Authors, are you sitting on a fortune without realising it?

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A short while ago I wrote a post about the different ways and reasons authors might sign their books. Why you should take signing and inscribing your books very seriously…

This post follows on from that one, but not along the route you might think.

Once again, this is an in-depth and informative article, from which I think you will take far more than just the main points I make.

At least, I hope so.


The idea for this post came about while I was chatting away with a friend, discussing how easy it is to recycle print books nowadays, especially since the introduction of environmentally friendly inks, papers, films, card and such.

However, as with most conversations, our chat wandered across many subjects, soon I found myself explaining how I sold several uncorrected proof copies of my books, ones which included errors, misprints, formatting issues and so forth to either fans or collectors.

My friend, who happens to be an avid collector of rare books, said this is not such an unusual occurrence, many book collections would not be complete without an uncorrected proof copy or two.

He said, some of these proofs are produced without cover illustrations, so the books are, in his words ‘raw’, just containing the writer’s words and little else. The resulting post is formed both from the information my friend shared and from research I undertook following our meeting.


I do understand why people collect first editions.

I the early days of printing presses the plates were made of lead, the sharpness of the edges on these plates would, after a number of impressions, wear. Thus, the earlier impressions would be far sharper and clearer than those printed later.

This was most important where the printed work contained illustrations or maps, which were generally finely penned pen & ink drawings or engravings, so clarity of reproduction was all-important.

In modern times, first with off-set printing and now with digital technology, this is no longer a factor and collecting ‘first’ or ‘early’ editions is now more of an act of faith than a practical necessity.

If one was to take the ‘early’ edition to its most, but logical, extreme, then it is the authors manuscript would be the rarest and most valuable version of ‘the book’… which it is.

Most collectors, including institutions, cannot collect authors manuscripts as widely, or as thoroughly, as they may wish.

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There is, however, a preliminary state of a book, prior to the first published edition and therefore closer to the authors manuscript so it still holds a high rarity value yet is more readily available.

These fall into two categories.

The first is the authors proof copy(s). Dependent on how many ‘proof’ editions are required.

The second is the ARC’s or ‘galley’ proofs, which often need final-final proofreading before publication and printing start in earnest.

These copies of your own books can also hold a higher intrinsic value than those of your production run, including POD’s.

The reason is twofold; the first is they are early examples, so they are rare, most being produced in low quantities of a dozen or so.

Secondly, most books will undergo their final revisions, by the author and editors, after the printing of the proof copies; meaning these books often show a state of the authors work otherwise unpublished. This is enormously interesting and informative for scholars and students of literature and language studies.

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The history of producing proof copies for distribution dates to the partly printed ‘salesmen’s dummies’ of the 19th century.

But ‘proofs,’ as part of the publication process, has a shorter history.

Advance copies of books for in-house use by the publisher are customary,  either as long galley proofs or in other formats. Printed and bound advance copies for distribution were rare in the 1930s and 40s, only becoming regular practice in the 1950s and 60s.

This was mostly due to Crane Duplicating Service, a Cape Cod printer, who promoted the idea to the publishing industry. Those who had a ‘Crane’ could print inexpensive prepublication editions which they could send out for early reviews, thus tempting the major wholesalers and retail buyers to place larger orders. Another development to assist with this was also devised by Crane, this was the placing of promotional ‘blurb’ on the rear covers or dust jackets of these promotional books.

This practice gained such wide acceptance proofs became known as ‘cranes’ by the print industry for many years, a practice which has only recently fallen from fashion.

You can see the natural, almost organic progress of how this influenced the concept and design of the modern book, which still sports the back cover and dust jacket ‘blurb’ first fashioned by those early publishing houses.

The number of proof copies is a secret kept by each publisher, but some figures have escaped, such as the 57 copies of Robert Stone’s first novel, The Hall of Mirrors, or the 39 proofs of Kurt Vonnegut’s Slaughterhouse Five.

One of Phillip K Dick’s novels contained ‘potentially libellous’ text. It is said that 19 proof copies of this book still exist… somewhere.

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Not satisfied with these simple proof copies, many publishers (since the 1930s) issue elaborately produced prepublication volumes in hope of generating further interest in forthcoming releases.

Raymond Chandler’s first novel, The Big Sleep, was issued in such a prepublication form, as were Dashiell Hammett, and James M, Cain and, in 1961, an ‘advance reading copy special edition’ of a forthcoming first novel called Catch-22 by Joseph Heller, was created.

Since then, ARC’s have become commonplace, they are now par-for-the-course for most releases, such is the case for ‘The World According to Garp‘, John Irving’s breakthrough novel, which used 1500 advance copies printed for promotional purposes. Martin Cruz Smith’s Gorky Park had two printings of ARC’s totalling 2500 copies; it was his first bestseller. Since which he has become one of the most popular and successful thriller writers of all time.

Examples of textual changes in proofs abound.  Most are never discovered until someone does a line by line comparison with the final book.

Tim O’Brien revised his National Book award-winning novel, ‘Going After Cacciato‘, after the proof was printed, and O’Brien’s own copy has whole paragraphs marked out and rewritten. His second novel, Northern Lights, has a two-page section in the proof that does not appear in the finished book.

Peter Matthiessen’s National Book Award-winning ‘The Snow Leopard‘ has major changes made after the proof was printed, after he sent it to a friend, and Buddhist scholar, for comments on his references to Buddhism.

Kent Anderson’s powerful Vietnam war novel ‘Sympathy for the Devil‘ has the most stunning passages excised after the proof was printed, perhaps because they were deemed by editors to be too harsh for publication.

Oh, and no one would have known just how bad Ernest Hemingway’s Spanish was in the late 1930s if the proofs of ‘For Whom the Bell Tolls‘ was not found.

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So, even if you change, finalise, re-edit sections or whole parts of your book after feedback from your ARC’s, this may not be a bad thing.

There is a case made because proofs are printed first and are distributed outside of the publishing house, they comprise the ‘true first edition’ of a book, as such distribution constitutes the ‘publishing’ of said work. i.e., making a book available to the public, however limited the availability may be.

Combining their historical scarcity, and likely future scarcity, with the textual variations which are often found and which, by definition, represent a state of the text closer to the author’s original manuscript, the value in collecting proof copies is self-evident.

Which brings me, albeit by such a circuitous route, to where this post links back to my previous one about book signings.

http://www.peecho.com/checkout/14716200169619823/234509/doveshardv3I have sold all the copies of my own proof books and intend to do so in the future as I release new works.

I combined the rarity of such with the opportunity to sign and/or inscribe each copy as described in the previous post on this blog.

Of course, the cost of these rare editions is a little higher than the general releases and, as I have the physical copies, shipping charges are also paid by the buyer.

Some may think this would dissuade the regular purchaser, but I have found otherwise and, on two occasions, had people bidding against each other.

I no longer allow people to get embroiled in this way and set what I consider to be a fair and reasonable price for each book.

Taking this one step further, I would also welcome the sale of my original manuscript, should I have handwritten, typewritten or even made handwritten alterations on hard copy, which I have, sadly, not.

Personally, I do not work that way. I do know some authors who prefer to do so and maybe this is an option they may like to consider?


To cap this post off, here are some points you may like to consider in your future marketing plans. Please note, these are ideas for Paperbacks and Hardcover books, they are not ideal or workable for eBooks.

The following notes are based on the premise from which I started this post… “are you sitting on a fortune without knowing it?”

1, Create a ‘first edition’ short run of your next book.

You could do this as a time-limited promotion or for a set number of books. Of course, you may find some little niggly alterations you need to make, which would only better the rarity of this first edition run.

2, Use any ARC copies (which could simply be a small number of the above or a set number of pre-proofread editions) to your benefit.

Don’t just send them to ‘reviewers’ or ‘friends’ seeking Amazon/Goodreads reviews. Such reviews now lack credibility as their authenticity is under challenge, which is why Amazon deletes so many ‘reviews’.

Instead, give them to your local radio and TV stations; in the UK seek out the local BBC stations as well as the independent ones. Do the same with your local newspapers. Give one to the manager of your local Waterstones bookshop, (these managers have a say in selecting the books their stores stock.)

The main reasons I suggest ‘local media’ is they are constantly hungry for ‘local’ news, so an author from the area who has or shall soon, be releasing a book is exactly the type of story they need. You may well get an interview or be asked to appear as a guest.

Try and milk the airtime. Do a pre-book release show with the ARC & get invited back, in say, two weeks, once your book has been released and is ‘live’ online. (Get two bites of the cherry & create a relationship with the host(s))

I have appeared on two of the three local radio stations in my hometown. Including several guest appearances on the primetime breakfast show.

Note: Do think outside the box, which is especially relevant for certain genres and non-fiction. I have some of my own books in maritime museums, seafarers, and naval heritage centre gift shops and online websites.

You can try your local tourist information centres if your book is about, or set in, the locality. Check out your local museums, galleries and tourist hot spots. Your book may just be welcome on their shelves.

3, If you want to try to attack the regional market, which will encompass your ‘State’ in the USA, then why not produce your own ‘special prepublication edition’ to send to the key organisations? (This would work for National campaigns too, but they are far more difficult to organise and manage.)

As with #2 above, only offer to sign or inscribe these ARC’s for the host when you are interviewed or appear on their show, or when your recorded slot has been aired. Try not to do it pre-show or during recording sessions.

After which, it is always worth turning up ‘out-of-the-blue’ on another day to sign the book when the show is on-air. (It is to the hosts benefit… they will almost certainly ‘fit-you-in’. Trust me, I have done this.)

Even if you do not get lucky with more airtime immediately, you can arrange a time to go back for the signing, even offer to give a signed book or two to the listeners, suggest holding a little quiz or competition. Anything that engages the station’s listeners will make them jump all over you for the privilege.

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4, Manuscripts.

A, If you handwrite and are willing to sell your manuscript, either your first draft of your final draft, then please offer it for sale at a price that reflects your love for your story, (i.e. not cheaply). You could fashion a loose cover or folder to keep the whole thing neat, or at least together for presentation purposes. If this has your signature or additional notes written on it, it will add to the overall provenance.

B, If you use a computer to write, as I do, why not consider printing out your draft, at least the ‘final/final first draft’ and making your own handwritten editorial notes on the physical copy, along with and as, you edit the on-screen copy.

This could then be treated as the manuscript above.

Please, however, only have one copy of your first draft and one of your final draft, (although other working copies are acceptable, such as the ARC draft, bot ONLY as long as each is a sole copy and unique), any other/repeat copies will only devalue your manuscripts and will be considered fraudulent, which is not, I am sure, a label you want to associate with your good name.

The more handwritten crossings out, margin notes, additions and so forth the better. These are the things collectors, libraries, scholastic establishments and museums adore. Such items tend to lend people a sense of ‘knowing’ the author as they work, an insight into their mindset if you will.

Well, that’s it from me for this post.

I do hope you can use some of these ideas or, indeed, find fresh ones which suit your own unique situation.

Finally, I can’t help think of eBooks as being ephemeral, subject to being lost in a power outage or, as Amazon.com did with a number of George Orwell books, when it found it sold them without having rights to them, simply erased them from the face of the earth. Something which is far harder to achieve with printed books…. note Fanrenhight 451.


Find my books, even those not available on Amazon.

Get a preview of my current Works in Progress.

See my Artworks and Photography.

Find my Biograph. 

Visit my website

HERE

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A bit about indies & readers…

I was having a conversation with a fellow indie author, Kazz Mossman, a founding member of Electric Eclectic books, sometime last week.EEgrunge

During our natter, Kazz raised a point I have never considered, or at least I have not pondered consciously before now.

The point she raised is the fact many people, especially those who are not associated with writing or authorship, have little, if any, understanding of what an ‘indie author’ is.

As I cogitated this, I found myself needing to consider my own position as it was many years ago… no, not that long ago, cheeky. But since the advent of, what was originally referred to as ‘desktop publishing’ became available to anyone who owned a ‘home-computer’…. you thought you had forgotten those terms, didn’t you?

At that time, except for scribbling out a few lines of poetry, a couple of song lyrics and jotting some rough, (very rough), handwritten notes of story ideas on scraps of paper, I could not be termed as a writer, even in the furthest stretch of anyone’s imagination.

I was, however, an avid reader. I found I could devour books in a matter of hours or days.

During my childhood I rapidly progressed from ‘Janet & John’ books to ‘Walkabout’ & Lord of the Flies, venturing on to Dennis Wheatley, Bernard Cornwall and James Clavell. Surprisingly enough, these books were interspaced with works from Thomas Hardy, W. Somerset Maugham and H. H. Monroe.

By the age of thirteen, I was absorbed by Wilbur Smith and the lives of the Courtney and Ballantyne families. I also found books by Deirdre Cash, who wrote under the pseudonym Criena Rohan and whose book, Down by the Dockside still resonates with me to this day.41ESMEKARML._SL500_AA300_

Other authors I enjoyed were Joseph Heller, John Irving and David MacCuish’s ‘Do not go Gentle’, the story of a second world war American Marine’s life, both before and after conflict. I would recommend to any book lover to read both ‘Down by the Dockside’ & ‘Do not go Gentle’… but I digress from this premise of this post.

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The point I am making is, I liked to read good stories, ones which took me away from reality and into the world of fantasy and fiction. I liked to escape the humdrum and, for those few moments, allow myself to be transported to somewhere else, to be someone else, in another world, another time… I did not care which author wrote what story, as long as it totally absorbed my mind.

In that respect, nothing has changed for me. I still want precisely the same from any work of fiction I read. If I cannot lose myself in a book, then that book is not for me.

I think this is the same for many avid readers.

Yes, we all find our ‘favourite’ authors; the one’s whose writing style and narration ‘clicks’ with our own personality. These are the ones we watch for, patiently waiting for their next release. But once, even they were unknown to us. There was the ‘first time’ we opened one of their books, read the first chapter or two before we fell in love.

Did we, at that time consider if it was written by a ‘mainstream’ or ‘indie’ author?… did we heck, we simply chose the book because the cover attracted us enough to pick it up, the blurb explained it was the type of story we fancied reading at the time, and when we flicked through the pages, reading an odd line or two we liked the flow.

So, we took the chance and brought the book, hoping it was going to be money well spent.

This is what and how most people tend to select their next reading material. It is not a science, but one of personality, temperament, disposition and, often, mood.

With the above in mind, I ask; do you think it matters to prospective book buyers if they know the author was mainstream published or an independent author?

Do you think it may influence their decision on which books they purchase?

But mostly, do you think the general public know the difference between an indie and a contracted author?

Should we then, as indie authors, indie publishers and self-published writers enlighten, dare I even use the word ‘educate’, the world of bibliophiles and bookworms on this subject?

Do you, as an indie know the difference between these three terms and the basis of each… where/which and how would you classify yourself?

While I await your answers, I shall endeavour, in my usual haphazard and rambling way, to write a post explaining and clarifying the distinctions of being an indie author, a self-publisher and an indie-published writer.

You may find all is not quite what you expect and, possibly, taken for granted… until now.


If you are looking for your next great read why not visit my website where you will find a book to suit whatever mood you may be in right now.

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I have a children’s book, another about musical legends, non-fiction works regarding the Royal Navy, short story collections on Crime, Life and being human, another for when you are feeling down, books of poetry and a full-length novel which will make you both laugh and cry.

Along with these are my Electric Eclectic books, mostly shorter works, so a good introduction to my style of writing and narrative form. They cover psychological drama, high-speed urban adventure, ghost-in-the-machine, crime, and pulp fiction/comic book style capers… and more.

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You can find my Electric Eclectic books on my website, the Electric Eclectic website, (along with books by other Electric Eclectic authors), or by visiting Amazon’s @open24 store, the choice is yours.

Wherever you choose to go and whichever books you buy, enjoy them.

Happy Days, Paul

Finding the Holy Grail of writing

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Many, if not all authors know writing is never straight forward; I am not talking about the technical aspects or grammar, but about finding the time to write when your mind is focused, when it is in the ‘zone’ for ‘that part’ of your story.

The Holy Grail of writing is when your thought processes are at a peak and you have the time, the undisturbed, uninterrupted time, to transcribe your contemplations cohesively into your manuscript.

Finding this Holy Grail has been an elusive search for me over the last year or so, regarding the novel I am currently working on.

Don’t get me wrong, I am not speaking of writer’s block, that is something I do not suffer. It is also nothing to do with finding the time; I have written and published three books in the past year and I am working on three more as I write this.

I am speaking purely of the mental alignment of skills, mindset and time when in search of perfection. (Although we shall never attain such it is always good to have it as a goal.)

I should have published my story, FLOYD several months ago but I am still working on it in short dribs and drabs. I never seem to have the right mental disposition and the amount of time I need together; hence the book is half drafted and half a jumble of odd notes, part paragraphs/chapters and such.

By the way, I am not downhearted and this is not me moaning, although it may sound that way! It is just me clearing my head by sharing my frustration with you.

It is, however, a frustration I bought upon myself by having several projects on the go at once… and then tasking myself with more. Which makes it even more frustrating.

I doubt if I shall find much time to continue writing FLOYD before December… oh wait, then there is Christmas and family, followed by New Year and Friends… so, maybe I can continue in earnest come mid-January, or maybe February or…

In the meantime, I would love to know your views on this (first draft) excerpt from FLOYD. It is (at the moment) the start of the opening chapter, or at least somewhere very early in the story, as it sets the scene, a sort of preamble to introduce Floyd himself and the background of his, let’s say, delusions and future actions.

Oh, FLOYD is a revenge story, in the blood-bath slasher genre. It is not for the queasy… although this section does not contain any of the gore… that comes a little later, but it comes in big bucketfuls. 😊

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FLOYDan excerpt.

Floyd jumped out of bed with a start, uncontrollably staggering two steps backwards. In that half-awaking instant, Floyd saw his wife, Molly, lying with her hands above her head, wrists bound and fastened. Pools of blood soaking into pristine white bedsheets. The fear in her eyes sent shivers running down his spine and a cold sweat to form over his skin.

This dream happened every night for the past four weeks. But tonight, was the first time he saw anything in full colour. The other times it was blurry monochrome, or just a voice, a sweet, lilting voice whispering to him. Tonight, was different, it did not simply wake him but startled him into jumping from the bed. He could feel his heart pounding.

At first, Floyd thought the voice echoing in his head was nothing more than a remanence of a dream as he woke. He let it go. Tried to forget it. But the whispering came back night after night. First a giggle, then a sigh, which faintly smelt of spearmint, before turning into those softly spoken words. A voice so close he could feel lips brushing his ears as she spoke.

“Kill the bitch.”

“That’s the way.”

“Did you see the surprise on her face?”

Tonight, Floyd did not hear her voice; but he knew she was there, watching him. Smiling.

He blinked twice, shaking his head to clear the image from his mind.

Molly pushed the quilt away from her face exposing a tousled mess of blond hair. She half-opened one eye and, disgruntled, wearily mumbled, “What are you doing? It’s the middle of the night.”

Floyd slid back under the cover and snuggled close to Molly. It was a dream. It was just a dream he told himself as he shut his eyes. Her body was warm and comforting, but it could not dispel the dark foreboding lingering within his mind.

She groaned, slurred something unintelligible, turned, moving away from him. Floyd lay quietly on his back, willing sleep. Each time he began to drift off he was jerked awake by the vision of blood and the scent of spearmint. Sleep was fugitive.

At three-fifteen he carefully slid from under the covers, trying not to disturb Molly and crept downstairs. By six-thirty Floyd had drunk two pots of tea and re-read yesterday’s newspaper, twice.

When Molly eventually arose, he was grilling bacon for breakfast.

“I couldn’t sleep, so…” Floyd gesticulated towards the grill with the tongs in his hand.

Molly tore off some kitchen roll. “Put mine in here. I must dash, busy, busy day ahead. I’m not sure when I’ll be home.”

Floyd gave her a quick peck on the cheek as she headed for the door. With a half-hearted wave, she left, hooking the door closed with her foot. He watched from the window as she drove her Range Rover off the drive and along the street until she was out of sight. He felt a certain disappointment wash over him. He was hoping to talk to Molly at breakfast this morning about his recent feelings, his nagging doubts which were growing daily.

Floyd looked at the clock, six fifty-five. The house seemed exceedingly quiet; which, on consideration, was rather strange, because from three-fifteen this morning he sat alone, the only sound the rustling pages of the newspaper. The house was no quieter now than then but somehow the silence was louder.

Being alone in the house was something Floyd was becoming accustomed to. Since Molly moved companies she had become…become…now, what was the word…fixated? obsessed? with her job. When he commented on the amount of time she was spending working, Molly said it was a thing called ‘commitment’.

Whatever it was Floyd felt it was pushing them apart, an inexorable drifting kind of parting. One which was almost imperceptible day by day. But when he looked back over the months, the changes were there, noticeable, obvious, definite.

Molly generally ignored him now; she was always on the phone or laptop when she was not working late, or early, or both, or at the gym or the hair salon, or having her nails painted or legs waxed.

The main thing which irked Floyd most was none of this, not one little iota was for his benefit. It was all for her work. All those new suits, the blouses, the stockings and shoes.

Once, not so long ago, when Molly slid into a pair of stockings it was to tease him, to excite him. It was a signal sex was unquestionably on the agenda. Not any longer. It seems stockings were de rigueur in Molly’s new corporate world.

Several weeks back Floyd began wondering if she was having an affair. Maybe a seedy sexual liaison with someone from her company. He followed her one morning; sat the whole day outside her office building.

Nothing.

When she left the office in the evening, he followed her. She did not do anything other than visit the hair salon.

Which was a problem for Floyd.

Not that he wished for his wife to be having an affair, but because it left him with a dilemma. What changed between them? Why was Molly so distant? What, if anything had he done…or not done? These were unanswered questions; questions he wanted to broach this morning over those freshly grilled bacon sandwiches.

Floyd glanced at the clock again. Five minutes past seven. His first appointment was at nine-thirty, so he needed to leave the house around eight o’clock. As he threw his bathrobe onto the bed Floyd flashbacked to his dream: Molly spread-eagled, bound on the bed. Eyes staring in terror. He looked down at her.

He shivered. It was all too real, unlike any dream he experienced before.


While you wait for me to finish writing FLOYD I have many more books I am certain you will enjoy. Have a browse around my WEBSITE  or check out my Electric Eclectic novelettes HERE.

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Do you share my literary DNA?

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Now, here is the thing.

Do you believe your writing has been enriched and influenced by the books you have read?

If so, is it just the good books, the ones you love, the ones which made some connection with your soul?

Or… would you say the bad books have an equal hand in affecting your stories?

By ‘bad books’ I don’t mean the poorly written, but stories that aggravated, annoyed and even rasped on your sensitivities. The ones that you recall for the opposite reasons to those you loved, which means, in their own way, they too made a connection with your inner being.

So, did those bad books achieve the aim of their authors and if so, should we consider them good books for that very reason?

Something to ponder.

Here’s another matter for thought while on this topic.

I don’t write stories which have any direct connection with the books that made a mark on me. Like the historic African based fiction of Wilbur Smith; whose books I devoured as a teenager. My books are not based in history, in Africa or in any set time, as it happens.

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Neither do I attempt to write like Criena Rohan, (Deirdre Cash), whose book, Down by the Dockside still resonates with me today.

16279954While I enjoyed such wonderful works as Catch 22, Life according to Garp, and Do not go Gentle, I have never tried to replicate those authors style or attempt to write in their chosen genre.

In fact, I write the only way I can; by scribing the thoughts and feelings flitting through my mind at any given time. Oh, and as quickly as I can, before those very contemplations disappear into the amnesiac blankness of absolute… now, what was it, where was I?

So, I wonder how much and how many of those authors I read, the ones who pen compositions of illusion, write of their imaginary netherworlds and create the fictitious lives of the characters inhabiting them, find their way onto the pages and into my own work, without my being aware of their presence.

Are we, us writers and authors, part of all those who have gone before? Do we inherit, by some magic, some mystery, a trace of another, many others, literary DNA?

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Are our own stories part of a continuous evolution of literary nature? Are you, in therefore my brother, my sister, my sibling or, in that context, my child?

If so, are you writing my words, is your hand guided, even in part, by that which I have written before?

Or are my words part of you?

Now, there is something to contemplate.


Thank you for reading this post on Ramblings from a Writers Mind.

I do hope you will read at least one of my books, either an Electric Eclectic novelette or one of my prime works. All can be found on my website right, HERE

Keep Happy, Paul

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About:  Questions on Editing.

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I often see writers asking for an editor on social groups.

Frequently the post asks for ‘someone’ to ‘help edit’ or ‘look over’ their book. (Which is not a book at all just a manuscript and more often than not, only part of a first draft.)

Occasionally the person posting may ask for a ‘beta reader or editor’.

The common factor is, to the eyes of an experienced author or publisher, the people asking have no idea who they need, what skill set that person should have or, indeed, the actual reason they need ‘someone’ to ‘edit’ their work, which, in all honesty, will be a far cry from the thoughts they hold when they ask the question in the first instance.

This naivety is not wrong. We have all been novice writers.

However, my issue is twofold.

Firstly; whilst inexperience throws up challenges and situations one has not encountered previously, we live in an age of information, of high-speed access to seemingly limitless data.

It is simple to research almost any subject using the interweb.

Therefore, the questions posted should, at the very least, show some understanding, reflect some basic perception of the subject enquired.

My second issue is; those who openly show such naivety are susceptible to exploitation by those who prey on the gullible and there are many sharks swimming in the social media pond.

Too many times do I hear or read about a writer paying a large fee for very little, if any, return or results from the promises made by charlatans and thieves.

Too many times, do I see indie authors and newbie writers fall foul of ‘schemes’ run by the scammers who scoured the internet looking for those types of naïve questions.

Don’t get me wrong.

We all need help and to ask questions from time to time. But please, research first. Do some homework beforehand, so when you do ask, if you still need to ask, you can define your question to specifics.

This will not only deter many of those sharks looking for easy prey but will allow genuine respondents to answer your queries more accurately and with alacrity.

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Now, here are twelve, yes, twelve editorial roles.

Okay, I am being a little loose with the term ‘editorial roles‘, but I am doing so in response to the type of questions asked on social media, the ones which prompted me to write this article in the first instant.

The first two roles, possibly three, of the following are not, at least officially, considered ‘editors‘ in the true sense of the word.

The reason I have added them here is they do or at least can form critical roles in the process of readying a manuscript for publication.

 

The first is the oft-misunderstood role of the Beta Reader.

Beta readers are people you ask to read your work, often at a relatively early stage, to get their opinion.

Experienced authors will give each beta reader a certain task and will often create a questionnaire for them, ensuring the author gets the correct form of feedback they request.

Beta readers are initially chosen from the public, as volunteers. Often authors build up relationships and trust with several readers and ask them to review on a frequent basis.

However, there is a rather scary rise of the ‘professional’ beta reader. This is someone who will charge you to read your work on the premise of ‘experience’. It is doubtful they will hold any editorial, journalistic or academic qualifications.

This anomaly of the growth of the ‘professional beta reader’, is due to Amazon clamping down on ‘paid for/professional’ book reviews.

Those people have simply changed the way they operate, the outcome is as false and as fake as it ever was.

My advice; give them a wide berth. No, even wider than that… RUN in the opposite direction, fast!

 

The second is the frequently overlooked Critique Partner.

A critique partner tends to be a writer, or experienced author, who coaches another writer to help raise the quality of their work.

Not a true editor but will undoubtedly play a part in identifying editorial issues as the work progresses.

You only need a critique partner for guidance when developing a story for publication.

 

I find this a ‘dodgy term‘, Online Editor.

Basically, the term ‘online editor’ includes anyone you can find online to look over your content.

The people who call themselves online editors are most likely freelancers and their skill sets will vary enormously.

If you hire an online editor, it will be in your own interest, both financially as well as regarding peace of mind, to ensure they are well-versed in the type of editorial work you are employing them to undertake.

AND… I cannot say this clearly enough. Be certain they are qualified AND experienced to edit in the language you require. For instance; even a well sort American editor may not fare well with a British English work.

Some online editors are genuine professionals with qualifications and a good client list. Others may not know one end of a pencil from the other.

Okay, that is those three out of the way. Now the list of professional editorial roles.

A Commissioning Editor.

Sometimes referred to as an Acquisition Editor.

These people are the ones who look for books and/or articles for publication.

This is the person you address your enquiries to should you not use an agent or if you are a freelancer who wishes to pitch an idea.

Commissioning Editors are generally employed by organisations and companies and have little to do with the indie community.

 

The Developmental Editor. 

Developmental editors work with writers to get their manuscript ready for publication.

If you need guidance on moving your story forward, it is the developmental editors place to help. They will also aid you in producing a manuscript to a publisher’s house style or preference.

Some Developmental Editors are also professional ghostwriters.

 

Content Editors is the role most writers refer to when speaking of an ‘editor’.

Content Editors consider all the writing encompasses.

Regarding fiction, a Content Editor takes a full overview of the story. They will highlight inaccuracies and suggest changes to the plot, the characters, settings, locations and such.

 

Copy Editor.

Copy editors, also known as Line Editors. Occasionally these are also Content Editors, look at everything from the factual content to the writer’s use of grammar and the formatting of the manuscript.

These editors can and often do, do it all.

Often whatever they find will go back to the Content or Developmental Editor who will make, or advise the writer, to make certain changes to the work.

 

The Proofreader.

While you can ask friends and fellow writers to read your work and pick up any errors, nothing beats a good, experienced and qualified proof-reader, not Spellchecker or even Grammarly, ProWritingAid, WhiteSmoke or GingerSoftware combined.

A Proofreader will look over your content, usually after it has gone through the other stages of editing. This means a Proofreader is the last type of editor in the chain of editing.

Major publishing houses contract proofreaders for a final perusal of a book just before it is due to go to press after it has been typeset and formatted. This is to pick up any glaring grammar and punctuation errors created during these processes and any that have been missed previously.

Generally, a proofreader will not give feedback on quality, content or development.

 

This is not one many indie authors will use. Associate Editor.

Associate editors mainly work for newspapers or magazines. This position is also called the ‘section editor.’

Associate Editor often has the same type of responsibilities as an Acquisition Editor in that they seek stories or content for publication, but it is more often limited to a set area, such a politics, celebrity or world events and so on.

 

Contributing Editor.

Contributing editors usually work with publishers of magazines and newspapers. An older term not used so much nowadays is that of Roving Editor or Editor at Large, both mean the same thing.

Some indie authors and writers may cross paths with a Contributing Editor should they write articles for publication in magazines or newspapers on or offline.

 

Chief Editor.

Also, Executive Editor. The person in overall in charge of articles, story and/or content. They are the ones responsible for the final product.

 

Editor-in-Chief.

The Editor-in-Chief oversees the editing department and manages the other editors.

They are responsible for maintaining the voice of the publisher’s imprint, upholding its philosophy and mission.

I hope this clarifies the editorial roles and where they apply to indie authors.


Paul White has produced two books especially to help writers and authors of all abilities to make the most of their resources.

Each of these books is crammed with facts and information which answer most of the questions posted to writers and author groups on social media. 

These books contain tips and links to many author resources. Download your copies of The Frugal Author and Lots of Author Stuff you Need to Know right here, right now.

Redbooks2

 

Where to Start?

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I shall start this post with a quote attributed to that most literary of bears, Winnie the Pooh.

“The beginning is a very good place to start.”

I cannot agree more.

BUT…

Knowing where the beginning is, is not always as clear cut as many may think.

You see, your story, any story, must start somewhere, but that start is often not at the beginning.

Take yourself. Take a tale you told about yourself the last day you did something… silly/forgetful/made a mistake… whatever it may be.

Now, consider how you began to tell your tale the first time you related it.

I bet it was not at the beginning, at least not the real, the true beginning of the string of events which led you to such an occurrence.

First, you would, by our very nature of communicating, have plugged it with a strong opening statement, or a soft lead-in, dependant on whom you were telling the tale, be it your Boss, you Mother, BFF or Lover.

You may have said something along the line of…

“You know, Sally and I often go to the bar on Staithes Avenue? Well, we went this lunchtime and, you’ll never guess what happened….”

OR

“I’ve driven down that road for the over ten years and I have never before…”

MAYBE it was, “Oh, my goodness, you just have to listen to this…”

None of those are really the beginning of anything but are leads to an section which is part way through your story, one which, during its telling, you will flit back and forth in time, building your tale of joy or woe into as a believable an anecdote as you can manage/feel right in doing, according to the circumstance.

Therefore, the same story told in the office to your boss will differ slightly to the version you tell your colleagues, or your family, once you are in the comfort of your own home.

girls-talking-restaurant-windowIt will definitely not be as richly dressed as your recount of the occasion in the bar later that evening, or as detailed with the emotions you felt during its unfolding when you share it with your lover while lying in bed.

The same is true of our fictional novels and stories; because the way we perceive them as we write is only a version of the whole. What we feel today will alter by tomorrow. By the time we re-write ‘that’ section of the first chapter, our entire viewpoint has altered.

Therefore, what we once perceived as the beginning was, in fact, only a starting point for us to begin writing. The true beginning is still to reveal itself to us.

The matter is, we should never believe our own opinion during one sitting, but allow ourselves the opportunity to alter and change the picture we carry within our mind. Each time we reconsider our work we must see it in differing light, simply because we are not writing to entertain ourselves, but others.Bloods-Veil-page-one.png

Consequently, by revisiting our works and by teaching ourselves not to become immovably fixated on any factor of it, such as the juncture where we originally started to tell our tale, we can then see our story from the viewpoint of others, those who will read our story.

Once again, Winnie the Pooh says it well…

“When you are a Bear of Very Little brain, and you Think Things, you find sometimes that a Thing which seemed very Thingish inside you is quite different when it gets out into the open and has other people looking at it.”

We want other people looking at our work, it is, after all, the whole point of writing; yet we want them to understand, to feel and to ‘live’ our story, empathise with our characters and lose themselves from the real world into our fantastical fictional world, we want and need them to believe.

To do so, we must see our books through their eyes, not our own. If that means starting the story from another place, be it a location, another moment in time, a different character’s perspective, then we must change the start of our story to this new beginning.

It may still not be the real beginning, you may alter it again before publication, write a prologue, an introduction, a prequel, or another book which leads on, even in an abstract fashion, to this one.

The point is, there is no true ‘right’ place to start your story, even the true beginning of your own life was far, far before any human existed, so where would you begin to start that story?

Now, while I much admire the genius of Winnie the Pooh and agree, “the beginning is a very good place to start,” I often wonder where the start actually is.


Looking for more literary insights, articles and short stories? Then look no further. The Electric Press magazine is available to read right HERE, for free.

Electric PressMay2019pub (2019_01_08 20_58_35 UTC)

Why reviews don’t count for much… unless…

I am not above posting articles which could be classed as controversial, such as this one, because I think it is a writer’s duty to bring into the open topics which can be discussed and debated among one’s peers.

Therefore, your comments and viewpoints are most welcome, even if they are incorrect!

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Many indie authors tend to ‘chase’ reviews for their books.

Many more coerce family, friends, co-workers, fellow authors and the like to write a ‘good’ review, even a ‘five-star’ review for their newly released novel(la).

After which, the race is on, posting to social networks, giving away volumes of volumes, (pun intended), to gain several more one or two lines like:

I loved this book, you will too.”

Or

I spent all day reading this book as I was sick in bed. It is good as I spent all day reading it and have only just finished reading it after all day. I liked it alot.”

(YES, these are genuine ‘review’ quotes I stole from the internet.)

There are those which babble on about very little, and end up with lines such as:

“Five stars from me.”

While others focus on the ‘writers’ style and what they ‘got wrong’ and what they, [the reviewer] personally agreed with, so ‘sorry’…

I can only give this book three and a half stars.”

It all makes me chuckle, especially as many of the self-righteous sounding comments, I hate to term them as reviews, are written either by self-proclaimed literary reviewers or by a paid-for review service.

Neither of the above being literary or journalistically trained, none can be classed as successful authors in the ‘household’ name sense, and none have any doctorate or master’s degree in the art of book reviewing.

All which is self-explanatory, when considered in the cold light of day.slepatdesk

 

Now, personally, I believe the time and investment an author puts into creating a book, the concept, planning, writing, re-writing, editing, cover design, re-writing, formatting, proofreading and so on, is enough money spent.

Once the book is published, the idea is it starts to return the investment made. (see The Frugal Author for details.) It is NOT the time to be paying someone, often with little talent, to scribble a few badly drafted, ill-advised comments and call such a review.

It is NOT.

Neither will their comments give any true credence to your book’s status, even if they say a ‘seven-star’ review… or a ‘ten thousand star’ review… they mean absolutely next to nothing, if not less.

One reason is, ‘stars’ or even the concept of ‘stars’ hold no value. There is no academically, or commercial accepted value to these ‘stars’.

They hold NO value, because any Tom, Dick or Harry… or Sharon, Karen or Portia for that matter, can ‘award’ these ‘stars’ to anyone for any reason whatsoever.

Recently, there has been many a disgruntled an author complaining to Amazon because they removed several ‘reviews’, or disallowed others from appearing on the Amazon book pages.

imagesThis is a good thing.

 

I SHALL EXPLAIN WHY.

At the beginning of this post, I mentioned the coerced reviews, those from friends and family etc.

Now, consider the facts.

Anything any of these people write, as so-called reviews for your book is, by the very nature of its inception, biased.

Therefore untrustworthy.

Given these untrue reviews, any person buying the book ‘off-spec’ and finding the reviews posted were false, will most often leave a scathing review of their own, which will often impact with a far greater force than a dozen fake reviews could ever deliver.

The author will then run the risk of being classed as fraudulent.

Which is one of the reasons why Amazon have, and are, clamping down on the reviews they allow to be presented to their potential customers.

This is something I fully support.

One more thing to seriously consider regarding friends, family and colleagues.

IF… and I mean IF your friends and family really want to help you succeed, if they genuinely want to help with the sales of your book, the best and MOST effective way is the simplest… to buy a copy of your book. Not a free copy, not an ARC, not a discounted edition, but actually buy, at the full retail price, a copy of your work.

This will increase your book’s exposure and move it higher up the rankings with almost immediate effect. This alone is worth more than a mass of fake reviews.

IF they don’t or won’t buy your book, you will know who your true friends are and which members of your family truly support your efforts.

(Or… you will find your book is so bad even your nearest and dearest do not want to read it.)

Either way, it will save you a ton of long-term heartache.

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The second point is, ‘paid reviews’.

To pay a person to review your book is worse than asking your Mum to write something nice about it.

As with the family and friends’ gig, paid reviews are fake.

They are false because the reviewer has a vested interest to keep you happy. After all, you are paying them and they want your money again in the future when you ask them to read your next book.

Also, they [the reviewer], will not want you posting remarks about their ability or aptitude regarding reviews. So, they will keep you, the author sweet by writing nice, or at least a less critical review of the book in question.

BUT… here are a few things to consider.

Amazon is cracking down on paid-for reviews and will be doing so again, soon.

They know ‘who is who’. They do this by monitoring who, where from, when and how reviews are written and posted.

So, you could be risking your hard-earned cash on a review no one will see because Amazon will either refuse to publish it or they will remove it soon after it shows on your books page.

Secondly, many so-called ‘professional’ reviewers boast about the number of books they review in a year.

Many of these numbers would mean the books have to be speed-read to manage those figures. So, the reviewer will never read your book in the same manner as a ‘normal/regular’ bookworm.

There are some who have a pool of readers, each of whom gives their comments to the principal reviewer, who then uses standardised templates, altering a few words here and there to ‘personalise’ the ‘review’ of your book.

Not that it matters to the reviewer, they don’t care about you or your book, they just want their fee.

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Gimme your cash

Genuine reviews are given by people who read your book without any other reason than something attracted them to it.

It could be the cover, the back-cover blurb, the ‘look inside’, a book trailer you have on YouTube or a post you made on social… it matters not.

What matters is their review will be honest and unbiased.

This is the ONLY form of review which has any genuine validity whatsoever, be it the one-liner which says,

“I liked this author & want to read more.”

Or the long form of essay, sometimes greater in length than the book reviewed which ends in,

“I give this book five stars.”

See, I told you anybody could give you five stars.

That is why reviews don’t count for much… unless.


Do you, as an author, want to know and understand more about the ‘Stuff’ of being indie, about books, the publishing and printing processes?

Then you need to download ‘Lots of Author Stuff You Need to Know’ right now.

AuthiorStuff

Seeing beyond…

 

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You will know, or most of you will know, I am an author.

It is not a secret.

What many of you may not know is how I get the ideas, not only for storylines but situations, characters, actions, sub-plots and such.

The answer is the stimulus comes from the everyday.

There is no magic.

A short while ago I posted a heartfelt outpouring written by someone going through a low patch in their life. You can read it here.

That post, or rather the content, the spirit in which the content was written will, no doubt, lend itself to a character, or reveal the personality of a character going through a situation, in one of my stories.

Along with the above I often hear or read a certain line which is so special it deserves, nay, demands to be included verbatim. Referring to the same post, one such line is…

“My worth was stolen by minuscule measures, so slender the slices, I failed to feel the knife…”

Okay, it may not be the most beautiful line ever written, but pretty is not what good writing is all about. What it is about is touching another’s mind, sharing feelings, understanding and stimulating thought, which these words do perfectly.

It is the normal, the every-day, the simple events, basic routines, the regular, the nondescript which gives rise to great storytelling. (Not the artificial sensationalism favoured by the modern media).

Yet, it is only those with certain minds, with a sight which sees far more than what is visible, who understand the depths of these moments. Often these are people like me, writers, authors, artists, creatives, but sometimes they are greater minds, scientists, engineers, inventors and geniuses.

Yesterday, I read of such a man, a chap called Abraham Wald. (No, I had not heard of him either.)

Abraham was a person who had the type of mind I refer to.

Allow me to elucidate…

During WWII, the Navy looked at where they needed to armour their aircraft to ensure more returned home.

The Naval intelligence collected data and ran analysis of where their planes sustained the most damage.

The resultant conclusion was the planes needed to be armoured on the wingtips, the central body, and the elevators flaps because this was where they were being hit by enemy fire.

See diagram 1.

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Diagram 1

However, the chap I mentioned earlier, Abraham Wald, (Who, by the way, was a statistician), disagreed with the top brass.

Abraham Wald suggested the planes would be better with armoured noses, engines and mid-body sections.

Wald was called crazy by those undertaking and running the study because, as they told Wald, those areas were not where the planes were getting shot.

Which brings me back to the point I made above, about it taking a special mind to see beyond that which is right in front of you.

What Abraham realised, which the others did not, was the aircraft were getting shot in the locations he suggested to armour.

Wald
Abraham Wald

But those planes were not making it home.

Without realising it, the Navy had analysed where the aircraft could be hit the most without the planes suffering catastrophic failure.

The planes the Navy studied had not been hit in the areas which caused their loss, the ones which had been hit where Wald highlighted were the ones which had crashed and burned.

Therefore, Wald saw the Navy was not looking at the whole sample, but only those planes which survived battle.

Now, I don’t claim to be an Abraham Wald or that any of my insights may change the world or save countless lives, but I do claim to see deeper into the simple things than many.

However, I would like to share some of my insights into life with you. On that basis, may I suggest reading ‘Within the Invisible Pentacle’, it’s a good place to begin. You can find it on Amazon UK here or on Amazon anywhere else in the world here

 

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Before I finish I would like to give you the ‘Heads-up’ about a new literary magazine due out this May, called the Electric Press – literary insights. Click on this link and head over to the Electric Press website for more information. It will be well worth your while.

Thanks for reading Ramblings from a Writers Mind.

Until next time, Keep Happy, Paul.

Inspiration does not have to be Pretty.

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A good writer has no need to look for inspiration and ideas, they will come flooding unto them.

The fact is, each moment of every day we are surrounded by a million and one stimuli which only need us to recognise their being. We must feel, hear, sense what is around us, what is happening in front of our eyes.

We must allow our perception to absorb, to let our mind create fiction and fantasy from implied interpretation. We must permit our creative seed to run wild.

nathanblog4-700x375I have written on this subject before, albeit from another perspective, in a post called The Curse of the Muse

 

This post is a little different.

A short while ago, possibly a good few months past, I read a post on a social media site from one of my connections. I think ‘friends’ is the general term used.

I was touched by the raw honesty of the post; so much I saved their words so I might use them as a basis for my own writing, either in situation or character creation.

I feel a little guilty for ‘stealing’ these heartfelt outpourings, yet, I am acceptive to the reasoning of creativity and the understanding of where, how and by what means we writers find our inspiration.

You see, most of my works, regardless of genre or setting, focus on our humanity, on social and personal interactions and on life itself.

The following is an edited version of the social media post mentioned. I am sure you will understand the reason it resounded with me, especially if you are a reader of my books and other works.

***

This is it… 

“This isn’t poetry.

It’s not placed on a pretty post.

There are no pictures to pull you in.

This is just me needing to vent and I suppose those who want to know will read it through; there are a few thousand of you, maybe more and I’m just this sickly, tiny, thing who is easy to overlook.

My life isn’t an open a book, but should the play ever be released it will read like a tragedy of comedic design, one that tears the heart and rips the mind.

Irony, you’ll find, is the underlying theme.

I was everything I was told I would be; yet with time viewed through a rear-view mirror, I am nothing which holds value beyond the front door and those therein are on their way out.

I’d leave too, but domestic skills, they don’t count and writing words has yet to pay the bills; besides, without a degree to back up the lines, there are those who say I’ve spent the last three years wasting my time.

It’s pride, I know, but I’m pushing four decades old and I’m not sure I’m equipped to go back to the shit I did before I became a mom and wife.

I mean no offence, but I’m better than a burger to flip, or the next bag of groceries to sack, my mind knows too much to do that any longer.

I could go back to school, try and educate, but what do I do with the stack of debt that’s all late?

I have no resume. That’s the cost, the loss, of being nothing more than a stay at home mom.

What now?

Who am I without the domestic, the wife, the parental role to play, day to day?

So much needs to change and I’m scared to death I’ve waited too late.

Surely this cannot be my fate?

Even this, the sound of my self-pity makes me sick; but this decline of mine, it didn’t happen overnight.

It wasn’t quick.

My worth was stolen by minuscule measures, so slender the slices, I failed to feel the knife and yet looking at my life there’s nothing left but a bloodied mess.

I should find my way out of this.

I’m not as weak as I seem, but at this moment, I am on my knees.

This is not who I am, but damn, I don’t know what I’m supposed to be.

I’m a little lost and there’s no one looking for me.”

***

I titled this blog post, ‘Inspiration does not have to be Pretty’.

It does not.

Neither do the resultant writings. But I genuinely believe our words should be honest, open and emotional. After all, these are the driving factors of life, our lives. It is what we all have in common, it is what we all respond to… even in fictional stories.

Thank you for reading another of my Ramblings.


Please subscribe/follow this blog if you have not already done so. The button is on the top right of this page. I appreciate your support, Thank You.

Visit my website (HERE) to see my books, works in progress and other projects currently underway.

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Selfie!

Stewart who?

A short while ago I wrote a post as a guest blogger for Noreen Lace on her ‘writing 365’ blog.

The post is about the love one must have for writing to succeed as an author.

These are some of the words I posted on Noreen’s blog.

But it’s just a dream, I guess.

I write to leave a trace of my being, however faint that may be.

I hope, or dream, at some point in the future, someone somewhere will dust off the cover of one of my books and open it. Turning the yellowing, fragile pages for the first time in a millennium.

As they read my words, they shall hear my voice echo through the centuries, be touched by my narrative. I wish them to become one with my story, lost in the world of fantasy and fiction which inhabited my mind generations before… Then, I would not have lived for nothing.

But it’s is just a dream, I guess.

What brought this to mind, was reading one the newsletters I subscribe too, one I often use as a ‘go to’ area for inspiration.

Now, obituary’s may not be everyone’s first choice or idea of inspirational reading material but believe me, there are many strange and unknown quantities revealed in an in-depth obituary, which is why I subscribe to the ‘Notable Obituary Newsletter’as I do with a blog called ‘Defrosting Cold Cases’.

Capture

Yes, I do write crime and murder and psychological drama, not exclusively, but they have become a major part of my overall works, so there is no need to call the police… just yet.

As usual, I digress from the main thread of this post.

Taking my statement above, call it a legacy statement, I connected the thoughts I carried when I wrote it, to one of the obituary notices in today’s, (Feb-4th), newsletter.

The notice is about the death of a man called Stewart Adams.

His name probably means very little, if anything, to you; yet this man has affected many people’s lives, possibly… make that probably, most humans on earth, and yet as I have said, most of us have not heard of him before now.

If I said Stewart Adams was a British chemist, would that help?

No? I thought not.

However, if I ask you, asked anybody, what ibuprofen is, I am sure you could tell me it is an anti-inflammatory pain killer.

In fact, it is one of the most commonly used drugs of its kind and Stewart Adams was the British chemist who led the team that developed ibuprofen.

THUMBNAIL_ibuprofen

Stewart insisted he was his own guinea pig, he always tried out the drugs he developed on himself.

“I always felt it was important to take the first dose before asking others to do so,” he said in a 2012 interview with Trends in Pharmacological Sciences.

His creation of ibuprofen came about during a search for a better drug to treat rheumatoid arthritis.

Possibly one of Stewarts most notable quotes is from ‘The Telegraph’ newspaper interview with him in 2007.

“It’s funny now, but over the years so many people have told me that ibuprofen really works for them and did I know it was so good for hangovers? Of course, I had to admit I did.”

So, we have here the legacy of an intelligent man, a man well respected in both his professional and social communities and a man whose legacy most of us have ingested and benefited from at some point in our life.

Yet, very few of us have ever heard his name mentioned. In that respect, he is almost as unknown as say, you or me.

Which, in my regular rambling way and via my twisted neural pathways, leads me to say this;

No matter how many or how few books you write, how many or how few you sell, by publishing just one, one small short story, you are leaving your own legacy, a mark of your being here, here in this world.

Do not have concerns about becoming famous or well-known. Do not try and chase false celebrity, for no matter what you do, how you affect others’ lives few if any, will recall your name.

Be happy with what is and what you write. If you are honest and true to yourself, your soul will live on forever in your words.

My own words, those written above, then become as much yours as they are mine.

I’ll repeat them again, leaving out the ‘just a dream’ part.

I write to leave a trace of my being, however faint that may be.

I hope, or dream, at some point in the future, someone somewhere will dust off the cover of one of my books and open it. Turning the yellowing, fragile pages for the first time in a millennium.

As they read my words, they shall hear my voice echo through the centuries, be touched by my narrative. I wish them to become one with my story, lost in the world of fantasy and fiction which inhabited my mind generations before… Then, I would not have lived for nothing.

Write on 😊

Paul


P.S. take a look at my Crime & Violence collection, three books of short stories I know you will love.

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Kindle

Volume 1             mybook.to/CandVKindleV1 

Volume 2             mybook.to/CandVPaperV2

Volume 3             mybook.to/CandVKindleV3

Paperback

Volume 1             mybook.to/CandVPaperV1

Volume 2             mybook.to/CandVKindleV2

Volume 3             mybook.to/CandVPaperV3