Showing posts with label JD Smith. Show all posts
Showing posts with label JD Smith. Show all posts

Friday, 25 May 2018

Story of a Novel: The Rise of Zenobia

A friend once told me I could write, and so I did. The Rise of Zenobia wasn't the first novel I wrote, nor the first I published, but it was one of my earliest pieces of work and was put through its paces on various peer review sites before finally being enshrined on the page.

The stories of lesser known heroes have always intrigued me. There are many reasons they are untold, barely noted in the tombs of history, a footnote here and there.

Zenobia was one.

Popular in the Arab world, she was lesser known to westerners. I first read about her in Antiona Fraser's Warrior Queen, giving me an insight into the life of this remarkable woman, who rose from the daughter of a merchant to marry the King of Palmyra, capital of Syria, and an important city on the eastern caravan route.

Two things struck me about Zenobia. First was that she led one of the most threatening rebellions ever faced by the Roman Empire, yet it remained largely untold. The Empire relied heavily on Egypt for it's source of grain, with a third of the Empire's consumption coming from the land of the pyramids alone. Cut off, the Empire would starve.

The second was the country in which she rose to a hugely influential position. It was a vast contrast to the middle east today; war torn, religious conflict and oppressive toward woman. In the third century Zenobia was not only given a voice, she held command over armies and was worshiped as a god. Further still was the descriptions of many religions living peacefully, side by side, with citizens choosing who they worshiped, many praying to several gods. Indeed Zenobia herself courted both Jews and Christians to name but two in a bid to secure friendship and support. These details fascinated me when in so many other areas of history you read of seemingly constant religious conflict, where religion is the reason for the story, the cause of war, the very character of conflict. Here was a story where religion was barely a player. An so I embarked on a mission to write a story where religion is constantly referenced, but it is the colour of the sea or the shape of the moon or the smell of spice. Not the cause or the reason for the characters' motives and interaction.

The first draft of The Rise of Zenobia took years to complete and many rewrites, particularly of the first chapter, in a bid to introduce the characters that would see them live through several volumes of the series. The research was unending and still is. Little is known of Syria in the third century. Like the dark ages of Britain very little historical documentation existing and what does is unreliable.

I left it too late to visit Syria to do any on the ground research. My children were babies when I first started writing and by the time I had the time and resources to make the venture war was, in real life as well as my book, tearing the country apart.

From the clothes to the armour I made educated guesses. Syria was a client kingdom of the Roman Empire and would be heavily influenced by the language, customs and dress. But it was also close to Egypt and in perpetual war with Persia, so everything I imagined for the land ruled by my heroine would be a mixture of them all in a bid to demonstrate local and political influence.


An Extract:

We walked a long line of tents, taller than ours, but still the soldiers stooped in and out. We paused outside one, six soldiers standing sentry, and I felt a flutter of apprehension, our mission riding on the next few moments; our second and last chance.

We ducked inside. Gallienus sat behind a table as Valerian had sat behind a desk in Rome, the tent otherwise bare. They were different in approach. Valerian did not wish to see us, made no pretence at humouring us, and believed what he had wanted to believe, what his own commanders told him. Gallienus sat with a serenity I had not imagined a man of war to emanate. Scars marred his face, cutting through a short beard, no thicker than my own. He stood up and genially gestured we take chairs opposite him. An aide stood to one side, four soldiers lining the walls, and the soldier who had come for us sat down at one end of the table.

‘My sincere apologies,’ the emperor said. ‘You caught me on a long march home. I am not entirely sure who it is I address,’ he smiled, eyes flicking between Zenobia and myself.

‘We are honoured to be in your presence, Caesar. I am Zenobia Zabdilas, consul of Palmyra, and this is my personal guard and cousin, Zabdas. We were sent to Rome on behalf of King Odenathus …’

‘Of Syria?’ Gallienus interrupted.

‘Palmyra, indeed.’

Gallienus relaxed into his seat and traced a wide scar close to his ear.

‘But you are not in Rome. You are west of Rome, seeking an audience with me.’

The man sitting at the end of the table gave a low snigger and leaned forward on the table.

Gallienus appeared amused as he waited for a response.

Zenobia remained unmoved.

‘Indeed, Caesar. I am here to plead for reinforcements …’

‘Wait a moment,’ Gallienus said, and my patience tore. ‘Two questions. Firstly, why come to me? My father is at this very moment in Rome. Surely he could have listened to your plea?’

Zenobia did not hesitate. ‘We have pleaded with your father already, but alas to no avail. Roman commanders report that the east can hold for now, as it always has, against the Persian invaders. He makes his decision based on this.’

Gallienus closed his eyes momentarily.

‘I see. And so you have come to me in the hope that my opinion might differ?’

‘Precisely.’

Gallienus chuckled, and the man at the end of the table laughed, too.

‘I admire your honesty.’

‘You had a second question?’ she said.

Gallienus tilted his head and studied Zenobia.

‘Why would a woman come with only three soldiers and a guide? Surely you travelled from Syria with a larger escort?’

Zenobia shrugged off her cloak.

‘We came with an escort of more than a hundred men. Our leader and company felt we had done all we could having spoken with your father.’

The emperor’s smile evaporated.

‘I see. This man, this leader with whom you came, he thinks my father holds imperium, hmm?’

Zenobia said nothing. Clever, I thought. She touched on delicate matters.

After a while Gallienus said, ‘What makes you think my answer will differ from my co-emperor’s?’

‘You are a lord of war,’ Zenobia replied. ‘You know enough to understand and sympathise with Odenathus’ position and the problems he faces. The Persians threaten Syria, but it is also under invasion from many other tribes, including the Tanukh.’ She leaned forward and they held one another’s gaze with ease. ‘My king has held the Syrian frontier — your frontier — for many years with success. But our enemies become more powerful, and yet the legions in Syria remain the same. It has become increasingly difficult to continue to maintain control. Numerous cities have been lost. My own father led men to the Euphrates two years ago. He came out of retirement to protect the Empire.’

My mind was filled with Julius, whether he still held the southern frontier, and if he were dead or alive. I felt the draw of home, a heavy pull in my stomach. I craved, then, to return to Palmyra.

‘My father will have seen your problems in the east as part of a greater problem, as part of the Empire’s problems; something that weighs heavily on us both. When he and I became colleagues, Rome was close to collapse; it still is. Maintaining and securing the frontiers is a huge problem. A massive undertaking. If Valerian Caesar thinks you can hold, he makes his decision based on how much pressure he is under elsewhere.’ Gallienus barely looked at me as he spoke, eyes fixed intently on Zenobia. ‘It is an easy choice to make, when the people whose lives are immediately at risk are not people you know, when there are enemies closer to home. Believe me, I understand the troubles your country faces, and I have a great deal of respect for Odenathus. He is an incredibly loyal man.’

‘He is the best of men,’ Zenobia replied. ‘You could not wish for a more trustworthy ruler to a client kingdom.’

A mild hint that Odenathus could turn against Rome without notice was not lost on the younger emperor.

‘You can leave us now, Posthumus,’ Gallienus said to the man sat at the end of the table.

‘Caesar,’ Posthumus acknowledged.

He bowed and stooped out of the tent. Only the guards, Zenobia, Gallienus and I remained.

‘I understand,’ he said. ‘Odenathus has my full support in all matters, but whether it is physically possible to push more legions to Syria’s frontier is another problem entirely. That may be difficult to accept, but it is also quite probably the case. I know my own men are stretched.’

‘Give me a day,’ Zenobia challenged, ‘and I will change your mind.’

Gallienus grinned, boyish and amused. He rose from his seat, took Zenobia’s hand and assisted her to her feet.

‘I have no doubt you would try. Your escort waits for you in Rome?’

‘They are camped on the outskirts of the city.’

‘Then you can travel back with me. And you can have two days to plead your case.’

Hope gripped once more.


Reviews:

"If you're a fan of historical fiction and like Douglas Jackson, Bernard Cornwell, Simon Scarrow - then you will adore this novel. The Rise of Zenobia is the first in the series and I can't wait to read more from this talented author."

"I do love a warrior queen! Boudica is perhaps the best known of all but this is a tale told of another, Zenobia, who also went up against the might of Rome. An intriguing and atmospheric insight into a part of history I knew very little about. It is very well written but easy to follow too - no mean feat considering all the unusual place and character names. Set in ancient Palmyra (modern-day Syria) the descriptions throughout, of the people, the places, are particularly vivid, transporting you to a bygone age. Packed to the hilt with tension and adventure, it kept me spellbound. Thankfully, as part of a trilogy, there is more to come!"

Friday, 6 October 2017

The Beauty of a Boxset

As the nights draw in, curl up in front of the fire and dive into a boxset. Binge-reading is good for your health, mind and brain, thus heartily recommended by all great authors.

Here are two crime series and two historical fiction sets for you to devour. Plus there's more where they came from ...

The Gold Detectives

By Gillian E. Hamer

Includes the first three crime novels of the series in one handy boxset.

Encounter the dark underbelly of North Wales and the island of Anglesey - featuring DI Amanda Gold and her team.


What readers think:

If you like Ian Rankin, Val McDermid, Ann Cleeves or Peter May you’re seriously going to love Amanda Gold and her team.

I've become addicted to Ms Hamer's books! After thoroughly enjoying the first in this series, I read her other books before coming back to the Gold Detective books. The characters are complex, with their strengths, foibles and personal problems making for a realistic -though gruesome! - story. As usual, the body count is high, and there's some painful detail, but it kept me hooked to the end. And what an ending! 

Hamer does something quite special with her writing. She manages to combine glorious descriptions of Anglesey with quite gruesome murders. These combined with a pacy narrative, make her novels a compelling read indeed. 

The Beatrice Stubbs Series 

By JJ Marsh

Meet Beatrice Stubbs, your new favourite detective.


For lovers of intelligent crime fiction, three heart-racing adventures through Europe
Beatrice Stubbs: detective inspector, metaphor mixer and stubborn survivor.

What readers think:

For those who like their crime with a lighter, less gruesome touch. - The Bookseller

If you've not yet read a Beatrice Stubbs book, I envy you. What a treat you have in store. - The Bagster

My favourite thriller / procedural novel type has a strong female lead. One that is convincingly human and real, who isn’t the classic maverick detective, but works as a cog in a team, supporting her colleagues, just like in real life. Oh, and she needs to have some flaws. I need them to be written honestly, with interactions, opinions and emotions that echo people I know. Beatrice has all this in spades. - Dawn Gill

Overlord 

By Jane Dixon Smith

My name is Zabdas: once a slave; now a warrior, grandfather and servant. I call Syria home. 

I shall tell you the story of my Zenobia: Warrior Queen of Palmyra, Protector of the East, Conqueror of Desert Lands …

What readers think:

JD Smith's wonderful characterisation and meticulous research paints a vivid and dramatic picture of Syria in the 3rd Century AD at a time when Rome is disintegrating under the weight of its own corruption. The early years of Zenobia, one of the great enigmatic figures of history, are seen through the eyes of her cousin Zabdas, a slave who becomes a general. Zabdas is the perfect narrator and his story follows Zenobia from clever, precocious young girl to imperious manipulator of kings and emperors, from the desert kingdom of Palmyra to Rome and back. Full of passion, intrigue and drama it draws the reader in and holds them to the very last page.
Douglas Jackson, author of Caligula

Syria's Boudica [Boadicea], self-styled Cleopatra, and real-life Daenerys Targaryen.


Zenobia, Queen of Palymra, can now take her place beside a couple of other picturesque and photogenic fictional queens - Danerys and Maergery from Game of Thrones. The difference is, Zenobia really existed.

Historical Fiction at its best.


The Bone Angel Trilogy

By Liza Perrat


Three standalone stories exploring the tragedies and triumphs of a French village family of midwife-healers during the French Revolution (Spirit of Lost Angels), WW2 Nazi-occupied France (Wolfsangel) and the 1348 Black Plague (Blood Rose Angel) in one boxset.

What readers think:

Olga Núñez Miret, author/translator (English/Spanish), psychiatrist, book reviewer:
 … a must for lovers of historical and women’s fiction. Beautifully written, carefully researched, and emotionally charged, the three books are connected by an amulet
and the female legacy it represents … adventures of strong, brave, and
determined women who will pull at your heartstrings.


Terry Tyler, author: An intricately researched and beautifully written series that artfully shows how the threads of the past link generations together.

C. P. Lesley, author of The Golden Lynx and other novels: Three compelling heroines linked by a bone angel with a mystical past—a French village struggling with revolution, world war, and Black Death. Follow Victoire, Céleste, and Héloïse as each undertakes a richly imagined, emotionally complex journey toward a definition of womanhood that is uniquely her own. This trilogy--on my list of Hidden Gems--is one not to be missed.

Josie Barton, Book Blogger at JaffaReadsToo: … grips your imagination from the very beginning and the momentum doesn’t stop until all the stories are completed.

Cathy Ryan, Book Blogger at Between the Lines: … a sweeping saga following the fortunes of three strong women bound together by a bone angel talisman, passed down through the generations. Fascinating, moving and realistic - a must for lovers of historical fiction.








Thursday, 6 April 2017

Triskele Books New Releases!


This summer sees three hot new releases from Triskele Books!

On Saturday 3 June, we're launching Sacred Lake by Gillian E. Hamer, Bad Apples by JJ Marsh and The Rebel Queen by JD Smith. Here are the details:

Sacred Lake by Gillian E. Hamer



Two bodies discovered in a sacred Anglesey lake. One four weeks old. One four decades.

Random murders or ritual sacrifice?

Coincidence isn’t part of the vocabulary for DI Amanda Gold and her team. So when an up-and-coming star chef goes missing, the hunt for a killer is on.

Pressure mounts as suspect number one becomes victim number three.

DS Gethin Evans has an instinct. He is going to prove these crimes are sexually motivated, even if it means going it alone.

The hunt nears its end. The question is no longer who is right but who will survive?

If the sins of the past shadow everyone’s future, there’s no place to hide.

 *******

Bad Apples by JJ Marsh

 


Some people are just rotten to the core.”

Acting DCI Beatrice Stubbs is representing Scotland Yard at a police conference in Portugal. Her task is to investigate a rumour – a ghostwritten exposé of European intelligence agencies – and discover who is behind such a book.

Hardly a dangerous assignment, so she invites family and friends for a holiday. Days at the conference and evenings at the villa should be the perfect work-life balance.

Until one of her colleagues is murdered.

An eclectic alliance of international detectives forms to find the assassin. But are they really on the same side?

Meanwhile, tensions rise at the holiday villa. A clash of egos sours the atmosphere and when a five-year-old child disappears, their idyll turns hellish.

From Lisbon streets to the quays of Porto, Parisian cafés to the green mountains of Gerês, Beatrice learns that trust can be a fatal mistake.

 *******

The Rebel Queen by JD Smith




My name is Zabdas: a son, father, commander and confidant. I am a man born of invasion, a warrior in a forgotten land. I speak of history, of Rome and Syria, and relay the story of Zenobia: wife to the king, sister to me, mother to her country, daughter of the gods …

Syria is finally at peace. The war against the Persians is won and a triumph held in honour of King Odenathus and his victories. Whilst the east prospers, so the west crumbles as Emperor Gallienus struggles to maintain power.

With success comes opportunity. Peace never holds for long as rumours surrounding Odenathus’ rising popularity abound and enemies approach on every frontier.

Zenobia must play the game of politics, forge alliances and press her advantage no matter what, if she is to secure the east. Zabdas discovers his past, and battles both conscience and heart as he chooses paths that will change everything.

It is the year of death. The gods are watching and no one is safe …

 *******












Monday, 27 March 2017

Author Feature: J.D. Smith

Once in a while, we like to remind ourselves of why we're an author collective. Five individuals in three countries bound by a love of writing. People often ask how it works, but rarely why.

Here's the latest - in fact the last! - in our Author Feature series, on why we appreciate JD Smith.


Catriona Troth:
While historical fiction often comes in hefty tomes, Jane’s novels are pared right down, homing in on the stories of one or two individuals and creating their worlds with a few deft touches of the pen. She uses simple, unfussy language that feels timeless. While the story of Zenobia, Warrior Queen is epic in its scope, Jane delivers it in serial form, each element a small gem.

JD Smith is not only a novelist, but also a highly sought after cover designer. She has created the whole Triskele ‘look,’ from the logo on, as well as designing covers that establish distinctive brands for each of us as authors. She has an instinct for understanding what it is an author wants, and then delivering it with panache.

And as if that wasn’t enough, she is also the founder of and the power house behind both the literary e-zine Words with Jam and the review site, Book Muse UK.




What readers say about Tristan and Iseult:

“This is one of the most intelligently written and beautiful books I have ever read. The theme is well known, as are the characters, but JD Smith narrates the story from both perspectives with a haunting quality. The descriptive text is first-class and the reader can feel the cold winds, the biting rain together with the contrasting landscapes of Wales and Cornwall. The love shared and lost is a strong emotion brought tenderly to life in brutal times, accurately described.”

"The legendary sad tale of Tristan and Iseult told with spare, crisp prose, keeping the story taut and short. Very evocative of the time period with no sentimentality brought from the present day. A haunting melancholy of unfulfilled longing peppers every page and the brutality of that age is shown with unsparing detail. The imagery is immediate and vivid of each location, whether salt laden coast or the wet greenery of Wales. A recommended read if you want to understand why this famous legend has stood the test of time."


Gillian Hamer:

Jane has an outstanding talent for her organisational approach to life, and when you know exactly how much she handles on a daily basis, you can understand why!

Her design work is professional and polished, and her eye for detail is pure magic. I don't think Triskele Books would have had the same success, certainly in terms of branding and reputation, without Jane's creativity. I can't think of a time any of us have ever disagreed with her input on the design front. And we have all been blessed with praise for our individual covers. Professionally, she has years of success ahead of her, and her reputation will continue to grow.

From a writing perspective, I think it's totally brilliant that Jane has the opportunity to write what she loves, and that passion shines through in her writing. In Zenobia, Queen of Palmyra, Jane has brought to life a character lost in the mists of history, and she manages to make all of the trials and hardships that come with writing historical fiction look effortless. I admire her enormously for taking on such a challenge and creating such a brilliant series of books. She also has an editorial eye that is another huge attribute within the Triskele team.

And let's not forget she created the e-zine Words with Jam from scratch and continues to manage that in between her other work.

Add to that three adorable children any parent would be proud of - and I often ask how on earth she manages to juggle it all - a talent in itself!



What readers say about The Rise of Zenobia:

"From the beginning I was drawn into an ancient world, a world of hostile environments where only the daring survive. And into this harsh and often brutal land, comes Zenobia, a warrior queen who dares to take on the might of the Roman Empire. Based in Palmyra, (modern day Syria) in the 3rd century and mixing scanty factual evidence alongside pure fiction, the story of a brave and bold warrior is told in easy to read segments and with a lightness of touch this story of intrigue and political skulduggery comes gloriously to life."

"There are some twists in the story, moments of great poignancy, of violence, of triumph and of loss. Based on actual history and added to and blended beautifully by the author, this is a gripping read. It's scale is epic. It leaves the reader satisfied, but also wanting more - more of Zenobia who's shaping up to be quite a warrior queen and more of all these wonderful vivid characters and places."


JJ Marsh:
The remarkable thing about Jane's Overlord series is how she can transport you right into the middle of a battle or draw you to the heart of political manoeuvering, complete with smells, textures, tastes and tensions. You feel you are there. Her writing is both beautiful and sensory, but nothing is sanitised for modern sensibilities. She excels in atmosphere, whether that is a Cornish beach or the Syrian city of Palmyra in the 3rd century. Some scenes from Tristan and Iseult have stayed with me for years. I secretly believe she would make an extraordinary screenwriter but Hollywood can't have her because she's ours.

Her talents extend beyond writing superb historical fiction. She is the design mind behind all Triskele's covers and in fact our whole image. She combines an awareness of the market with an intelligent visual eye, working in harmony with her clients to achieve their dream covers. Small wonder she is so successful.





What readers say about The Fate of an Emperor

"Sometimes the best story about a figure that looms large in history is told through the eyes of another; this is something that the late Mary Renault did to perfection in The Persian Boy, and J D Smith does it here. It really felt like it worked as a narrative choice, to tell the story of an extraordinary historical woman from the perspective of a man who was close to her. I found myself appreciating that angle on it."





What readers say about The Better of Two Men


"Make no mistake, this is mature and assured writing. In the space of the opening paragraph, JD Smith will transport you to Roman East in the third century where you will follow in the footsteps of Zabdas, whose duty it is to stand by the side of his half-sister, Zenobia."


"What J.D. Smith does with historical fiction is to take it one step further. She makes you feel – feel what it was like to exist in that place and time, feel what the people who lived then went through emotionally, mentally, and physically. She picks you up and plunks you right in the middle of it so that you get the real experience of the characters’ lives with her vivid descriptions and her ability to make you feel the emotions of the characters."


Liza Perrat:
Jane’s professional skills as a talented designer are invaluable both for myself and for Triskele as a collective. Designing and setting up our website and blog, as well as the Bookmuse and Words with Jam sites, sending out regular newsletters and basically taking care of all our technical stuff is a real relief for someone like me who finds that side of things challenging. Jane is always there with a prompt answer or solution for my many silly “techy” questions too. I also appreciate her taking care of my own website design, as well knowing that, in her designs, I have the best book covers possible. One in particular comes to mind: Blood Rose Angel. For ages I tried to get that “B” right, searching for something medieval, striking and elegant. Eventually, the “B” that Jane painstakingly created was stunning, and exactly what I had in mind! I also value Jane’s critiquing skills. Succinct, and straight to the point in her own lyrical prose, she is quick to “red pen” any of my paragraphs that tend to lapse into purple prose.



Find Jane online:

WEBSITE http://www.jdsmith-design.com/

FACEBOOK: https://www.facebook.com/jdsmithauthor/ OR https://www.facebook.com/jdsmithdesign/

TWITTER: @JDSmith_Design




Friday, 8 April 2016

Triskele Tuesday #bookcovers

Our Triskele Books #triskeletuesday fortnightly twitchat last Tuesday, 5th April, explored the subject of #bookcovers: the good, the bad and the ugly.

On hand to answer our questions, and offer tips and information, was our Triskele colleague, editor of Words with JAM and Bookmuse, and award-winning book designer, JD Smith (@JDSmith_Design). She is also the author of The Importance of Book Cover Design.


First off, @TriskeleBooks wanted some tips on getting your book cover right:  



 @JDSmith_Design replied:






Why do we sense a cover is home-made, whilst another has been professionally designed? There’s something just “not quite right” about non-professional covers...






Great book covers are one of the reasons we love reading paperbacks, as well as eBooks...



Do you like faces on bookcovers? Do they work for you, or would you rather imagine the hero/heroine’s face?







And lastly, these are just a few of the favourite bookcovers we discussed...


















For an in-depth look at the design process including:

- How to select and work with a designer
- What works and why
- Where to find images
- How to make informed decisions
- Why formatting matters
- What branding means to you
- How to give your book the best chance of success

The Importance of Book Cover Design is available on Amazon.

If you would like to join in on our hour-long Twitchats, simply search for #triskeletuesday at 19.30 GMT every second Tuesday to discuss varied topics on writing, literature and publishing. All opinions most welcome!
Our next Twitchat will be on Tuesday 19th April, on the subject of #womenincrime

Saturday, 11 January 2014

Things to consider when creating a box set

by JD Smith

Boxset, box set, boxed set, I've been asked to add all three titles to covers when designing them for clients. But regardless of which terminology you prefer, here's a few things to consider when creating your box set.

As yet, other than releasing a series of books as one physical book, there is no option to print on demand publish a series of books. So here's I'm referring to ebook publication only.

The Insides
Many authors argue that a table of contents isn't necessary for fiction, and unless you have front and back matter of interest, I'm personally fairly indifferent to the idea of having a list of chapters in a table of contents. However, for books created as a box set, it's vital. Books making up an ebook box set are contained in one document, and the only way to navigate from one book to another is to have a table of contents directing readers to the title page of each book.

You can also trim down front and back matter, having a combined copyright page, dedication, acknowledgements and a single page at the back of the set with links to other books and author website and social media.

The Cover
Many box sets, even ebook box sets, have a 3D cover. However, many people design their 3D covers with a white background:


Great in theory, but whilst a 3D boxset can be published successfully through retailers like Amazon, some other retailers, such as Smashwords and Apple, don't accept them. How do you get around the problem, short of designing a 2D cover?

I spoke to support staff at Smashwords and they/Apple will accept covers which have a 2D element, including the title and author name, which means they will accept a file similar to this:


You still get a great 3D box set image in there, just with the addition of the background and author name/titles. The cover doesn't have to be 3D at all, of course, but it does make a nice differential between single books and sets of books.

Wednesday, 31 July 2013

Please Don’t Write What You Know

All kinds of theories you get told in writing workshops, ‘Write what you know’ and that sort of thing, which I don’t believe at all. One of the great joys in writing is to try and explore what you don’t know. That’s exciting to me. – Kiran Desai

Write What You Know.

What does that mean, in practice? The trouble with a lot of writing what you know is that no one wants to read it. Because readers see through fiction-which-is-fact, sniff out wish-fulfilment and close their ears to lecturing. If they want any of those things, they can switch on the TV.

Fiction isn’t life. Otherwise, why bother? Toss aside Fifty Shades of Grey, grab the restraints, drag him away from the PlayStation and get creative. Just don’t write about it afterwards.

Here are seven ways WWYK can backfire:


But It’s All True!

Just because an experience happened, doesn’t make it a good story. When you’re telling a story, you’re giving a reader an experience. Relating yours, no matter how well you dress it up, is always going to be second-hand. Take the reader on their own journeys; use their own experiences to breathe colour and intelligibility; allow them the privilege of relating to the narrative first hand. Maybe reignite old memories or establish new ideals. Give them something new.

Same goes for character. One author used real people twice in her work. Both times beta-readers picked them out of the line-up at first glance. They stick out like Bob Hoskins in Roger Rabbit. They aren’t part of that world, they have no place there and the author’s crude attempts to disguise personal feelings towards those individuals are as obvious as a teenage blush. There’s nothing wrong with using the odd trait, mannerism or look from someone you know to add realism to a character, but make sure each person you create has a life and history of their own.

Even if a story is true, it must be believable as a story. Reality often makes the worst fiction. Add those details which bring the piece to fictional life. Omit those which don’t. – Janet Skeslien Charles

Dear Diary

JJ Marsh: “Someone I know spent a long time writing up an incredible round-the-world adventure. I’d heard so many of these stories; in the pub, in the park, around dinner tables. The storyteller possessed drama, humour, vocal range and facial dexterity. Those verbally recounted stories were always applauded. The book? I couldn’t finish. The equivalent of several thousand holiday slides.”

Contrast such a disappointment with Susan Jane Gilman’s Undress Me in the Temple of Heaven. Not only a distinctive voice, but more than one level of alienation and an increasingly tense plot involves the reader in an adventure. Yes, it’s a true story, but one hell of a way to tell it. Memoirs such as Dave Pelzer’s A Child Called It or Just A Boy by Richard McCann break the mould because the story they tell compels a reader through compassion. It should be fiction but it’s not, that’s how the reader copes with such gritty realism.


And if You Look To Your Left ...

Lecturing, something most writers have fallen foul of many times, can make a reader’s toes curl in embarrassment. Much like a bound foot. Foot binding was very popular in 10th century China because men found it to be highly attractive, and therefore became Chinese women's way of being beautiful and to show that they were worthy of a husband. The foot binding process begins with a young girl (4-7 years old) soaking her feet in warm water or animal blood with herbs. (Thank you, Wikipedia).

This is nothing more than another adage – Show, Not Tell. Don’t inform the reader, allow them to glimpse the details, catch a peep behind a screen, hear the muffled cry of a young voice expressing old pain.

Look at writers such as Eowyn Ivey (Alaska) or Monique Roffey (Trinidad) and absorb how they select and employ geographical detail like seasoning to enrich and attract, without drowning the reader in reportage. Read Salman Rushdie or Louis de Bernières as a lesson in how historical segues act as mortar to the story bricks, whilst rendering the two part of the whole.

If you need to be an expert in a given field – maybe a pathologist in crime fiction or WWII fighter pilot in a historical romance – make sure it’s the characters who sound like they’re living the life. Not the author trawling the internet.

One tip – our own Gillian Hamer took an Open University Forensics’ Course. In her novel where a pathologist takes the lead role, she must sound like she knows her DNA from her CAP – and sound like she means it. If the language and the words become second nature to the writer, rather than something quickly cut and pasted from a website, it adds so much more depth and gravitas to the characters. And the readers will appreciate the effort without even knowing what went into it. Making something incredibly difficult look incredibly easy is vital.

Me, But Better

Another pitfall is the writer who uses fiction as wish-fulfilment. This story’s hero/heroine is IRRESISTIBLY sexy, tall/petite, witty/winsome, glamorous/gifted, muscular/feisty, handy with a Colt 45/cauliflower coulis, genetically/genitally enhanced, an arrogant bad boy/a sassy sex kitten, a horse-whispering human marshmallow in leather trousers/a free spirit who sits naked in a peacock chair while her lover paints the sunset.

This kind of fantasy belongs in teenage notebooks or in locked jewellery boxes, encoded and set to spontaneously combust if any other eyes but the author’s should happen upon them. Unless you're E.L. James.

Just as your average teenager tries on a variety of identities to see which suits, a writer should experiment, move away from oneself and stretch beyond what is comfortable.
I became interested in writing different points of view. And I think I came from a student background and cultural generation which was very nervous about writing outside one’s own experience; gender, sexuality, race, ethnicity and cultural space. I think The Slap is my attempt to resist that. Not to say those considerations aren’t important, but if I can’t write as a woman, a black person, an old man or a teenage girl, what the hell am I doing writing at all? – Christos Tsiolkas
Isn’t It Exotic, Don’t You Think?

At a workshop for non-Fiction Writers in Zurich in 2011, Andrew Crofts (The Ghost Writer) listened to various accounts of the expat experience and finally, with a deep sigh, told it like it is.
“Yes, but the only people who will be interested are other expats. Write a blog instead.”
This astute writer knows her audience and shows how it should be done.

Who are you talking to? Other versions of you? Or do you want to address a wider audience with a story anyone can access? Why will anyone else care about what you care about – and how can you make that happen?

Empathy is a key ingredient. The old adage of getting the reader onside from Chapter One is a rule to ignore at your peril. Whatever genre you chose, make sure that the characters and world you create encompass the reader, so that every emotion is heightened and explored. Hate is fine, sympathy is better. Anger is necessary, passion is perfect.

Write for a wide audience, so that people of all backgrounds and persuasions can live and involve themselves in your world. Fiction is not the place for walking on narrow ground.

Dull as dishwater

Another problem many writers face when they stick to safe territory and write what they know is that unless they are widely read or have imaginative scope beyond a normal person’s wildest dreams … life can be pretty crap. And often pretty dull.

Most of us in our daily life relive on repeat a pretty good take on Dolly Parton’s 9 to 5. It’s normal and banal and just life. We don’t make eye contact with a tall, dark handsome stranger on the bus and experience a life-changing frisson of electricity. We rarely see an armed robbery during our lunch hour while picking up an egg and cress roll from Greggs. No one is going to want to read about an eight-hour shift at a call centre, when the highlight of the day was a visit by the window cleaner.

There are, of course, elements of our life we can take with us on our journey into fiction. Emotions. Experience. Knowledge. Conversations. History. We have a melting pot of resource information bubbling away in our brains. But to make all of those ingredients come together in a perfect recipe, we need to transport the reader away from the normality of everyday life.

Even if we’re only transporting them on the Tube from Holborn to Greenwich. Even if we’re not planning on whisking them away to the Maldives or Great Barrier Reef. It’s still the job of the writer to create a believable world to relate their story, that although the reader can pick out bits they recognise, fits the story you have created – not the one you live on a daily basis.
From all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive.Ernest Hemingway
Location, Location, Location

Many of you will know that location is a strong theme in Triskele books. And while it’s clearly not practical for every author to visit the place they set their novels (our JD Smith may find difficulties visiting the lands of Palmyra circa 1st Century AD) a strong setting can really carry a story – and again it needs to be something that although the reader may recognise in passing, does not linger too long on the M25.

Some writers, take for example, Stef Penney and her wonderful The Tenderness of Wolves, admit they have never set foot on the land they so wonderfully describe. But they spend years researching the layout, the towns, the traditions and languages. This is a gift coupled with hard work.

Many writers prefer to visit the location to feel the atmosphere of a setting, and there is nothing more satisfying than to be told in a review that your description of a place has prompted the reader to pay their first visit.


But let's not forget that there are times when writing what you know is the most important thing you can do - for yourself, and for others. Jade Amoli-Jackson is a humbling example.



It’s a big world out there. So, whichever way you do it, take a chance. 

Break the rules. Open up and let the reader in.



by JJ Marsh





Friday, 12 April 2013

Design and Print Glossary

by JD Smith

Front Cover - the front cover of your book. This can be the front cover of a paperback, or the image used to display on a webpage selling an ebook.

Spine - specific to printed books only, the spine is the part of the book where the ends of the pages are glued together. When referring to the cover, the spine is the imagery which covers the ends of the pages, typically having an author name and title on display when a book is placed on a book shelf. Designers will ask for your page count so they can calculate your spine width. This is usually done using a calculator on a publisher/printer's website i.e. spine width = number of pages x page thickness

Back Cover – the back cover of a printed book, generally containing blurb

So that’s the basics. Now for some techy stuff …

ISBN/Barcode – sometimes confused as the same thing. They are in fact two different things. An ISBN is the number allocated to books, bought from www.isbn.nielsenbook.co.uk. Some publishers buy them in bulk and sell them on or give them away free with their publishing packages. This number goes on the copyright page. On the back goes the image reference of the number i.e. the barcode. This is an image representation of the ISBN number and usually has the number sat just below it. This is so shops can scan the book on their system, rather than having to manually input a 13 digit number. These days the barcodes are usually generated by the printer/publisher using a funky bit of software and placed on the back of the cover at the bottom (sometimes on the right hand side) after the cover has been designed and submitted for publication. Occasionally, or if you specifically want more control over the ISBN, you can ask the publisher for the barcode, or generate your own using an online company, and have the designer place this for you.

[Image] Resolution - references the quality. The higher the resolution, the better quality the image. For printed books, images are generally required to be 300 dpi at the size they are to be used. For web (i.e. images for covers of ebook) images are only required to be around 72 dpi at the size they are to be displayed.

[Image] DPI - Dots Per Inch. Think of painting an image by making lots of little dots with coloured pens. The more dots, the more complex and complete the image will look. Enough dots and you won’t notice there are any dots.

[Image] Raster/Rasterised – images are either raster or vector. Rasterised images are made up of pixels/dot matrix. They’re images such as photographs and any other images which has been saved down as a JPEG, TIFF and such like.

[Image] Vector – vector images are a designer’s best friend when it comes to scale-ability. Rather than pixels/dots, they are made up of vectors (also known as paths or strokes), which means they can be scaled to any size imaginable. Complex graphics are made up of a series of paths and strokes that you wouldn’t realise are there. These file formats can be saved as EPS or AI (Adobe Illustrator) files. Commonly they are cartoons or digital drawing, although some are so complex you wouldn’t realise they are, and have a photographic quality to them.

Images of a better quality/resolution, generally cost more from a stock image library than a lower resolution image

Stock Image Library
- generally speaking these are online sites which sell images in much the same way as you can pay for and download music or software. Many of them sell Royalty Free images.

Royalty Free Image - an image for which you pay a one off fee to use as much as you wish, as opposed to licensing an image where you are limited for example to how many books you can have printed with the image on, and for how long (in years).

Formatting/Typesetting - generally speaking the formatting of text for the interior of a book (i.e. the words/story/prose).

Gutter - the gutter on a book is the margin on the inside edge of a page. It is generally larger than the margin on the outer edge of the page. The reason is that when the spine is glued, and you open a book, you would not be able to see easily any text that runs too close to the spine.

Spread(s) - the left and right and pages of a book which face each other is known as a ‘spread’ or ‘facing pages’. If a designer sends you a PDF in spreads, which they potentially will when proofing a book, it means that the PDF will look as it would when you open a book, with the left and right hand pages next to one another as opposed to single pages.

Book Size - i.e the overall height and width of a book: 6 x 9”, 5 x 8”.

MOBI - Kindle specific file.

Software - Graphic Designers, for the purposes of book covers and paperback formatting, at least, use Adobe Indesign/Quark Express, Adobe Photoshop for image manipulation, and Adobe Illustrator for manipulating or drawing vector illustrations. Anyone who actually does any formatting or page layout in Adobe Illustrator needs to serious rethink their working practice. Kindle documents, however, are best laid out in Word and subsequently converted to MOBI files using a generator.

Bleed - my favourite to explain. Bleed is the image or colour which extends beyond the edge of the cover or page (normally 3mm or .0125”). Designers will deliberately set up cover files so that when they export a print-ready file for the publisher, there is excess image (bleed). This means that when the printer has printed your book covers and subsequently trims them (cuts them out of the large sheet on which they were printed) you do not end up with areas of cover which have no print on them. Think of it like this, if you are going to roll out pastry to line a pie dish, you roll it out larger than you need, line the pie dish, then trim off the excess. This is effectively what bleed is.

Crop Marks (also known as registration marks, trim marks, cutting marks) - fine hairlines printed on the outer edge of your cover file. They tell the printer exactly where they need to trim/cut your cover on each edge. Some publishers add these themselves, others require the final cover files to include them (this difference between printers is fairly specific to publishing books – in the rest of the print industry it is standard to simply supply files WITH crop marks).

Artwork - depending on what you’re referring to, this can mean a multitude of things: 1) An illustration placed on the cover (as in a piece of art, painting, drawing etc); 2) A printer might refer to the finished cover design file, the print PDF, as ‘artwork’; 3) Some designers refer to the process of design as ‘artworking’.

Illustration - painting, drawing (in any medium – pencil through to computer graphics) that may go on the cover or, indeed, the interior or the book. Illustration is NOT the same as cover design, and authors should be careful when employing an illustrator for their cover, that they are also a competent graphic designer, or that they are working with a graphic designer. Many graphic designers will employ an illustrator when occasion arises instead of using stock illustrator or photography. Not to do a disservice to illustrators out there, but as I wouldn’t take it upon myself to draw or paint something for a cover, many illustrators I have come across in my career don’t have the knowledge of typography and setting files for print that a graphic designer should have.

Fonts - the style of the characters of the alphabet. Most computer come with what are known as ‘system fonts’. Many of them are good, some are recognisable as being cheap fonts that come free with software. You can download many free fonts to install on your system from the internet. These also tend to look cheap. And lastly you can also buy fonts, in much the same way as you can buy stock imagery, from websites specialising in selling fonts.

Typography - the art of arranging type (words/titles/author name/body copy). And, yes, this does involve much more than simply centring your name and title.

Body copy/text - the bulk of text in your manuscript.

Blurb - the copy on the back of your book which sells it.

Strapline - it’s amazing how many people don’t know what ‘strapline’ means. It’s the line which goes on the front of your book which gives a further snippet as to what you book might be about (e.g. One kingdom, three brothers, three claims to the throne …)

Pantone - Pantone is a range of ink colours used by the design industry. Most publishers will, however, print the interiors of books in black only, and the covers in colours make of up Cyan, Magenta, Yellow and Black (CMYK).

Drop Capitals - an enlarged letter generally used at the beginning of a chapter.

PDF – most people have got to grips with the file format PDF these days. Most printers will require one for printing your cover and/or inside pages; others, rarely, just a high resolution JPEG. PDF is a more secure file, which has the capability of embedding fonts and minimising anything in your file being disturbed during the printing process. Designers will also use them to proof your work to you. Proofing will usually be done using low-resolution (low quality), and therefore small file size, PDFs. When it comes to printing, the printer/publisher will require a high-resolution, print-ready, print-quality, PDF.

Mock Up - generally a term used for coming up with visuals of say a cover. Mock-up/concept/ideas/visuals.

JD Smith (Jane) lives and works in the English Lake District. Having worked as a graphic designer for over 12 years, her passion for books and everything literary took over and she now works predominantly on book cover design and typesetting. She is the editor of the writing magazine Words with JAM, and the author of historical fiction.




Wednesday, 13 March 2013

The Historical Fiction Club


Historical Fiction. Do you want to be in our club?




by Gillian Hamer



For the next few months, I shall be dipping my toe into the elite world of Historical Fiction.

My next book, to be released in June under the Triskele banner, is another cross-genre crime novel called Complicit.

As well as a modern day criminal investigation around DS Gareth Parry and the team at Bangor CID, in Complicit we are also transported back two thousand years to one of the most turbulent periods in local history. The ownership of Anglesey (or Mona as it was known then) was one of the most bitter battles faced at the time by the invading Roman army. It took two attempts, plus the building of a huge barracks at Caernarvon (Segontium) to secure the island down to the resilience of local Celt warriors and the mythical stronghold of the Druids. I thought it would be fascinating to bring to life a little of the atmosphere and tension of that time.

I’ve long been fascinated by anything associated with the past, especially the plethora of archaeology, shipwrecks, myths and legends surrounding Anglesey – some of which I’ve managed to squeeze into both of my previous novels.

I thought it would be interesting to put Triskele’s two historical writers, Liza Perrat (Spirit of Lost Angels) and Jane Dixon Smith (author of June’s release, Tristan and Iseult) under the spotlight to discover where their own  passions for the genre first developed.

 ***


GEH: So, HF has seen a popularity surge in recent years, with Philippa Gregory and Hilary Mantel, but it's still not really trendy, is it? So what is it that attracts you? Jane ... why legends of post Roman Britain? Liza ... what's the attraction of historical France?

JDS: Which genre really is trendy? I think everything has had its day at one point or another. Historical fiction and film was hugely popular following successes like Gladiator, and now the early 1900s are popular with series such as Downton Abbey. Regency Romance has always been popular too, don't forget, and we have Austen to thank for that ... and Colin Firth, of course.

As for me, it was always about the swords and the period costume and different cultural and social expectations and classes which attracted me. Someone once said: 'You would love to live in the past, wouldn't you?' and I said: 'Yes, but for plague and lack of antibiotics.' Post Roman Britain specifically has always had a soft spot for me since I first read Bernard Cornwell's Arthurian trilogy, and his very unique but utterly believable take on our legends and history.

LP: History fascinates me, so I love reading about it. I also like contemporary novels, but not as much. I became interested in the history of France from living in a rural French village that was founded by the Romans. Surrounded by such a long history, having it all on the doorstep, drew me into writing about it.



GEH: Location is key for me. Anglesey has such a wealth of history from Neolithic onwards, it’s hard not to get pulled into the stories and legends. And I’ve always been totally fascinated by shipwrecks, as a kid I had piles of books on the Titanic. And I remember on a very early visit to Anglesey going to the church where many victims of the The Royal Charter are buried. It’s those kind of little acorns that grow and grow for me … Do any of you visit real life locations when plotting your books or while writing particular scenes? For me it really helps to stand on a cliff, feel the spray of the waves, and imagine the boat in peril …

LP: Yes, I visit  if possible and take lots of photographs, and try and get a feeling for the place. That’s really important to me.

JDS: I wish! With the next book set in Syria I would have loved to have gone and got a real feel for the place, but alas that’s probably not going to happen any time soon. With regards to writing about Britain, yes, I’ve visited many places, and love exploring forgotten times.



GEH: It's said historical fiction is one of the hardest genres to have success in, in terms of agents and publisher interest? And that's despite recent success. Why do you think that is and did that ever have any effect on what genre you chose to write about?

JDS: All genres are having a hard time in terms of securing contracts with agents and publishers. It never had any effect, no. HF was always, always, without doubt going to be the genre I wrote in.

LP: I haven't followed any publishing trends, so it had no effect on my choice of writing in this genre. It was simply that I thought I had found my "voice" in historical fiction, as opposed to contemporary fiction

GEH: I’m only really dipping my toe into HF as part of a crime thriller cross-genre, and I can’t imagine a publisher ever taking on the ‘mongrel’ books I write, so I write what I love.



GEH: Who are your favourite HF authors ... and why? What makes a brilliant HF novel?

JDS: Bernard Cornwell was always my hero. He was not only the first historical fiction writer I loved, but the first fiction writer I read as an adult. I adored his Sharpe series, and then I found his Warlord Chronicles. They will always have a special place for me. HF is such a broad-ranging genre, with so many sub-genres. I love Robert Harris for his political Rome novels, Conn Iggulden for his Emperor series. I'm a massive fan of Pride and Prejudice and Sense and Sensibility, and also a new favourite of mine has to be Michelle Moran's novel Cleopatra, which I would recommend to any female reader. There's too many to choose from.

What makes a good historical novel? Story and character as with anything. Good writing, good plot. And of course, to fit the period, you have to have good description of the time and place.

LP: Karen Maitland would have to be my favourite, as she perfectly captures the essence of medieval times. I also love Sarah Waters' books. I think in a brilliant HF novel the reader is completely transported back to that particular time in history.

GEH: Yes, Sarah Waters. And I have to admit I’ve lost myself in a few Phillippa Gregory books too!



GEH: Why do you think HF has such success in cross-media, thinking of film and television adaptations of HF novels?

JDS: Swords. It's always down to swords and epic battles and going back to the days of damsels in distress. Don't we all just love it a little bit?

LP: Because historical events and people make for such dramatic scenes. The historical characters, or events, are probably familiar, to some extent, to viewers, so they relate more readily to the story.

GEH: I think there’s a bit of a sword-obsession going on here, Jane. I don’t think you can attribute the success of Downton Abbey to them, can you? J I agree though on the fantasy element, and also I guess with the success of war stories, people want to relive periods of history they’ve missed.

JDS: Perhaps not Downton, but all the rest ...



GEH: Any future projects in the pipeline you can discuss? Any ideas to move to another time period or place? Thinking of Jane's old motto - if the book you want to read hasn't yet been written, you must write it - what book about what period do you think is begging to be written?

JDS: I'm moving to Roman Syria next. Actually, I'm not moving, I'm already there. I wrote the first novel of a series about four years ago, and the second is well under way. I do love the idea of finding piece of history largely untouched and retelling it, bringing it to life for this generation. There's something very special about that.

LP: The series I'm currently writing takes place over several time periods: the French revolution, the Nazi occupation of WW2, and now, the 14th century plague years. So that has compelled me to research three different periods in French history, and I find it exciting to learn about each different era.

GEH: Both sound fascinating. I’m joining Jane in the Roman period, but on home turf, with the invasion of Mona and the Celt and Druid tribes joining together to oppose them. I found out such a lot about Anglesey in the research, it really makes you look at the places differently.



GEH: And finally, looking at research. How do you handle it? What are your sources? And for me, I find myself filled with dread that someone may read some of my work and pick out a discrepancy and really slaughter me - does that concern either of you ... and if so how do you handle that?

JDS: I'm rubbish at it. I always want to get on with telling the story that research is secondary and I really only do what it absolutely necessary. That said, I have watched an awful lot of kick-ass epic movies in the name of research ...

LP: Yes, that does bother me, that someone will point out an historical blunder. But not too much. I think in most HF novels, there will be some discrepancies, but readers, unless they are eagle-eyed historians, won't generally notice, or be bothered. They just want a good story. That's the most important thing, I believe, to write a BELIEVABLE story, even if it's not entirely factual. Concerning research, I read everything I can get my hands on, about that era, both fiction and non-fiction. Of course I use the Internet, but check the sources as much as possible, as there are always so many discrepancies. I also spend a lot of time at the local historical association, which is full of helpful information and people. I visit sites and memorials and take lots of photos. If possible, I try and talk to people who lived at that time. For example, for my second book in the series, Wolfsangel, I spoke at length with a man who was an active resistance fighter. First-hand knowledge is priceless.


GEH: So, kick-ass movies, sword wielding warriors and heroic resistance fights. I think we’ve probably sold the genre. Long live, historical fiction!


And thanks for sharing your thoughts with me today, ladies!



Spirit of Lost Angels by Liza Perrat is available now:
Amazon.com: HERE
Amazon.co.uk: HERE
Smashwords: HERE


Tristan and Iseult by JD Smith is published June 1st

Website www.triskelebooks.co.uk/jdsmith