The novella moment?

It was early 2019 that I first wrote about the real-world viability of short stories, now that we’re living in the age of ebooks. Of course, we’ve seen in recent years a surprising change in people’s spending habits when it comes to books. We were moving away from paper-versions to ebooks at a very fast rate. But things change, and for a variety of complicated reasons, we’re seeing people move back to paper. Personally, I can’t remember the last time I bought a “dead-tree” version of a book. I like the comfort and control that an ebook reader provides. But it seems I’m increasingly in the minority.

So short stories can be viable now many people have e-readers. But can the same also be true of the novella?

Often described as a story that’s roughly between, I don’t know, 30,000 – 60,000 words, novellas have seemed to be a dying art-form. Too long to be a short story, too short to be a full-length novel.

It’s not the length that causes problems, it’s the viability in the age pre-ebook readers.

Again, just like with a short story, a novella can’t be economically justified as a traditional mass-market physical paperback book (or hardback for the matter). But, when it’s all bits and bytes, a digital copy for ⅓ or ½ or even ⅔ the price of a regular full-length novel can work.

And you know what? It’s a great thing to take a creative stab at as a writer yourself. Learn how to tell a compelling story with real structure, but hone your skills writing in a tight, lean and impactful way. Then maybe work up to a full-blown novel? The world is your oyster!

Thoughts on DRM in ebooks

I have written a couple of times before about issues around DRM, that is to say, Digital Rights Management on ebooks. This is the clever stuff that works out whether or not the person reading the book actually bought it, and is therefore “authorised” to read it. This is still a hotly contested issue, with both authors and publishers mostly on the pro-DRM side of things.

There is of course the ethical question: Should a novelist/publisher be able to dictate what the purchaser of a book can or can’t do with it? If they download it from Amazon to read it on their Kindle, what if they decide to get, say, a Nook or a Sony eReader and want to now read it from there? Without disabling the DRM, (then changing it into a readable format like .epub or pdf), that might be quite a challenge. And disabling the DRM is a violation of the terms you agreed to when you made the purchase.

Some argue that unless you can do what you like with the book, you don’t really own it. Others say you don’t really “own” that content anyway, and if what you’re doing is buying the rights to read the work in a specific and limited way.

Some say that ebook DRM is terrible because you can’t loan the book to a friend like a “dead-tree” copy. Others counter and say that without DRM the danger is not someone lending it to a friend, but someone making a copy that they email and send to their friend to keep forever, when they really should have paid for it. Worse, it’s a way of putting that copy up on the web so that millions of people can download it, depriving the artist of all that revenue.

I don’t want to go over these grounds too much, expect to restate what I have said before. If there is to be DRM (and we don’t see much chance of it going away in the mainstream ebook world any time soon), when it must be seamless to the user. If they can pick up pretty much any device they like to use, and read the book, then later, pick up another device, and carry on right where they left off on device one, then DRM can work. If they have to jump through hoops, then the DRM is a massive failure. And sadly, a pirated version of a book might be a better option. When that happens, everyone involved in the creative process loses.

Why reading fiction is good for you

This is a great summary from YouTuber and former doctor, Ali Abdaal:

Is your fiction just fiction, or is it based in truth?


It’s fun reading some of the questions that come in from this site, usually from writers starting off: maybe they have a rough idea of the novel or screenplay they want to write. Maybe they’re halfway through and for whatever reason something is not quite sticking. I’m really sorry I don’t reply to them all individually, but I’m grateful for these messages. Not least of all because it’s useful to see where people are struggling, and what universal problems people have.

On more than one occasion now I’ve been asked about the overall importance of the story. That is to say, whether a story should always be speaking some higher truth. And with that, a few times now, I’ve been asked if the fictional stories I write talk about things I really believe in. Whether or not there is a higher, ethical message contained in the story. Or some simple propaganda that I’d like to release into the world.

Am I using my trashy thrillers to convey some “higher truths”? Well, you know, I think it’s important not to overthink this kind of thing. To say your story either has to be a didactic sermon in disguise or that it has to run a mile from that, is a false dichotomy.

Yes, many of the things I write are things I believe in and would stand by. They have to be based in some part around the way I feel humans think and act – rightly or wrongly – because I’m trying to create a world for the reader. It’s hard to do that if you don’t believe in some of the premise in the first place.

But if every character was a mere mouthpiece for my views, biases and perspectives, that would not be an interesting story. Everyone in the story would be a cardboard cutout, with no “life” or independent action. When I’m fleshing my story out, the choices and words that they come up with should be a delight and surprise for me too. That’s how I know it’s working.

A book where I’m in total conscious control, and I’m trying to dictate every specific detail, where it all has to confirm to my narrow view of the world? Well, I wouldn’t want to read that book. And if I wouldn’t want to read it, why would anybody else?

Why I don’t keep notes on my story ideas

If you don’t keep a notepad by your side at all times, are you even a proper writer? Well, I don’t, so maybe I’m not.

It’s a romantic image though isn’t it? A writer, with a notepad by his or her bedside, ready for when they get a sudden surge of inspiration in the night that they just have to get down.

Don’t get me wrong, I used to have a notepad like this. But honestly, most of the stuff I wrote was nonsense. When you’re half-asleep, something which sounds like genius to you is clearly utter gumph when you wake up in the morning. We’ve all had it: “What on earth was that supposed to mean?” I’ve done this more times that I care to admit.

And you see, there’s a bigger problem for me when it comes to keeping notes. Once you’ve had an idea, and it just stays in your head, it either stays or goes. It has to earn its place. But when you make a note of everything, you’ve already committed to having an idea forensically looked at. You’ve already decided that you have to give it some dedicated time, even if you just dismiss it later.

Stephen King famously called a notebook a repository for bad ideas, and sadly I agree with him.

But what about you? Do you cling onto your notebook with a passion? Would it be tough to pry it from your cold dead hands?

Whatever works, I guess!

Writing drama for radio

This might be a medium for you, or it might not be. I’ve been working in the radio business for my whole career pretty much, so this resonates with me. Either way, I thought this short film by the BBC Radio Drama North Team might be of interest, especially if you’ve ever wanted to try out writing for radio drama. It’s a really exciting medium.

Some ways to avoid procrastination

do it - procrastination conceptHappy New Year! Blimey, 2021? I’m still of the opinion that 2020 is in the far-flung future, so goodness knows how I’m going to get my head around that fact we’re now well into the 2020s.

Yes, it’s the New Year, and so it’s time to start writing that novel you’ve been forming in your head all year. But ask yourself this – and then answer it honestly – do you think that procrastination will hold you back? Is it a worry about it not being perfect, about the circumstances in which you write not being exactly what you’d like? How can you get over this mentality and embrace the writing, so that 2021 is the year of your next fantastic piece of work?

Well, you know I don’t like writing rules, but I’m always full of suggestions. And here’s a few. Maybe they’ll help you in terms of mindset?

  • Don’t let procrastination hold you back. Just refuse to give in to it. Force yourself through those difficult parts. Don’t give up the second it gets a little tricky. If what’s coming out is garbage, well, just keep writing anyway. A voice in your head will say: “Stop, this is crap. You’ll only have to go back and delete it anyway.” Ignore it. Keep writing. Don’t overthink. Don’t really think at all. After a while it won’t be a laboured, mechanical thing. The words will flow again. And as I’ve mentioned before, while what you’re writing might feel like crap as you’re doing it, after you’ve finished, taken a break, and maybe gone back to have a look the next day, you’ll be surprised how good some of what you wrote was. Seriously; this is often when you’ll write some of your best work. I know that sounds nuts, but it’s true. Don’t fear that unwillingness to write. Just push through it. And know that what comes out the other end might be really special.
  • Set some easily achievable goals. Just simple things. Finish that scene today. Close out that chapter. Even if what you’re writing is far-from perfect, just set the goal and deliver. Keep moving forward.
  • Use incentives. Silly things work well. You’re totally gonna eat that chocolate bar. But only after you finish this chapter.
  • Take away distractions. Easier said than done in some situations, with family, etc. I know it can be tough. But if you can, try and put aside everything else you need to do that day. Just for an hour. You’ll thank yourself for it if you can.
  • Set deadlines. You’re going to write one chapter/scene/500 words every day this week. Even if it’s all crap. So the week-long deadline is 7 chapters/scenes/3,500 words. That’s the baseline. Can you beat it? Gamification can work here.

Once you start to work like this, it can be addictive as well as productive. You’ll get to know how good it feels to tick off these lists. Yes, you might not want to start the work, but the spark that will get you off and keep you going, is knowing how good it feels to finish want you wanted to achieve that day. To tick that thing off the list. Get it done, and then enjoy the rest of your day.

So it’s 2021. Get started. Then keep at it. And good luck. You got this.

Have a merry little Christmas

Just wanted to share with you a short film I was in.

A little quirky, but festive. Enjoy, and Happy Holidays!

Building a world in your book

5C92BC89-929B-4996-AC80-38B9D05D586FJust a short one from me: a few people reading my August post brought up my use of the phrase “building a world” (or whatever I said) when crafting the theme of a story. How do you do this in a believable way, that audiences buy into and so forth.

Well, that’s a huge topic, one I’m certainly not qualified to go into depth on, but here’s a few observations I have on the matter. Maybe you have some better ideas. If so, I’d love to hear them.

I think for many writers, world-building is something that happens naturally. Especially if you’re writing something set today. And there’s not too much worry about something set in the past – even long past. If we know the date, and we know the location, we’ll have a rough idea of what things were like then. You can write away without too much stress. The challenge is for stories set in the future, a parallel universe, or a total fantasy setting. And the hardest challenge as I see it is one of exposition.

If you’re a fantasy or Science fiction writer, you’ll be all-too-keenly aware that you will have to build a world to set your story in. This won’t be a world that your audience will know innately, so you will have to explain it.

The real challenge with this, is to be able to still write in a contemporaneous fashion. That is to say, how do you explain all this without exhaustive and boring exposition? How to you tell your audience what they need to know with brevity and ease, so you can get right on with telling your story?

Any time spent pausing to explain the intricate – if necessary – details about the world you’re creating, can slow your story down and take people out of the plot. I don’t have any specific tips to deal with this, except to say that I would only recommend explaining things in as sparse a way as possible, and to do so only at the exact point it’s needed. Don’t start every scene or chapter explaining the location you’re now in, and why it’s different and how everything works. Just start it like you would anything else, and as an important element crops up, give us the detail then: briefly, and simply. Don’t let “good grammar” get in the way. Single word sentences might work? Just paint the picture in broad strokes. Your audience’s minds will fill all the blanks. Ask yourself: “Do they really need to know everything I’ve just written here? And do they need to know it now?”

Anything about the world you’re creating that isn’t an absolutely necessary could probably be left out. That way, you’re allowing your readers to fill the void all by themselves, which can be much more satisfying.

But yeah, it’s tricky, regardless!

Using a pen name

878F7035-4FE2-46E7-9AF1-CF51D18D4E58When you write books – if you write books – do you use a pen name?

I’ve got to admit, it’s something I hadn’t even thought of, until last year. I had the privilege of speaking to a highly successful literary agent. I haven’t asked her permission to identify her, and frankly it doesn’t matter for the purposes of what I’m writing here. Suffice to say she represents some of the biggest names in fiction, It was a fascinating discussion, and her advice has been really helpful for me.

But one area she highlighted to me was about using a pen name, and whether or not you should. Her advice to me was I should. Despite the back-catalogue of work I have.

If you’ve got a fun, interesting name, why not stick with what you have?

That’s the problem for me. Andy Jones is pretty boring. And while I’ve been writing books for years, there’s a much more successful (and I’d argue, more talented) chap with exactly the same name. Now don’t get me wrong: in many respects, that’s an advantage. I’m sure many copies of my books have been purchased by people who thought I was the “other” Andy Jones. Hopefully some of them enjoyed what they were reading that it didn’t matter, and they even were then inclined to try some of my others. I had a lovely email about two years ago from someone who bought my book Everything in Seven Stories thinking it was by the other Andy Jones. But they loved it, and started looking into my back-catalogue and ended up buying a couple other pieces by me, including Succession of Power. Win.

Though is it really a win? It sort of feels like cheating to me.

And this agent’s insight into how an author’s name can affect who chooses to buy a book (and who doesn’t), really turned things on their head for me.

She told me some things that might be of interest to you. They were to me, and it’s why for my new book, I used My new pen name. And I’m sticking with it from now on. It’s a decision I have not made lightly. But I’ve made it.

Firstly, she said I should keep the name simple. Is it easy to say the name? Is it easy to spell? Are you going to be easy to search for?

Secondly, is it uncommon and therefore interesting? This question might contradict the first, but think about it this way: Is there a name that’s simple, but no one else in the literary world is using?

Thirdly, is it nice to say? Is it maybe alliterative, or pleasant in some other way? Is the first name just initials, or something that doesn’t directly indicate whether the author is a man or woman? Apparently that’s advantageous too.

And finally, is the surname one of the first six letters of the alphabet? A, B, C, D, E, or F? Why does this matter? Well, when you’re browsing in a bookstore (or even online), you might be doing so alphabetically, if you’re not just browsing the “top sellers” lists. So, for example, let’s say you’re in a bookstore, browsing along the romantic fiction section. The books are going to be listed in alphabetical order, by the author’s surname. You’ll look at the As, the Bs, the C’s and the D’s happily. But you’ll start to get bored by the Es, and the Fs will often be the last ones you look at before moving on. Believe it or not, this “retail truth” as been tested by publishers and booksellers.

Do you need a pen name? Absolutely not. Should you consider one? Maybe. Just maybe.