Thursday, 17 July 2014

Martin Bodenham - Once A Killer


Back in 2012 I met a fellow thriller writer, Martin Bodenham. His novel, The Geneva Connection, and my dark tale, The Silent Hills, became stablemates and we've tried to stay in touch ever since. I say tried because Martin gets around - as you'll see! 

I recently caught up with him online and he recapped his writing journey for Strictly Writing.



How did you get into writing financial thriller novels?

During the heady days of the 1990s and the subsequent dotcom bubble, I was a corporate finance partner with both KPMG and Ernst & Young, putting together Mergers and Acquisitions (M&A) deals and raising private equity for clients.  After that, I ran a private equity firm in London.  I saw at first hand the tension between greed and fear in investment banking.  They say write about what you know, so I guess it was natural for me to look at the world of international finance for inspiration.  I found plenty!

What are you up to now?

Last year, I moved to the west coast of Canada where I write thriller novels based around finance and crime.  My first novel, The Geneva Connection, was published in 2012 when I squeezed in the writing during the evenings and weekends.  On the back of that book, I was able to sign up with a New York agent.  Now I write full-time and my second novel has just been published.

How do you find the process of writing for an international audience?

It’s funny, but I wrote my first novel with a UK audience in mind, but most of my sales were in the US because that’s where my publisher was located.  When the book went through the editing process, I had to learn quickly about the language differences between UK and US English.  That was not the difficult part, though.  It is the more subtle differences that are hard to spot.  A turn of phrase we might use in the UK can have a completely different meaning in the US.  That is where a good editor improves the quality of the final manuscript.  Mine is based in the US, so she is well placed to spot my errors and misuse of language.  Moving to Canada last year has complicated things further as it seems Canadians have some form of mid-Atlantic English of their own.

Was writing the second novel easier than the first?

Yes and no.  You learn a lot about technique and plotting during a first novel.  That means the technical process is a little easier on each succeeding project.  However, the idea for my first novel was swimming around my head for some time so, when it came to write it, the story just spilled out onto the page.  For my second novel, I had to go hunting for story ideas.  I had to drop quite a number of them before settling on my final choice.  One piece of advice I received from another published author was to make sure you are absolutely happy with the outline plot before committing to it.  That was good advice considering you have to spend the best part of a year to create a finished book.



What is your second novel about?

The book is called Once a Killer and it is set in the world of hedge funds and M&A in New York.  The best way for me to describe it is by sharing with you the blurb from the back cover:

Michael Hoffman has come a long way from his deprived childhood in Chicago’s south side. Now he’s a young, successful partner in a major New York law firm, handling some of its clients’ most prestigious M&A deals. With a beautiful wife, and two young daughters who look up to him, he has built the perfect life.
But Michael has a secret: one that goes back to his childhood; a secret so dark it could destroy his family and brilliant career. Discovered by the wrong people, it would certainly get him killed.
There is only one person who knows about his past, and he is a career criminal who manages a low profile hedge fund, bankrolled by Eastern European mafia money. Michael is safe, but only for as long as he agrees to feed details of his firm’s deals to the fund so it can make millions from insider trading.
More information can be found on my author website: www.martinbodenham.com
Where do you get your ideas/inspiration from?

One thing I have become is a people watcher.  I don’t mean that I go around staring at complete strangers, but I try to observe how people react to situations.  What do they say and what expressions do they make to demonstrate their emotions?  As a writer, our job is to show the reader what a character is feeling by describing their behaviour and through the use of dialogue.  It is lazy writing simply to tell the reader a character was angry/ happy etc.

As for plots, they are everywhere: newspapers, television, obituaries, even former work situations.  They say there are only six stories to describe the human existence: love, revenge and so on.  The trick is to find new ways of telling them...

How do you stand out in the crowd?

As I said, there are only so many stories.  A writer needs to find his own approach, perhaps by creating interesting characters or by setting them in new environments.  There are not that many financial thrillers out there, so I guess I saw that as my gap and opportunity to stand out.  My inspiration was my favourite author, John Grisham who, as a former lawyer, led the way with legal thrillers.

What’s next?

My third novel has been written, but I need to take a break from it.  I find taking a break from a story for three months or more enables me to see it in a completely new light.  Once I have revised it, then it will be time to send it to my professional editor.  You need thick skin to take some of her comments, but the process really improves the final product.

Martin Bodenham

Saturday, 21 June 2014

Course Correction

Well, that's the OU Fiction Writing online course done and dusted. It's been about a week since I last logged out, actually, and I wanted to reflect a little on what I experienced and what I've earned.

As a free course, requiring only three hours a week to complete each module, you quickly confront yourself at the screen. You can race through if you want to, or pause to carefully read - and re-read - about all the essential elements of writing fiction that you think you already know. I suppose it's a little like the notion of there only being seven plots, but the art lies in how each author approaches in and how they are written.

Similarly, the module exercises that are not shared online are a matter between you, your pen and your conscience. Just like a diet or an exercise regime, only you know the truth. Although, of course, eventually, one way or another, the truth will reveal itself.

What struck me at times was how uninspired I felt when it came to producing a character description or a short story. I'd never set out to write a short story to order before (competitions don't count because they're elective). Two of my pieces were set in pubs - possibly the same pub - and now that I think about it, they both dealt with health problems.

My course contributions, in my opinion, only really stepped up a gear for the final story submission that, like other pieces, was reviewed by other writers on the course. Originally I'd planned to wrk with the opening scene of a new book I've been thinking about (after I've completed The Caretaker), but, unsurprisingly, it didn't work as a story at all. What changed things for me was attending an event at a local art gallery, where ideas started attaching themselves to me like limpets and barnacles.

Once one takes the plunge and wears the badge of 'writer' it can be easy to divorce oneself from the fundamentals. However, characters need to live and breathe, plots have to be based in a believable reality, and dialogue has to flow and engage. Most importantly of all, the story needs to matter to writer and reader - they have to care. 

These things do not change because we have books and stories to our names. If anything, it all gets harder because we now know the path that lies ahead.

Newbie writers can be brimming with enthusiasm (or cowering in fear), yet to be tested by the page. We met them in the forum, adding a word of encouragement here and there, or a critique if it was asked for, learning from their untainted perspectives.

Some writers on the course were brilliant; I read comments that were as carefully crafted as the sharpest of prose. Other commenters were mean-spirited, more attuned to a spelling mistake than the impact of the prose itself.

I relearned that:

- Everyone has to start somewhere.
- Feedback is always appreciated, especially at the beginning of the journey.
- People are endlessly fascinating when you take the time and pay attention, and everyone has a story to tell.
- People write for different reasons. Just as some writers I know of dropped out of the course, or didn't start it in the first place, so others used it to carve out dedicated time and space each week for writing.
- There is always room for improvement (as my beta readers know only too well!).
- A good idea drives the story forward. In my own case, one scene led to a character who revealed his backstory, which affected how he behaved and how the plot progressed. I have his story an open ending as a thank you.
- Writing and life are inextricably linked. You cannot write in isolation. Several people on the forum spoke of family crises, bereavement and other issues that compelled them to write.
- Writing can be cathartic.
- Writing can take you to new places if you allow it. My final story (which I plan to pitch to magazines next month after another edit) would not have existed without my going on the course. 

Where has your writing taken you and where might it take you next?







Saturday, 7 June 2014

Back to the Well of Inspiration


How many times have you promised yourself you'll get up especially early, just for the pleasure of writing? Or perhaps you've thought about getting inspired again, by taking your journal out with you to somewhere new?

I think I'm easily influenced. While speaking to a friend at work, I listened in awe as she described a stroll through the valley not so long after dawn. She concluded her tale with the words: "That set me up for the whole day." Later, while listening to the weather report at home, I noted that the sunrise was at 05.07 and mentioned it to Anne. "If you're planning on going out early, good luck with that," she said.

Be careful what you wish for. The third time I awoke the next morning the house was as still as my ebook sales. It had to be around 06.30 - the birds were in fine voice. I checked the clock - 05.10. Now, a normal person would have smiled at the synchronicity, turned over and drifted back to sleep. I, however, think that normal is over-rated. Actually, let me go further: There is no normal.

Anyway, I crept downstairs, grabbed my wellies and my Blackberry, and teased open the back door (to avoid calling the cat). I didn't take a notebook, but I had the idea to try and record the birdsong and create a soundscape for future writing. We're very fortunate to live in a village that leads down to some woods, so in only a few minutes I was heading past a field where horses were curious to see me. 

The results of my first soundscapes weren't encouraging. True, you could hear the whisper of birds, but the rustling of my cagoule (come on, you knew I'd have a cagoule) pretty much drowned out everything else. No matter, I went down to the woods and breathe in the day. There was, needless to say, no one else around. Sunlight stretched down to touch the fading bluebells, like a last caress. Blackbirds seemed to bicker with wrens while robins chuckled at them both. 

I remembered then, as I stood smiling at the river, that this was what writing used to mean to me. Not followers and likes, or retweets, or even blog posts, just a writer's curiosity and that sublime cocktail of inspiration and imagination. In that forest I was with elves, their shimmering presence flickering through the foliage. I heard cloven hoofs behind me and turned to see only the dust of my reason, lifting free in the dewy haze. I breathed in the forest and touched upon something glorious - the absolute certainty, that moment, that a writer's life is meant to about moments and adventure, and the quest to bring that back to the page. Everything else fell away, right then, until there was simply a communion between me and the muse. Only this time the muse didn't offer me stories and characters, or plots and metaphors. She simply drew close, as I closed my eyes in the sunlight and felt her breath against my face, and she whispered joyfully, "Write."


I slipped away, but a few steps though far away,
Leaving the world behind me.
Each step an answer to a call I could not name.
Earth and Sky became my companions,
Drawing me gently to a place I'd almost forgotten.
Enchanted by birdsong and the content of horses,
I trod the path.
Down, down into the verdant shadows,
Where silence embraced me.

I have seen the resting place of kinds,
Heard secrets I cannot now recall,
And witnessed a miracle, a becoming.
And all my cleverness fell away,
Until I was not the observer,
Nor even the hallowed guest.
I simply belonged.

Friday, 16 May 2014

Back to Basics

When Richard, a fellow writer, sent me a link for a free online fiction course from the Open University, he closed his email with the phrase 'Coals to Newcastle'. Yes, by now, I should have the building blocks of writing covered, but that doesn't mean I don;t have a lot to learn - or a thirst to learn it.

The course runs over eight weekly modules (we're at week three as I write this), each expected to take a minimum of three hours. There are video clips, audio clips and succinct observations and prompts on the practice of writing. It's fun to let go of novels published and unpublished (and, frankly, in need of writing) and just immerse myself in the cauldron of writing.

Incidentally, the OU offer other free online courses - here's a handy link: https://www.futurelearn.com/courses/upcoming 

The prompts for writing are the things that every writer should be attuned to - but this writer hasn't been for a while: snippets from the radio or TV, things you hear in your day, or an emotion / situation. It's great to see beginners on the forum, gaining their confidence and receiving positive encouragement from more seasoned scribblers. It actually feels like a community - remember those?!

Here are the first drafts of three of my random writings, just for the hell of it.

1. Write about a writer who is in a difficult place to write.

"Do you mind?"
Of course he minded; he watched in dismay as his elbow recoiled and his pen skidded across the page. She didn't look round and he was grateful for that. Every word extracted required concentration - a feat of inspiration and dexterity. Every shift of a foot to regain his balance seemed to shatter his equilibrium. Another train stop and a brief reprieve as the hordes surged past him. A gulp of air, the pen held close like an amulet, and another wave of bodies oozing into the carriage - carrying with them a cacophonous scent of fast food, gaudy perfume and sweat. He nearly gagged, finding focus in his words. The train jolted forward; time to begin again. Chapter 2, line four.


2. Write about a writer who is in a good place to write. (The same train.)
Was it wrong to take delight in his discomfort? Maybe, but Margaret allowed herself a sigh that emerged into a smile, drawing her handbag close across her knees. On top of it, her notebook lay open. Oh, she could feel the person to her right, taking a look. The curved reflection in the glass opposite captured every furtive glance - nosey cow. Despite that - or maybe because of it - Margaret wrote with a flourish.

She captured the scrawled lines across the man's face, the way his short hung limply outside his trousers and the way he seemed to shuffle from foot to foot, as if eager to get back to the page. Mostly, though, she tried to imagine what he was writing, what secret worlds he was creating or revealing. She let him stream from her pen, entertaining nosey cow and herself.

3. Write a story prompted by a line heard on the radio.
This, I kid you not, was what Radio 4 had to offer to me: "...The FBI and other intelligence agencies."

Just a snippet; the tale end of something more significant, or sinister. But Tony had heard enough to send him scurrying away from the radio and back downstairs.

Every day the same ritual. He trusted Radio 4, relied on it to cast an augury for his day. If it was good news he'd venture outside, risk polluted air and the threat of contamination; take his money out in a clear plastic bag, in gloved hands, and navigate to the corner shop, avoiding the cracks.

If it was bad news, or anything that frightened him, he'd descend to sanctuary, open another tin of baked beans - the ones with the little sausages in that mum used to tell him were like the ones that real cowboys ate. He'd open a tin and put on his DVDs; sit there watching for an hour or more until he needed the toilet or he heard the letterbox rattle. Then, fortified by Bonanza or The High Chaparral, he'd feel brave enough to return upstairs and try to make something out of the day.


Playing with words can be liberating, much like playing with a box of crayons. If you approach the exercise without expectation or judgement, you might just remember why you got into all this in the first place.


Wednesday, 30 April 2014

Emma Pass and Ten Stages of Writing a Novel



Emma Pass has been making up stories for as long as she can remember. Her debut novel, ACID, is out now from Corgi/Random House in the UK, and from Delacorte in the US. It won the 2014 North East Teenage Book Award, was shortlisted for the Doncaster Book Award, nominated for the 2014 CILIP Carnegie Medal and has been longlisted for the 2014 Branford Boase Award and a Silver Inky Award in Australia. Her second novel, THE FEARLESS, is also out now in the UK from Corgi/Random House and will be published in the US in early 2015 by Delacorte. 

By day, she works as a library assistant and lives with her husband and crazy greyhound G-Dog in the North East Midlands. 




The Fearless. An army, powered by an incredible new serum that makes each soldier stronger, sharper, faster than their enemies. Intended as a force for good, the serum has a terrible side effect – anyone who takes it is stripped of all humanity, empathy, love. And as the Fearless sweep through the country, forcing the serum on anyone in their path, society becomes a living nightmare.
Cass remembers the night they passed through her village. Her father was Altered. Her mother died soon after. All Cass has left is her little brother – and when Jori is snatched by the Fearless, Cass must risk everything to get him back.






Now, here are her ten stages of writing a novel.


1. The Shiny New Idea
OMG! This is the best idea ever! I can’t wait to write it! *Walks round with pockets full of notes written on the backs of shopping receipts, envelopes and bus tickets as ideas pop into head at all times of the day and night*

2. Creeping Doubt
But… what if I'm not a good enough writer to do this idea justice? Perhaps I shouldn't bother. Perhaps I should just, y'know, stick to writing Facebook posts instead.

3. Renewed Excitement
What was I so worried about? The words are just POURING out right now. I seriously think it's the best thing I've ever written EVER. *Types until smoke starts to rise from the keyboard*

4. It's Just A Bad Day… Right?
Uh-oh. Plot snarl. But… but… that's normal, right? Just keep going. Everything will be OK.

5. The Crash
Um, no, it won't. Hello, brick wall.

6. Panic
THIS IS THE WORST BOOK EVER WHY DID I EVEN START IT WHY DID I EVER THINK I COULD BE A WRITER WHYYYYYYYYY

7. Feel The Fear And Do It Anyway
OK. Time to get over it. I have a deadline for this thing, remember? *plays Candy Crush and watches deadline draw ever closer*

8. FINISHED
I have a first draft! 400 pages of, um… stuff. And plot holes. Plot holes so wide and so deep you could lose the Empire State Building in them. This book doesn't actually make any sense.

9. Back to Work
But that's what redrafting is for, right? *Buys in supplies of chocolate and coffee*

10. ACTUALLY FINISHED
I'm exhausted. The house is a mess. I haven't seen daylight in months. Remind me never to do this agai– Wait. Wait. I've just had the BEST idea for a story! *Runs to write it down*

About Emma Pass

ACID - Her dystopian YA is out now from Corgi Children's Books/Random House (UK), Montena/Random House Mondadori (Spain) and Delacorte (US).

THE FEARLESS - Her post-apocalyptic YA is out now from Corgi Children's Books/Random House (UK) and coming early 2015 from Delacorte (US).




Thursday, 20 February 2014

Little Books and Big Ambitions

I recently read an interesting post from Leigh Russell, author of the Geraldine Steel series, in which she reminds readers of the value of having a publisher. Having recently started work on a set of humour ebooks, along the lines of The Little Book of Cynics, I found myself smiling at her post.

She's right, of course, that having a publisher (and an agent, come to that) enables a writer to concentrate on what they do best (and enjoy the most!): writing. I'm an advocate of self-publishing, initially by necessity and now by choice. I submitted my fantasy, Covenant, to more agents and publishers than I could shake a manuscript at. There were one or two nibbles, but in the end none of them came to fruition. 

Books are written to be read, so what's a writer to do? I decided that publishing Covenant myself would provide several benefits:

1. It would give me a final version of the book, after a final, heroic edit. (A lovely idea, but for the 33 typos subsequently discovered and now fixed.)
2. It would put the book out there for public scrutiny, allowing for the prospect of feedback and reader engagement.
3. It would draw a line under the book and enable me, the writer, to breathe out a sigh of satisfaction and then go and start writing something else. (Or, in my case, spend time working on the other three novels.)
4. It would pave the way for book sales and all the good stuff we associate with being a successful writer. To date, I've had a magazine review Covenant and I've made some money.

However, as an indie / self publisher, you not only wear many hats, you're also responsible for not dropping any of them. You get 100% of the choice and 100% of the responsibility for making it all happen.

But we're skirting around one of the issues here; we're avoiding the literary elephant in the room. No, not this one - the other one: literary achievement. The argument runs that becoming a selfie will most likely end in financial disappointment, whereas conventional publishing... Well, that's the thing about publishing - there are no guarantees. Delving into any bargain bucket will show you that.

I think that writers need to have a mature conversation with themselves and with one another. We're not all going to the prom, as I'm fond of saying. In the cold light of day my fantasy, Covenant, will never trouble the bestseller list, regardless of how it's published. That doesn't mean it's without literary merit (however that's defined), or that it won't show a healthy profit over its lifespan. 

Not every book gets on the podium. There are so many factors at work  including context, timing, luck, connections and the actual style of writing. As a writer / author, you can only produce your best work and then put your work out there. (And then promote your book mercilessly!)

I decided to produce four little books because I'd written material that really didn't fit anywhere else. I did approach some humour publishers, but nothing materialised, apart from an honest and interesting conversation about the economics of impulse purchase / gift titles. Mindful of that discussion, I've opted for ebooks. It's an easier, lower cost route to market and, given the proliferation of devices and platforms, coupled with the unit price, it makes more sense.

My forthcoming quartet of ebooks comprises:
Man Up! The wisdom of ignorance. The male mind laid bare.
Wise Up! Modern wisdom for those with a short attention span.
Newsclash. Real news stories + boredom = satire.
The Little Read Book of Project Management. An alternative glossary of terms.

I'll announce the birth of my other little darlings on my personal blog, over at www.alongthewritelines.blogspot.co.uk