REALISTIC TIPS FOR INDIE WRITERS WHO WANT TO ‘MAKE IT BIG’.

 5th July 2025

The internet is full of tips and advice articles for would-be authors, many of them promising the world to just about anyone who can open a Word document. There are countless posts out there giving the impression that “everyone has a book in them” and all you have to do is type it up, stick it on Amazon KDP and then wait for the millions to start rolling in.

The reality is, of course, somewhat different. The vast majority of authors worldwide, (especially fiction authors), don’t ever make any meaningful amounts of money from their writing, even when they are published, leaving them dejected and disillusioned with the whole writing process.

When starting out on our writing careers, we all automatically think about the successes – the J K Rowlings, the Robert Ludlums, the Dan Browns and many others…The list seems endless. However, for every successful author on this list, the ones who got lucky, (and yes, even with good writers, luck plays a huge part in it), there are thousands of authors out there who made nothing.

Before you decide that you’re going to be a successful author and make millions just from tapping away at a keyboard now and then, it’s worth thinking about how much competition you actually have out there and how much work you will really have to put in.  

So, here are ten tips for writers grounded in reality:

Rather than writing books, get a job with a paying magazine or newspaper. Of course, it isn’t easy, but if you’re actually looking for a career as a writer, you stand more chance of making a living this way than by writing books. Once you’ve made a name for yourself and established your reputation, you may even get a book deal and if you’re famous enough it may even help your sales.

Get famous for doing something else and then publish a memoir. Of course, many people waste their whole lives trying to become famous for its own sake, and it relies on luck as much as anything else. However, if you’re famous enough already, the chances are that your book will sell no matter how bad it is, and your chances of success by this method are undoubtedly just as good as most new authors. You only have to look at all those ‘celebrity’ memoirs outselling genuinely good books to realise that fame sells better than talent.

Write non-fiction rather than fiction as that often sells better, especially if your book contains useful information that will help readers do a specific thing. Self-help books and books giving advice to desperate wannabe writers tend to sell the best, (even if the author has only ever written books giving advice to wannabe writers).

Don’t concentrate too much on getting into brick-and-mortar bookstores unless you have a deal with a reasonably large traditional publisher. If you want to see your book on the shelves of your local bookstore, the best thing to do is befriend the staff (and management) of your local independent bookstore and ask them to stock a couple of copies, (assuming that your book is in Gardner’s catalogue), or write a local history/local interest book. Even Waterstones will sometimes stock local interest books if approached by the author in person, but only for that specific area. In other words, if you write a local interest book about Leeds, don’t expect any Waterstones in any other towns or cities to stock it. There are forms that can be filled in with larger chains like Waterstones asking them to stock the book but the fact is that they will not stock it unless they think that it is going to sell, no matter how nicely you ask them. They are in business, first and foremost, to make a profit, not to risk those profits by ‘taking a chance on a new, unknown author. There are thousands of books published in the UK every month, many of them published by the big five, and it is very rarely that a big bookstore chain will even consider stacking your book unless you can guarantee them a profit.

Don’t Look down your nose at e-book sales. I know that many authors (especially new ones) are only interested in print books because they think that makes them a ‘proper’ writer. I understand that writers like to see a physical, printed version of their work, (and of course, with the advent of print-on-demand, it’s not that difficult or expensive to get your book into print). The fact is that a much better indicator of what makes a ‘proper’ author is if they sell books, irrespective of the format. If you’re a new and relatively unknown author, the chances are that nearly all of your sales will be e-books. E-books are considerably easier and cheaper to produce than print books and you can make a much bigger profit on the sale of an e-book than a print book, even when the e-book price is considerably lower.

It is worth noting the difference in profit margins for different kinds of book sales for self-publishers using the main print-on-demand and e-book platforms:

Amazon eBook: Cover price: £3.99. Royalty Rate from Amazon 70%. Royalty per copy: £2.76 (The few pence difference between 70% of the cover price and the actual payment £2.76 covers delivery of the eBook. Yes, there are actually some costs involved in sending an eBook electronically, and it can vary a few pence, depending on the file size of the eBook). 

Amazon paperback: Cover price: £8.99. Royalty rate from Amazon 60%. Print cost (deducted from the 60% royalty): £4.17. Royalty per copy: £1.22. 

Let’s compare this with Ingram Spark, the most effective Print On Demand service for making your book available to Bookstores:

Ingram Paperback: Cover price: £8.99. Minus Retailer Discount set to 40%* : (£3.60) , which leaves: £5.39, minus print cost (£4.97), leaving: £0.42.  Royalty rate (between 60% - 70%, depending on region – so let’s be optimistic and assume 70%), leaves a royalty per copy of about: £0.29. 

If you’re a self-published author, or are published through a small independent publisher, Amazon is your friend. We are constantly told that Amazon is some giant corporate Devil, killing off independent bookshops and taking over the world by destroying the High Street. Of course, this is utter nonsense. This one company, however large and far-reaching cannot realistically be held responsible for the shopping habits of the modern world. If people decide to shop online for the convenience of being able to order a massive range of items from books to electricals and home décor, in their lunch break at work, on their mobile phone, and have the items delivered to their door, this isn’t because any one company is somehow inherently evil. If you want to blame someone because your local high street doesn’t have an indie bookstore, you’d be better off looking to a) the consumers who don’t go into town to buy books, or who only buy second-hand, and b) the big brick-and-mortar bookstore chains who have priced independents out of the markets, (why go to an indie bookstore and pay £8.99 for a book by an author you’ve never heard of when you can go to The Works and get 3 for £5?). The fact about Amazon, (at least as far as indie publishing goes), is that they have made it possible for self-published authors and small publishers to put books in front of an audience without having to spend a fortune. The vast majority of books that are published globally (including books published by big publishers) do not make a profit and there is no sure-fire way of knowing whether a book by a new author will be a success. Big publishing houses therefore only accept books for publication that they feel stand a good chance of making them a profit, not books that they think are good, you understand, just books that they think will make a profit. With the advent of Amazon Kindle Direct Publishing and print on demand services, it is now possible for small publishers to take a risk on publishing books based on whether they think the book deserves to be available, not just on their return on investment. In this way, small publishers like ourselves can now afford help authors develop their craft over time, irrespective of what the sales figures are for their initial books

Be prolific: The most important thing that you can do to increase your chances of making a profit. Very few authors (even new authors published by major publishing houses) make more than pocket change from their first, (or even second), book. The best way to increase your chances of making anything from writing fiction, (other than writing for paid fiction magazines like ‘People’s Friend’), is to write a series in a popular genre. By the time you have written three or four books in a series (if it’s good), you stand a reasonable chance of making a useful amount of money (though it will still probably not be enough for you to give up your day job). If you can only manage one 60,000 word novel per year, it will take a long time for your book series to gain traction. So, what do we mean by being prolific? To be realistic, writing 500 words per day, every day, should be considered your absolute minimum, and any editing, tweaking etc. should be done in addition to your 500 words per day. If 500 words seems like a lot to do in a day, please bear in mind that it amounts to just under one A4 page of 12 point text. Hardly a grind, even if you have a 12 hour a day job, and considerably less writing than most of us did in a day when we were at middle school. 500 words a day equates to 182,000 words per year, so about three 60,000 word books in a series per year. I know a lot of authors these days like to churn out massive doorstep sized volumes, but they won’t necessarily sell any better than a readable 60,000 page novel, especially in crime, thriller, romance genres. (Most of Ian Fleming’s James Bond novels ran to about this length, for instance and they were quite popular, even before the film franchise began). If you can’t manage 500 words a day, and you’re not famous enough to have a guaranteed audience, your chances of writing for profit are pretty slim. That doesn’t mean that you shouldn’t write, it just means that your writing will, in all probability, never be more than a hobby or a side-line.

Build your own audience by interacting with potential readers, either with an email list, personal appearances, or on social media. This means genuinely interacting with your potential readers. They aren’t going to warm to you if all you ever post is adverts for your latest book. Don’t rely on publishers to do this for you, whether they are a tiny independent or one of the big five. The smaller publishers don’t have the resources to advertise you widely and the bigger publishers feel that they don’t have to. Sure, some of the larger ones will pay to advertise their big name authors because they know that all they have to do is tell the public they’ve got a book out and their fans will buy it, but if you’re new and don’t have a track record, they’re not going to use up their cut of any potential profits on advertising an unknown author.

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 Don’t be too proud to take advice. I know how it is: You’ve spent ages on that manuscript, you’ve read it through, edited it, honed it to perfection. You just know that it’s perfect…and then some editor wants you to make changes. They advise you to cut some of your beautiful, oh-so-perfect words. What do they know about it? Actually, if they work in the publishing industry, the chances are they know a lot. If they say that the gratuitous and explicit sex scene in chapter two of your adventure novel sounds clumsy and uncomfortable and not suitable for readers of adventure, they’re probably right. If they’re from a publishing company that releases the kind of work that you’re pitching, they probably have a good idea of what their readers are looking for. If you’re after a deal, swallow your pride and take their advice. Or don’t; it’ll be your book that they turn down. Wherever possible, take advice, not just from editors but from well read beta-readers, if you can find them. The only time I feel you should ignore this advice is if you’re a very prolific pulp fiction author, and when I say very prolific, I mean ‘Edgar Wallace prolific’, and you’re producing a new novel every month. Even then, a trusted beta-reader is a godsend for spotting the huge errors and plot holes that are surprisingly easy for authors to miss.

Don’t wait for the perfect time or place to write, it will never come if you sit around waiting for it. As writers, we’re constantly advised to have a special writing place where we can sit without distractions and allot a specific time each day to make the magic happen and that’s great. It’s great to have that special place, whether it’s a private study in the attic, or a desk in a quiet corner of the house. By all means get one, but don’t (as many would-be authors do), use it as an excuse not to do any writing today just because you haven’t had the chance to sit at your desk. If you’re working a 12 hour shift and you know that you’ll be too tired to sit at your desk and write, you should still be producing your 500 word minimum during your lunch break, your commute to and from work…anywhere. You have to get the word count in if you’re going to finish the work. It doesn’t matter whether you get your words down in a notebook, a voice-recorder, your phone or wherever. You can always go to your special place to type up your work neatly when you do have the time later.

The Writing Process by David J Blackmore

 

19th June 2025

In the third of his fascinating guest posts, David J Blackmore, author of the thrilling 'Wellington's Dragoon' series, tells us about his writing process for the series...

David J Blackmore on Johnny, the inspiration for
Michael Roberts' horse  in the Wellington's Dragoon Series

The Writing Process

This is a tricky topic, because for every book I have written there have been variations in the process. It is also a personal process, every writer has their own way of working and I also believe that it is something that can’t be taught. All of which renders this piece rather unhelpful, except that my experience might help you find your own methods. So, let me start with the most commonly asked question on this subject. It goes, roughly, as follows; “Do you have a set time for writing and/or do you write until you have written so many words?” The answer to both is no. I write when I can, by which I don’t mean when I have the time, but when I can actually sit down in front of my keyboard and be creative. Days can go past when I can’t write, some days the words just flow, but more on that in a while.

To The Douro
Wellington's Dragoon Book One

When I decided to write the Wellington’s Dragoon books, and the name came later, I wrote a brief plan for the series. It was going to be eight books from the very beginning, although there have been times when that has come close to changing, sometimes to seven, once to nine. The plan consisted of a few lines for each book, outlining, very briefly, what time period it was going to cover and what would happen. It has stood up remarkably well, but that’s probably because it was all rather vague.

Secret Lines
Wellington's Dragoon Book Two

When it comes to each individual book I create a very detailed plan. I start it based on the historical narrative of the period covered by the book, which gives me a framework in which to work. This stage involves quite a lot of research and I always start with the relevant volume of Sir Charles Oman, “A History Of The Peninsular War” in seven volumes. It was written at the beginning of the 20th century, with a brief break for war work during WWI. It is a monumental achievement and my constant guide. Then I go to more recent studies on particular campaigns and battles. At this point the plan is beginning to get quite long and has nothing in it about Michael Roberts.

Behind The Lines
Wellington's Dragoon Book Three

This is when it gets interesting. As I do my research I am looking for ways to fit Michael into the events. Perhaps the most obvious comes in the first book, “To The Douro”. Sir Arthur Wellesley, as he was then, drove the French through Portugal until they crossed the Douro at Oporto and blew up the bridge of boats that spanned the river. History will tell you that a staff officer, exploring the river upstream, discovered the wine barges, or Rabelos, secured them and Wellesley launched an assault across the river using them. I asked myself, what would he have done if the wine barges hadn’t been so fortuitously discovered? Wellesley was no fool, surely he must have anticipated that the bridge would be destroyed? In which case, what was his plan? We don’t know, and he was notoriously tight lipped about his plans. Enter Michael and the plan to make sure the boats were there.

A Different Kind of War
Wellington's Dragoon Book Four

Having got the historical framework sorted out, and decided what Michael’s role will be, I begin to sketch out what will happen in each chapter, what Michael will be doing, creating his personal narrative, gradually moving from a broad outline to a detailed plan for each chapter. Once I am happy with the plan I start writing and the advantage of having a detailed plan is that I can forget about the plotting and concentrate on the story telling. 

The Road to Madrid
Wellington's Dragoon Book Five

One thing that I have discovered, however, is that, sometimes, I don’t follow the plan. I find myself bashing away at the keyboard, the words just flowing, but they’re not taking me where I planned to go. The first time it happened was rather disconcerting, but it turned out that what just flowed was better than what was planned, it was, somehow, more natural. I have learnt to go with it, even if it means a bit of rejigging of the plan.

Some of the books that David uses for
his research

“To The Douro” had thirteen drafts. Of course, I was learning how to write, finding my style, developing characters, and it took time. The second book, “Secret Lines”, had seven drafts as I learnt what to do. Since then the process has settled down. The first draft is all about the basic story, getting that straight and all nicely worked out. The second draft is about adding colour, the detail that, I hope, gives it a veracity, a period feel. Sometimes there may be a third draft, particularly if I’m not happy with some aspect of the story or I feel it needs a little extra something. This is when I start to be unable to see the wood for the trees. I once had a friend who was an artist, and he also taught art. One of the things he taught me was knowing when to stop. There comes a point when you have to say, for better or worse, I can do no more. And that is it, when you can no longer see the whole wood, just lots and lots of trees.

So, is that when it goes to Brindle? Oh, no! Then it goes to my two wonderful and patient test readers. They tell me exactly what they think of it, spot plot anomalies, general gaffs and the inevitable typos. The time lapse while they read it, however, does clear the mind so that when it comes back I am ready to tackle their comments and write the final draft.

And that is why it’s one book a year!

You can read David's Wordpress blog by clicking HERE

You can find David's Amazon Author Page HERE

Re-enactment and Research by David J Blackmore

9th June 2025 

In his second guest post, David J Blackmore, author of the exciting Wellington's Dragoon series, tells us about his experiences in the historical re-enactment world and the research that went in to creating both his fiction and non-fiction books.

Waterloo Re-enactment. Photo by Kevin Wolf

I started re-enacting in 1973 at the age of eighteen. Like most people back then I started in the Sealed Knot, as a royalist, which surprises many as, in the early 1980s, I raised a Parliamentarian regiment in the Roundhead Association. (It’s a long story). At about the same time I got a job as a curator, actually the most junior curator, with the Armouries in the Tower of London. That was when I started to get serious about research. I needed to for my work, if you are cataloguing arms and armour you need to be able to work out what you have in front of you. I also wanted the regiment I was forming to be as authentic a recreation as was possible. I was, of course, well placed to research the arms and armour of the English Civil Wars, and that led to my first book, with the original title “Arms and Armour of the English Civil Wars”.

In 1989 I became Lord General of the Roundhead Association and, soon after, the first LG to command from horseback. I retired from that position in 1995, and subsequently tried my hand at various other periods, but always as cavalry. First came a British Dragoon unit of the 1740s. I set out to research it and ended up writing another book. “British Cavalry of the Mid-18th Century”. Then came American Civil War cavalry, both sides, and, lastly, the 16th Light Dragoons of the Napoleonic wars.

In 2012 I was awarded my PhD and my thesis was published as “Destructive and Formidable, British Infantry Firepower, 1642 – 1765”, which I undertook after leaving the Royal Armouries in 2008, after twenty six years.

As a result I was well prepared to research the 16th when I got involved with them in 2014. This has resulted in me having a thorough knowledge of their uniform and equipment, or, rather both uniforms, as it changed in the winter of 1812-13, as you will read in book six of the Wellington's Dragoon series.  I had to learn the drill they used, including the Sword Exercise. This knowledge was then put to practical use as we worked to create as correct a recreation as possible.

We found a cloth supplier, Kochan and Philips, who recreate the fabrics used two hundred years ago. We examined original items, or were generously helped by knowledgeable individuals like Sean Philips of Kochan and Philips. We had the correct regimental buttons reproduced. Leatherwork was researched and reproduced. There was, however, a lot more to it then just reproducing the kit.

Photo by Ellie Wout

There was the important matter of recreating the way the cavalry did things. I spent hours in the back garden, sabre in one hand, a copy of the Sword Exercise in the other, trying to work out what it meant. No one at the time learnt the Sword Exercise from a book, they were taught it by someone who knew it, a luxury not available today. 

Then there was the matter of the drill. You can’t do cavalry drill without horses. We were lucky as we had the invaluable assistance of Mark Atkinson of Atkinson Action Horses. One of his horses, Jonny, became my favourite and the model for Michael Roberts’ Johnny. I can also assure you that waving a sabre around on a horse at speed is a very different kettle of fish from one’s back garden. Although I say so myself, I got quite proficient. My ‘party piece’ at events was to slice a Jersey Royal potato in half while galloping past it.

Then, in 2015, I had the privilege to be asked to command the British Light Dragoons at the 200th anniversary of Waterloo. We ‘refought’ the battle on part of the original battlefield. We rode across ground the original 16th rode over. The British cavalry numbered some hundred and twenty, and we did manage to execute a charge as a single unit, the equivalent of a single squadron, which put everything in perspective. There was so much smoke that at times you couldn’t see fifty yards. We charged through wheat so high it brushed our feet. We finished both days, yes, we did it twice, in the dark, just as they did. It was about as close to the real thing as one can get today.

Photo by Ellie Wout

After that incredible experience, I discovered the whereabouts of the diary of William Tomkinson, but not just that, also his order book for the Waterloo campaign. I started searching and found more material written by other officers, journals and simple letters home written in the night after Waterloo. I was fortunate enough to make contact with the descendants of Tomkinson, Swetenham, Luard and Polhill, the last two only with the 16th in 1815. Another book followed, “So Bloody A Day, the 16th Light Dragoons in the Waterloo Campaign”. Writing that I felt as if I actually got to know the men of the 16th.

I have written in my previous piece for Brindle about how the Wellington’s Dragoon series and Michael Roberts came into being. I hope that this piece explains how I have been able to achieve the realism that I hope you have found in the books, the sense of what it was like to ride and fight with the 16th.

You can follow David's Wordpress blog by clicking HERE

David's Amazon Author Page can be found HERE

Where Authors Find Inspiration - Writer's Groups

 

22nd May 2025

In our latest post, Dr David Blackmore, author of the successful Wellington’s Dragoon series, discusses the inspiration that he got for his writing by being a member of his local writing group…

David Blackmore signing contracts (and enjoying a beer)
with Richard Hinchliffe of Brindle Books Ltd.

My Writing Group

 by David J Blackmore

I’m lucky. I moved to this small, East Yorkshire town eight years ago and very early on a neighbour asked me if I liked books and writing. Naturally, I said yes and I was soon the latest member of a small writing group. A few words of explanation; it wasn’t all about the act of writing, we also discussed the books we had been reading, the use of words, prose and poetry and the problems we all faced as writers. This last aspect has been, for me, very important. Writing is a lonely occupation, it’s just you and your pen and paper, or screen and keyboard. It is comforting to discover that the problems you experience, writer’s block or whatever, are common and that your challenges are not unique. Sometimes solutions are offered, sometimes it is simply the benefit of a trouble shared. The great thing is that the group is supportive, friendly, and constructive in its advice. 

One of my group has become one of two test readers of my books, and pulls no punches in the nicest and most constructive manner, which is just what you want. If you write you will reach that stage when you can no longer see the wood for the trees, or the plot for the words. That is when the help comes in useful. My readers have saved me from more than a few blunders and spotted the inevitable typos, a few of which still escape me, them and the publisher.

One other thing the group does has developed slowly. We started giving ourselves occasional writing challenges. This has become a regular feature and every gathering ends with the setting of our homework. This will be something that has come out of the evening’s conversation and is very liberally interpreted. One such challenge was to write the first page of a book, on the basis that it has to grab the readers interest.  My offering was the first appearance of Michael Roberts of the Sixteenth Light Dragoons. The group liked it and wanted to know what happened next, which is just what you are aiming for. So, I wrote a short story. The reception that got was what encouraged me to undertake the Wellington’s Dragoon Series. The first page makes an appearance in altered form in The Road To Madrid, but here it is, in its original form, written some six years ago:

Lieutenant Michael Roberts, of His Majesty’s 16th Light Dragoons, lay in the shade of a stunted olive tree, eyes closed, listening to the crickets, the murmur of quiet conversation from the two dragoons with the picketed horses, and the occasional clink of harness. The tree was almost at the top of a ridge, from which could be seen miles of rolling plains, shimmering in the heat of a Spanish summer.

‘Dust, sir’. The words came from Sergeant Taylor, where he lay at the top of the slope, watching the landscape for any signs of movement.

With a groan, Roberts rolled over and wriggled up next to his sergeant and squinted in the direction indicated. Several miles away a small cloud of dust rose from where the road they were watching left a small village. He extended his telescope, covering the lens from the sun to avoid any tell-tale reflection, and focussed on the slowly moving cloud.

‘Cavalry’, he said, ‘about half a dozen’. Suddenly he saw tiny specks of reflected sunlight flashing above the riders. ‘Damn it, they’re bloody lancers’.

He rolled on to his back and looked down at where the two dragoons were already bridling up the horses and tightening girths and surcingles. ‘Evans, ride back to Captain Rowlandson and tell him there are lancers coming down the road, about half a dozen, three miles off. We’ll watch for a bit longer and then fall back on the picquet. And try not to raise too much dust, I’d rather we weren’t seen’.

As Evans mounted and headed off at a trot, keeping to grass where he could, Roberts turned back to watch the distant enemy. They were French lancers, they had to be, coming from that direction, where French Army was known to be. The French were moving cautiously down the road that passed through a shallow defile to the left of where Roberts and his men were concealed. Feeling their way forward, looking for the British Army, and no doubt keeping a very close eye on the ridge, an obvious vantage point.

Suddenly a much larger cloud of dust issued from the road in front of the village. ‘God damn it, it’s a whole bloody squadron!’ He swung his telescope and focused on the rolling plain beyond the village, shimmering and cut across with silver and blue mirages. ‘It looks like a whole brigade behind them. Right, mount up, keep below the skyline. Another five minutes and we will be off.’

You can follow David’s own Wordpress blog by clicking HERE 

David’s Amazon author page can be found HERE 

COMING SOON - David Blackmore on research
and his re-enactment experiences

Authors: There is no excuse for your book to stay out of print.

 

18th May 2025

You spent all that time writing it, so why not make sure it stays in print?

Back in the old days, when traditional publishing was the only realistic option (for authors who didn’t have access to the massive amount of funds that self-publishing used to require), it used to be the case that books would routinely go out of print when it was no longer cost-effective for publishing companies to put out another print run; when sales had dropped to levels where printing a run of, say, 1000 copies was not deemed worth it because it would take too long to sell these copies, (if indeed they would ever sell out).

Since the advent of the e-book and print-on-demand services, however, the cost of actually putting a book out and making it available to potential readers is now negligible, so there should be few real reasons for a book to stay ‘our of print’, however small the potential audience.

In some ways, of course, going ‘out of print’ can be good news for authors, (or whoever owns the rights to the work). In most instances, when a book has been out of print for a certain length of time, the author (or owner of the original rights to the work), is free to sell the publishing rights to another publisher, or to self-publish the work.

Whilst most ‘out of print’ works that are re-published in this way are unlikely to become ‘best-sellers’, (after all, they went out of print for a reason; usually low sales figures), it may often still be worthwhile to get the book back out there for other reasons.

Simply having an author’s back-catalogue out there and available for posterity is a good enough reason. After all, not all readers, or even researchers, have the time or resources to trawl through the catalogue of the British Library just to visit and look at a book that they can’t take home and enjoy at their leisure.

Of course, authors and rights-holders do need to be wary when signing over publishing rights to a publisher. Should that new publisher put out the book by print-on-demand, or electronically, this would mean that the book would never, technically go out of print again.  Whilst this might not appear to be a problem, (after all, your book is back in print), there is always the possibility that the author may miss out on a potentially better offer by being tied in a contract with their new publisher.

At Brindle Books Ltd, we allow all our authors to terminate their deal with us at three-month’s notice, meaning that they are always free to take their work to another publisher if they are ever offered a better deal. We can do this for two main reasons: i) we are confident that our author contracts are the fairest in the business, so it is rare that an author would want to leave us, and ii) because we commit only to publishing e-books and print-on-demand paperbacks, which means that we are not left with a large inventory of unsold books that we cannot get rid of in the event that an author does decide to try their luck with another publisher.

Of course, our business model does mean that we don’t pay advances, (though we pay a considerably higher royalty share than any other publisher that we are aware of), and it does mean that we can choose to publish books based on whether we think that they are good and worthy of publication, rather than picking books to publish based purely on whether they will make us a profit.

See our previous post about these great out of print books

If you have had books published in the past that have since gone out of print, or have inherited the rights to such works, it may be worth looking into re-publishing them and putting them out there in front of the reading public. A simple enquiry to your previous publisher will usually be enough to find out whether you’re free to take the work elsewhere. In some cases, your query may even prompt your original the publisher to offer you a new deal for e-book rights or suchlike. The main thing is to ensure that, since going out of print, the rights to your work have reverted back to you. It is always worth getting that confirmation in writing, especially if you are going to approach another publisher to re-publish your work.

If you do have a work that’s gone out of print and are looking for a publisher, Brindle Books are open to submissions of many such works. We’d be happy to hear from you even if you don’t want to publish with us but just want some free advice on how to go about self-publishing.

If you want to know more, we’ll do our best to point you in the right direction. You can email us at:

contact@brindlebooks.co.uk 

THREE GREAT BOOKS THAT SHOULD STILL BE IN PRINT…BUT AREN’T

 

1st May 2025

On a recent holiday in Scotland, I stopped by one of my all-time favourite haunts; the second-hand bookshop in the Mill On The Fleet, a small arts and exhibition centre in Gatehouse of Fleet in Dumfries and Galloway. They have a marvellous selection of books and I often spend many a happy hour there perusing their shelves. 

On this particular visit I picked up a hardback collection of Bulldog Drummond stories, covering his Four Rounds against Carl Peterson. (I like to collect old adventure stories, or ‘shockers’, as the author H.C. MacNeile described them).

I also came across a paperback, the cover of which appealed to me due to my love of pulp fiction from the 1960’s, 70’s and 80’s. I had never even heard of this one before, but I thought I’d give it a go. The book was One By One, by Penelope Gilliatt.

I raced through it in just two sittings. It is quite a short novel, but it is also what marketing people might describe as ‘unputdownable’.

The book tells the story of the effects of a deadly pandemic affecting the UK, and more specifically London, seen mainly through the eyes of a young woman and her husband; a veterinarian who ends up working as a volunteer in a treatment centre for victims of the mysterious illness. With the benefit of hindsight, after the whole Covid 19 affair, the premise of the novel intrigued me.

Gilliatt’s writing style was interesting and, in some ways, quite unusual. Some sections of the story are delivered in an almost stream-of-consciousness manner, though this suited the story and emphasised the atmosphere of confusion brought about by the pandemic.

Some of her observations on everyday life, and her ability to make even the most mundane activities of middle class life interesting even put me in mind of the great George Orwell.

Upon finishing the book, I did a quick check on the author. Penelope Gilliatt (born Penelope Ann Douglass Conner; 25 March 1932 – 9 May 1993) was an English novelist, short story writer, screenwriter, and film critic. As one of the main film critics for The New Yorker magazine in the 1960s and 1970s. Gilliatt was known for her detailed descriptions and evocative reviews. A writer of short stories, novels, non-fiction books, and screenplays, Gilliatt was nominated for an Academy Award for Best Original Screenplay for Sunday Bloody Sunday (1971).  

I was quite surprised to find out that this book is now out of print and that it can only be found second-hand. It got me to thinking about some of the other books in my ever-growing collection, which I have picked up over the years from second-hand bookshops and bargain bins, so here, including One By One, are three great but overlooked books which have undeservedly gone out of print. 

The authors of all three books have sadly passed away, but it will still be many years before these titles make it into the public domain and become available for anyone to access and publish.

One can only hope that whoever owns the rights to these books, and to many other works that are (at least for the foreseeable future), lost to the wider public might at some point realise that, with modern on-line and print-on-demand publishing methods, there is no real reason that these books need to vanish, even if they are not deemed commercially viable for traditional publishers.

Here then, are three great books that definitely deserve to find their way back into print:

One by One by Penelope Gilliatt

Penelope Gilliatt’s One by One (1965) was her debut novel and is a short, literary dystopian tale set in plague stricken London. The story centres on a married couple, Joe and Polly Talbot, as a mysterious “plague” kills people in the city “one by one” while each struggles with personal secrets (Joe’s hidden homosexuality is a key subplot) The novel blends domestic drama with apocalyptic themes, reflecting Gilliatt’s sharp observational style (she later became better known as a film critic) Originally published in London by Secker & Warburg (and Atheneum in the US) in 1965, One by One never saw a modern reprint; it is long out of print and today only survives via vintage hardcovers and paperbacks on the second-hand market. It has had no adaptations, though recent readers have noted its eerie parallels to real epidemics. 

The President’s Grass Is Missing by Patricia Breen-Bond

Patricia Breen-Bond’s The President’s Grass Is Missing (1980) is a satirical caper thriller about a bizarre political kidnapping. The novel’s plot hinges on the theft of a section of the White House lawn, which just happens to conceal the U.S. President’s secret stash of marijuana. The pranksters then demand a one billion dollar ransom for the plant’s return. The tone is farcical (one reviewer likened it to Donald Westlake style heist comedy) and mixes absurd humour with suspense. The book was published in New York by Belmont/Tower (Tower Pub. Inc.) in 1980. It never entered the mainstream; no film or TV adaptation exists, and today it is effectively out of print. Only the original paperback edition (and occasional used copies) remain available through second-hand dealers.

Man on a String by Michael Wolfe

Man on a String (1973) is a Vietnam era suspense thriller by “Michael Wolfe” (a pseudonym of Gilbert MacLean Williams). Set during the Vietnam War, it follows Michael Keefe, a photojournalist (with the U.S. Defense Photo Operations) who becomes entangled in espionage and combat intrigue on the front lines. The novel was praised on release and even became a finalist for the 1974 Edgar Award for Best First Novel. It was issued as a hardcover by Harper & Row in New York. Today Man on a String is out of print; only the original 1973 editions (and later paperbacks of Wolfe’s sequels) circulate in libraries and used-book shops. No screen adaptation was made, but the book launched Wolfe’s four novel “Michael Keefe” series (with later titles in 1975–77). 

If you can track down any of these three works, I would heartily recommend getting hold of them and giving them a read. Perhaps you can come up with your own list of titles that you'd like to see back in print, or even have books of your own that are out of print. If so, we'd love to hear from you. drop us an email at: 

  contact@brindlebooks.co.uk

[Sources: Contemporary publishing records and book reviews lornebair.com   jasondeanbooks.blogspot.com  barnesandnoble.com tbclrarebooks.com literary databases (Open Library, Stop, You’re Killing Me) and book trade listings openlibrary.org stopyourekillingme.com for publication details and availability.]

Brindle Books Interview with C. Q. Turnstone, author of Avarice of Empire, due for release on 6th March 2025.

 

22nd February 2025

C.Q. Turnstone is an historian and author of biographical historical fiction. His debut novel, Avarice of Empire, will be published by Brindle Books on 6th March 2025. We caught up with him recently to ask him about the book and his writing process.

Let's start with your book. How would you sum up what it's about?

First and last, Avarice of Empire is the true story of the life of a nineteenth-century British cavalry officer called Charles Agnew, what drove him to seek adventure in India, and how he came to meet an untimely end 'by the hand of assassin'. More than that, though, it's also about the fortitude of Victorian women, class division and colonial prejudice, early photography and the embryonic intelligence service, a revolution in global communications, and how an Irishman discovered what would become India’s largest gold mine.

So historical fiction, but still a true story?

That's right, yes. It's biographical in spirit and detail, and tells a story about real people and events with as much historical accuracy as possible. However, that 'as possible' is an important caveat. A true story can only ever be as true as an author's interpretation of the available historical evidence allows it to be. Creative leaps of imagination are necessary to fill in the gaps. That's the case with non-fiction biography and history as well. Whether you're talking about things that happened this morning or millennia ago, it's impossible to know everything about a given situation from every perspective or what motivated someone to make a particular decision. 

What inspired you to write about Charles Agnew in the first place?

I'd always wanted to write a novel — it's a pretty common ambition, I'm sure. I toyed with various ideas over the years, but none of them ever quite worked. Then on a chance visit to Canterbury Cathedral on a rainy Sunday in May 2015, I noticed a memorial to a cavalry officer who'd been killed "by the hand of an assassin" in Egypt in 1873. I was intrigued by that unique turn of phrase, just as countless other people must have been during the past century and a half. I wanted to know who Charles Agnew was, what he'd been doing in Egypt, why he was killed and by whom? When I began researching the answers to those questions, I knew immediately it was a story I needed to tell.

How did you approach the research?

About a year after finishing Avarice of Empire I began studying towards a Masters in Imperial and Global History at the University of Exeter. As you might expect, that's given me all sorts of insights into how to conduct historical research with academic rigour. However, when I was researching the book I was just figuring things out for myself as I went along — learning on the job, so to speak. I thoroughly enjoy the research process, especially the privilege of examining things like letters, scrap books, and photograph albums that the people I'm writing about actually held in their hands. A great deal of archive material has been digitised in recent years, which makes the research task easier in all sorts of ways, but there's no substitute for visiting an archive or a story location in person. Among many other places, my research included visits to the 16th Lancers' regimental museum near Newark, the Stoke-on-Trent City Archives, and a certain public house in Tilbury.

What was the most interesting thing you found out about Charles Agnew?

Without giving anything specific away, it was fascinating to discover the multi-dimensional and often unpredictable nature of his character.

Does the story have an underlying message or moral?

You can safely assume it isn't a nostalgic celebration of imperial colonialism. I hope that much is obvious from the title alone. Beyond that — and this is something that emerged from the history without me contriving it — is that the expression of human qualities such as courage, resilience, and compassion, cuts across boundaries of race, class, gender, and faith.

How did you approach writing about other cultures?

With great care, particularly to avoid falling into the traps of stereotyping and cliche. Thorough research is crucial. I invited a number of people (from Ireland and India, for example) to act as sensitivity readers, and found their feedback incredibly helpful.

Did you feel a sense of responsibility towards the people you were writing about, perhaps especially those who may have living descendants?

That's a great question and, yes, I very much did. It's something I touch on in the Historical Note at the end of the book. My self-imposed rule from the beginning was a kind of respectful realism: I would always be guided by the available documentary evidence, and I wouldn't knowingly misrepresent anyone, but neither would I pretend that prevailing social and cultural attitudes had no influence. People are complicated creatures after all, and it's those complications that make a story interesting.

What were the differences between writing real versus fictional characters?

I've never counted how many real people feature in the book (lots), but there are only six fictional named characters. They served the very specific purpose of broadening the story and helping to connect its different aspects, and of course I could do whatever I liked with them without breaking my own rules. Fictional characters require much less research than real ones, although I found that the more detailed I made their backstories, the easier it was to bring them to life on the page. The actual writing is really no different at all. In fact, as the story developed the fictional characters became as 'real' to me as the real ones.

What kind of reader do you think will enjoy Avarice of Empire?

I'd certainly like to imagine that it will appeal to anyone who already knows they have a taste for historical fiction, or failing that at least a general interest in nineteenth-century life. The story inevitably features a degree of military history, although perhaps not in a way that might typically appeal to enthusiasts. Based on feedback received from test readers, in terms of factors like age, genre preference, and existing knowledge of the period, I'm delighted that the book seems to appeal to a much wider audience than I'd expected.

If you had to be one of the characters in the story, which one would you choose?

That's quite a tough one! I suppose it would have to be Morgan Farrell.

Whether historical or otherwise, which authors of fiction have been most influential on your writing?

I'm drawn to crafted storytelling with complex plot interconnections and memorable characters, and the more sweeping in scope the better. With that in mind, the three authors I'd say have had the most influence on my writing aspirations are Bernard Cornwell, Hilary Mantel, and Ken Follett. There's a long list of others I admire and enjoy as well though, of course, from Robert Louis Stevenson, R.M. Ballantyne and Arthur Conan Doyle, whom I read over and over as a child, to the likes of George Orwell, William Golding, Sebastian Faulks, R.F. Kuang, Anthony Doerr, Percival Everett, Tan Twan Eng, Elif Shafak, Kazuo Ishiguro, Douglas Stuart, and Simon Mawer.

What do you think is the most important quality and/or skill for a writer of historical fiction?

Without a doubt, the most important quality is empathy — for both characters and readers. The most important skill is harder to pinpoint, because so many are crucial. I'm going to dodge the question slightly and say that the skill I've probably found most useful is being able to 'be in the scene'. In other words, visualising what a scene looks/sounds/smells like from the perspective of an invisible observer standing next to, behind, in front of, or far away from the other characters.

Can you tell us a bit about your writing process?

I discovered a while back that listening to classical music (headphones rather than 'in the room') really helps with maintaining focus and lubricating the wheels of creativity. Personally, I write better in the morning and edit better in the afternoon. I'm also someone who continually edits as they write rather than rough drafting and editing later (although there's plenty of editing later as well.) I don't set myself word count targets per day. Some days the words come easy, some days they don't. My preference is always for quality over quantity. Once I find my way into a new chapter or new scene, the rest usually emerges readily enough.

What advice would you give to new writers?

I'm quite certain I'm nowhere near qualified enough to give anyone advice about writing, except perhaps to recommend ignoring advice on social media and just write what you'll enjoy reading. That said, you can't go far wrong with George Orwell's six rules of writing and Stephen King's prohibition of adverbs (other than in dialogue.)

After Avarice of Empire, what's next?

The story will continue.

Avarice of Empire will be released on 6th March 2025

published by Brindle Books Ltd.

You can pre-order the e-book now by clicking

HERE

Brindle Books interview with Roderick Easdale, Author of Summer At Tangents

Roderick Easdale, author

Interview by Richard Hinchliffe

8th May 2024

The latest release from Brindle Books Ltd, Roderick Easdale's Summer At Tangents, takes us into new territory as a publishing house. Our output to date has comprised mainly of Action Adventure, Thrillers, Dark Fantasy/Sci-Fi and True Crime. Most of the manuscripts, or the pitches that we receive from authors fall within those genres.

It was a surprise then, to be confronted, a few months ago, with a comic novel. It's not the sort of thing that I had read much of before, nor had I really given much thought to publishing anything outside of the above mentioned genres.

Still, I decided to give it a go. Whenever I have the time, I do try to read at least three chapters of any new submission. With Summer At Tangents, however, I didn't stop at three chapters. I carried on. As soon as I had read the manuscript, I was determined that we would publish this book.

It had been a long time since a manuscript actually made me laugh - (at least, for the right reasons) - and this one did. In Summer At Tangents, Roderick has managed to create character-driven humour which is funny without ever being cruel - something that many modern authors fail to do. It is, I imagine, his experience of living in the world of his characters that makes it possible for him to poke fun in such a warm and affectionate manner.

I managed to catch up with Roderick to put a few questions to him about the book and his writing process:

In three sentences, what is your book about?

Tangents is a decaying village with a poorly attended church and a struggling golf club. Now the church is threatened with closure. So the vicar’s good friend, a wily golf club committee member, acts to save the church in ways which also benefit the club and his friends and involve duping almost everyone along the way. 

When did you first start to write?

Gosh. Very young – but don’t we all? We are made to write stories in school English lessons aren’t we, and get examined on this – it’s how we pass our English exams. A lot of my work at school and university involved essay writing, as I went down the arts and social science routes. Then after university I became a journalist. So I have been writing most of my life.   

What is it that drives you to write?

A love of words I think. I also compile crosswords and that definitely stems from a love of words.

What is your writing process - do you have a fixed schedule or method?

No. As a journalist, I have learnt to write anywhere, anytime. I am freelance and no freelancer likes to turn down work; nor can they risk missing deadlines if they want to continue to be commissioned! 

How much research did this novel require?

Hardy any as it is a world I know well. It was a case of ‘write about what you know’. One of the characters in the novel has moved to a new part of the country where he knows no-one and gets to know people through the golf club, which mirrors one of my experiences. I have been a member of six golf clubs, so can write about golf-club life with confidence. The club in the novel is the main meeting point for its village as it serves as the local pub and restaurant, and non-golfers use it. I have also been a member of such a club.

 There are some hidden, I’m not sure you would call them jokes so much as references to things which if readers do no pick up on them – and most will not – would not detract one iota from the story, but are there for a bit of fun, an added bonus for those who know the history, for example, of the Beatles or Leeds United. These required me double-checking some facts. There are also various references to other writers’ work. When quoting from literature I had to check I was not misquoting through my faulty memory; not that it matters that much as the character who does most of the quoting is somewhat indifferent to accuracy anyway. But when the vicar quotes from the bible I had to make sure he was getting it spot on!

Is that why you set a lot of the action at a golf club – your familiarity with that world?

Yes, that and also the beauty of golf clubs is that all sorts of people mix there. It is hard to think of places where people from different walks of life socialise together, become friends and acquaintances. The advantage for a novelist is that this is a natural setting for where you find people who would not naturally come into each other’s orbit, let alone socialise with them, doing exactly that. 

Towards the end of novel a character reflects on a treasured friendship: “If you add up the hours I have spent with him – I have just been having a wee stab at it – I reckon it comes to years. Literally. All of them at the golf club. If it wasn’t for golf I would never have known him.”

You say you have referenced other writers’ work in your novel, which authors are your biggest influences?

I have written a book on PG Wodehouse’s novels, so it is perhaps inevitable some of his craftwork would have rubbed off on me, if only sub-consciously. Not in terms of writing style but in the way he formed his plots. 

His early success was not as a novelist but in musical theatre. He described his novels as musical theatre without the music and how he would imagine in his novels that he was writing for a cast of actors. He believed major actors have to be given enough to do, and if they appear in a scene they had to have an important role in it. So, for example. PG Wodehouse rewrote part of Leave It To Psmith to give the Efficient Baxter a scene where he ends up lobbing flowerpots through Lord Emsworth’s bedroom window, as Wodehouse realised that Baxter’s was a more major part than the novel scenario had allowed for, so he added in this episode to boost Baxter’s part.

I wrote a conversation involving the membership committee chairman, as it suited the plot at that point. I realised that this was a character who would be fun to write for, so I had to give him other things to do and involve him in other scenes. His ended up being the part I probably most enjoyed writing, in fact. 

Once Wodehouse had the idea for a plot of a novel he would write out a detailed structure, often as much as a third of the length of the finished work. Into this he would also set down bits of dialogue in skeleton form to be written up later. (He claimed that he always thought that in writing the book he was wasting valuable time, as the difficult part of writing was drawing up the plot.)

I also wrote up sections of dialogue in advance. However I was far more free-wheeling as regards the scenario. I did not have a rigid structure to follow, rather a destination and various stopping-off points. This means at times I can think ‘hang on, what if such-and-such happens now, so that person does this in response and that means…’  and from this you can get a new idea, maybe a subplot, or just a humorous incident or a simply a funny line.

I have always worked this way, much to the ire of one of my Politics A level teachers. She was firm in her view that the only way to write essays was to start with about a six-line précis of what you were to write and then you follow this outline to write the essay. I was far more free-flowing – you write something and another idea pops into your head from this, so you include that also; or you realise the flow of your argument means that something you were going to introduce later should be brought in now, and so on. 

To mollify her, I would leave the first seven lines blank, write my essay, and then do a précis of what I had written in this blank space at the start. My B grades from her turned to A grades as “your essays are much better now that you are structuring them properly”. I never let on.

An analogy: if you meet up with friends in the pub say, or for dinner, do you know what you will be talking about three-quarters of an hour in? Of course, not. You will know in advance the topics you are likely to talk about during the course of the evening, maybe some news you want to impart, or a question you wish to ask; but your conversational topics are not rigidly structured or pre-determined in advance. 

What are your future plans?

That may not be up to me! I bumped into an acquaintance I’d not seen for a while, who asked what I had been up to. I said I was having a comic novel published. He looked at me sternly and replied: “It’s up to the reader to decide if it is a comic novel, not you.”

Summer At Tangents is available now in eBook and Paperback, and can be ordered from all good book shops

Alternatively, you can click HERE to purchase from Amazon, 

or click HERE to purchase from Blackwell's

Circus Freak Nation by Patrick J Sacchetti

 

27th January 2024

A chance to catch up with Patrick J Sacchetti, author of Circus Freak Nation.

Interview by

Richard Hinchliffe

Patrick J. Sacchetti, author

The release of Circus Freak Nation has given me the excuse and the opportunity to catch up with author Patrick J Sacchetti. Some of you may be aware that I interviewed Patrick way back in August 2022 for the release of his previous novel, Heaven’s Assassins. If you didn’t catch that interview, or simply want to read it again, you can click HERE

So, when I saw that Patrick had released another title, I couldn’t wait to get hold of a copy, and to get in touch with the author himself and ask him a little about it.

RH: Briefly, and without giving too much away, what is Circus Freak Nation about?

 

PS: Circus Freak Nation starts out as a murder mystery of a college girl murdered in the classic Chicago Holy Name Cathedral Catholic church.  The girl's family hires a private detective agency, Heavens Assassins Detectives, to find out what is going on with the investigation into her murder.  This drags the agency, and its detectives, into a spider's web of various dubious characters with a variety of evil acts simultaneously taking place.  The various characters and related insidious acts they are tangled up in seem unrelated at first.  Little by little, as they dig deeper and deeper, all the characters and all their dubious acts really are connected.  Everyone is manipulated, controlled, bought, and sold, by a handful of narcissistic power players in the United States.  All the book's characters end up being moved around a chess board in a game of toxic chess where there is only a chosen few making the moves, letting a majority of the American citizens take the losses, while the power players gain their riches. Really, everyone is complicit in this, and no one is innocent.  Except for the poor, dead college girl, of course.

 

RH: How does this book relate to, or tie in with your previous work, Heaven’s Assassins?

 

PS: Heavens Assassins was the group led by Luke Augustine, who is now the main detective in Heavens Assassins Detective Agency.  Whereas in the book Heavens Assassins, the core group got out of legal entanglements any way possible, in Circus Freak Nation the group has to depend on the law and support law and order and become certified private investigators in the process. Nicola Esposito is with the agency, as well as Luke's neighbourhood friend since childhood, Anthony Testicolli.  Stephanie Bennavutti is still Luke's main girlfriend and provides the support and guidance that the entire agency needs when things get difficult.

 

The main difference between the two books is that in Circus Freak Nation, this is more of a social and political satire, taking shots at the power players and their followers who obediently take all the orders delivered down from the top.  I take aim at those who manipulate the media, manipulate the political environment to fool people and are simultaneously total hypocrites in the process.  At times the social and political climate in America has taken on more of a Circus Freak show than that of a civilized powerhouse nation.

 

RH: How did you first get into writing books?

 

PS: Growing up as a kid I was fortunate to have a great local library stocked with provoking books.  The idea that there are people in the US that want to ban books because a selected few individuals object to the contents is beyond crazy.  It's the Thought Police and fascism is what it is.  Growing up with books allowed me to expand my mind, laugh and learn, and travel in my mind, leaving my small-minded Chicago blue collar suburb behind without leaving the library reading room.  Who could ask for more than that?  Rock music and local blues was big in my neighbourhood, and I loved writing reviews of rock and blues albums while in high school and then while at Southern Illinois University in Carbondale IL.  I'm not a professionally trained author and will never be compared to Cormac McCarthy or one of the other greats. I've always had a lot going on in my mind and have a touch for taking the stock of situations and satirizing them.  Having people interested in what I write, laughing and being scared at the same time, is the ultimate reward.

  

RH:   What are your favourite books and authors, and why?

 

PS:  The Wind-Up Bird Chronicle by Murakami is in my opinion, one of the top five modern novels because of its dream-like quality and ability to make the reader think, laugh and be afraid all in the same chapter.  The journey that Murakami sends the book's protagonist on takes the reader along for the ride.  You feel all the thrills, chills and excitement and it feels like you're right there along with the main character.  And few books can do that.  Another modern classic, must read and favourite of mine is The Things They Carried by Tim O'Brien that chronicles his adventures in the Vietnam war while in the 23rd Infantry Division.  The short stories are a collection of incidents, some real and some made up, that enlighten the reader on what really went on in the Vietnam war.  And to realize that everything is not what it appears to be. Tim O'Brien has stated his daughter asked him which stories were true and which short stories were made up.  He refused to tell her.  He only said the stories that seem too wild to be true are true stories, while the more normal stories are the made-up affairs. The book came about because of what Tim O'Brien felt was the public's opinions of the Vietnam war that were only based on ignorance instead of reality. I feel the same applies to Circus Freak Nation, that there are too many people in this country who wallow around in ignorance like pigs stuck in mud instead of finding out what is really going on. 

 

RH:  Which part of the writing/publishing process do you enjoy most?

 

PS:  The part of the writing/publishing process I really enjoy is brainstorming and letting the words fly, hitting the page as hard and harmful as they want to.  One of my friends told me to just let it loose when writing Circus Freak Nation.  Meaning to let whatever I felt or was thinking at the time to get it down and not be afraid of the appearance of perceptions it may cause.  Let my honest opinions and thoughts just decimate the pages.  Then fortunately for myself, I found a great local Chicago editor by the name of David Aretha, to help me compile everything into an interesting, messy but fun ride of a novel.  That plus I get to correspond with interesting, book loving nerds like me across the pond in the UK, like yourself, Richard. 

 

RH: Who is most likely to read and enjoy your book?

 

PS: The people most likely to read my book are the more intelligent, liberal, open-minded people.  People who love books and love idea's and want to read something that enlightens them, frightens them and makes them laugh, all within the front and back covers. Also, those who have been wondering what the hell is going on in America will like this book tremendously.  

 

RH:    What do you like to do when you’re not writing, and does it inspire you, or is it an escape from writing?

 

PS: While not writing I really enjoy music and used to play guitar.  Played a lot of classic rock and roll and Chicago style blues.  My collection and knowledge of music is pretty large, and I still have an appetite for what new music is being created out there.  You know, what are the kids listening to?  I like to consider my writing to be street savvy, rock and roll-based type, storytelling.  So, music has had an influence not only on my life but also on my writing.  

 

RH:  Do you have any promotional events planned, or are you considering any marketing ideas for your book?

 

PS: As far as promotional events or marketing events, I'm going to reach out to Good Reads and put a description of Circus Freak Nation out there.  I'm going to ask some Marketing minded college graduates for some of their marketing ideas. Google will be a resource used for a while until I get a better feel for this part of the process.

 

RH: What are your plans, especially in terms of other books or projects?

PS: I've already been thinking of the next book and have been kicking around an idea where people who are shot and killed in the Chicago area are brought back to life through a DNA database.  Their DNA is taken from this database, and they are brought back to life in a factory that specializes in bringing the shot and killed back.  An expensive cost that only the Country Club set can afford.   However, I'm not sure if that is going to be the main topic or a secondary topic in the book.  All I know is that my good friends from the Heavens Assassins Detective Agency will be involved somehow in some way.  

Circus Freak Nation

Circus Freak Nation is available now.

You can purchase it from Amazon in the United States by clicking HERE

 

Or from Amazon UK by clicking HERE