All posts by Paul

I am a self-employed writer, which means I’m working for an idiot who doesn’t pay me enough – but the holidays are great. I’m ex many occupations, from the respectable ‘career-ladder’ to disreputable “somebody’s- got-to-do-it”. All a good way of seeing someone else’s point-of-view. Best job, apart from writing, was dispatch-riding on a motorcycle in the 70s, though I’ve also enjoyed teaching, librarianship, counselling and helping to run a community-centre. Sometimes I’ve looked respectable in a suit, other times a bit more wild and woolly (though still stylish) as a biker. It’s strange how differently people treat you, depending on what you’re wearing. A suit means I’m sometimes addressed as ‘sir’, but in motorcycle leathers I’m always referred to as ‘mate.’ The worst job that I’ve done ? You really don’t want to know, but it was in a processed food manufacturer’s factory – put me off bacon, sausages and quiches for a long time, and made me look at pet food in a new way. I’m very glad that I don’t have any pictures. I’ve been writing since I was eight, when I penned a story about a desert island and attempted to compile a dictionary – as Clarissa does in my short story ‘The Moon Is Out Tonight’. I’ve written for magazines under a variety of pen-names, ghost-written a couple of biographies and had a column in a local newspaper. I used to concentrate on non-fiction of an informative, how-to instructional nature, as I’m a firm believer in the dissemination of knowledge to enable people to do things for themselves. Knowledge is power, and in these troubled times of economic downturn and increased intrusion into our lives by government agencies, its vital to know how to get through. My fictional stories also show people coping and finding ways to survive. I’m based in a Celtic nation, the county of Cornwall or Kernow. I’ve been here for twenty years, and have lived all over the country, as well as abroad in France, Germany, Switzerland, Spain and the U.S.A.

Bitch Characters

This article on the Vulture website is a timely demolition of poorly written female monsters in fiction.

I say ‘timely,’ for though the #MeToo movement is doing long overdue work to eradicate and punish sexual assault and harassment, any protest movement engenders excessively contrived propaganda—including fiction.

Hillary Kelly’s article made me wonder about which are my favourite bitches in novels…and how I’ve written about women with a dark side.

In books I’ve read, some of the most frightening women conform to the traits shown by the Wicked Queen in Disney’s Snow White and the Seven Dwarfs, in that they’re typical of how stepmother figures have been portrayed from the time of legends and fairy tales—insecure, jealous, controlling, self-absorbed and cunning.

I was reminded of this when I first watched Woody Allen’s Annie Hall, in which he confesses his attraction to the Wicked Queen:

You know, even as a kid I always went for the wrong woman. I think that’s my problem. When my mother took me to see Snow White, everyone fell in love with Snow White. I immediately fell for the Wicked Queen.” – Woody Allen.

She’s both menacing and attractive, which makes her even more malevolent. In a 2014 survey, one-third of the 2,000 adults polled named The Wicked Queen as ‘the scariest character of all time.’

It’s important to differentiate between strong characters and bitchy characters. A female character can be empowered with strength and wisdom, without being spiteful. Males who are nasty tend to get called ‘bastards’. Having said that, nowadays, the term ‘badass‘ is used to cover a multitude of mean-tempered belligerence.

In fiction, I’ve been intimidated/angered/entertained by the relentless ambition of Scarlett O’Hara in Gone With The Wind, the manipulative falsehoods of Amy Dunne in Gone Girl, the witchy despotism of Lady Macbeth, the worst book fan worship of Annie Wilkes in Misery, and the nutty religious fanaticism of Margaret White the mother of Carrie.

Image result for gif Margaret White the mother of Carrie.

In my five crime novels, nine antagonists are male, while four are female. The bitchiest of them all is a foppish male art dealer, who despises everyone, revering paintings over people. One of the women is a serial killer, alongside her husband, taking hikers as food, while carrying out a campaign of retribution on people they consider to be sinners. She’s a horrifying figure because she’s a trained killer, inured to death from having fought in the Vietnam War and working for MI5 as an agent. In person, she’s shy and withdrawn, self-conscious of being scarred by Agent Orange….but, she’d stab you as soon as look at you…then butcher your corpse and cook you for Sunday roast dinner. In that way, she’s an evil bitch! I quite liked her.

My other three bad women include an ex-forces veteran, suffering with PTSD, a battered wife who kills her brute of a husband’s ex-lover, trying to set him up for a fall as the murderer, and a salty-mouthed ageing prostitute—who has a nice line in bitchy comments, scathing of men in general, but who’s a sweetheart deep down yearning for a quiet life by the sea. A friend, who acted as a reader for the story featuring the tart liked her withering put-downs, asking for me to bring her back in another story:

“She kept moving, putting a sashay into her walk, as his eyes were sure to be glued to her bum—men were all the same—they thought with their balls, pointed with their cocks and talked out of their arseholes.”

Who are your favourite bitches from fiction?

Have you created any yourself?

In Praise Of Small Stories

To keep my spirits up as 2018 morphed into 2019, I watched one of my favourite feel-good films—2001’s Amélie—it’s very French, charming, good-natured, funny and made with love.

My DVD came with an extra disk of bonus features, including an interview with the director, Jean-Pierre Jeunet. His previous film project was Alien Resurrection, which meant a long time in America shooting and editing, so he was glad to return to his home country. Casting around for what to do next, he wanted a change of pace, a “small movie” set in a Parisian neighbourhood with not too many actors.

Based on his experience in Hollywood, Jeunet used test screenings for his new project, which weren’t in common use in France in 2001. To his surprise, audiences and discussion groups loved the film. Instead of making a movie that appealed only to the French, he’d somehow tapped into a tale that moved audiences worldwide, and the foreign rights were sold for 45,000,000 francs.

This made me think about what appeals to me in storytelling. I like small stories, where the action takes place somewhere with a strong sense of location, featuring only a few characters. Sprawling epics with a large cast of players certainly have their place, though it can be tricky to convey the humanity of the participants. For me, the best parts of The Lord of The Rings saga are the scenes where the characters talk face to face about their love of home and their fears, not the huge battles or monstrous baddies gnashing their teeth.

As for much-touted High-Concept plots, the term immediately implies to me that the story is driven by a pitch that sizzles attractively, but the story itself might lack characterisation and any real meaning. I want to be in the characters’ heads, not marvelling at the twists and turns that confront passengers with snakes on a plane. Cheap thrills are OK up to a point, but I prefer something that feeds my soul. Small stories may be low-concept, but subtlety is nourishing.

Some of my favourite reads have been small stories set in a distinct place with characters melded with where they grew up. They’re novels that could be filmed without special effects.

* The Hook Men by Timothy Hillmer

Until I read this story, it hadn’t occurred to me that people were employed to recover drowning victims from fast-flowing rivers. Comparisons with James Dickey’s Deliverance are justified, not only for the location but also the themes of masculinity and honour that are mythological in their power.

Image result for The Hook Men by Timothy Hillmer:

* The Ploughmen by Kim Zupan.

I’ve praised this novel before, choosing it as one of my favourite reads of 2017. It’s one of the best small stories I’ve read containing an all-too-good hero and an implacably evil villain. Again, the protagonist is a rescuer/recoverer, finding travellers lost in the snow…while the antagonist, a contract killer, ensures people are lost to life forever.

Image result for The Ploughmen by Kim Zupan.

* A Whole Life by Robert Seethaler

This story would appeal to anyone who enjoyed John Williams’ Stoner,  as not a lot happens, and when it does, it’s in a low-key way that’s hugely transformative. Just a man living his life as best he can, trying to do the right thing and sometimes failing.

Image result for A Whole Life by Robert Seethaler

Influential acting coach Stella Adler, in her book The Art Of Acting, said: “There are no small stories, only the actor makes them small.”

I’m inclined to think that the same thing is true of writers. Small stories can contain huge themes. Being small implies that there will be relationships that are developed, a certain intimacy that lures the reader into feeling something about what it means to be human.

A quality that Amélie and the three books I mentioned share, is that despite containing dark elements, there’s also positivity and even joy. I try to do the same thing with my Cornish Detective novels, where my protagonist decompresses the tension created by investigating horrific violence by painting watercolours, listening to music and creating a wild garden.

Are any of your favourite books small stories with huge messages?

Querying & Synopsis Advice Videos

While researching ways of finessing my query letters and synopsis writing, I found several useful videos.

Harry Bingham is an experienced crime novelist who founded a writers’ help group after realising how many authors had problems finding representation for their first novel. Originally called The Writers’ Workshop it was recently renamed Jericho Writers.

The videos are about nine minutes long, and he gives some useful advice.

How to write a query letter

How to write a great novel synopsis

Jericho Writers offer a free query letter & synopsis builder

Damned Statistics!

Mark Twain popularised the phrase: “There are three kinds of lies: lies, damned lies, and statistics.”

It’s never been truer than when referring to authors’ incomes. Some of you may have seen the doom & gloom report from the Authors Guild in America, which claims that author income fell 42% from 2009 to 2018.

One of the problems with this sort of report is that it’s seized on by the media and publicised without comment or appraisal. The veracity of any survey depends on who is asked for their opinion. Thankfully, Nate Hoffelder has got his head screwed on right, and in his excellent Digital Reader blog, points out the inaccuracies of the methodology used by the Authors Guild: read the Comments at the bottom, in which the AG’s Executive Director responds and Nate Hoffelder replies.

Image result for Nate Hoffelder

Nate Hoffelder

If a survey is biased towards a certain age group or publishing method, then the results will be skewed. To add to the problems of getting an idea of what the real picture is with digital publishing vs traditional publishing, publishing a book on Amazon doesn’t require an ISBN and as they don’t report their sales figures, there’s no way of accurately knowing how many books are sold via the biggest book dealer in the world!

The only thing that’s certain, is that relying on book writing as a sole source of income is foolish. Even well-known authors who’ve won literary prizes need to work other jobs, often teaching university students about how to become a writer. The success stories of debut authors that the media like to print are wildly misleading, with mention of sixfigure advances, film options and three book deals.

There are very few modernday authors who’ve become millionaires. Perhaps it’s not surprising, though I still find it disturbing, that the wealth of authors closely reflects a society where 1% own 82% of the world’s money. 

In the UK 1% of writers account for onethird of book sales.

My own approach to having a writing career was that I knew I was going to be in for a long slog, as I had much to learn, so I resigned myself to no income for several years. I’ve made less than $50 in ebook sales since 2013. I could make more money panning for gold in Cornwall’s streams…the county is riddled with old mines.

Long-term ambitions for any writer can only come to fruition with hard work, perseverance and a large amount of good luck. I recently saw a quote from W. Somerset Maugham which sums up my desire:

It is not wealth one asks for, but just enough to preserve one’s dignity, to work unhampered, to be generous, frank and independent.

Merchandising Opportunities

I previously posted about writers selling out, but this article in the Guardian, about the bizarre accoutrements available courtesy of J. K. Rowling’s Harry Potter empire, brought a wry smile to my face.

No doubt, many people buy this tat as collectable objects, a good investment likely to go up in value. Who knows? Perhaps a plastic Hagrid bauble will be deemed to be worth a small fortune on the Antiques Roadshow 2119. Early editions of the books go for impressive prices—a first edition of Harry Potter and the Philosopher’s Stone sold for £60,000 at auction in 2017.

An avid collector of memorabilia entered the record books.

Image result for harry potter Victoria Maclean

The first time I became aware of merchandising as a source of revenue, was back in the late 1990s when it was widely publicised that the Rolling Stones made more money from T-shirt sales than they did selling tickets to their concerts. It was an exaggeration, but as this article shows $135.9 million in merchandising sales isn’t to be sniffed at.

Just think of the collectability of Star Wars‘ toys and figures. This sort of marketing and money making is easiest in the Fantasy and Science Fiction genres. I recall a terrible failed attempt to hype a damp squib of a 1990 film called Dick Tracy.

Based on a 1930s comic strip, and starring Warren Beatty, Al Pacino and Madonna, much money was thrown at marketing the film through merchandise, novelisations and theme park rides by backers Disney. My local department store’s clothing department had a separate display area featuring yellow trench coats and fedora hats like Dick Tracy wore. They sat there unbought for a month, before being withdrawn.

In my chosen writing genre of Crime, it’s hard to think of merchandising opportunities, apart from the eternal Sherlock Holmes’ tweed suit, deerstalker hat, Ulster overcoat and travelling cloak. Not to forget his violin and magnifying glass, though we’ll draw a veil over his cocaine-injecting hypodermic syringe.

There’s a 221b museum in Baker Street, at Holmes’ supposed address, and sometimes other books engender a tourist trail. I’m well-placed in Cornwall, to take advantage of this, for Winston Graham’s Poldark stories have twice been adapted into television series, and Daphne du Maurier’s Cornish novels are regularly filmed. Visiting the Daphne du Maurier museum/shop at Jamaica Inn is a sobering experience showing how an author’s work can go on earning a fortune for decades after their death. I lived a mile away from this hostelry for about six months, bewildered by how hypnotised the holidaymakers were who spilt off fifty coaches a day. The shop brought in more money than the bar did selling beer.

Should my Cornish Detective novels ever sell as books, getting optioned for a television series, it could be that local traders, pubs and hotels will make money off my creations. I deliberately chose locations ideal for filming with this in mind. Apart from the books themselves, I can’t think of any merchandising potential.

How about your books?

Have you thought of additional ways to sell them, using clothing, music, figurines and games?

Where Is My Competition, Where Is My Prize?

This post promises to be the most controversial I’ve made, but let me state from the outset, that I’m glad all the prizes I mention exist.

Encouraging minorities to write and rewarding the best with a prize is a laudable thing. Just recently, a new prize was announced for women’s comic fiction. Called the Comedy Women In Print prize, contestants have to be unpublished and the winner will receive a contract with HarperCollins and an advance of £5,000.

Image result for Women In Print prize

There’s a plethora of competitions and prizes aimed at various minorities, including:

* Jhalak Prize—for Black, Asian and Minority Ethnic.

* Stonewall Book Award—for Lesbian, Gay, Bisexual and Transgender

* The Thinking Woman’s Writing Award—for female non-fiction on philosophy

* Women’s Prize For Fiction—previously known as the Orange Prize & the Baileys Prize

* Virago/ The Pool New Crime Writer Award—for unpublished female crime writers.

* Creative Future Literary Awards—for writers with mental health issues, disability, identity or other disadvantages social circumstances.

* Granta, the literary magazine, irregularly issues lists of the best young novelists— ignoring anyone over the age of 40 who’s just started writing.

For mature writers, there’s the Christopher Bland prize, to be awarded to a first novel or work of non-fiction published when the winner is 50 or older. Note the catch—you have to be already published. As ever, with these prizes, self-published books are excluded.

Christopher Bland

The world of literary prizes, and even lists of favourite books of the year, often looks like a closed shop to me, in that the same damned authors get selected. It appears to me, that it’s not so much that their writing is exemplary, more that they’re being chosen because of long-founded connections with other authors, publishers and journalists…the old boys’ network. It’s not as if books win prizes through ‘blind tastings’ is it? Think how rare it is for a novel to win an award that doesn’t feature on longlists and shortlists for other prizes; it’s the same with books of the year lists that appear in December.

One of the most egalitarian of prizes is The People’s Book Prize though that requires a book to be submitted by its publisher. If an unpublished author wants to get anywhere, there’s The People’s Book Awards which welcomes emerging and established authors. Books Are My Bag Readers Awards are even more populist, being the only book award curated by bookshops and voted for by readers, but again it’s established authors who get the most votes.

Political correctness is peculiarly slanted, for no one is prepared to criticise how morally astute protestors and activists are being, even if they’re showing signs of prejudice themselves. Those who’ve been oppressed in some way can also be bigots.

I believe in having a level playing field, but that’s impossible. Because I’m male and Caucasian, I apparently represent an oppressive segment of society. Also, one that’s got it made…not in need of help or reward for my writing efforts through a specific award for my gender, race or age.

Imagine the reaction from politically correct people, if it was announced that a writing competition or literary prize was aimed solely at White Males! That would offend so many different groups, that I’m not even going to list them—yet, all would be in favour of such accolades for their own minority group.

Reverse discrimination is rarely mentioned, but there was an interesting example of it recently, from Sweden…where a rock festival was deemed to have been guilty of discrimination for excluding males.

Photographer David Bailey was interviewed in November, 2018 for a Guardian column, and he said something that cuts to the heart of this problem:

I hate political correctness because it turns you into a liar. People say what they think they’re meant to say.

There’s nothing to be done about it, though, as political correctness is a weighty club.

I repeat I’m in favour of all of these competitions, prizes and cash awards targetting minority or special interest groups. In my working life and as a volunteer, I’ve interacted with disadvantaged children, the deaf, the blind, the autistic and dementia sufferers. I’ve been a marriage guidance counsellor and a rape crisis helpline volunteer and volunteered for the Crisis at Christmas homeless scheme.

Any competition or award is essentially a marketing tool, to attract attention to the books being promoted. That’s a good thing if we want more of the public to read…though, some of the prize-winning titles are not always easy reads so they might put people off.

I wonder if the increase in awards and competitions for minority groups is a backlash against the entrenched Caucasian middle class who run publishing…Try looking at literary agencies and publishers’ websites to find BAME, LGBT or disabled employees.

What do you think about the world of literary awards and writing competitions?

Have you ever entered a minority group writing contest?

The Common Touch

I’ve been wondering about what makes a story a page-turner, about how readers become devotees of a particular author. 

What prompted me to mull over readability, was a sticker on the cover of a crime paperback I borrowed from the library last week. Life Or Death by Michael Robotham has a sticker proclaiming LOVE IT OR YOUR MONEY BACK with a qualifier in small print around the edge advising To find out more and for T & Cs go to www.thecrimevault.com/exclusives/lifeordeath/

Image result for Life or Death by Michael Robotham

As a story, it’s capably written, with a couple of mysterious hooks that drag the reader in to make them want to know what happens. I wondered how many readers claimed their money back, for the guarantee had a four-month time limit from the date of publication in 2015.

Robotham started as a journalist, before becoming a successful ghostwriter of celebrities’ biographies. He shares traits in his writing style with other journalists whose crime novels I’ve read, mainly that he’s masterful at concision, of getting the action onto the page without flowery excess, but it lacks the warmth of involvement in his characters’ fates. It reads more like a film treatmentdetailed notes for a script than a story told by a writer with the common touch. Instead of sitting alongside me describing what happens, Robotham’s voice sounds like the narrator of a True Crime documentary.

Image result for They may forget what you said—but they will never forget how you made them feel. Carl W. Buehner

From the Cambridge Dictionary:

The Common Touch: the ability of an important or rich person to communicate well with and understand ordinary people.

When it comes to choosing a book to read, the author is an important person, even if not as wealthy as they should be! Having the ability to communicate in a compelling way decides whether readers will like your story enough to read on. If you’ve touched them, they talk about your book and word of mouth promotion sells it in bestselling amounts.

As Alan Bennett said:

The best moments in reading are when you come across something—a thought, a feeling, a way of looking at things—which you had thought special and particular to you. Now here it is, set down by someone else, a person you have never met, someone even who is long dead. And it is as if a hand has come out and taken yours.

Such communicating with a reader is partly down to chance for a writer, but some authors have an amiability that is very attractive; I think, it’s one of the reasons for J. K. Rowling’s success.

We talk about influences on our writing, and for me, the main way that my style has been swayed is emulating the common touch of favourite authors such as Walter Mosley, Elmore Leonard, J. B. Priestley, Dennis Lehane, John Steinbeck, Somerset Maugham and Guy De Maupassant. There’s something about these authors where I feel like they’re on the same level as me…not talking down to me.

Being a companion to our readers is a strange thing for us to think about, but it’s the stance I consider when writing my Cornish Detective novels. I find it helps to imagine just one reader as I write, rather than attempting to appeal to the masses. Kurt Vonnegut put it well:

Image result for 'Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.'

Joni Mitchell, in her song A Case Of You said:

“Love is touching souls”
Surely you touched mine ’cause
Part of you pours out of me
In these lines from time to time

Perhaps having the common touch means that an author touches souls.

Which authors move you?

How have they got the common touch?

Image result for tom gauld comic

Taking My Name In Vain

While editing a short story last night, as I went to check the hyphenation of a word, my own name Paul jumped out at me!

Chambers Dictionary lists Paul Pry asa person who pries into other people’s business. [The eponymous character in John Poole’s play (1825)]

Intrigued, I investigated further. Wikipedia describes Paul Pry as: a comical, idle, meddlesome and mischievous fellow consumed with curiosity.

Image result for liston in paul pry

Well, that fits me!

I was christened Paul after my father, who was named after his father, who was named after his father, all of us with the name of a British king as a middle name…John, in my case.

Curiously enough, my mother used to tell inquisitive infant me to stop prying” when I was being nosy about something, though I doubt she knew of a 19th-century play.

My surname of Whybrow is uncommon, though as I knew of a couple of writers called Whybrow, I experimented with the pen name of Augustus Devilheart when I first returned to creative writing. Marion Whybrow wrote art books and Ian Whybrow writes children’s books; neither are related to me. Using a pen name was too complicated for me, so I reverted to my birth name.

There’s a village near Penzance, Cornwall, called Paul. Whenever I’m overtaken with a fit of egomania, I imagine moving there and changing my name by deed poll, so that I’m Paul Paul of Paul House, Paul. (The men in white coats are coming to take me away).

Of Pauls in fiction, who I like, there’s Paul Atreides in the Frank Herbert’s Dune universe, Paul Sheldon in Stephen King’s Misery, Paul Morel in Sons and Lovers by D. H. Lawrence…and what of the Apostle Paul?

Does your name have any literary connotations?

Did an author take your name in vain with a fictional character?

There’s & There’re

In full dither mode, as I avoid studying helpful articles about self-promotion, querying and Amazon, I’ve been re-reading short stories and novellas that I wrote in 2013 and 2014.

I haven’t looked at them for three years since I uploaded freshly edited versions with new covers onto Amazon and Smashwords. It’s been an enjoyable experience, like catching up with friends I haven’t seen for a while.

My writer’s eye also spotted preoccupations, recurring themes in my stories, that I wasn’t totally aware of while creating them. I edited out a load of wordy garbage, which I missed in 2015. It’s satisfying and embarrassing to strike out twenty-four words and say what I meant in just five words!

One tricksy dilemma that I wrestled with back then, still bothers me a bit…the use of there’s and there’re. It’s discussed in this thread on the English Language & Usage Stack Exchange website.

As one contributor says, strictly speaking, there’s, for there is, shouldn’t be used when referring to a plural, yet in everyday conversation people commonly say it. They also make an elision of there are dropping the letter a and turning it into there’re—but somehow that word looks wrong in print!

I previously pondered the pain of contractions in an old post and the tussle between being grammatically correct and making our characters sound believable continues. I’ve found there’re used in only a few novels that I read this year, usually recently published crime stories. In my own writing, I’ve sometimes used there’re in speech, especially if the speaker expresses themselves colloquially. I wouldn’t use it in the narrative where I’m describing a series of events.

It’s a neurotic writer quandary to have, but what do you think?

Are there any contractions that bother you?

Eek! I’m adding to the existing confusion over their, there and they’re…