Welcome to story five from Everything in Seven Stories, The Next Stage.
It’s the moment the world has been waiting for: Signs of life from another planet. But are we really ready?
Welcome to story five from Everything in Seven Stories, The Next Stage.
It’s the moment the world has been waiting for: Signs of life from another planet. But are we really ready?
We’re over the half-way mark! Time now for the audio drama version of story four from Everything in Seven Stories: The Ring of the Fisherman.
Rome rejoices as a new Pope takes the throne. But this new Vicar of Christ can’t stop fighting demons of doubt.
Time now for story three from Everything in Seven Stories: Chester’s Secret.
A kind old man leaves Jack a cheap painting in his will. Little does Jack know, the painting contains clues that unlock a mind-blowing mystery.
Time now for Story Two from Everything in Seven Stories; Why We Fight.
A battle-ready young man prepares for war to protect the country he loves. But it’s never quite that straightforward.
This year, I want to introduce you to something I made back in 2020.
2020 wasn’t easy for most people, and I’m sure it was the year many people chose to finally “write the novel” they always wanted to.
As I kinda do that anyway, I wanted to give myself a different kind of lockdown challenge. I turned back to my old book Everything in Seven Stories. I wanted to do something creative that I otherwise wouldn’t do if the lockdown hadn’t happened. And it had to be something I could do in my own home, because, well, 2020. Luckily for me, as a professional broadcaster and voiceover artist, I had my own vocal booth.
So I narrated each of the seven stories, with music and sound effects. The results won’t win an award, but it was good fun to do.
Each month from now until October, I’ll be posting one of the seven stories. They range from just over half an hour to over an hour each.
Here’s story one: Antidote. A young woman uncovers the sinister truth about a dangerous chemical weapon in the heart of New York City.
If you want to listen to them on your favourite podcast app, well here you go:
It’s done. My new book is here. I wrote it back in 2019, but it’s been up and down with a literary agent and publisher for quite a while before I decided to just release it myself. I want it “out there” far more than I want any sort of deal right now, so that will all have to wait, if it happens at all.
But yes, here it is, my new novel, Back in the Shadows.
You might notice that it’s not my name on the top. Well, that’s still me. I’ll write more about this at a later date, but I’ve had some really valuable advice from the above-mentioned literary agent, regarding the reasons people pick pen-names and the sort of name to consider. I took one that ticked many of these boxes, and I’m actually quite happy with it. It’ll separate it from the rest of my previous work, but Drew David is what I’ll be using for new novels.
I had the idea for this story as I started writing Succession of Power, and it’s just stuck with me for some time. In a strange way, it’s ended up being one of the most personal pieces I’ve ever written on some level. Again I’m sure I’ll explore that point at a later date.
Anyway, it’s yet another labour of love, so I hope you’ll enjoy it. You can see more at my store here, or if you’d rather dive straight into Amazon, the US site is stocking it, as is the UK site – and most of the others around the world, in both paperback and ebook form.
There’s been a number of reports over the last two-and-a-half years talking about the slight reduction in ebook sales, and the increase in traditional dead-tree copies. In fact, the paperback market is booming right now, in part due to the increase in the mainstream publishing industry’s dramatically improved production and distribution channels. As I’ve noted before, in the last few years, the likes of Penguin Random House and HarperCollins have invested in these processes by an order of magnitude and are understandably reaping the rewards.
I wrote quite a while ago about how more and more of my own ebook sales were outstripping paper-based sales. This is certainly a movement that’s changed in the last year, with the books I’ve written published by these mainstream titans allowing for more sales and better margins. I wrote that the establishment will do things to slow the move towards ebooks, and maintain their hold on this market. I’ve also written about some of the other reasons why the ebook revolution hasn’t moved as quickly as many had hoped. I think those things are true, but what I didn’t anticipate, was the size and scope of the entrenchment, which has encouraged a return of the traditional paperback for readers in such volume.
Sure, many readers just decided on average, that they prefer paperbacks rather than ebooks. But many – maybe most – really don’t feel this way. However, when there’s comparative price differences between paper or electronic versions of books they want, they might be inclined to by paper. Especially if ebooks prices are over-inflated.
I think this over-inflation continues in part. But also in opposition to that, the way things work at the moment does mean that many authors are not being paid the right amount for their work much of the time.
Let me try to explain with an example, based on 2017 – now I guess 2018 – prices: Imagine there’s a new book out, both in paper form and ebook. We’ll dispense with the hardcover market now so as not to over-confuse things (though this would also work with that market).
Here’s the very basic breakdowns on the paperback version, on sale in the UK for, say £8.99 (which I’ve rounded-up to £9.00 for ease):
As you can see, We’ve got about 40% of the total RRP (Recommended Retail Price) reserved as markup for the retailer. That’s £4.00. Very typical. Many retailers will charge the full amount (after all, they’re taken the risk in buying a lot of stock, etc., and often the deal means they can’t sell all of it back if it doesn’t sell). But many larger chains and online retailers (hello Amazon) can cut into that markup and sell it for less. So a £9.00 book with a high street retailer making £4.00 is sold on Amazon for, say, £6.00 with Amazon making just £1.00, but happy to do so because they sell so many.
The cost of manufacture and distribution for the Penguin Random House/Simon & Schuster’s of this world has never been proportionally lower. They’ve made big investments and it’s paying off. That’s why the cost of physically making each book (allowing for scale) and distribution is just £1.00.
That leaves £4.00 for the publisher. The author will get a bit of that, as will the typesetter, cover designer, etc. That’s essentially the “intellectual cost” of the book. Remember that £4.00, it’ll be important later in this article.
Now let’s look at that same book going on – for example – Amazon on the Kindle platform. It’s the same book, but in eBook form. And you can get it for £4.99 (again I’m saying £5.00 for simplicity’s sake):
As you can see, the breakdowns are different. But that’s fine, they should be for the most part. The retailer is handling most of the actual “distribution”. But that’s a tiny cost (don’t let the technical illiterates in the publishing business tell you otherwise), so I’ve been very generous with the 20p cost there. Though I haven’t written it this way, there’s an argument that the 20p cost is mostly for the retailer rather than the publisher, which is fine.
Speaking of the retailer, they don’t have a big risk any more. If the book sells one copy or a million, they just need an electronic copy on a server (or probably several to be safe) and can distribute that as needed. There’s no advantage to economy of scale, but no disadvantage to low sales either. The book-selling business in the ebook world is a low-risk game. So their markup is significantly lower to reflect that. I think that’s fair.
Where there’s a slight problem, is the revenue for the publisher in this model. Just £3.30. Now, there’s lower costs here which is fair. The retailer doesn’t have to make as big a risk on producing thousands of physical copies of a book that might not sell. And they don’t have to pay lots of money for a typesetter either. But they still spend time and money investing in the author. They’re still the big promoters and backers of talent. In the future, I hope that they stay as a significant force in this area. They’re brilliant at it, and I speak from experience. And they still have to pay for someone to design and produce the actual ebook file. Where a typesetter will work full-time for two weeks to finish a typical book (burning the candle at both ends), a finished and edited manuscript can be made into a perfect and standards-compliant ebook format in a couple of days easily. Hell, even I could do it to a decent standard in one afternoon with some of the software out there.
And of course, the author needs to get paid. Sadly, in the current system, the author is the tiny bit of that £4.00 that gets squeezed the most when it goes down to £3.30.
A publisher doesn’t need to make £4.00 from an ebook. But under the current way of doing things, an author often gets financially penalised when someone buys an ebook over a print edition because of the overall lower revenue per-sale that goes back to the publisher.
The quickest, and – based on where the industry is now – the most practical current solution would be to charge a little bit more for ebooks. The sales are what they are, and may not be affected too much (but I understand how the economic theory of ‘dynamic scoring’ could lay waste to this idea, which I readily admit), but this example breakdown could work better in the short-term. Imagine if instead the ebook sold for just a tiny bit more; £5.70:
Now things are a tiny bit different. The manufacture/distribution cost is unchanged. Because the overall price is higher, the percentage markup for the retailer is a bit higher. But the publisher (and therefore the author and everyone else) is left with almost the same as they would have with the £9.00 paperback book.
£3.80 is less than £4.00, yes. But not by much. And that 20p drop is just to account for now having to pay a typesetter as much, and an ebook designer for two days over that two-week typesetting job, and of course not having the risky investment of mass-producing a physical book, which is the big cost. This price would, arguably, disproportionally reward the publisher themselves, but at least it means the author would get what’s owed to her in full.
The best example that I can come up with to highlight the problem right now: Imagine you hire an accountant to do an audit of your finances. They spend a couple of days going over your accounts. Your income, expenditure, savings and investments, Then they publish an almost scholarly-assessment, where they write up with graphs and detailed references, what extra savings they think you should be making, what investments you should consider, and what expenditure you could do without.
Imagine then that they printed that 10-page report out, and put it in an envelope, bunged a stamp on it and mailed it to you with an invoice for the work they’ve done: let’s say it was £300.
Question: If they emailed the report and invoice to you instead, would you expect them to have only charged £230?
Sure, maybe taking the cost of the stamp, the envelope, the ten pages and the ink together, they could have only charged £299 for the emailed copy. But anything less than that, and they’re basically being paid less for the same. Is that fair?
Anyway, that’s my view, and I’m sure even I probably disagree with the oversimplification in this article. Besides, I love, dear reader, you regardless of which format you buy my books – and they’re available in both ebook and paperback form right here!
The biggest new phrases in our lexicon are things like ‘fake news’ and ‘alternative facts’. It’s easy to say that old adage “you’re entitled to your own opinions but not your own facts”, but it’s a perspective currently lost in the world of news and politics.
Many say – and understandably – that we need to grasp facts now more than ever before. They matter more than they have ever done. Now is not a time of escapism, of hiding from reality by delving into a fictitious world.
I respectfully disagree.
We need fiction now more than ever. We need stories more than ever. Because they’re often the best way of seeing the real truth.
I still can’t quite figure out why the book I wrote last year – Succession of Power – is selling so well. I’m sorry, that sounds like a very arrogant thing to say. I hope you understand that I’m just genuinely curious as to why a book with easily the lowest-key launch of anything I’ve ever written has done such good “business”.
A friend who read it said that she enjoyed that it features a woman president. Someone who was strong enough to stand up for herself when the forces of darkness rise over her. She said she felt that this was a reference to Hillary Clinton – the president that “should have been” (in her eyes) – taking control when all around is out of control.
I certainly don’t think the character Mary Rosalind is the same as Hillary Clinton. It’s pretty clear that Clinton wanted the presidency for most of her life, and spent all of her time trying to achieve that goal. It’s a perfectly respectable aim, but it was never the goal of Rosalind. Mary was quite happy in the position she was given, just a little frustrated that her brilliant achievements weren’t acknowledged.
But I see what my friend means. A lot of people look at the big political decisions of the past year, and are depressed. I’m personally not depressed about the politics of 2016 (or at least, not any more than any other year), and I don’t think that’s just my natural optimistic comportment. There’s a lot of things to be objectively happy about if you’re lucky enough to live in the West today. Arguably we’ve never had it better. Who cares who resides in the White House? And when it’s someone awful, then let’s take the positives out of that: it means more people are concentrating on the nuances of the Constitution than they’ve done before. That’s actually quite refreshing, if you’re more libertarian-minded. Welcome back to the fold, anti-war, anti-government overreach protestors. Where have you been for the last eight years?
And here’s the funny thing about writing fiction. Though the stories can be larger than life, they only really resonate when they speak a truth. When they tell us something about human nature.
That’s all Succession of Power has tried to do. In the middle of a crisis, a president – and a small band of allies – do all they can to stand strong for the moral principles of a republic, when everyone around is losing their heads. It’s about how not doing something is often more noble and brave than doing something.
But heck, if you’re just looking for a story where there’s a woman president who knows what the hell she’s doing, despite being surrounded by stupid, solipsistic men, then I hope you enjoy the book. And it’s available for less than a few bucks on Amazon right now.
It’s the age-old cliché. A writer with a notepad. Maybe a pencil tucked behind the ear. After all, a writer always needs to jot down ideas as he or she gets them, right?
I’m pretty sure that the only reason I have five published books under my belt is because I’ve spent very little time procrastinating. I don’t have time to write books. I have a crazy busy job. But I’ve written them anyway. I’ve just got on with it. Some authors write thousands upon thousands of words in the form of ideas and preparation notes before actually doing the real book. Me, I do very little preparation. Some, but not a lot. Just enough to convince myself that “I’ve got a book here”, then I sit down at my desktop or laptop computer and type “Chapter 1” (or, more appropriately “#001”, as I write in markdown, which I strongly recommend to all). Then I’m away.
Don’t misunderstand me: many authors say they must do all this “epic planning” for a good reason. There are some truly talented bestselling authors out there who have to write the whole book (in terms of word count) before they start actually writing it. Slightly unrelated, but one of my literary heroes, the late Elmore Leonard, said he wrote about three pages for every finished page you saw. Yes, there are clear exceptions, but I can’t help feel that many use “planning” as a crutch.
Many writers working on their first book write lots of notes. Whenever “inspiration strikes”, they’ll jot down what comes into their heads. Are you doing that? Are you doing it to avoid actually writing the book?
If you do write down every idea as a note, why? Before you write “Chapter 1”, you’ll have to sift through all those notes, and work out how they pertain to the overall idea you had. That’s real work. When you’re at the delicate creative stage, suddenly you’re finding yourself doing paperwork. Ugh.
I’m not so sure about this approach. Every idea you have isn’t some sort of amazing insight that needs to be logged. And as I said in the previous paragraph, jotting down and cataloguing every little idea just means more work later on, pouring over crap. But – some will say – what if one of these ideas is an amazing insight? Why risk forgetting it? Even if it means noting down lots of bad stuff too?
It’s a good question. But I think it’s a debatable point. My memory is terrible, but I’ve learnt one thing that applies all the time: if you come up with a great idea, it’ll stick with you. It’ll keep coming back. It won’t leave you the hell alone. It’ll insist on your attention. It’ll stop you sleeping. It’s a pain in the backside, until you finally do something about it. Trust your instincts. Trust your subconscious. It’ll let you know when an idea is worth your attention. Your good ideas have an ability to keep fighting over the bad ones.
So my advice – which might be wholly useless to you – is don’t keep a notepad around. Or a notes-taking app on your phone or whatever. Notepads are a repository for bad ideas. The good ones stay rattling in your head until they drive you nuts. Let your subconscious sort out the good from the bad for you.
Besides, you don’t have the time to worry about that stuff consciously. You’ve got a book to write.
Just wanted to give you the heads-up about a brand new book that I’ve written that’ll make its way to a book store (online and brick-based) near you soon.
Succession of Power.
You will be able to buy it for Amazon Kindle, on the iBooks Store and for the Nook, as well as the good ol’ dead tree version. All at pretty competitive prices. I’ll post up more information on that as soon as it’s available.
If you like your thrillers to pack a real punch, then I definitely think you’re going to enjoy Succession of Power.
It’s a political action thriller set in Washington D.C. on the day of the president’s State of the Union speech.
Here’s the blurb:
A bomb detonates inside Capitol Hill during the president‘s State of the Union speech, bringing America to its knees.
Left behind to lead the country under the presidential ‘Succession of Power’ laws is an inexperienced junior cabinet member, aided by the only Secret Service agent who foresaw the horrific act.
Together, they must calm a shaken nation and bring the terrorists to justice before they strike again, while fighting even more sinister forces at the very heart of government.
It’s been a heck of a ride putting this book together, and I really can’t wait for you to read it.
I started writing it during the last week of February this year, and finished it in the last week of August, so it’s been a six-month project, though being swamped at work has stopped me being able to finish it quite a bit sooner.
I had the idea in September last year. I’ve always wondered what it must feel like to be the one member of the president’s cabinet who has to stay behind when the president goes to Capitol Hill to deliver the SOTU. They need someone stay behind in case something terrible happens on the Hill, so that someone in the presidential succession line can take over right away (hence the title).
I really wanted to write a page-turner. It’ll be for you to judge if I’ve succeeded. But one thing that did happen, is the last 45% of the story was written in about the last month. It just came out of me, at 100 miles-an-hour. I was writing it fast, and I hope you read it just as fast. It’s a fun, exciting, pacy high-concept story that hopefully fits in well with the expectations of the genre.
I’ve got a lot of cool stuff in the pipeline, but you’ll excuse me for taking a week or so off before I get back on it again!
I hope this ends up being as fun to read as it was to write. Stay tuned, I’ll have more once it goes live. And of course, it’ll be available on the store here too.