Showing posts with label author platform. Show all posts
Showing posts with label author platform. Show all posts

Saturday, 26 October 2013

What Not to do at a Job Interview


Below is a short story from the world of my first novella Crash. It’s a post apocalyptic series, although this story is set before the world fell apart. It's a job interview with one of the main characters of the book. I hope you enjoy it. 
What Not to do at a Job Interview



Dean sat at the round table in silence, his mouth dry. On the other side, the interviewer studied his notes. Circular placemats were randomly scattered over the highly polished surface. Lifting his glass of water from one of the mats, Dean took a sip of the chilled liquid and placed it down again. The cold gulp soothed his throat but landed hard in his anxious stomach. Staring at the orbs of condensation rolling down its side, he focused on his breathing to calm his nausea and only looked up when the interviewer spoke.
“Mr Brown?”
Dean laughed. “Mr Brown was my father; please call me Dean.”
The man stared for a second, his moon face blank. Looking back down at his sheet, he cleared his throat.
The muscles in Dean’s back tightened and his shoulders lifted to his neck. Sweat left his armpits and rolled down the sides of his ribcage. Who does this cunt think he is?
“So you’ve been unemployed for the last eight years?”
A hot flush burned Dean’s face. Pulling at his collar did little for his tight throat. Staring at the man, Dean ground his jaw and nodded. “Yes.”
“Do you mind if I ask why?”
The reaction jumped from his mouth. “Because I can’t get a job, can I?” Jesus, pal. It’s not fucking rocket science.
The door to the office was behind the interviewer, and Dean stared through its porthole window. There were several women in the adjoining office taking turns glancing in at him.
When he looked back, the man’s eyes and mouth were spread in wide Os.
Letting the tension fall from his shoulders, Dean raised his hand. “I’m sorry.” Coughing cleared the wobble that threatened to ride his words. “It’s just… I’ve been through this process so many times.” He looked down and picked a flake of wood away from the desk. The top may have been polished, but the edges looked like they’d taken a battering. “I want a job, which is why I’ve come to so many interviews. But it’s a bit of a kick in the teeth always being told no. It’s not like I’m trying to become the fucking prime minister or anything.”
The man flinched when Dean swore.
“I know I didn’t finish school, so my CV looks like shit, but if no one will give me the chance, how can I prove myself? Besides, they’re only crappy jobs.”
“You think this is a crappy job?”
“It’s Biffa. Not NASA.” Dropping his right hand beneath the desk so the man couldn’t see it, Dean clenched his fist so tightly his arm shook. The fury put a shimmer in his voice. “I mean, it’s only picking up bin bags.”
Straightening in his seat, the interviewer stared at the part of his desk that had been ever so slightly vandalised and pushed his round glasses up his button nose. “This job is actually quite hard, Mr Brown. Physically demanding. Early mornings, etc.”
“You saying I ain’t got the strength to lift bin bags?”
Showing Dean his palms, the man said, “Firstly, you need to calm down.”
A heavy frown crushed Dean’s view.
“Also, I’m not saying that at all. I’m sure you have the strength, Dean, but can you get up in the mornings? Can you handle having a boss tell you what to do?”
“I can,” Dean’s lip lifted in a snarl, “as long as the cunt don’t mug me off.”
Glancing at the round clock on the wall, the man sighed and said, “Right, we’re going to run through some scenarios. Is that okay?”
The tension fell from his back and Dean stared down as he ran his finger in circles on the desk. “Fire away, chief.”
The man straightened his papers. “Okay, it’s three in the afternoon, and your shift is due to finish. However, it’s been a long day and you still have another hour’s worth of work to do. Do you, A—”
“I’ll stop you there, pal.”
The interviewer paused.
“I’ll do whatever extra hours you need me to do. As long as it’s on the overtime sheet, that is. I’m not one of those people that work for nothing. If you have too much work and not enough staff, that’s your problem. But keep filling my bank account, and I’ll work like the fucking Energizer Bunny.” Dean’s throaty laugh bounced around the room.
The man kept his eyes lowered. “It’s the night before your day off, and you get a phone call asking you to work. What do you do?”
“It depends what I have planned for my day off. If I can change it, I’ll do that and come into work.” Laughing again, he added, “As long as it ain’t winter. Who wants to get out of bed in February?”
Putting the paper down, the man closed his folder. “Thank you, Mr Brown. We’ll be in touch.”
Dean’s jaw fell. “That was a joke, man.”
“That’s fine. We’re done with the interview though.”
“But there are more questions there.”
“Um…” the man paused. “There are, but we don’t always ask them all.”
“Why don’t you just tell me now that I haven’t got the fucking job? I’m a big boy—I can handle it.”
“To tell you the result of the interview now would be unprofessional and against company policy.”
The deep breath did nothing to still Dean’s rampaging pulse. “Unprofessional my arse. You just haven’t got the stones for it, pal. Telling a man to his face that he doesn’t have the job ain’t unprofessional; that’s the excuse of a coward.”
The man stood up. His round belly pushing against the buttons on his shirt. “Thank you, Mr Brown. We’ll be in touch.”
Remaining in his seat, Dean stared up at the man. One well-timed jab on the chin would knock the cunt sparko. “I’m not going anywhere until you tell me straight. Have I got the job or not?”
The man lifted the phone on the table. It was an old rotary phone—maybe he thought he was retro. Sticking his finger into the hole for the number nine, he spun the dial. “I’m going to call the police unless you leave now, Mr Brown. I will not be held to ransom in my own office.”
Standing up so quickly his chair scooted out behind him and fell over with a loud crash, Dean stared at the man. After a few seconds, he left the room and slammed the door on his way out.

The revolving doors ushered him into the warm, stale room. The hot choking smell of old photocopiers caught in his throat. Walking over to Martha’s desk, Dean sat down.
The pad of Post-its she was scribbling a note on were small suns. They were yellow, circular and had happy faces printed on them. Smiling, Martha asked, “So, how did it go?”
Dean looked around. “This room stinks of piss and desperation. I ain’t like these mugs in here, you know.”
“What do you mean?”
“Take a look around you. The carpet’s filthy, the job boards are emptier than a Tory’s heart, and half of the people in here look like they’d struggle to spell their own fucking name. This is a place for alcoholics and losers.”
“And the unemployed,” Martha reminded him.
Turning away, Dean caught the eye of a man at the desk next to him.
Clenching his fists, Dean tilted his head to the side. “What the fuck are you looking at, pal?”
After holding his glare for a second, the man then looked away.
Too fucking right!
“This place is full of arseholes.” Dean sipped his lukewarm coffee and screwed his face up at the muddy taste. Lifting the round Styrofoam cup, he said, “When are you going to stop serving this instant shit?”
“This isn’t a coffee shop, Dean. Anyway, the man said you swore at him in the interview. He said you were openly hostile.”
“Like fuck! We were having a bit of banter. A joke about overtime. Okay, maybe I did swear, but the rest of it was all good fun. Until he asked me to leave.”
“Do you even want a job, Dean?”
“Of course I want a fucking job! When those Conservative arseholes get into power, I won’t have a pot to piss in. Why do you think I’m going to so many fucking interviews? But if no one will give me a fucking chance…”
“You’ve got to stop swearing for a start.”
“Don’t fucking tell me what to do!”
Martha’s jolly face turned stony. Pointing a wrinkled finger at him, she said, “I’ve been doing this job for thirty years, son. I think I’m qualified to tell you what to do. You need to stop swearing in interviews, and you need to tone the aggression down. Otherwise, you’re never going to get a job.”
Returning the gesture, Dean pointed his finger back at Martha. “You’re sending me to a bunch of shitty job interviews and telling me to jump through hoops. I’m doing that, but I’m still getting told to fuck off. Do you realise how fucking demoralising it is for me to be rejected so many fucking times? To repeat the process knowing I’ll just get turned away again. I know what’s on the horizon—we all do. It’s a political party that want to force us out to work by fucking us up the arse. I ain’t afraid of work, but what do we do when we can’t get a fucking job because no one will employ us? It’s a vicious circle. Give me a job, and I’ll fucking do it. I’ll go every day.” After a heavy exhalation, he said, “I’m fed up of being mugged off by clueless twats who think they know how to run a fucking country.”
Sighing, Martha said, “Dean, you’re the only person that can get yourself a job, but you have to work on your interview technique.”
“I’m trying, Martha. But where do I start? There’s no fucking funding and every job has over a thousand applicants. I’m climbing a greasy fucking pole here.”
Spinning the wedding ring on her finger, Martha then flicked through her Rolodex and removed an index card. “Here. The council are looking for litter pickers in the town. They have an open day tomorrow.”
Looking at the card wobbling at the end of Martha’s outstretched arm, her bangles hanging down, Dean snatched it away. “Here we fucking go again. See you next fucking week for some more shitty coffee and another fucking lecture.”
Exiting via the revolving door, Dean crossed the street without looking and was ushered across by a cacophony of horns. Flipping the bird in the general direction of the noise, he entered the local pub.
Frank, the bartender, lifted his head. “The usual, Dean?”

Sitting on the round stool, Dean nodded. “The usual,” he said as he slid the coins across the bar.

Sunday, 6 October 2013

Results for Kindle Nation Daily Ad

So having recently spent $99 on a Kindle Daily Deal ad on Kindle Nation Daily, I thought I'd report back my results from it.

I must say that my book only had five reviews on Amazon.com when I placed the ad, and three of them were two stars, so I'm sure if it was reviewed better then it would have sold more.

The picture below is from Amazon.com - The spike in sales is due to the ad. I was averaging 3 sales a week on the .com site, and because of the ad, that went up to 34. The profit on $0.99 is about $0.35 per book.

The next picture is for Amazon.co.uk (where my reviews are much stronger) - I sold less on the UK site the week the ad was out than I had the previous week - 88 sales as opposed to 113. Having been in the top 10 for post-apocalyptic on the UK site, I was getting good sales anyway. Is it fair to assume it had no impact? I'm not sure, but it certainly didn't seem to.
I appreciate that many factors impact the sales of a book and I'm sure my reviews on the .com site didn't help. However, all I can do is present the information as I've experienced it.

Monday, 23 September 2013

601 Sales - How Will A Kindle Nation Daily Ad Affect My Sales?

I saw 500 sales as a big milestone and should have written this post then. But now I'm at 601, so I thought I'd report how the sales have been going.

I have an advert with Kindle Nation Daily due out at the end of this week (27th September). I've opted for the Kindle Daily Deal at $99. My sales are pretty poor in the US so I'm hoping this advert will give a boost to them. To break even at my current sale price, I need about 250 sales.

Visibility

It seems to me that visibility is the most important thing with Amazon. I talk about Amazon because I've had three sales on Kobo and none anywhere else.

From release, Crash has been in the top 50 for post apocalyptic Kindle books. This seemed to help the book tick along nicely and was generating sales of one or two copies a day. Halfway through August I dropped my price to $0.99 and £0.99. You can see the impact below on my sales figures and visibility. I've been in the top 10 post apocalyptic kindle charts and the top 50 for horror overall for about a month now. This extra visibility has coincided with a huge leap in figures. Although I have to sell lots more copies to make the same money, that's currently happening. So my book is being seen by more people and I'm making more money. I don't plan on keeping my price this low forever, but while the sales are good, I'll leave it as it is.

This screenshot was taken this morning (this is relatively low for my average):

My highest rank for each category has been 6 for post apocalyptic, 23 for kindle horror and 30 for horror overall. This is on the UK site. 

I also wanted to report a detailed breakdown of my sales figures because I've not done that yet - August was when I dropped my price. I decided to drop my price while I already had some chart visibility. I could see Crash slipping out of the charts and I hoped it would give sales a boost.

June

I released my book towards the end of June.
UK site - 16 copies sold.
US site - 13 copies sold.

July

UK site - 35 copies sold.
US site - 28 copies sold. 

August 

UK site - 154 copies sold.
US site - 24 copies sold. 

September (so far)

UK site - 314 copies sold
US site - 14 copies sold

Reviews

I've never had the chart visibility in the US and my average reviews aren't enough to get me much attention. I assume this is why my sales on Amazon.com aren't great. 

Next Blog Post

In my next blog post I want to show the figures after a Kindle Nation Daily ad to see if it was worth the $99. 

Thursday, 12 September 2013

Nearly Three Months as a Self-Published Author - Sales Figures Included

So it's coming up to three months now as a self published author and I thought I'd continue to track my progress.




I've made a few changes in the past few weeks that have massively affected my sales figures.

Categories

After watching my book get into the top thirty on the Post Apocalyptic and Dystopian charts on Amazon, I realised that the categories were so close I should probably change one of them. I figured that I'd be catching a lot of the same audience with those categories, so I changed Dystopian, because I was scoring slightly lower in this one, and moved it over to horror.

Price


I also noticed that my sales had started to plateau. I decided that I want my first book read, and while I'm not prepared to drop it to free, I dropped it to $0.99. This made a huge difference. My sales figures took off. I've made more money than before over the past few weeks and my book is reaching a lot more people. In the past two weeks, I've sold over 100 copies each week.

I've obsessively watched my book climb into the top ten and it's into its third week and it's still there. My peak was chart position no.6. I'm currently at no.9 on Post Apocalyptic (Amazon UK).



Negative Reviews


This is predominantly UK sales. I've had a few negative reviews on Amazon.com that have almost ground my sales to a halt. I've written a very violent book so I'm not surprised that it's polarised opinion. Despite the negative reviews, I have been contacted by readers to say they enjoyed the book and can't wait for more.

I also did something I thought I'd never do this week. I responded to negative criticism. I've had several negative reviews and most of them have been the reviewers opinion. For me, it's fine if someone doesn't like the book. Everyone sees the world through their own lens and enjoyment of a work is entirely subjective. However, I received this review from one person:-

As I understand it, there should be a plot and a theme to a novel. This book had none and was also lacking in depth, meaning or reason. I get the impression that the author just wanted to get feedback (any feedback) to try and get his book spoken about...if that was the reason for it, then well done! If it was to write something worthwhile, then I feel this failed totally. Not an enjoyable read.

To which I responded:-

Thanks for reading my book and leaving your thoughts. I don't normally reply to reviews because everyone sees the world through their own lens and enjoyment is a subjective thing. It's not my place to tell people they are wrong or to defend my ego. 

However, on this review you have asked if there is a point to this book so I wanted to take the time to explain why I've written it. 

This book is about the social construction that is money and how insubstantial it is. The only value it has is what we attribute to it as a society and it could easily become worthless. 

It's a look at how the poorest in UK society are being punished and blamed by the contemporary media for the state of things at present. Labels like 'Good hardworking families' are banded about as if those who can't be measured by their financial contribution are worthless. It takes this venom and turns it around on those they perceive to be the ones laying blame. Although the main looter, Dean, is a psychopath using a cause to vent his violent tendencies - Much like some of the EDL members have been doing of late and other hate groups. 

It's also a look at how class identity isn't a reflection of those within the class, more a group identity that is based on judgments and prejudices - from both sides. It doesn't reflect the individual, yet sweeping generalisations are made. Those being punished - Like Michael - don't deserve it, but we live in a polarised society where these judgments are made. 

Finally, the level of violence is a look at developing countries, such as The Democratic Republic of Congo, and the atrocities happening there on a daily basis (while I accept this book is very dark, I couldn't go as far as what's actually happening in places like the DRC). It's a look at how low humans can go when there is a motivation to control and dominate - as many wars have demonstrated. (See the UK and US bombing of Dresden as an example). In The DRC's case it's for minerals. In Crash's case, it's for food. 

Again, I can't speak to whether you enjoyed the book or not but I'm thankful that you read it and took the time to review it. You asked the question, so I wanted to give you the answer.

Thanks again

Michael

Should I have responded? I don't know. It's not something I plan to make a habit of. 


Sales Figures so Far - Since June 20th:-


Amazon - 446 copies sold. 
Kobo - 3 copies sold.
Smashwords - 0 copies sold.

I'm pleased with my figures for less than three months. The negative reviews sting but I'm developing a thick skin pretty quickly. Again, I expected it with this book. My next one is much less violent, so it'll be interesting to see if it generates the same reaction.

Thursday, 4 July 2013

Crash - A Sample (Chapter One)

This is a sample chapter (chapter one) of my debut novella - CRASH - I hope you like it.


And Finally, It Begins…

No matter how old Michael got, when he cried in Chris’ arms, he became that red-faced screaming baby in the delivery ward again, and Chris’ instinct to protect him burned as brightly as it ever had.
Shivering by the slightly ajar window, the heating having been cut off months before, the eight-year-old boy looked at his father. He wore a mask of grief that twisted his dirty face. “Why, Dad?” He mewled. “Why did they do it? Why did they leave us?”
After running a hand through his thick and, at forty-two, prematurely white hair, Chris pulled his son closer, not only to comfort Michael but also himself. “I don’t know why your mum chose to leave with your sister. Things are quite a mess at the moment, and maybe she was worried that they wouldn’t get any better.”
Big innocent blue eyes stared up at Chris, searching for the truth as the boy asked, “But things will get better, won’t they? They have to.”
Chris swallowed and looked around the room. They were in the guest bedroom. They’d chosen it because it was small and therefore easier to keep warm. With no gas and electricity, they had to resort to smothering themselves with as much bedding and blankets as they could find. They had so many dirty sheets on the floor that it was impossible to see the blue carpet beneath. The thick red velvet curtains were permanently drawn to combat the chill emanating from the windows, but they blocked out most of the light, making the gloomy room a breeding ground for depression. The entire wardrobe of each family member sat in the corner in one huge pile like a compost heap. When Chris drew a deep breath that reeked of mildew, he told his son what he believed to be a lie. “Yes, Michael, they will.”
“What if they don’t?”
Chris knew that Michael could see straight through him. He’d have given every drop of blood and his final breath to give his son a guarantee that things would get better. But he couldn’t. They currently existed in a world without precedent. Life was now a desperate struggle. Looking at the small, dirty boy in his arms, he had to swallow the lump rising in his throat and blink away his tears. “All I can really promise you…” he coughed to clear his throat, “…is that I will do my best to look after you. I will do everything in my power to…” Before he could finish, a loud crash exploded outside.
In the past, Chris would have rushed to the window if he’d heard such a disturbance. Now he was much more cautious because ‘get off my land’ didn’t quite cut it anymore. He pulled the curtain back slightly and peered out.
The cold breeze hit him, and he flinched. Although it was winter, they left the window slightly ajar to try and let the smell of four dirty bodies out of their living space. As a result, there was more ice on the inside of the glass than the outside.
Their home was one of six large and detached red brick houses in a gated community. The houses horseshoed around a road that was wide enough to u-turn a bus in. Even looking at it now, with the overturned bins and abandoned toys, Chris could still see Michael and Matilda playing outside with their friends. The gates were made of iron, painted black, and did an effective job of keeping people out when everyone was living under the previous, if tenuously balanced, capitalist society. Back then, a gate meant keep out and was effective at enforcing its will. Things were different now. All that was left of the old social structures were memories. New rules were being established, and to survive you had to evolve. Failure to do so invariably resulted in death. With this in mind, Chris’ plan to hide away like a scared fox in a hole didn’t seem like such a good idea. Especially now the hounds had arrived.
“What is it?” Michael asked as he stood on tiptoes to peer through a gap in the heavy curtain.
A black and battered Ford F-150 had rolled through the gates. In spite of the superficial damage, it still looked relatively new. Chris assumed the huge truck must have been taken from the forecourt no more than six months ago because the angry and pockmarked paintwork showed no signs of rust. It didn’t have licence plates, so he couldn’t be one hundred percent sure of its age, but he felt like it was a good hunch. He wondered for a moment where in London one would get such a car until he remembered the American car importer a few miles south. He assumed the driver was local.
A huge battering ram protruded from the front that looked like a steel pillar of about six feet long by four feet in diameter. It gave the truck a fierce nose that looked like it had been utilised many times. Its effectiveness was clear to see because the black gate that had once provided the family with such a strong sense of security had been cast aside like it was made out of cardboard. It now lay useless and mangled like a barely identifiable body part of someone who’d stepped on a landmine.
There were seven men in the back of the truck. They were filthy and bulked up with layers of clothes to combat the January chill. The youngest, Chris guessed, was in his mid-twenties, the oldest no older than fifty.
Chris looked at their weapons and saw steel bars with spikes, baseball bats wrapped in razor wire, long knives and swords, and even a tennis racket that looked like the edges had been sharpened to be as keen as the deadliest blade. Each weapon, without exception, looked like they could end a life with great efficiency. From looking at the fierce men with their deep frowns and blood-splattered clothes, Chris had no doubt that they already had.
He finally replied to his son in hushed tones, the fear of these men discovering them clinging to him like frostbite. “They look like looters.”
After weaving into the middle of the cul-de-sac, the truck finally came to a halt, and the men on the back vaulted off, weapons raised and ready for action. While grinding his jaw, a habit Chris was only ever aware of when a headache kicked in, he said, “We need to be very careful around these men. They’re dangerous. Very fucking dangerous.”
The childish innocence in Michael’s wide blue eyes showed how he was more shocked by his dad swearing than the fact that looters were outside their house. He then said, “What do we do, Dad?”
After a pause, Chris said, “We wait, son.”
The cab door opened and out stepped a slim man with black hair and a red face. He looked like he was in his mid to late thirties. His angry skin appeared to writhe like his body was a prison of rage—a prison where the ratio of guards to inmates was stretched so thin that chaos could erupt at any moment. The blue suit he wore had crusty patches of what Chris could only assume was dried blood. It was as stiff as wood. In his hand was a sawn-off shotgun. It was clear to see that he was the leader. Chris could only see dark shadows where his eyes should be, and the man reminded Chris of a shark.
One of the men from the back of the truck, a short and lithe, red-haired weasel of a man who had the razor sharp tennis racket, called to the leader, “Dean, which house first?”
It seemed that even this question annoyed the tetchy man, who, without saying a word, pointed the barrel of his gun at number one in the close.
Chris only remembered that Michael was watching too when he said, “That’s Tommy’s house.”
Gathering his son in his arms, Chris told his next lie. “Don’t worry, Michael, Tommy will be okay.” What else could he tell him?
The roar of another diesel engine hailed the arrival of a second Ford F-150. This one was blue and had a cage on the back that was full to bursting with enough food to feed a small army, which is exactly what they were. It was mostly packets of dried food and tins, but there was a live pig tied up and stacked like all of the other objects in the congested cage. It looked exhausted, and even if it wasn’t bound as tightly as it was, Chris thought that it would have still been as inactive. It stared ahead with its tongue lolling from its mouth like it was dying of thirst.
When the truck stopped, two more men emerged. One was a slight, dark-skinned man in a trench coat that looked like he should be on the early train to the city rather than with this collection of thieves and murderers. The driver was a huge black man who was at least six feet and four inches and was dressed in blue jeans, thick boots and a heavy sheepskin jacket. He was built like a heavyweight boxer and dressed like he was delivering a skip. He walked around the truck, his breath visible in the cold January air, and shook the cage at random points.
The leader, who seemed to respect this man more than the last one he’d spoken to, asked, “Everything okay, George?”
Chris thought he saw disdain in the hulking man’s eyes when he looked over, but it was hard to tell from this distance. He didn’t seem to share the other’s excitement for what they were about to do. His large face had soft features that suggested he had a compassion that was contrary to the hive mind.
“Everything’s fine,” he called back. “I just wanted to check that nothing’s worked its way free on the journey.” His kind eyes gazed at the pig while he stroked it, and his mouth moved as he spoke to the animal. Chris couldn’t hear what he was saying. Raising his voice, he then said, “We hit a few potholes on the way in. You know what these fucking roads are like now.” He then pulled his coat tight against himself and shivered.
Michael looked up and whispered, “They have a lot of food.”
Chris nodded. “They do, son.”
“Do you think they’ll leave us some if they come into our house?”
He put his hand on Michael’s little head and said, “I hope so.”
Wishing he’d made his son come away from the window before the third truck pulled in, Chris nearly vomited from what he saw.
Staring at a blue truck, identical to the second, Michael’s innocent face fell slack. Pulling his blonde fringe from his eyes as if un-obscuring his view would show him a different reality to the one unfolding outside, he said, “What’s that truck for, Dad?”
Like the second truck, this one also had a cage welded to the back. The cage was about the same size as the other one, but instead of being loaded with food, it was full to bursting with women. They were pressed against the bars like battery hens, and they shuffled in the cramped space like veal in crates. Deciding it was time to be more honest with his son because their survival would likely hinge on his cooperation, Chris said, “It’s for keeping women.”
“Their women?”
Finding the scene outside too upsetting, Chris looked at his son and brushed his fine hair from his wide eyes. “I don’t think so; I think they’ve stolen them and taken them as slaves. It would appear that they’re looting for women and girls as well as food.”
Although Michael only said, “Oh,” his little face looked like he was trying to comprehend the fact. “Why would they steal women?”
“Because they’re bad men.”
Sounding hopeful, Michael said, “Do you think Mum and Matilda are in there? Maybe we could steal them back?”
Another truth that Chris had chosen to withhold from his son was the whereabouts of his mother and sister, but now wasn’t the time to reveal it. Looking out of the window again, pretending to scan the dirty and broken faces in the cage on the back of the third truck, Chris said, “I can’t see them.”
“Hmmm,” Michael said thoughtfully, and then added, “Do you think they’ll leave my chocolate? I’ve been careful to make that lasts as long as possible. I’ve sucked just one square every night.”
Blinking the tears from his eyes, Chris pulled his son’s ration-emaciated body tightly to him. Like everything else in the house, Michael smelt of mould. Chris shivered as he said, “Maybe.” Clearing his throat quietly, he repeated, “Maybe. What we need to accept is that they will take whatever they want, and there are too many of them for us to argue.”
Michael said another, “Hmmm.”
Chris scanned the room again. With no television, no electricity, no gas and no physical energy because of their poor diet, the life they’d chosen beneath the bedclothes had seemed to be the most sensible option at the time. Chris didn’t see what moving would achieve, especially as the open road stank of human waste because of overflowing sewers. The life he’d chosen for them had seemed sustainable. Or rather, it had until now.
Looking again at the truck with the women, Michael said, “What do you think they do with the little boys? Will they take Tommy prisoner? Will they take me prisoner?”
Looking at the leader and his blood-encrusted suit, Chris swallowed back the bilious burn rising in his throat and tried to speak, but his face buckled out of control.
Michael, who was staring at what was happening outside with his jaw hanging limp, didn’t notice.
Drawing a thick and stuttered breath, Chris said. “I don’t think they will. I don’t think they make little boys prisoners.”
“Thank God,” Michael said with relief.
Looking away again, Chris blinked as a solitary tear ran down his cheek. He felt like a fool for not seeing this coming from a mile off because the signs had been there months before. He thought about the conversation he’d had with his boss just over a year ago.

Tuesday, 19 February 2013

The Object Element of a Clause

The object element usually follows the subject and verb in a clause. There are two types of object:

Direct Object

This is usually a person or thing directly affected by the action expressed in the verb:

The fat woman ate a cake. 
       (S)             (V)  (O)d 

I saw Jane.
(S) (V) (O)d

Indirect Object

The indirect object usually refers to an animate being that is the recipient of the action. There is usually a direct object in these clauses also. The indirect object usually comes before the direct object. 

She gave the cat some water. 
(S)    (V)    (O)i        (O)d

I told her my plans.
(S)(V)(O)i   (O)d


What can be an Object?

Noun phrases, including single nouns:

I saw John. We've found a new car.

Pronouns:

John saw me. Now hear this. He did what?

Some subordinate clauses:

John said I'd been foolish.



Tuesday, 5 February 2013

Types of Sentence

There are two main types of sentences: regular and irregular. They can also be called: major and minor.

Major Sentences

These are sentences that can be broken down into a specific pattern of elements (clauses):

My son                       has dropped                        a vase                       on the floor
David                         painted                                his house                  today
I                                 threw                                   a ball                        at John

Simple Sentences

A one clause sentence is called a 'simple sentence'. For example:

John dropped a rock on his toe. 

Multiple Sentences

A sentence with more than one clause is called a 'multiple sentence'. For example.

John dropped a rock on his toe and Freddie dropped a rock on his toe.

Minor Sentences

Minor sentences are not constructed in a regular way. Unlike major sentences, they use abnormal patterns and cannot be organised into a series of clause elements. They often appear in every day conversation and when dialogue is written in fiction.

Examples

Formulae for stereotyped social situations:

Hello. How are you? Thanks. Cheers!


Emotional noises - Known as interjections:

Oi! Hey! Tut-tut. Shh! Ow!
                              

Proverbs or pithy sayings - Known as aphorisms:

Easy come, easy go. Like father, like son.


Abbreviated forms:

Wish you were here. Mix well. One lap more:


Words and phrases that are used as exclamations, questions, or commands:

Nice day! Oh for a gin! Taxi? All aboard!


Usage

Minor sentences, unlike major sentences, have to be remembered and used at they are. In a major sentence you can change the tense:

John drops a rock on his foot.
John dropped a rock on his foot.

Minor sentences however, don't work in this way:

Wish you were here.
Wish you are here.

Monday, 4 February 2013

Defining a Sentence

Defining a sentence can be a hard thing to do.


Sometimes people say it is 'A complete expression of a single thought', but this can be too vague.


There are sentences that express a single thought but are not complete:

- Nice one, Fred! 
- Horrible Night! 
- Taxi! 

Some sentences are complete and express more than one thought:

- Because it's Sunday, James wants to walk in the park, play on the swings, eat ice cream, and fish in the river.


The formal approach to english grammar looks at the way sentences are constructed - The pattern of the words they contain.

Three things apply to any English sentence:

- It is constructed according to a system of rules known by all the adult mother-tongue speakers of the language. A sentence formed in this way is said to be grammatical. 

- It can stand on its own without feeling incomplete.

- It is the largest construction to which the rules of grammar apply.   

Saturday, 2 February 2013

When to Use a Dash

A dash is a mark of separation. It is stronger than a comma, less formal than a colon, and more relaxed than a parenthesis. 

When he looked at the drink-that was bubbling and churning-he wondered if he should drink it at all.

The parrot made a noise-a wheezing, choking, exasperated cough. 

The bald spot that caught the sun, the hunch in his shoulders, the limp in his walk-all the signs of old age catching up with him. 


Only use a dash when a more common mark of punctuation seems inadequate. 


Thursday, 31 January 2013

Do Not Break Sentences in Two

Try to avoid inserting a period where a comma is needed. For example:

I met him on the train six months ago. Coming from Manchester to London. 
She was an great speaker. A woman who had hunted with Lions and lived with Chimpanzees. 

In both of these examples, the period should be replaced with a comma. 


Sometimes, if dramatic effect is needed, inserting a period can work. For example:

He stood in the darkness screaming her name. No reply.


This needs to be executed well, otherwise it comes across as an error. The place for broken sentences is generally in dialogue, when a character seems to speak in a particularly clipped way. 

Wednesday, 30 January 2013

The Use of Semicolons

A semicolon should be used when writing two independent clauses as one sentence. For example:

Stephen King's books are horrific; they are so well written. 
It is nearly half past five; we cannot reach town before dark.


These sentences can also be written as two separate sentences:

Stephen King's books are horrific. They are so well written.
It is nearly half past five. We cannot reach town before dark. 


If a conjunction is inserted, then the proper mark is a comma:

Stephen King's books are horrific, for they are so well written. 
It is nearly half past five, and we cannot reach town before dark.

Tuesday, 29 January 2013

Parenthetic Expressions

A parenthetic expression is an expression that could be placed in parentheses. When using these expressions, a comma should be used.

It is great, when it's windy, to fly a kite up here. 
On a tuesday, when they cook fish, I love the smell.


A name or title when addressing someone directly is parenthetic.

Oh my, Jane, how did you get that?
If you go out looking like that, My Lady, I can't be held responsible. 



Saturday, 26 January 2013

Authonomy - A Great Resource for Writers

Authonomy is a website run by HarperCollins - http://authonomy.com - You can upload part, or all of your novel on here. You have to upload at least ten thousand words to make your work 'go live'. Once it's live, it is available for everyone to see and comment on. 

A new book will start at the bottom of the rankings and will climb depending on how many users back it, comment on it, and rate it. If, by the end of the month, your book has made it into the top five, HarperCollins promise to read the first ten thousand words and offer a critque, and possibly, publication. A free professional review!

To get into the top five takes a lot of hard work. Some users try the approach of messaging everyone to ask for backing. This method, surprisingly, does see them climb up the table, but it seems that to get into the top five, you have to offer to review the work of others to get the same in return.   

However, while a HarperCollins review is nothing to be sniffed at, there is a huge amount of value in joining a reading group on this site. There are plenty of active users on the forums that are more than happy to critque your work for the same in return. As a writer, this is what I want. I would hate to get to the editor's desk before my work's ready, and the community are helping me improve my work every day. To have a place where I can get honest and constructive criticism for free is amazing. All of the people I have met so far have been wonderful, and very kind with their criticism, while offering something useful for me to work with. My book is so much better for it.  

Again, there are people who seem to want to progress up the charts and will praise your work to receive the same in return, but if you find a good group, you will meet a great collection of people that will help you improve as a writer. Here is my novella - http://authonomy.com/books/49125/back-to-basics/ - and here is a link to the group that I am a member of - http://authonomy.com/forums/threads/105135/cool-writers-only-group-cwog-/

I hope to see you on the site. 

Thursday, 20 December 2012


Putting a Lemming on it


Whenever I’m asked where my writing ideas come from, I often say that I don’t know. This response tends to be unsatisfactory, so the only thing I can offer is that I ‘put a lemming on it’.

My girlfriend introduced me to this phrase. Whenever she has to do something that involves brainpower, but doesn’t need doing immediately, she ‘puts a lemming on it’. The phrase is based on the once massively popular computer game where you have to prevent lemmings from stepping off the edges of cliffs or walking into sharp objects. She imagines one of the little fellows taking her thoughts and disappearing off into her subconscious mind. Then when she needs the information, it’s waiting for her, gathered and collated by a rather industrious lemming.

So, when someone now asks me where my ideas come from, I imagine an army of lemmings wondering around in my head, bumping into one another and occasionally falling into the abyss. When they’re done, they present me with a fully formed story. When I tell people that I put a lemming on it, I’m not sure that the answer is any more satisfactory than ‘I don’t know’, but it tends to stop any more questions.

Monday, 17 December 2012

15 Things to Think About When Editing

Because I find it so easy to get lost in my writing, especially when I'm editing it for the seventeenth time and the meaning of the words don't even make sense any more (time to put it to one side I think), I like to use a checklist of the fifteen things that can often escape my attention. It offers me a modicum of objectivity about my work when I need it most.  

My checklist changes as I get more comfortable with each point on the list. However, as of today, this is my list: 


Writing Checklist

1) Are the five senses included in the descriptions?
Touch:
            Sight:
            Smell:
            Taste:
            Sound:
2) Am I showing the reader the story rather than telling them it?
3) Character development - How has the character been changed by the story?
4) Is there enough description of both the physical environment and the characters?
5) Unique character traits - What traits are unique to each character and how do I show this in their behaviour / speech?
6) Is there enough conflict? Is the main character being challenged enough?
7) Are there enough moments in the story? (Character interaction and events).
8) Is it too verbose? Only leave what's necessary.
9) Avoid passive voice where possible.
10) Keep the tense consistent.
11) Keep POV character consistent - If it changes, make sure it's signposted.
12) Is the back story necessary, and if so, only do as much as is needed.
13) Does the theme need to be stronger? Do I need more symbolism?
14) Is the main character being challenged?
15) Am I clearly showing my character's motivation? What do they want?


I have pieced this list together from all of the information I have read or heard about writing. This list is very specific to me, so I'm sure that some of the points on here happen naturally for many writers, but i like to remind myself of these in particular. 

I try to keep the list to no more than fifteen items because otherwise it can be too overwhelming and it loses it's effectiveness. Fifteen works for me.