Proper Radgies

Alreet,

I went to the launch of Radgepacket 6 at The Back Page in Newcastle last week and it was a canny good do. Loads of the authors turned out (Darren Sant, Lee Kelly, Nick Quantrill, Pete Sortwell, Carol Fenlon, Linda Lewis, Joe Young, Craig Douglas, Luca Veste et al) and there was few famous faces past and present about as well (Sheila Quigley, Rod Glenn and Darrell Irving) some contracts were signed (Darren S again and Eileen Wharton) plenty of drink was had, tales swapped and banter exchanged - all in all a good day.

Then this week I noticed a review of the book had appeared on the 'Sabotage Review' site so I checked it out and it was a corker - have a look (SPOILER ALERT - they give away the end to Nick Q's story so divvent read that bit of you haven't read the story!)

Proper 'Radge' eh?

Later.

Writing News...

I've finally finished the first draft of 'Magpie Ranger' (woohoo!!) and am starting the first major edit/rewrite - I'm also thinking of changing the title (it never rains eh...) and will be sending copies out to my readers soon before beginning the soul destroying but very exciting process of contacting publishers.

Don't worry though - I won't pretend I don't know you when I'm A List...

Onward and upward.

It's not what you know it's who you are...

News has reached me of an x-factor style (ie shite!) writing competition for 'celebrities' to be televised on BBC2 - see below :-

A new "Apprentice"-style reality TV show will turn one of six celebrities into a crime author, mentored by Minette Walters and published by Pan Macmillan.

"Murder Most Famous", which will be broadcast on BBC2 during the week of World Book Day (6th March), is the brainchild of "Strictly Come Dancing" and "Dragons' Den" mastermind Richard Hopkins, m.d. of Fever Media. Hopkins hopes the programme will do for writing what "Strictly Come Dancing" did for ballroom dancing—making the subject accessible and an "entertaining prospect" as a TV format.

The series will be broadcast in five daily 45-minute episodes, and pits six celebrities—dancer Brendan Cole, actresses Sherrie Hewson and Angela Griffin, former tabloid editor Kelvin MacKenzie, presenter Matt Allwright and gardener Diarmuid Gavin—against each other.

They will be mentored by Walters, who will set a series of challenges to inspire the celebrities' daily writing tasks. Training will include dog tracking, resisting a violent attack, an autopsy, crime scene investigation, interrogation techniques and rapid pursuit of a suspect. Walters will judge the celebrities' writing efforts and eliminate one candidate each day.

The winner will turn their plot and central characters into a novel, to be published with Pan as a Quick Read on WBD 2009, in conjunction with the BBC's adult literacy campaign RaW. The proceeds will go towards BBC Children in Need.

Pan Macmillan publishing director Maria Rejt, who will edit the winning celebrity's book, said it would be "a really big, fat challenge". "Writing crime is really difficult, and they've got to do a really good job," she added.

The series is being produced by Hopkins' Fever Media, a production company backed by Sony BMG. A website will show examples of the celebrity pupils' writing (as well as Walters' critiques), video diaries and extra footage.

I'm obviously a little disconcerted by this but am split into two points of view:-

A. Another book written by a semi famous illiterate will be on the bookshelves thus denying me one more chance of making it

or

B. More people will pick up books after noticing that their favourite semi famous illiterate has a tome in the shops and the resulting profits will go towards publishing an unknown writer.


Either way I know one thing, the ghost writer employed to 'tidy up' (ie write the fucking thing...) the 'celebrity book' will be making a living whatever happens.

A Publishers View...

I've got a mate who works in publishing, not the kind that I'm banging on the front door of armed only with a manuscript and a manic look in my eye, but a publisher all the same.


I asked him to give my synopsis for 'Magpie Ranger' the once over and he very kindly did so, giving me a few insights into the commercial world of selling books at the same time. Here's what he said...

Right...

Firstly, a question: Is this a work in progress, or do you have a finished draft?

If it is finished, I'd like to read it. But equally understand if you headbutt me to the ground and tell me to 'feck off'. I haven't got kids, but do know the feeling of handing over a manuscript to a stranger - and imagine it is akin to leaving your kids with babysitters you've never met. 'We'll be back about midnight, Myra. Tell Ian to help himself to biscuits...'

In truth, it's difficult to provide any feedback of any depth (or use) from a synopsis. But I like the idea. I'd read it. The core elements are strong, it has regional appeal (both a good and bad thing, but I'll get onto that) and I think the juxtaposition between real sorrow (the death of a friend) and the more superficial sorrow (Toon) would provide real pathos. Plus, the Geordie-ness and humour would keep the dialogue snappy and light.

In terms of getting it published, there are certain hoops that you have to jump through - for every editorial decision a publisher makes, he makes 10 commercial ones.

So I've included below the issues that a publisher/ agent is likely to raise/ consider - some I agree with, some I don't, some are bullshit, some are valid. But all you should be aware of.

* Regional appeal - although this is often a positive, a publisher might be concerned that it will limit the market. The title for example, would be changed. If Fever Pitch had been called Love Life of a Gooner, it would've died on its arse-nal.
* Class appeal - again, this can be a real strength. But worries some publishers (and editors), who will try to re-package the working classes in a particular 'saleable' way, because...
* Publishers are obsessed with 'theme'. This should be as timeless/ classless/ ageless as possible - even if it is a period piece (capturing the 70s, 80 and 90s well could be a real strength, ain't nothing as contemporary as retro!). They also love 'an eternal truth' - which in this case, will sink in during the train ride south.
* Also, a strong narrative is important. When any manuscript is being considered for publication, the ‘rule’ for editors is to ask (as a reader) ‘why am I reading this?’ on every page. They will look for good characterisation and conflict to keep readers engaged.

And a ‘twist’ is always a hook. This can be subtle – say, for example, in the end you change your mind about publishing The Last Match. The fact that you’ve written it, is the end of the journey.

Be prepared for it to be chopped to bits too – in order to follow the rules, publishers/ editors will want to re-structure, cut out characters, add characters, even change the settings… ‘Love your work, Mr Rivers, love it. But this Newcastle that you speak of…. could this be Notting Hill? And instead of football, perhaps – amateur dramatics…?’ Their vision will never quite match yours.

Just from the synopsis – and this is just an opinion – I can see a publisher suggesting the book starts and ends with that train journey South (there is a natural correlation between the actual journey and personal journey). It’s also a classic flashback format, that clearly defines the periods, will allow you to dip in and out of the story and tie up the ‘eternal truth’ up at the end.

Or, it lends itself to each chapter be focused on, or at least starting with, a match (book-ended by introduction and epilogue chapters).

This is the difference between story and plot – which is key to novel writing. Tolstoy said that characters + conflict = plot.

I prefer to think of a story is a timeline of events – prompting no questions, or involvement. But a plot provides depth.

A bad example:

‘A man died, then a woman died.’ That’s a story.
‘A man died, then his wife was so distraught she committed suicide.’ That’s a plot.

And what did Tolstoy ever do, eh?

The rise of Git Lit...

If you’re not the type of person that buys fiction books or indeed if you’re just a casual reader who gets one every now and then you may not be aware of the term ‘genre’. This describes the kind of story or viewpoint that would be found in a book ie crime, horror, romance, etc and all bookshops and publishers adhere to these slots slavishly.

From there you have sub-genres, in recent years these have included sex and shopping, aga sagas and chick lit. Publishers believe that it’s mainly women who read fiction books and adjust their requirements accordingly – hence the abomination of books with pink covers and cool looking birds exploding onto the shelves at your local shop over the last few years.

Now as a bloke in his mid thirties who reads voraciously I’ve always found this slightly strange as have my mates who tend to read the same kind of thing as me – mainly the likes of Irvine Welsh, John King, Kevin Sampson, Christopher Brookmyre, Danny King etc.

And it seems that publishers are slowly waking up to the fact that men can read !! The number of mens books aimed at a particular generation is slowly increasing and following a small investigation I can confirm that the moniker allocated to this new sub-genre is ‘Git–Lit’.

Apparently it refers to blokes in their thirties/forties who aren’t action men but aren’t wimpy, camp, talk about their feelings types either. The type of blokes who’ve had a past and wouldn’t mind reading stories they could relate to.

In fact, basically - BLOKES LIKE ME!!!!

I’m here and I’m ready – let’s get my shit on the shelves.