Not the most sophisticated of inclusions but this is my latest acquisition. I got him at the Brecon Beacons National Park centre. One of those instances where this little guy seemed to shout, “Pick me, pick me!” And as a red welsh dragon was one thing my collection lacked and I wasn’t taken with any of the ornaments, I brought this one home with me.
OUT AND ABOUT:
Got away for a weekend which was a much-needed break and a test of my present health for which I coped well but not brilliantly. Saw the new and mostly disliked Tintagel bridge. A controversial topic to be sure. I won’t walk across it for three reasons, possibly four. On principal, because I want to use the old steps, and because it wouldn’t surprise me if it gave me vertigo. The possible fourth reason is I don’t trust it. Maybe more on that another time but for now, this is what the first section looks like. There will be a one and a half-inch gap between the two halves. Most locals and visitors seem to admit the design is out of keeping with the area and it cuts across the face in the rock often referred to as King Arthur’s face.
Watched AFTER LIFE written by and starring Ricky Gervais owing to recommendation. With his share of successes and failures, this series shows the best side of his personal take on life. Though, at first, one could be mistaken for thinking he’s portraying a horrid character, the truth is he’s merely saying a lot of things people think but don’t say, a flood of dislike and brutal honesty from someone who is
I also liked Netflix’s series, DEAD TO ME, because of the way they present the story with slow reveals in a non-chronological order, constantly twisting what you believe about the characters.
Please, Sir! Jack Sheffield
While it’s true, these books get a little repetitive, after reading a few it’s hard not to get wrapped up in the lives of those at Ragley School. Charming and touching,
The Living, Isaac Marion
The last in the Warm Bodies trilogy, a far superior Zombie novel that I would have loved to purchase in print to add to the two titles I already own. Alas, postage to the UK and import duties prohibited this (I purchased the ebook).
My favourite in the series is, and shall always remain, the first book, a title which perhaps says enough, but this takes the exploration further, giving us a beautiful, painful, and sad view of the world. These books are about so much more than a horde of walking dead — it’s about life, love, relationships, politics, society, racism, religion to name the most obvious, though I’m certain that to each the books will have something different to say. With each title the books grew darker in context. The writing felt poetic, at other times surreal, but always undoubtedly philosophical, which perhaps explains why the author has had to self-publish the third title. This is the most literary use of the zombie genre I’ve stumbled across, one that would be hard to exceed, and therefore publishers may have feared its lack of potentially purely commercial value.
I won’t deny moments where the story lost its grip on me, perhaps because each of the books has a decidedly different feel and the tone of the third was different to what I expected, but the way the author writes, the world he’s created, the intellectual significance behind the books are too eloquent to ignore. Though I enjoyed the last book the least, and it perhaps has some flaws, it completes an exceptional story arc, strong enough to be keepers for me.
The Rosie Project, Graeme Simsion
When I started this my first thought was OMG (the protagonist) is Sheldon (Big Bang Theory) but while it’s difficult for fans of the show not to see the inevitable similarities, it didn’t (as some people have pointed out) put me off reading but added another layer of amusement to the read. There’s a love story here with a difference. Intelligent, witty, at times throwing a light on human interaction in a way standard romances might not, this book is often joyful to read. I enjoyed this much more than I thought I would though the ending seemed a little rushed, perhaps explained because the book has sequels. I kind of prefer this as a standalone read but, if not for my to-be-read mountain, I might consider perusing the other titles.
Educating Jack, Jack Sheffield
Another in the ongoing teacher
The Funhouse, Dean Koontz
A re-read as part of an attempted book clearance, this one was fun to revisit though in the worst way. I’ve said a few times that early Koontz books seem much of a product of the time in which he wrote them. The Funhouse, with its matriarch that would give Carrie’s mother a run for her money, and carnival monstrosities, is the most dated yet. This book is for those who like B-movies so bad they are good…which is exactly what this is as it’s the novelisation of a film of the same name, directed by Tobe Hooper. Never having seen the film I tracked down the trailer and even from the one and a half minutes of excerpts I can tell the book is better. Not a keeper for me but a nostalgic look back at 80s horror. Too much tell rather than show but my biggest complaint with the book is the lack of payoff. To me the conclusion was less than satisfactory and somewhat abrupt when taking the amount of backstory into account.
Finished a basic edit of an older work, which doesn’t sound like much but it’s in a shape for me to re-edit/rewrite should I now choose to. Off on a break soon and when back I plan on starting something new though I’m not sure in which genre. Also signed the contract for another Lethbridge-Stewart book, this one part of a spin-off set of books heavily featuring supporting characters. Mine features Anne Travis, (now Anne Bishop).
I was a latecomer to the Dexter series and, curiosity piqued, I read what I thought was a series of seven books. Turns out to be eight, and I needed to wait a short while for the publication of the last. Annoying to a reader who read seven consecutively all the way through, but an interesting exercise in comparing the books to the show.
There are differences between the books and series—and I had no reason to worry about reading and watching simultaneously as aside from the first title the books approach a different tangent. There are as many similarities as there are differences, and someone can enjoy both without interfering with the other.
Having said all that, I will add something I rarely say. I prefer the series. This is not to belittle the books or the writer. Usually, I’d chose a book over a filmed adaptation or like them equally, but the series lasted for so long it explored Dexter’s personality to a greater depth and questioned many more issues. The books are lighter, although the series portrays a serial killer who delivers a quicker and cleaner death. The books aren’t explicit but delivers a far different scenario—the Dexter of the books likes to play a little. What I disliked most from the books was the paranormal aspects added to one story and the suggested evolution of the ‘Dark Passenger’. This appeared to provide an excuse and a pardon for every killer’s behaviour. I also disliked Dexter the most in book seven and in a way I’ve never disliked the character on screen. Television Dexter developed, became far more multi-layered than the book version. What’s not to prefer? Still, as always there would be no series without the books, without the writer. It’s too easy to watch television forgetting without the writer there is nothing.
My current dilemma is, owning both the series
and the novels, and attempting to be more ruthless with what I keep…do I
abandon the books to the charity pile? I guess maybe…though perhaps not
yet. Should I want to write an anti-hero sometime, Dexter is a character worth more examination.
The wannabe writer needs to ask an important question: “Am I prepared to never have such a thing as spare time again?”
Most writers work part time if not full time at normal everyday jobs just like anyone else and always will. Some writers will be successful enough to give up the day job, but a portion will never quite have the courage to strike out and leave that feeling of security. Other writers find themselves at home full-time, and for whatever the reasons will use that time pursuing the career of which they’ve always dreamed.
Working at a day job or not, there can still be demands on time — home, family, friends… hell, just trying to have a life. I advise balancing all these requirements. The writer who dives into nothing but work can burn out. I’ve come close and seen it happen to others. Trying to do too much can make it almost impossible to do anything.
Everyone needs some time off. That includes writers. The trouble with that idea is the one thing many writers struggle to do is to throw that switch off in their heads to ‘no thinking about work’. And by that, I don’t mean whether an editor’s got back with a yes or no yet or whether the latest edits will be tear-inducing. It can be very difficult not to think about the work in progress or even the next. Even when a writer has reached an aimed for quota if the work is flowing it’s hard to step away from the keyboard to think about such things as making dinner or going to bed and sleeping.
Another way to phrase the same question is: Am I prepared to work on the weekend? By that, I don’t just mean writing. Writing is no longer the creation of a story, sending it out there, sitting back, doing nothing but thinking of the next big project. There’s the writing (which can be difficult enough), the research, the submission process, working with an editor, gearing up for a release date, the marketing. All of which takes time. Time will soon be a precious commodity. And even if the writer becomes one of the lucky few who streamlines everything and discovers the right marketing that works, the creation process — those little voices in one’s head — can speak up when least convenient.
I’ve discovered that for many in the publishing industry — writers, cover artists, editors, company owners… Whether they have offices that shut the doors on the weekend or not, often they take work home with them. They may work from home — many businesses can survive electronically these days — but no matter how wonderful working from home sounds it can require far more discipline. Many in publishing work seven days a week.
There are those who insist they won’t work on the weekend, but it’s necessary to resolve such a decision. Even then, deadlines wait for no one. If the work is impossible to complete without working on a day ‘off’ then it’s important to prepare to work even at short notice. The writer soon realises that, just as with many day jobs, the only true way to ‘get away’ is to head off to somewhere isolated and take no electronic devices — just make sure the publisher knows the M.I.A. dates to avoid the court-martial.
Time off? I’m betting the writer will find it impossible not to take a notepad and pen to jot down those ideas that pop up during a conversation, at dinner, when lying in the bath, in the middle of the night. Become a writer and it doesn’t end, and if there happens to be a few quiet hours, for many being idle will never feel right again, will feel downright unnatural. For even if when the writer completes all the editing, the marketing’s sorted, there are stories that require telling… and a small nagging voice will ask why you aren’t busy writing them.
Writing for a hobby is one thing. In publishing prepare to be busy. Prepare to be self-disciplined.
When I posted way back about Dragon #1 I said I wasn’t putting him in the garden. Alas, when I got a second one of the same type I ran out of room. Loved this one because he’s made of leaves.
Now I have two large metal dragons in the garden so I can see them from my living room, but I may move them to a more sheltered spot, and will definitely put them away in the garage over winter.
Comparing books with other books, and films with other films I find dubious. But what of a film adapted from a written work? Here I’m not comparing the books or the films but adaptations of two novels.
The Ritual, by Adam Nevill is the story of a reunion trip gone wrong when one of the party of friends becomes injured and they choose the shortcut everyone knows is heading for trouble. More than they can prepare for when they find themselves hunted and the family of ‘crazies’ living in the woods turns out to be the least of their problems.
The book is two halves. I so wanted to give it 5 stars, but I preferred the first half of the book to the second, and, although I’m unsure what might be a better conclusion, the end felt abrupt. What I love in this book is the atmosphere the author creates capturing my interest in a way many books of this type fail to and making the author one whose works I want to read more. I imagine several readers may say they’d prefer to know the characters a little more, which occurred to me on some level, but in a horror story it’s not always necessary to know these men are little more than regular guys doing their best to get by in their average lives and who don’t deserve the situation thrust upon them. A wonderfully atmospheric lost in the woods horror story.
The film has sequences not present in the book and though well worked in confused me initially. Likewise, as is often the case with a novel to film adaptations, the ending is not quite the same. All the story is present on the screen and the film has a good cast, yet none of the actors presented, for me, the characters as I perceived them, although a good point of the film is that they come across as average people leaving viewers with the sense anyone could fall into the same predicament. The film lacks the creepiness of the novel and feels rushed.
The Silence, Tim Lebbon. When explorers discover a new breed of a flying bat type creature, existance for every living animal on Earth comes under threat. An excellent apocalyptic thriller, well plotted and disturbing, tugging the heartstrings in all the right places. The simple writing does nothing to reduce the tension but makes this accessible for most ages from young adult to adult in part because two main protagonists of father and daugther tell the story. As a side note the film based on the book does not do the novel justice.
When I saw this was another Netflix adaption, I was…not excited but interested. Netflix make excellent series and films. This was a letdown of the highest order, mediocre. I felt no connection to the characters, not caring whether they lived. The only one I cared for was the dog. The reverend comes across as a cliche in a way he didn’t in the book. And while such a threat of a unknown species might kill thousands before humanity got to grips with a solution, in part owing to the slow reaction and internal politics of various authorities, these creatures were not impossible to overcome. Mentions of this being A Quiet Place wannabe or clone are unfounded as the book came out prior. However, in both cases the one thing that makes humans vulnerable to them — sound — would likely be their downfall. Create noise and draw them to a place where an ambush can take place (though one might claim the same for any zombie threat). The addition of the wood chipper in the film of The Silence, was ludicrous. Many films work better with additions, subtractions, or scenes shuffled, but not when doing so creates a fundamental flaw.
In both cases I read the books before watching the films so wondered if my reaction was biased. My husband read The Ritual before seeing the film, but read the book of The Silence after watching the adaptation. In both cases he felt the same as I. The film of The Ritual would have enticed me to check out the book but the film of The Silence would not and so damages the book. Whilst both films lack the depth of the books, the Ritual does a better job of presenting the story.
I should be able to spot a bad apple when I see one. I’ve used apples many times in my writing. It’s the ultimate symbol of temptation. As Markis asks Uly in the short promo story I wrote for the Swithin series, “Bite?” Here, I decline the taste of spoiled fruit.
If you’re wondering what I’m talking about head over to Dear Author and read their comments on a bad apple a.k.a. a bad book in this 2009 post. Though old it’s a prime example. I’m not suggesting you read the plethora of comments but I have to agree with those who feel sorry for the writer. This book and this author weren’t ready for publication and the publisher who put out the work harmed the person, their reputation, ebooks, and the writing industry. They did done no one any favours.
I imagine the ‘writer’ was thrilled. An acceptance is what every wannabe dreams of; that unequivocal yes, the vindication. Not only must she have felt devastated as a ‘writer’ but there’s no way such comments cannot be taken personally. Even if they didn’t heap praise on this poor unsuspecting person, the writer must deal with the flack now aimed at her. Maybe it’s justified but it shouldn’t have happened. She shouldn’t have to go through this.
Despite the poor writing there is a hint in the review that the writer had a unique concept. It doesn’t sound like one that would interest me but it happens. A story can be good but the writing poor. The writing can be good but the story poor. If I look back at what I produced when I first put pen to paper (and back then those were the only tools I had at my disposal, but that’s another blog right there), I was a poor writer. However, reading my long ago work I can see I was always a storyteller. With the right nurturing and guidance many poor writers can achieve their potential so I will not aim a personal attack at this unfortunate person. I can’t, however, call her a writer. She hasn’t been given the opportunity. As brutal as a rejection can be, sometimes honesty can be more helpful than politeness. If I were an editor and came across a story which I believed had a hint of talent, I would advise that person to go away, learn how to write, do a course if need be, and then try again. One major mistake many amateur writers make is that they don’t study the books they read. They have little concept of punctuation or grammar, or how to plot stories. Can someone be taught to write? I would say no, BUT one can be taught the mechanics. The storytelling is something more instinctual.
Alas, it’s instances such as this that lead to one bad apple spoiling it for the rest. Some may not know that epublishing has always carried a certain stigma, a bad reputation. Some liken it to little more than vanity press (companies who will publish anything at the writer’s expense and reap profits for doing no work) and it’s a valid argument. It’s valid because like any industry there are those who jumped on the bandwagon. They opened their doors with little intention of being much more than a vanity publisher, or they opened with the right intentions but no business practices behind them. Some were and are run by authors and that’s fine. Authors and editors have run small press for years and produced excellent work and launched many famous careers. Stephen King started in small press and even wrote horror stories for porn magazines.
The trouble arises when anyone opens a press with the mistaken belief it will be ‘easy’, that it won’t be as difficult — even more difficult — than running a normal business. Many were opportunistic, and it’s the good publishers and writers who suffer.
I’m not commenting on this publisher and cannot even take a guess as to their reasons for letting this work go to press. It only harms their business. I calmly crossed them off my list of possibles. I’m sorry if there is anyone out there that has had a great experience with them. If that’s the case, speak up in their defence. Let someone come forward to explain why such a poorly edited work made it into the public domain.
Epublishers aren’t the only ones to blame. Poor books by larger presses make it to print so ‘bad books’ aren’t restricted to digital formats by any means. Sometimes what constitutes a bad book is open to interpretation. It’s a lamentable fact that gives publishing a bad name, it gives certain genres a bad name, and it demoralises the writers. I am pleased to say there ARE good epublishers out there, every bit as dedicated as some who specialise in print. Many print publishers now border that gap having eased into the new technology. The sad truth behind epublishing was that to entice a readership to embracing this original reading material, they had to offer something different. This was the reason for the influx of erotic romance publishers. In time greater opportunities came about for those in epublishing. In the early days I didn’t want to be one of those who said CDs would never take off to replace records, though vinyl has made a modest comeback and it appears printed books are regaining their popularity. Still, I’ve always believed people should have a choice and I’m happy to hear of people reading no matter what the format.
I have always tried to choose my publishers with care. Does that mean I’ve loved every book ever produced by the companies I write for? No it doesn’t, just as I may not love every book put out by even my favourite authors. You can’t please everyone all the time, or even try to, but try to do the best job possible and scrutinise your work. I cannot guarantee my work will never go out without a typo, but I’ve spotted many a typo in books by greater authors than I ever hope to be; I detest seeing errors in any book of mine and always do my utmost not to write substandard. I don’t expect everyone to love everything I write. I write too varied for that to be possible. I just try to tell a great story and check and check and check my work until it drives me to distraction in the right way. I will always do my best not to hand over a bad apple. Please please please don’t throw away a whole barrel. There are genuine publishers out there and there are some fine authors in unexpected places.