Having thoroughly enjoyed Catherine Ferguson’s Four Weddings and a Fiasco, my review of which you can read here, I am thrilled to be part of the launch celebrations for Christmas at the Log Fire Cabin today and I have a lovely extract for you to read.

Published by Avon Books, an imprint of Harper Collins, on 2nd October 2017, Christmas at the Log Fire Cabin is available for purchase through the links here.

Christmas at the Log Fire Cabin

When Poppy’s boyfriend Harrison proposes the week before Christmas and gives her twelve days to decide, she doesn’t know what to do. With the festive season in full swing, it’s make or break time for the couple and the clock is ticking…

Meanwhile, Poppy’s best friend Erin is desperate for the pair of them to fulfil their dream of setting up a dinner party catering company – and when an opportunity arises at a luxury log fire cabin, the girls take their chance to impress. But they hadn’t bargained on the owner of the cabin being quite so attractive – or having quite such a sexy voice.

As the twelve days tick on, will Poppy realise that Harrison is the one for her? Or will it be love in the lodge when the new year comes?

Lose yourself this Christmas in the new novel from the brilliant Catherine Ferguson, perfect for cosying up with by the fire.

An Extract From Christmas at the Log Fire Cabin

‘Hello, Jed Turner?’

‘Er, hi!’ It’s definitely him. I’d recognise those deep, velvety tones anywhere. ‘I hope you don’t mind me phoning. I – um – just wanted to let you know that I can’t stay at yours for Christmas, even though it sounds lovely what with the hot tub and the log fire and everything.’

There’s a brief pause.

‘Shit, sorry,’ he says. ‘You’re obviously not Clemmy.’

‘No, ’fraid not. I’m Poppy. You got the wrong woman.’

‘Ah, well.’ He gives a throaty chuckle. ‘That sounds like the story of my life right there.’

I laugh. ‘It’s like that, is it?’

‘Sadly, Poppy, it is. But things can only get better.’ He doesn’t seem sad. In fact, he sounds quite cheerful about it.

‘Very true,’ I agree, thinking of Clemmy, who he’d seemed pretty keen on.

Clemmy is such a pretty name.

‘So, Poppy, I’m really glad you phoned me.’

‘It was no problem at all.’

‘If I hadn’t discovered the mistake, my carefully laid plans for a merry Christmas would have gone right up in smoke. I must have hit a wrong digit. Did I get the area code right, at least? Are you in Surrey?’

‘I am. I live in Angelford?’

‘Ah, yes. In that case you’re very close to my uncle’s holiday home. Which is where we’ll be for Christmas. Lovely area.’

‘Yes, I suppose it is. It’s just when you live in a place, you quite often don’t appreciate its beauty as much as other folk.’

‘That’s true. Do you think that also applies to people living within spitting distance of the Eiffel Tower? Or over the road from the Grand Canal in Venice?’

‘Over the water, you mean.’

He laughs at my very feeble joke. ‘You’ve got an exceptional café in Angelford, if I remember rightly. Best chocolate-fudge brownies in the world. Am I right or am I right?’

‘You’re right. We do. Although, can I suggest you try the raspberry-cream-and-white-chocolate cheesecakes next time?’

‘I’ll make sure I do that.’ I can hear the smile in his voice. ‘Then we can compare notes.’

‘You won’t regret it. I tried to make them myself but nothing tops their version.’

‘Are you a good cook, then?’

‘Er, not bad, I suppose. The kitchen’s my favourite room in the house.’

‘Yes? What sort of things do you make?’

I smile, wondering if he’s just being polite. But I don’t think he is. He sounds genuinely interested.

‘Everything, but Italian food is my speciality.’

‘Can you make pasta from scratch? And tiramisu?’

I can. Actually, I’m making tiramisu for a special dinner party,’ I say, deciding on the spot that this is what I’ll make for Mrs Morelli’s dessert.

‘My mouth’s watering. This sounds like it’s far more than just a hobby, if you don’t mind me saying. Are you a chef?’

His question stops me in my tracks. I’m not a chef. But if Erin has her way, I’ll certainly be cooking for a living. The pints of prosecco I’ve drunk make me bold. I take a deep breath. ‘Actually, I’m a caterer, specialising in Italian food. I do private dinner parties.’

My heart gives an odd little thump. Just saying those words makes me feel like a different person. More confident and self-assured, somehow.

‘Sounds amazing. Are you working tonight?’

‘Er, no, not tonight.’ Suddenly I feel like a fraud. I’m very glad Jed Turner can’t see the burning heat creeping into my face. ‘My – um – next engagement is on Saturday.’ Why am I trying to impress a man I don’t even know?

‘Looking forward to it?’

‘Yes! At least, I think so.’

He laughs. ‘You don’t sound sure.’

‘I’m just a bit nervous, that’s all,’ I confess. ‘The woman I’m cooking for was born in Italy.’

‘Ah, so there’s that extra pressure to deliver genuine Italian flavours,’ he murmurs, hitting the nail right on the head.

‘Absolutely!’

‘Well, you sound very passionate when you talk about cooking and that’s a great sign. I’m sure you’ll impress on Saturday.’

‘Thank you.’ My face flushes even redder with pleasure.

‘I’ll keep your number,’ he chuckles. ‘Just in case I ever have an Italian-food emergency. I live over the border in West Sussex, but an emergency is an emergency.’

About Catherine Ferguson

Catherine Ferguson burst onto the writing scene at the age of nine, anonymously penning a weekly magazine for her five-year-old brother (mysteriously titled the ‘Willy’ comic) and fooling him completely by posting it through the letterbox every Thursday.

Catherine’s continuing love of writing saw her study English at Dundee University and spend her twenties writing for various teenage magazines including Jackie and Blue Jeans and meeting pop stars. She worked as Fiction Editor at Patches magazine (little sister to Jackie) before getting serious and becoming a sub-editor on the Dundee Courier & Advertiser. Moving south in her thirties, she set up Surrey Organics, delivering fresh organic produce to people’s homes – and this experience provided the inspiration for her first attempt at writing a full-length novel.

Catherine lives with her son in Northumberland.

You can follow Catherine on Twitter.

There’s more with these other bloggers too:

Regular readers of Linda’s Book Bag know what a fabulous time I had at the Deepings Literary Festival where I live earlier this year and which you can read about here. One of the authors I met was Carol Browne, author of The Exile of Elindel, who had previously featured on the blog here and I was delighted to find Carol lives only three miles from me!

Published today, 8th October 2017, the first book of The Elwardian Chronicles The Exile of Elindel is available for purchase here.

The Exile of Elindel

Elgiva, a young elf banished from Elvendom, must seek shelter among the Saxons as her only hope of surviving the coming winter.

Godwin, a Briton enslaved by the Saxons, is a man ignorant of his own inheritance and the secret of power he possesses.

A mysterious enemy, who will stop at nothing to wield absolute power over Elvendom, is about to make his move.

When destiny throws Elgiva and Godwin together, they embark upon the quest for the legendary Lorestone, the only thing that can save Elvendom from the evil that threatens to destroy it.

There is help to be found along the way from a petulant pony and a timid elf boy but, as the strength of their adversary grows, can Elgiva’s friends help her to find the Lorestone before it falls into the wrong hands?

A Writer’s Inspiration

A Guest Post by Carol Browne

Where do writers get their ideas? Many admit to being inspired by music and that was certainly the case when I had the idea for my novel The Exile of Elindel. I hadn’t even been planning to write a novel at all.

It was back in 1976 when I was sitting in a pub in Runcorn, Cheshire, listening to the juke box, and Mike Oldfield’s In Dulce Jubilo came on. The rhythm of the music suggested the movement of horses to me and in my mind’s eye a picture unfolded. I saw a herd of white horses galloping across a plain with the swarthy mass of a great forest behind them. Watching them advance from a shallow ridge of land were two characters. One I knew was a young female elf while her companion seemed to be a knight in shining armour. (I felt his appearance was symbolic of his relationship to the elf not how he really was.)

The scene was so real to me that as soon as I saw these characters they existed as if they were flesh and blood. But who were they? Where had they come from? Where were they going? I felt they were nearer the end of their story rather than the beginning and that they were on some kind of quest. I had to find out if they would be successful.

The image stayed with me from then on, refusing to be ignored. There was a tale here that needed to be told and I knew I’d never rest until I discovered what had brought these two very different characters to the point I saw in my daydream and why they were together. Moreover, what of the magnificent herd of horses!

The nature and appearance of these characters suggested that they belonged to the realm of fantasy fiction. I had read Lord of the Rings the previous year and was about to complete an English degree—which included Old English and left me with a fascination for Anglo-Saxon Britain—so my head was filled with elves, magic, quests, swordplay, spooky forests and the mysterious and enchanted Dark Ages. Thus, the setting and spirit of the story evolved from this treasury of ideas and influences.

I had found a world for these characters of mine to inhabit but I didn’t put pen to paper until 1977. Fortunately, I had no idea it would take me until 2013 to have my work accepted by a publisher (after I had abandoned an unsuccessful stint as a self-published author) nor that said publisher would go out of business just over a year later. At the end of 2015, I found a new home for The Exile of Elindel and I’m delighted that it is re-released with a gorgeous new cover today, 8^th October 2017. All thanks to my wonderful publisher Burning Willow Press.

During the intervening years between the daydreamed image and eventual publication, I found I had committed myself to a trilogy. What started as a stand-alone book is now Book I of The Elwardian Chronicles. And all because I heard a piece of music on a juke box.

About Carol Browne

Born in Stafford in the UK, Carol was raised in Crewe, Cheshire, which she thinks of as her home town. Interested in reading and writing at an early age, Carol pursued her passions at Nottingham University and was awarded an honours degree in English Language and Literature. Now living and working in the Cambridgeshire countryside, Carol usually writes fiction and is a contracted author at Burning Willow Press.

You can find Carol on Facebook, can follow Carol on Twitter and visit her website.

The writing process fascinates me and I love interviewing authors about their books. Today I’m delighted to welcome Vivien Brown, author of Lily Alone, to Linda’s Book Bag. Vivien kindly gives me an insight into how and why she writes, in my latest author interview.

Published by Harper Impulse, Lily Alone is available for purchase here.

Lily Alone

What sort of mother would leave her all alone… a gripping and heart-wrenching domestic drama that won’t let you go.

Lily, who is almost three years old, wakes up alone at home with only her cuddly toy for company. She is afraid of the dark, can’t use the phone, and has been told never to open the door to strangers.

But why is Lily alone and why isn’t there anyone who can help her? What about the lonely old woman in the flat upstairs who wonders at the cries from the floor below? Or the grandmother who no longer sees Lily since her parents split up?

All the while a young woman lies in a coma in hospital – no one knows her name or who she is, but in her silent dreams, a little girl is crying for her mummy… and for Lily, time is running out.

An Interview with Vivien Brown

Welcome to Linda’s Book Bag, Vivien. Thank you so much for agreeing to answer some questions on my blog about your writing and Lily Alone in particular. Firstly, please could you tell me a little about yourself?

I have always loved working with words, rather than numbers. When I left school, a job as an author seemed like nothing but a pipe dream and was never a serious option, and ironically I ended up working first in a bank and then in a council accountancy department, so for a while numbers were definitely winning! It was only when I took a break having given birth to twins that I started to write in earnest. I then made a major career change, working with other people’s children as well as my own, originally as a registered childminder and then in libraries and children’s centres, promoting reading to the under-fives. In my spare time I was sending short stories to magazines and had a go at a first novel. My day to day involvement with young children and their (quite often young single) parents was a huge asset while I was writing Lily Alone. Nowadays my girls are grown-up, I have a new marriage, a beautiful granddaughter and two cats, who all help to make my life complete.

Why do you write?

I always have, and always will. For fun or for money… it makes no difference. I love doing it and can’t imagine a time when I will ever stop.

When did you realise you were going to be a writer?

Probably when I sold my first story to Woman’s Weekly and realised that others might actually enjoy reading what I wrote, and be willing to pay for it!

What are your writing routines and where do you do most of your writing?

When I was going out to work, I got into the habit of writing after 9 a night, to fit in with family routines, often staying up until the early hours. Now that I am an at-home writer, I don’t tend to stick to a routine at all. I can write when the fancy takes me, except when I have a deadline to meet when it becomes a much more frantic and full-time thing. I have a study upstairs, looking over the garden, with all my writing needs around me, and only come out for food!

I know your life has been heavily involved in promoting reading. How has this love of reading impacted on you as a writer?

In my working life, I was running library storytime sessions every week and giving talks to parents about the importance of reading to their children. I was also heavily involved in gifting the national Bookstart scheme, whereby all babies and toddlers receive free packs of books, and I was on the book selection panel one year. I soon became very aware of which stories captured kids’ imaginations and become lifelong favourites, and which failed to hit the mark, so I started reviewing children’s books and writing regular articles for nursery and childcare magazines. I wrote a few funny children’s poems which were published in school anthologies too. I think the elements that make a story work are the same in adult and children’s fiction – strong characters, a good sense of place, a compelling storyline, a satisfying ending, and something to either laugh, cry or care about.

You’ve written scores of short stories for a variety of women’s magazines. Which elements from short stories can easily be adapted to writing full length novels and which others are completely different?

As Vivien Hampshire, I have been a regular contributor to most of the UK women’s magazines for quite a long time, having had around 140 stories in print. My themes are pretty constant. I write about families, romance, day to day life, and I like to chuck in a few animals too! My characters vary from children to the elderly. Endings can be uplifting or sad, but are always plausible and written to suit the readership, and I have been known to add a touch of comedy from time to time. Novels share so many of these elements, but I now have to spread my story over 100,000 words instead of just 1000! That means going into far more depth, adding more minor characters and sub-plots, and allowing myself to develop wider themes. Lily Alone, with its social services and hospital scenes, also involved quite a bit of research, which I rarely have to think about in a short contemporary magazine story.

How did you go about researching detail and ensuring Lily Alone was realistic?

I began with internet searches, as most writers do these days, so I was able to get the basic information I needed about head injuries, comas, etc. My daughter is a nurse, so she read the scene set in A&E and put me right on a few of the finer details, like the order in which Ruby’s injuries would be dealt with. My other daughter had just qualified as a social worker in a children and families team, so I was able to pick her brains, and that of her boss, about some of the procedures that kicked in once Lily was found.

Without spoiling the plot, please could you tell us a bit about Lily Alone?

The book is really asking the question: What sort of mother would leave her two year old daughter alone? And what could possibly have led her to do it? Little Lily wakes up alone with only her cuddly toy for company. She is hungry, afraid of the dark, can’t use the phone, and has been told never to open the door to strangers. In the flat downstairs, a lonely old woman keeps herself to herself, wonders at the cries coming from upstairs but decides not to interfere. Lily’s father hasn’t seen her for a while. He’s been abroad, absorbed in his new job and his new girlfriend, and her granny lives miles away. In a hospital bed, a young woman lies in a coma. No-one knows her name or who she is, but in her silent dreams, a little girl is crying out for her mummy…

The concept of a child left alone like Lily is quite disturbing. What made you choose this as a premise for your novel?

I’m not sure it was a conscious decision from the start. I like writing about the complicated dynamics within families, and about children, and started off with nothing more than the image of a road accident victim and who might miss her if she didn’t come home. Having worked with kids, I love watching them develop their independence as they learn and grow. My first (self-published) novel as Vivien Hampshire – Losing Lucy – was about a baby taken from her pram and the impact on the lives of those around her, and Lily Alone follows similar themes. I wanted to explore how one simple mistake could have lasting effects not only on the girl who made it but on everyone around her – so expect some drama, some life-changing decisions and some romance, when all the other characters are thrown together by Lily’s plight!

One of the themes of Lily Alone seems to me to be the way in which many of us are isolated in our lives. How important is it to explore such themes through fiction do you think?

In writing this novel – my first as Vivien Brown – I wanted to step away from romantic comedy and light-hearted stories into domestic drama, and tackle something a lot more serious. By placing Lily and her mum Ruby in a block of flats in London, miles from her home town, and giving Ruby no close family of her own to fall back on when things got tough, I was isolating her from any kind of support network. Her neighbours have their own lives and problems, and nobody has made any real effort to get to know each other. Village life may well be very different, but I’m sure many people in cities live this way, and for those who are without family, or may be elderly, shy, jobless or poor, loneliness is an inevitable result. I don’t think fiction will change that, but it may help raise awareness.

Lily Alone has a cover that suggests a bleak life because of the grey background and danger through the red in the dress. How did that image come about and what were you hoping to convey (without spoiling the plot please!)?

I had no input in creating the cover which was all the work of Harper Impulse and their book designers. I was shown some earlier versions which neither I nor the publishers felt was quite right, but when we saw this one it immediately felt perfect for the book. It conveys that sense of Lily being all alone except for her bear, and the moving curtain and big bed add to that, I think. Lily does not actually wear red in the story so there is a little poetic licence going on, but it is very effective. There have been many comments and compliments about the cover, which I am so pleased about.

You’ve also written romantic comedy under the name Vivien Hampshire with How To Win Back Your Husband. Which genre is the most challenging for you as an author? 

I find romantic comedy relatively easy to write, as it sticks pretty much to a tried and tested formula, where every reader knows from page one that the hero and heroine are going to get together by the end. I have enjoyed writing that sort of story, but now I need more to get my teeth into. Domestic drama is tougher to write, without such an obvious clear-cut path through the story, and is more emotional for me and for the readers. That’s where I now see my future as an author.

If you could choose to be a character from Lily Alone, who would you be and why?

Most of them have problems and sadness in their lives, at least when the story begins, so I think I would opt for Laura, a nurse who befriends the comatose Ruby in hospital. She is young, with a close group of female friends, has her whole career ahead of her, and there is the hint of romance to come!

If Lily Alone became a film, who would you like to play Lily’s mother Ruby and why would you choose them?

Lily’s mum Ruby is only twenty two, quite thin, fragile and unglamorous, so my list of possible actresses is quite limited. Emma Watson from the Harry Potter films would be great, but even she is 5 years too old now!

And when you’re not writing, what do you like to read?

I tend to stick largely to women’s fiction, in the broadest sense. I veer between contemporary romance, 1940s and 1950s sagas, and psychological thrillers, usually ones written by women and with female protagonists, but I also like Dick Francis books set in the world of horseracing, and occasionally revisit some of the old classics, especially Jane Austen’s. My favourite authors in recent months have been Clare Mackintosh, Veronica Henry, Iona Grey, Jean Fullerton, Elaine Everest and Milly Johnson.

Finally, if you had 15 words to persuade a reader that Lily Alone should be their next read, what would you say?

A child left alone. What might happen while you’re gone? To her? … or to you?

Thank you so much for your time in answering my questions Vivien.

Thank you for inviting me today, and I hope your readers will fall in love with Lily and care about her just as much as I do!

About Vivien Brown

Vivien Brown lives in Uxbridge, Middlesex, with her husband and two cats. For most of her life she has immersed herself in words – as an avid reader, writer, poet, library outreach worker, storyteller, gifter of Bookstart packs to babies and toddlers, creative writing tutor and crossword fanatic. She enjoys dipping into dictionaries and exploring the meaning of words, and watching and/or taking part in TV quiz shows. In the evenings she loves nothing more than losing herself in a good book, a compelling TV drama or her regular supply of women’s magazine short stories – which all help to provide inspiration and ideas for her own fiction. Lily Alone is her debut novel.

You can find out more by following Viv on Twitter.

There#s more with these other bloggers too:

I don’t often review audiobooks on Linda’s Book Bag but I am partial to a children’s story so when I was asked if I’d like to listen to Horatio and the Fear of Dying I readily agreed – not least because I seem to have lost so many precious people of late, including my wonderful Dad.

Horatio and the Fear of Dying is a Kickstart project and you can find out more here.

Horatio and the Fear of Dying

Once upon a time… a brave boy named Horatio challenged and conquered Death, dawning everlasting life over his Kingdom. But as life and death are in love, one without the other became joyless. Soon, Horatio must mend the cycle he has broken.

Horatio And The Fear Of Dying was inspired by Jim Henson’s 1997 TV adaptation of the famous 1850s Russian Folktale, The Soldier And Death.

My Review of Horatio and The Fear of Dying

Horatio is so worried about dying that he doesn’t enjoy life as much as his sister Rosemary.

Firstly, I want to say how well I felt the music reflected the various events and characters. Happy Rosemary’s pieces are so much lighter than fearful Horatio’s.

Horatio and the Fear of Dying is a really great way to explore and discuss death with children in a non-threatening way. The story has all the characteristics of a traditional fairy story with a mysterious woman, eternal sleep and a magic crystal so that it fits into the conventions children will feel comfortable with.

As an English person, it took me a couple of minutes to attune to the American accent of the narrator but the quality of the story was such that I was soon engaged with the narrative and forgot about the voice telling it to me. I thought the vocabulary was extremely well chosen as there were enough unfamiliar of more challenging words to add a layer of mystery for children without undermining their ability to understand the story.

However, what is most deserving of praise is the tackling of a subject – death – that children can begin to become obsessed by. Through listening to this story in a safe environment with a protective adult a child can ask questions and be reassured so that death is not a taboo and fearful subject. I think that is an admirable approach.

About J.D Oldenburg

J.D. Oldenburg (Jose Diaz-Oldenburg) grew up with an unusually intense fear of death. He didn’t suffer trauma or family member’s death in his early youth, yet as a little kid he often sat with his parents to ask concerned questions about the subject. Conversations about death took place almost every evening. Some nights he understood, some nights he feared.

At the early age of nine, he confronted his anxiety by penning a short tale titled “La Muerte de la Muerte” or, Death of Death. A short story inspired by Jim Henson’s 1997 adaptation of an old Russian Folktale called The Soldier and Death.

In early 2015, La Muerte de la Muerte showed up hidden between old books in the family library and a new idea was born. Horatio and The Fear of Dying would come to life.

Armed with a bachelor’s degree in film, a couple of highly encouraging rejection letters, and seven years of experience in film production and advertising, J.D. felt compelled to bypass traditional publishing and retain full control of the final product. He built his creative team through persistence, trial and error, and craigslist ads. After locking the right artists, they embarked on an almost three-year process to the final creation released now.

J.D. hopes the book will help kids all over the world ease this universal fear and gain a strengthened sense of adventure about life.

J.D. Oldenburg lives in Los Angeles, California.

You can read ,more about J.D. Oldenburg on his website, find him on Facebook and read much more about Horatio and the Fear of Dying here.

Here on Linda’s Book Bag I love a wide variety of blog posts but I don’t very often have protagonists introducing themselves so it’s a real treat to meet Zenka today. Zenka features in lovely Alison Brodie’s latest novel, entitled Zenka funnily enough.

I have previously reviewed another of Alison’s books Brake Failure here and Alison herself featured on the blog with a fabulous guest post all about second book syndrome that you might like to read here.

Published on 6th November 2017, Zenka is available for pre-order from your local Amazon site.

Zenka

Devious, ruthless, and loyal.

Zenka is a capricious Hungarian with a dark past.

When cranky London mob boss, Jack Murray, saves her life she vows to become his guardian angel – whether he likes it or not. Happily, she now has easy access to pistols, knives and shotguns.

Jack discovers he has a son, Nicholas, a male nurse with a heart of gold. Problem is, Nicholas is a wimp.

Zenka takes charges. Using her feminine wiles and gangland contacts, she will make Nicholas into the sort of son any self-respecting crime boss would be proud of. And she succeeds!

Nicholas transforms from pussycat to mad dog, falls in love with Zenka, and finds out where the bodies are buried – because he buries them. He’s learning fast that sometimes you have to kill, or be killed.

As his life becomes more terrifying, questions have to be asked:

How do you tell a mob boss you don’t want to be his son?

And is Zenka really who she says?

Introducing Zenka

A Guest Post by Er, Zenka!

Hello darlinks,

I am Zenka, the fabulous star of Alison Brodie’s book, ZENKA!!!

Linda Book Blagger told Alison to write about me. Vy? Vy should Alison do this? It is ME who must write about ME.

I tell you. From beginning, Alison make big mistakes. She has me as tiny voman in background, but I don’t like that, and I tell her.

She make me a little bigger. But still it is not enough. How can she be so stupid? I am first class character with vit and culture and sexy body. I drill and drill and drill into her head until she sits heavily on chair in front of computer, opens up Flesh and Blood (that vas the title then) and re-writes book. I give her idea that I send letter to my friend in Hungary at the start of each chapter. Clever, huh?

I tell her Flesh and Blood is not good title.  She must call it ZENKA!!!   She doesn’t do exclamation marks but she puts my name on cover. That is good.

Then she must design cover for designer. She vants me walking down London street with my BACK to camera. And the colour is sepia (that means colour of old tea-bag). I am not sepia person. I vant black! I vant orange! I vant a gun in my hand. And I vant the vorld to see Zenka Valentina Varga’s beautiful face!

(Before, the cover had Jack vith his crumpled MacDonald bag face. Who vants to see his ugly mug? (That is my joke, Jack. And hear me talk Cockney?)

Alison thought that vas the end of me. Ha!

She goes on holiday to Barcelona. She is lying on beach bed, vanting to empty brain, thankful to have finished book. Then POW I pop into her head. I tell her to change the end of the story.  She is shocked. But then she sits up and starts thinking about it, and not finding pen in bag, grabs the vaiter by his ankle as he hurries by vith tray of mojitos, and takes his pen. Her husband, Barry, says to forget that bloody book.

Forget that bloody book! He is imbecile. And he vers yellow socks. What sort of REAL man vers yellow socks, huh?

So, Alison gets home and changes the ending. Now I am happy. Alison is not happy. She has to write to 40 blaggers to tell them to delete last book she sent and replace with the new one.

I go now. Alison, I leave you in peace forever. But remember, you think you know me, but you will never know me.

From your loving friend,

Zenka

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(Well, I don’t know about Linda’s Book Bag readers but I daren’t NOT read Zenka now!)

About Alison Brodie

Alison Brodie, an international best-selling author, is a Scot, with French Huguenot ancestors on her mother’s side.

Alison’s book have been published in hardback and paperback by Hodder & Stoughton (UK), Heyne (Germany) and Unieboek (Holland). Alison has now gone “indie” but you can find all her books here.

Find out more by visiting her website or following her on Twitter. You’ll also find her on Facebook. Alison has a Goodreads page too.

As a lover of historical fiction, it gives me very great pleasure to be turning my attention to historical non-fiction too today, with a publication day interview with Charles Spencer, author of To Catch A King. I also have my review.

To Catch A King is published today, 5th October 2017, by William Collins, an imprint of Harper Collins and is available for purchase through the links here.

To Catch A King

Guided by its various twists and turns, To Catch A King tells the story the manhunt for Charles II, following the rebellion that spurred his father’s beheading in 1649. This unputdownable sequel to Killers of the King tells an old story with new eyes, challenging our polarised notions of royalism, nationalism and loyalty.

In January 1649, King Charles I was beheaded in London outside his palace of Whitehall and Britain became a republic. When his eldest son, Charles, returned in 1651 to fight for his throne, he was crushed by the might of Cromwell’s armies at the battle of Worcester.

With 3,000 of his supporters lying dead and 10,000 taken prisoner, it seemed as if his dreams of power had been dashed. Surely it was a foregone conclusion that he would now be caught and follow his father to the block?

At six foot two inches tall, the prince towered over his contemporaries and with dark skin inherited from his French-Italian mother, he stood out in a crowd. How would he fare on the run with Cromwell’s soldiers on his tail and a vast price on his head?

An Interview with Charles Spencer

Welcome to Linda’s Book Bag, Charles Spencer. Thank you so much for agreeing to answer some questions about your writing and To Catch A King in particular.

Firstly, when did you realise you were going to be a writer?

When I was 15 or 16, I wrote an essay on concentration camp poetry that was the turning point for me.  I gained the confidence to believe that I could put words together in a way that others liked.  I edited the school magazine at Eton college (having been arts editor to my precursor, Boris Johnson). I then went straight from Oxford university into TV journalism, and was writing my own scripts from the age of 22.  I had thought about writing books, and the chance to do that was when I wrote to thank a literary agent for a book launch he had hosted for a friend of mine.  The agent wrote back, saying he liked the way I wrote, and he would like to represent me.

Why do you write? 

It is a compulsion.  It’s hard work, it’s solitary, and it’s sometimes exasperating.  But, at the end of the day, holding a new book that you’ve written remains one of life’s more thrilling experiences!

(I think all authors would agree with that!)

To what extent have you used or adapted what you learnt in your early journalistic career in your later books?

I worked for 10 years as a reported for NBC news, of the USA, working for them in 40 countries. Television is impatient and to the point, particularly when your reports are 3-4 minutes long.  There’s no place for wasted words or thoughts.  The story has to be clear and easily digested.  Key points have to be drawn out.  All of that experience was invaluable.  When I write my books, I am keen to tie the words to the images in my mind of what is happening.

Which aspects of your writing do you find easiest and most difficult?

It is a rollercoaster process for me.  There are days when, in research, you want to shout “eureka!” – when you find a nugget that you just know will be in your book.  Then there are times when you realise that the two weeks you’ve spent drilling down into one aspect have been wasted, because the findings are so thin – or perhaps irrelevant. When it comes to writing, I find it quite easy to get words on to the page.  However, I edit at least four times after that, and am always surprised how many rough edges have been left in the previous version.

What are your writing routines and where do you do most of your writing? 

I have no routines, any more.  I used to be much more rigid, but now I do what I can, when I can.  My life is a busy one, and while my writing is extremely important to me, it has to fit in with the rest.

Please could you tell us a little about To Catch A King?

It’s the true story of the future Charles II’s time on the run after his army was defeated by Oliver Cromwell at the Battle of Worcester in September 1651.  If he had been captured, he would have been executed. It seemed impossible to those that were hunting him down that they wouldn’t quickly scoop him up – apart from anything else, he was enormously tall, for the era – six foot three – and so would stand out. He had incredibly close shaves, but ultimately was saved by good luck, brave companions, quick-wittedness, and grit.  I’ve used the eyewitness accounts of those who aided Charles in his escape – a ragbag of peasant farmers, catholic priests and gentry, and royalist army officers, aided by some very strong women.  We see what happened to them, too.  It’s, in the end, the story of one of the greatest escapes in history.

To Catch A King has a cover that partially obscures the portrait of Charles, suggesting an enigmatic and partly unknowable man to me. How did that image come about and what were you hoping to convey? 

I learnt a long time ago that the writer is not the best man to choose his cover: this was taught to me by my publishers!  I loved the cover that the professionals at William Collins (publishing To Catch A King) chose, though.  I think they wanted to convey the “they seek him here, they seek him there” aspect of the book. And you’re right, there is a lot more to Charles II than the womanising pleasure-lover that has come down through history.  He was a very brave man, who inspired love and loyalty in those closest to him.

Your books focus very firmly on history. What draws you to this genre as a writer? 

I’ve always loved history as a subject, and used to read all sorts of history books from when I was a boy.  For me, history is about people watching – we haven’t, as a species, changed very much at all since Stuart times, and so it’s easy to put oneself in the shoes of a character from that era, and guess how it must have been.  I also really enjoy reading history.

How do you choose which era of history to write about?

I’ve written 6 books.  Two of them were on my family home and my family.  The other four were on the Stuarts:  Blenheim: Battle for Europe (a ‘sunday times’ bestseller, which was shortlisted for “history book of the year” at the national book awards in 2005) was written to commemorate the 300^th anniversary of the battle of Blenheim – Britain’s first major military victory on European soil in 300 years, since Agincourt.  The more recent three have connected to the English civil wars, which are among the most dramatic moments in this nation’s history.  I kicked off with a biography of Prince Rupert of the Rhine (2007); then had the fortune of my last book, Killers of the King, becoming a Sunday Times bestseller.  It was the tale of what happened to the men who killed Charles 1, once his son unexpectedly returned to claim the throne. Then someone who read that wrote to me out of the blue to ask why nobody had written the story of Charles II’s escape for so long.  I think I enjoy bringing topics that have been semi-forgotten, but shouldn’t be.

You have also written factually about your own history in The Spencer Family as well as Althorp: the Story of an English House. Do you prefer researching facts or the creativity of writing more and why?

I have tried to write fiction, but it didn’t go well.  I am not convinced I have an ear for dialogue!  I do try to give my historical works the pace and energy of fiction, while dealing in facts. Most people who think they don’t like history probably suffered a dull teacher or book when young, and it understandably turned them off.  History not only can be lively – it generally should be!

Your works have clear themes of danger and revenge in a political world. To what extent do you think the lessons of the 1600s are relevant to today’s world? 

One of the things about man is that he rarely seems to learn his lesson.  History can repeat itself.  The 17^th century in Britain was a time of great polarisation, particularly over religion and politics – which were, of course, intertwined.  We see the same rigid dogma today,and the same willingness to determine that anyone who doesn’t believe in your world view is beyond the pale.  You only have to look at the sides who are still fighting over Brexit to recognise that.  The same is true in the extraordinarily divided politics of the United States of America.

How do you go about researching detail and ensuring your books are realistic? 

‘time spent in reconnaissance is seldom wasted’, as the army tells its officers.  And I believe solid research is the key.  I am writing history, after all, so the facts must be correct.  The writer part comes with the material being mastered.

When you’re not writing, what do you like to read? 

I only read a few books a year, other than for research.  I enjoy dry humour, and learning something new.  Everything from Evelyn Waugh to Edward St Aubyn, and – in terms of history – there are just so many brilliant historians about right now that I struggle to pick one out.

If you had 15 words to persuade a reader that To Catch A King should be their next read, what would you say?

Charles II’s astonishing time on the run was one of the most dramatic moments in history.

Thank you so much for your time in answering my questions.

My Review of To Catch A King

The future Charles II is on the run.

I rarely read non-fiction and was apprehensive about reading To Catch A King. I needn’t have been, because the vivacity of the writing frequently made me forget that this was a factual book and I became thoroughly absorbed in the narrative elements.

That said, To Catch A King is no sloppy fictionalised romp through the seventeenth century. Each element has been meticulously researched and the quality and extensiveness of the Notes and Bibliography are solid proof of just how much effort has gone in to making To Catch A King an authentic, believable and authoritative account of the events. It’s a period of history about which I thought I knew quite a bit, but I was thoroughly educated and loved the primary source materials included. Also worth mentioning are the excellent quality photographs of the portraits of Charles and those around him.

I was struck by the insight into life in general. I hadn’t previously considered the role of a blacksmith as the greatest source of local information, for example. I found the casual dispensing of life far more disturbing than I had previously considered. Somehow Charles Spencer has brought home to me just how fleeting and perfunctory life then was.

However, for me the greatest enjoyment of reading To Catch A King was the depth of understanding about the man I gained, regardless of his status in life. Charles Spencer explores every element from Charles II’s strategic planning to his need of a clean shirt so that by the time I read of his death at the end of the book I was actually quite moved by his passing.

To Catch A King is a book of elegantly written historical accuracy that brings alive a crucial period of British history. I found it both interesting and engaging.

About Charles Spencer

Charles Spencer was educated at Eton College and obtained his degree in Modern History at Magdalen College, Oxford. He was a reporter on NBC’s Today show from 1986 until 1995, and is the author of four books, including the Sunday Times bestseller Blenheim: Battle for Europe (shortlisted for History Book of the Year, National Book Awards) and Prince Rupert: The Last Cavalier.

You can follow Charles Spencer on Twitter @CharlesSpencerBooks__.

I love the idea of being swept away by a tall, dark handsome hero and so it seems does Victoria Cornwall, author of both The Thief’s Daughter and The Captain’s Daughter! Victoria has written a smashing guest post for Linda’s Book Bag today all about The Perfect Hero and I think I agree with every word she says!

The Captain’s Daughter was published on 3rd October 2017 by Choc Lit and Is available for purchase here. The Thief’s Daughter is available here.

The Captain’s Daughter

Sometimes you need to discover your own strength in order to survive …

After a family tragedy, Janey Carhart was forced from her comfortable life as a captain’s daughter into domestic service. Determined to make something of herself, Janey eventually finds work as a lady’s maid at the imposing Bosvenna Manor on the edge of Bodmin Moor, but is soon caught between the two worlds of upstairs and downstairs, and accepted by neither, as she cares for her mistress.

Desperately lonely, Janey catches the attention of two men – James Brockenshaw and Daniel Kellow. James is heir to the Bosvenna estate, a man whose eloquent letters to his mother warm Janey’s heart. Daniel Kellow is a neighbouring farmer with a dark past and a brooding nature, yet with a magnetism that disturbs Janey. Two men. Who should she choose? Or will fate decide.

The Thief’s Daughter

Hide from the thief-taker, for if he finds you, he will take you away …
Eighteenth-century Cornwall is crippled by debt and poverty, while the gibbet casts a shadow of fear over the land. Yet, when night falls, free traders swarm onto the beaches and smuggling prospers.

Terrified by a thief-taker’s warning as a child, Jenna has resolved to be good. When her brother, Silas, asks for her help to pay his creditors, Jenna feels unable to refuse and finds herself entering the dangerous world of the smuggling trade.

Jack Penhale hunts down the smuggling gangs in revenge for his father’s death. Drawn to Jenna at a hiring fayre, they discover their lives are entangled. But as Jenna struggles to decide where her allegiances lie, the worlds of justice and crime collide, leading to danger and heartache for all concerned.

The Perfect Hero

A Guest Post by Victoria Cornwall

It’s tough being the perfect hero, just ask any man. The modern man walks an obstacle course made of unspoken rules and expectations which they are continually trying to figure out. These can change daily, depending on the subject, situation, or the woman they are trying to impress. One day taking control is interpreted as a strong male characteristic, on another it’s considered domineering behaviour. Taking a back seat can be viewed as allowing the woman to have control or it could be viewed as disinterest on his part. Is he the strong and silent type or emotionally distant? Has he the confidence to show his vulnerability or is he just plain weak? The only time a man can be assured of being the hero is when they remove a spider … but only if they are asked to do it. Then they can confidently sweep in, capture the hairy monster, show any witnesses present just how monstrous it is, before releasing it into the wild. The man in your life wants to be your hero, he just isn’t always sure what sort of hero you want.

Creating the ideal hero in fiction has the same pitfalls as each reader has their own idea of what he is like. The type of hero may differ depending on what is going on in the reader’s life at the time. Swing too much one way and you lose the reader’s affection, swing too much the other and you lose the reader’s respect.

When I wrote The Thief’s Daughter, I wanted the hero, Jack Penhale, to have all the good qualities of Ross Poldark, the dark brooding looks, the bravery, the tricorn hat that casts a shadow across his handsome face and his capacity to love deeply … so deeply that it dictates his behaviour in a way that may not necessarily be wise. As an antidote to the dangerous situations he finds himself in, I wanted Jack to show a softer side too, without appearing weak. He only shows this side to the woman he falls in love with. I decided to show this side of him through flashes of humour and his occasional, affectionate teasing of Jenna, the heroine. These exchanges mark their relationship as different from the very beginning, for she has already drawn out a side to him he rarely shows to anyone else. Readers may vary in their ideal hero’s looks, characteristics or ability to make sound judgements, but I’m sure that most readers would agree with me that by the end of the book the hero must love the heroine so deeply, it is to the exclusion of all others.

The hero in The Captain’s Daughter is a very special man. I defy anyone not to fall in love with him just a little bit. He is not a man for fancy words and he does not have the skill to charm, but he speaks the truth and his love for the heroine is enduring. He is a man who rarely shows his feelings, yet the love he feels for the heroine is enough to have the power to break his heart if he let it. He is one of the strongest heroes I have ever written and I adore him.

About Victoria Cornwall

Victoria Cornwall grew up on a farm in Cornwall. She can trace her Cornish roots as far back as the 18th century and it is this background and heritage which is the inspiration for her Cornish based novels.

Victoria is married and has two grown up children. She likes to read and write historical fiction with a strong background story, but at its heart is the unmistakable emotion, even pain, of loving someone.

Following a fulfilling twenty-five year career as a nurse, a change in profession finally allowed her the time to write. She is a member of the Romantic Novelists’ Association.

You can find out more by following Victoria on Twitter @VickieCornwall, by finding her on Facebook and visiting her website.

Many readers will be thoroughly familiar with C.L. Taylor’s adult fiction and indeed, will remember a fabulous guest post from Cally on Linda’s Book Bag that you can read here from when The Missing was released.  Today, however, thanks to the author herself, I’m delighted to be reviewing the first of C.L. Taylor’s young adult (YA) books, The Treatment.

The Treatment will be published by HQ Young Adult, an imprint of Harper Collins, on 19th October 2017 and is available for pre-order here.

The Treatment

“You have to help me. We’re not being reformed. We’re being brainwashed.”

All sixteen year old Drew Finch wants is to be left alone. She’s not interested in spending time with her mum and stepdad and when her disruptive fifteen year old brother Mason is expelled from school for the third time and sent to a residential reform academy she’s almost relieved.

Everything changes when she’s followed home from school by the mysterious Dr Cobey, who claims to have a message from Mason. There is something sinister about the ‘treatment’ he is undergoing. The school is changing people.

Determined to help her brother, Drew must infiltrate the Academy and unearth its deepest, darkest secrets.

Before it’s too late.

My Review of The Treatment

When her brother Mason is incarcerated in the Residential Reform Academy, Drew realises he’s in considerable danger and sets out to try to rescue him.

I thought The Treatment was brilliant. If this is what Young Adult fiction reads like then I need to read more of it. There’s no dumbing down of plot, theme or character in The Treatment; just fabulous writing that engages and enthralls from start to finish.

From opening quite literally with a bang, the plot of The Treatment races along at a breathtaking pace so that I had to put down the book a few times to give my thumping heart a rest. I think it’s because the events are actually extremely plausible and there’s real fear in realising we could easily head towards similar establishments as the Residential Reform Academy. There are surprises along the way so that I was brought up short a couple of times too, adding to the immense enjoyment of this book.

I loved the characters. Each is well defined and so realistic. It felt perfect to see the events through Drew’s eyes, especially when there is the contrast of the more usual events in a teenager’s life, such as her difficult relationships with her peers, against the horror that is the Residential Reform Academy. Even the most minor people add depth and texture to a cast of completely believable people.

However, it was the themes that really hooked me. Our desire to conform, or to make others conform to what we decide is right, bullying, relationships and societal expectations and norms are all thoroughly explored so that not only is The Treatment hugely entertaining as a read, it’s also highly thought provoking.

I’d love to see The Treatment as a film because I have a horrible feeling some adult readers might dismiss it as a YA book not weighty enough for an adult audience, and they would be wrong, but might be hooked by a film and then read an amazing book. The Treatment is a narrative with depth, excitement, brilliantly developed characters and themes that affect all our lives. I really recommend it for all thriller lovers – regardless of age.

About C. L Taylor

C.L. Taylor studied for a degree in Psychology at the University of Northumbria, Newcastle then moved to London to work as a shipping co-ordinator for a medical publishing company. Made redundant after two years she re-trained and moved to Brighton where she worked as a graphic designer, web developer and instructional designer over the course of 13 years. She currently works 4 days a week as a Distance Learning Design and Development manager for a London university, looks after her toddler son 3 days a week and squeezes in writing her novels when she should be sleeping.

You can follow C.L. Taylor on Twitter and find out more about her on her web site. You’ll also find her on Facebook.

When I was asked by Faye Rogers to be part of the celebrations of Stories For Homes (volume 2) and that the book would support Shelter in response to the Grenfell Tower tragedy I was delighted to help out.

Stories for Homes (volume 2) was published on 28th September 2017 and is available for purchase here.

Stories for Homes

Published and unpublished writers come together to create an anthology of stories about what ‘home’ means.

55 writers are included in a second charity anthology that brings issues around housing, poverty and crisis to life through the power of storytelling. Volume One of the Stories for Homes Project raised over £3K for housing charity Shelter and raised awareness of housing issues.  Volume Two of the anthology includes stories, poems and flash fiction and again all proceeds will be donated to the charity.

My Review of Stories for Homes

Home can mean something different to every single person.

I wasn’t quite sure what to expect in this collection of short stories and I certainly found it an eclectic and varied mix of tales.

What I enjoyed most was the ease with which I could pick up the collection and just read one or two pieces to fit into my busy life. I thought the theme of home was so interestingly portrayed, with home being a place in a person’s memory or imagination as in The Sound of the East Dry River by Matt Barnard just as much as a physical place as in Leigh Forbes Coming Home.

I felt that Stories for Homes opened up to me a completely different world to the one I have inhabited all my (seemingly privileged and sheltered) life with immigration, prison, parenthood and so on all explored between its pages. I did feel quite uncomfortable reading some of the stories because they raised issues that I hadn’t given a second thought to before, and I felt quite guilty.

I was struck by the feeling of desperation and loneliness running through many of the pieces and I have to admit to being completely befuddled by Plastic by Santino Prinzi which I found a very unnerving read! My favourite was I Never Wore A Watch by Jacqueline Ward. I feel there must be home upon home with Annie-like characters who have been wrongly categorised and feel themselves outside society. It made me quite emotional to read it.

Many of the stories are written with great variety so that there is accent, dialect and indigenous language in the direct speech or, in some of them, quite a poetic turn of phrase such as in Motherland by Julie Hayman so that I really feel there is something for every reader to enjoy or to contemplate. I heartily recommend Stories for Homes, not just because by purchasing a copy a really good cause will be supported which is enough incentive in itself, but because there are stories to suit all readers between its pages.

About Stories for Homes

You can find out more about the project on the Stories for Homes website and by following Stories for Homes on Twitter @storiesforhomes. You’ll also find Stories for Homes on Facebook and there’s more with these other bloggers:

One of the things I try to do on Linda’s Book Bag is support independent authors and publishers as well as feature the bigger publishing houses. Consequently, I’m thrilled to be showcasing Obliterati Press, a brand new independent publisher, today. Run by Wayne and Nathan, I got them both to tell me more about their new venture.

The very first book from Obliterati, Lord of the Dead by Richard Rippon, will be released on 3rd November 2017 and is available for pre-order here.

Lord of the Dead

A woman’s body has been found on the moors of Northumberland, brutally murdered and dismembered. Northumbria police enlist the help of unconventional psychologist Jon Atherton, a decision complicated by his personal history with lead investigator Detective Sergeant Kate Prejean.

As Christmas approaches and pressure mounts on the force, Prejean and Atherton’s personal lives begin to unravel as they find themselves the focus of media attention, and that of the killer known only as Son Of Geb…

An Interview with Obliterati Press

Hi Nathan and Wayne and welcome to Linda’s Book Bag. Thanks so much for agreeing to tell me a bit about your fabulous new venture Obliterati Press.

I know you’re both writers so would you mind introducing yourselves first please?

Nathan

Nathan: I self-published a collection of short/flash fiction in 2013, and my first novel The World Is (Not) A Cold Dead Place was published by Armley Press in 2015, and had far more success than any of us imagined. The lead character, Gary Lennon, really seemed to strike a nerve with people. My second novel Out Of The City came out in February.

Wayne

Wayne: I also self-published some work before Armley Press accepted my novel Justice is Served for publication in June 2016. I like to write in various genres, but writing modern, contemporary fiction and science fiction are definitely where I feel more comfortable. I feel that with science fiction, in particular, comes a freedom to explore philosophical ideas.

Why Obliterati as a name?

Nathan: As a music obsessive, I always try and shoehorn musical references into just about  everything. One of my favourite bands, Mission Of Burma, released an album called ‘The Obliterati’ in 2006. As well as the album, I loved the title, and always thought I’d want to use it if I ever started my own press.

How did Obliterati Press come into being?

Wayne: Nathan and I first met during the Leeds Big Bookend literary festival in June 2016 for the launch of my novel within Armley Press’s designated panel appearance. The night before the event, the four Armley Press writers (John Lake – one of the partners of Armley Press – Mark Connors, Nathan and myself) went out for a curry. At some point, Nathan and I got talking about our own ideas concerning publishing and as the subsequent months went by it was something we came back to time and again. We both switched between being really taken with the idea, and being quite intimidated by it. After a while, we decided to conduct some serious research as to how we could go about it on a limited budget. We knew that we each had skills that we could bring together to make a functional partnership, whilst each having a similar taste in writing. We work well together, I think. We make a really good team.

You are a publisher ‘for writers by writers’. How would you define your ethos?

Wayne: We believe that a lot of good writers don’t get the attention they deserve or even the opportunity to get the attention they deserve. As writers ourselves, we know the frustrations and expectations of seeking publication. We want to welcome good writers and create a friendly, collaborative experience. We don’t mind taking a work that isn’t 100% polished as long as we recognise something skilful within it. We’ve got other skills that we can bring to the mix, too, and we want to use these in our ideas for promoting work. We want to spend time creating a finished product that our writers love just as much as we do, whilst also trying to stay aware of what readers want from a book.

If would-be authors wanted to submit a manuscript to you, what would they need to do and what advice would you give?

Nathan: Follow us on Twitter @ObliteratiPress and Facebook for a start. We’re not currently open to full-length submissions, but we’ll announce our submission windows via social media. We’re always open to short story and guest blog post submissions, however, in fact we’d welcome both of those.

Your current authors are all male. Do you believe men write the edgier fiction you’re looking for or is that just coincidence?

Nathan: I think that’s pure coincidence. It’s just how things have worked out for us so far. All we care about is the quality of writing. In fact, when we were setting up, we talked about how we would like to give a voice to minority authors. And that includes LGBTQ, gender non-binary and anyone else. But the most important thing will always be the work.

Wayne: Yeah, it is just coincidence at this stage. I don’t believe that any kind of writing is done best by one sex over another. I’d like a good diverse range of authors, but in terms of submissions, it’s just worked out that we’ve had more from men.

You’re quite outspoken in your views – how do you balance saying what you think and running a business?

Nathan: I try to keep my outspokenness mostly to my personal twitter account rather than the Obliterati one, which I run. Anyone who’s read my work or follows my tweets will know I don’t tend to hold back. But we both have very strong views about politics and current affairs, and I think we’d both like Obliterati to be as much a part of the political conversation as we both are personally. I don’t think it’s necessarily damaging to the business side of things, if anything it helps to give us some kind of identity.

Wayne: Social media, although obviously having negative qualities, definitely has a lot of positive things going for it, and I do believe it has helped galvanise political interest in particular. Despite the fact it gives a forum to abusive trolls, it also provides a forum for people to connect and access information. Obliterati Press is ultimately the product of two people who are outspoken and passionate and it would be impossible, I think, for our opinions and the business to stay utterly disconnected.

You write, blog, you run a website, are active on social media and are setting up in the publishing world. How do you allocate roles and keep all the plates spinning?

Nathan: We had a few long chats about before setting up. We quickly realised that each would have different roles. Wayne has far more technical and design skills than me, so he designed and runs the website. He’s also a very good editor, with a very keen eye, so he also takes the lead on that, with input from myself and the writers, and he takes care of the layout of the books.

My initial job was to find us a couple of writers to get us started, and I drew from the wide circle of writers I’ve got to know online over the years to find Richard Rippon and Dave Olner. I also run the social media accounts, as it’s something I enjoy.

Nathan, I know music has played a very big part in your life. Is there anything in the music world that you can translate into usefulness in publishing?

Nathan: I think both the music and publishing industries have become increasingly risk-averse over the years, particularly since the 2008 financial crash. There’s a sense of playing it safe. That’s something we are in part reacting against, so we’ve perhaps learned how not to conduct ourselves. There are great writers and musicians out there who are talented but are being ignored because they don’t guarantee a financial return. Those writers are who we’re looking for. When it comes to writing, I am almost as influenced by music as literature. I think punk rock is the most important artistic movement of the last hundred years at least, and its principles; not playing by the rules, finding your own identity, having no sacred cows, can be applied to all art forms.

Wayne, I know you give some of your royalties to homeless charities. Why do you choose to do this?

I wrote and self-published my book Generation Rent: The Inequalities in the Private Lettings System after a long string of rubbish experiences with landlords and lettings agents. As an ex-paralegal, I was aware of the fact that so many people out there suffer the injustices associated with tenancies and don’t know their legal rights. The book was designed to openly discuss my own numerous disputes with landlords and letting agents, and to contextualise them with the appropriate legal advice. It seemed right to give something back to campaign and advice groups like Shelter, who I’ve used many times in the past, so I decided to donate all the profits of my book to them.

What are you most excited about for Obliterati Press in the next couple of years?

Nathan: There’s something absolutely thrilling about helping someone to get their book out there, when it may not have happened for them otherwise. In some ways it’s even more exciting than getting published myself. There’s a huge responsibility with that, of course, you’re desperate not to fuck it up. But we’ve got two amazing novels from debut writers which absolutely deserve to be read by as wide an audience as possible, and it’s really exciting to be able to help them achieve that. We’ve got a couple of other things in the pipeline, but we’re really on the lookout for talented writers whose work has so far been overlooked.

Wayne: Opening our first submissions window and seeing what we get. There’s a particular excitement you get from reading a manuscript that stands out. And that’s a feeling I’m looking forward to feeling again.

Good luck to you both with Obliterati Press and thanks for being on the blog to tell us more about it.

About Obliterati Press

Obliterati Press is an independent publishing company set up by writers, for writers. You can follow Obliterati on Twitter and find them on Facebook. For more details and to find out when and how to submit manuscripts please visit the Obliterati website.