wikipedia)

It's been over seven years now since I was last a visitor to The Mother of the World (and, actually, that trip was itself my first for eight years. So you could say I was a little out of touch). A lot has happened since - Tahrir and all that for a start. I used to spend more time there than in Amman; we had an office in Garden City, the serene and beautiful area of old French colonial houses just off the Nile. I used to spend a great deal of my time shuttling back and forth. I was always fascinated by Cairo - its vicissitudes are the stuff of fairground rides: the highs and lows are never less than dizzying.

I remember being at Amman's QAIA, transiting on my way to Dubai back in the '80s, listening to a group of Christian tourists headed to Cairo. They were a snippy, ancient little lot and two or three of the men were jostling for dominance in the way only the English can: "With the greatest respect, Jolyon, I think we should be better rewarded worrying about quite where our luggage is..." and all that. They settled down to pray and I listened in, marvelling at their strange, Pythonesque faith. "Oh Lord, take care of us as we set out for Cairo, particularly Phyllis who is having trouble with her feet. Let us not have our bags stolen or drink anything with ice in it or otherwise get upset tummies."

Not that the risk of the latter is anything to sneer at. I have been miserably ill thanks to Cairene food, which is (unless something has changed in all those years) almost always 'interesting' at best. My constant travelling companions were always Immodium and Buscopan. I remember one Comdex Cairo a chap out from the UK who had brought an attaché case (I kid you not) of Jacob's Cream Crackers which, together with bottled water, is all he would allow past his lips for fear of The Cairene Revenge. All went swimmingly until the last day of the show when he injudiciously allowed a business partner to buy him a Pepsi. It had ice in it.

BLAM. He went down faster than a goat hit by a Pajero.*

I'm going back at the end of the month, thanks to a kind invitation to attend a conference taking place at the famed Townhouse Gallery, 'MENA. Online. Literature. Today.' The nice chaps at Townhouse seem to be under the misapprehension I have something to do with literature, can string together a coherent sentence in public and won't burn the place down.

They're clearly in for a terrible shock.

The conference aims to review the state of Middle East publishing, from the structure of the current publishing market to disruptive effects such as self publishing, small presses, ebooks and online publishing platforms. It'll also look at areas such as online governance, activism and censorship. It's a fascinating initiative and I, for one, am looking forward to encountering the various players and their viewpoints at the event.

I'm looking forward to it tremendously, wondering quite what I'll find compared to the city I knew and loved/loathed way back then.

* You might think that's a strange, Dan Brown-like choice of metaphors, but I have hit a goat with a Pajero and can assure you they drop fast, baby.

Fake Plastic Souks - The Glory Years

Yes! It's the book of the blog! As I mentioned in one of last week's traffic-destroying booky posts, I was giving a workshop at The Archive's 'Day of Books' (nice to see HH Sheikh Mohammed dropping by and commending Safa Park's finest book haven and café) on how to use self-publishing platforms.

Trouble was, I didn't have a book to use as a sample. And then it hit me - pull the blog into a book format. It took a tad longer than I had anticipated, but resulted in the best bits of my first two years of bloggery being poured into a nice booky book shaped mould. So now you can buy Fake Plastic Souks - The Glory Years as both a print book or ebook.

I found the whole process fascinating. For a start, going back over stuff you dashed down five years ago means quite a few surprises - I enjoyed myself reading over posts from that time when Dubai was overheating like a lunar capsule re-entering earth's atmosphere and then noting the transition to abandoned cars and vicious, clueless articles in the UK's media about the Downfall of Dubai. I think that period of turbulence is quite neatly documented (but then I would, wouldn't I?).

For the workshop, we uploaded the book to Createspace - which means you can buy a printed paper booky book of the Blog from Amazon for £8.99 with next day free shipping. It then went up onto Kindle Direct Publishing, which means a Kindle book can be yours for £0.77 (Amazon's minimum price). And then we uploaded the files to Smashwords, which supports the important ePub format (Barnes and Noble, Kobo, Sony and iBooks), again pricing the ebook at $0.99. All in about 90 minutes.

One interesting learning for me was that the Kindle Direct Publishing people came back to me as a result of their validation process because they had found the content in my book was already available on the Web. They wanted to know why - and that I owned the rights to the content - before they would proceed with publishing the book to the Kindle store. They were the only one of the three platforms to do this.

I might play around with the booky book price a little, but you can quickly see how the production cost of a paper book forces the price into the stratosphere compared to ebooks. It's one reason why I now refuse to pay publishers the same price for a Kindle book they charge for a paperback. They're just being greedy and lazy. As most will know, Amazon pays a 70% royalty if you charge between $2.99 and $9.99 for your ebook, but otherwise (from $0.99 to $2.98 and $10 to $200) it pays only 35%.

It all goes to show something frequently overlooked, but actually, IMHO, quite important. You can create an ebook out of almost anything - content can make its way into peoples' hands in seconds flat and archive material, as long as it's of interest to someone, anyone, out there can be turned into a globally distributable and available asset for an investment of pretty much nada up front.

Anyway, you can now buy a bit of this blog to put on your mantelpiece or wherever else you display precious things. If I sell more than ten, I'll do a sequel!

Amazon.com

Amazon.co.uk

Smashwords

Must Use Bigger Elephants

I'm over in Australia today rabbiting away about my remarkable tally of rejections from the British publishing industry on Ozzie Sci-Fi writer Patty Jansen's brilliantly titled blog, Must Use Bigger Elephants.

It's all part of Patty's 'Blog Tour', a brilliant scheme writers have evolved to share space on each others' blogs and therefore give each other access to their readers for a day. I've guest posted on a number of other writers' blogs (and gladly hosted them on this one), mostly because of the international community of writers I've stayed in touch with since we all met on Harper Collins' Authonomy website.  Few us still visit Authonomy, but a great number of us still stay in touch.

It's interesting, Authonomy could well turn out to have had a demonstrably important and wide-ranging effect on writing and fiction that was completely unintended by its founders. And one not entirely in their interests, as many of us have thrown up our hands at the publishing industry and gone it alone. Tools like blog tours give writers access to global audiences as well as giving readers access to new writers. And of course self-publishing means you can reach global audiences far more easily than all the printing, shipping, distributing and stocking involve in 'traditional' publishing.

So do please be my guest and pop over to MUBE and have a root around and perhaps, if you're into science fiction, take a look at Patty's work. Don't forget to behave well while you're there and wipe your feet before going in...

First Fictions

Richard Pierce-Saunderson's first published novel, Dead Men, which charts the last days of 'Scott of the Antarctic' is being published by Duckworth. As I'm doing a panel session at the Emirates Airline Festival of Literature focusing on how authors found their route to publication, I thought it would be interesting to explore Richard's story and look at how he took 'Dead Men' all the way to the hallowed shelves of your local bookshop.

So, you’re off on a blog tour of the world. Why stop over in the Middle East?
 You’ve got a different circle of readers to me. I want to extend my reach, so to speak. And then you sent me an article about the UK Ambassador to Lebanon hosting a dinner to commemorate the centenary of Scott getting to the South Pole, which contained a reference to Maxime Chaya from Lebanon, who’s retraced Scott’s footsteps to the Pole, or some of them anyway. And given Dead Men is about Scott’s last days, I found the connection too much to pass by!

What do you mean some of them?
No-one’s ever completed that journey from Scott’s base at Cape Evans to the South Pole and back on foot. That’s about 1,800 miles.

Oh.
Quite


So. First fictions. Let's start where we met, on the Authonomy writers’ web site back in late 2007. Tell me why you ended up there in the first place.
My wife found it for me, actually. The Guardian reported in September that it had come out of beta, and that it was open to the public. It was pitched as a chance to get your work in front of Harper Collins editors, and a place where writers might expect to improve their skills. So I joined, with a book I’d written some years before, called Bee Bones. I didn’t really expect much, to be honest. And for someone who’d been banging on the locked doors of the publishing industry for years it seemed like a last throw of the dice, before chucking in the writing lark and focusing on day job and family for the last years of my life.

Did it teach you anything?
It did, actually, and not just about writing.

Explain.
You know, writers are odd people. They’re desperate to share their words, to get them printed on someone else’s paper at someone else’s expense (and for their gain), but when it comes to marketing themselves, they’re actually clueless. What I learned then, in 2008, is that if we want something, we have to go for it.

What we called shameless plugging, back on Authonomy...
Exactly that. The community there was fairly light-hearted, as I recall it, and you and Simon Forward and I used to play these silly games where we’d try to plug our books in a subversive sort of way, rather than spamming people to come and read them. It meant we devised all sorts of subtle (and mostly humourous) strategies which might drive readers to our books. The thinking needed for those stratagems has stood me in good stead, I think. And it stopped me from packing in writing, stopped me from giving up, because it made me feel like I did have somethinig to say. I don’t know if you feel the same way.

Well, Olives has been published.
There you are then. Part of not giving up was also to grow a thick skin, and to be able to deal with criticism.

Just ignore it, you mean?
No, no, the opposite, in fact. It’s when we’ve not yet developed thick skins as writers that we tend to ignore any criticism of our writing, and skim over advice that could actually make us better writers. Personally, I tend to find that it’s the writers who deflect criticism or call it invalid who are those who are producing sub-standard work. Developing a thick skin means taking all criticism seriously, but learning not to take it personally, and to understand that writing is very subjective.

You’d not learned that before then?
No, I hadn't! Anyway, within the first couple of weeks of being on there, I’d asked for, and got, a long review from an American guy, which basically recommended that I scrap Bee Bones because the plot was faulty, and because it was totally unbelievable.

That must have been a bit of a blow.
In one way, yes. In another, no. He made some valid points about how the book might have been differently structured, which I think I used when I rewrote it. But after about half a day’s grieving, I decided that his core criticism was just his opinion, that the book could stand, and so I left it up there. I’ve still got a copy of that review somewhere.

Do you think it informed your subsequent writing? Because Bee Bones hasn’t been published, has it?
It did inform what I’ve done since. And no, Bee Bones hasn’t been published – yet. There are two versions of it now. But, and this is perhaps the most important point, that book was actually the key to Dead Men getting published.

How so?
I sent Bee Bones to Peter Buckman, the guy who agented Slumdog Millionaire, after Harper Collins had reviewed the book on Authonomy and turned it down (it got to Number one at the end of October 2008, as you know).

I know, I was in the Top Five with you the same month.
I thought I’d let you get that one in. But not with Olives.

No, it was a funny book called Space. Still unpublished, too. Anyway, we digress.
Right, Peter read the first three chapters of Bee Bones and an extended synopsis, but didn’t take it on. He said it was a good book, but too midlist (ie no chance of selling really, really well). I asked him if I could send him my next book when I finished it and he said yes. I had, in the meantime, started Dead Men after coming back from the Antarctic, and after getting lots of encouragement to write another book from my friends on Authonomy. So, when I’d finished the book after 6 months (and some helpful comments from people), I sent it to Peter. Two 3-hour phone calls, five weeks, and a massive edit (from 113k words down to 85k) later, he asked me if I’d sign for him.

It’s taken four years to get it published?
That’s the thing, though. Everyone thinks you’ve made it as soon as you get an agent, because that part is ball-breakingly difficult, but I had to wake up and smell the coffee, because getting an agent’s only the start. Peter made a massive effort to sell the book to mainstream publishers, but nearly all of them, without exception, quoted the market place as being too difficult to try to sell a new author into with such a complex book. Some of the feedback we had included “A few years ago I may well have offered, but it’s so inhospitable out there in the markeplace”, and “It’s an impressive and really quite brave novel; an ambitious and complex novel.” But still nothing, until the lovely independent Duckworth came along and took it on at the end of summer last year. To an extent that extended selling process was more depressing and discouraging than being constantly knocked back by agents, and one that led me, on more than one occasion, talking to Peter about self-publishing.

But you didn’t go that route?
Peter persuaded me to be patient. Also, I have self-published poetry, and in all honesty I’m just too lazy to do all the marketing gruntwork self-publishing involves.

So Duckworth are doing all the hard work for you?
They have arranged some events for me, and I’ve arranged others. But my mind-set’s different now. I just hate doing admin stuff, and to have someone who points me in the right direction is really helpful, because I’m one of the most disorganised blokes in the world. Now that we’ve got events set up, I’m desperate to do more, and not too lazy to catch trains from one end of the country to another. In fact, if any airline wants to sponsor me to tour the US and Australia and New Zealand, I’d gladly do that, too.

You’re obviously bonkers, and still on that shameless plugging trip.
Now that a third party’s put time and money into editing, typesetting and printing my book (and converting it into Kindle and Kobo format), I suppose I am.

So, what next?
The Kindle version of Dead Men is already available, although I am trying to encourage people to use their local bookshops instead. The physical book comes out on 15th March, although there’s a rumour that the Natural History Museum in London might be putting it on their shelves in the week starting 5th March. I just hope it sells lots of copies.

So, many congratulations are in order. Have you bought your celebratory copy of Olives yet?
Erm...

Here's a link to 'First Fictions' at the LitFest, which you can still buy tickets for at the amazing, knock-down price of Dhs65 and which even includes a seat!

And this here is your very own link to Richard's debut novel, Dead Men, which you can pre-order from Amazon or snap up on Kindle.

And here, last but by no means least, is a link for Richard to buy Olives ... >;0)