Seán Damer

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I am a relatively new writer of historical fiction, but an experienced historical researcher.  I have just completed a novel called "Those Tyrannising Landlords" about the O'Donnells, an immigrant Irish Catholic family from rural Co. Donegal to the Glasgow of 1912, just in time for the Great War and the stirring events of the Red Clyde.  I have also started another novel, "Into Africa," a fictionalised account of of the true story of Janet Burnside, a Glasgow weaver, who married Tiyo Soga, the first Black man from South Africa to be ordained as a minister in the United Presbyterian Church, in 1857.  The couple then went as missionaries to the Eastern Cape area of South Africa.    


Hi Georgina

There's a 1956 non-fiction book by Scarlett Panufnik called "Out of the City of Fear" (Warsaw.)  While not set near Auschwitz, and written in a somewhat breathless style at the height of the Cold War, it is regarded as quite authentic in presenting the atmosphere of postwar Stalinist Poland.  Scarlett, an Irishwoman, was married to the Polish composer Andrezej Panufnik.  There's quite a bit of stuff about them on the Internet. 

Hope this helps!



That explains it, Calvin!  A rifle "at the trail" would be understood immediately by all British military.  The rifle we used - the 7.62mm. S.L.R. - actually had a carrying-handle for that purpose.  

Indian with a bit of Irish?  Sounds like a good combination to me!  I'm second-generation Scottish myself, from an Irish family, a very common mix in Central Scotland.  Thanks for the comments.  I'm pressing on with Missing in Action.....    



Hi Jennifer

Do you think my opening works?  Did it grab you?  Did you find it interesting?  How do you think I could improve it? 




Cal, do I take it - from your spelling - that you are American?



Hi Calvin

Thanks for your post.

I’m surprised that you don’t know the meaning of a rifle “at the trail.” It means carrying a rifle at arm’s length with the weapon parallel to the ground. I too was in the military – Royal Marines – many years ago, and our weapon was the SLR. There was actually a drill movement involving carrying the rifle at the trail, and this also applied to the .303 Lee Enfield rifle.

I hope this clear things up! And I would welcome any other comments you care to make on my piece.



I would like to ask members of the Historical Fiction group for some advice.  I have completed a historical novel called "Missing in Action" set in the wartime Cretan Resistance. This novel is based on actual events which I have researched thoroughly.  In going over my novel and excising what Emma Darwin calls 'filtering,' I have reduced the length to 51,357 words, which is plainly not enough.  But I seem to have told the story.  Have any other members experienced this problem?  If so, have you any advice for me?

A short synopsis of my novel follows.


Missing in Action: Synopsis.


Glasgow: the present:

PROFESSOR ANDY O’NEILL is in the Department of Classics in the University of Glasgow, an expert in early Cretan dialects. He is hurting because he going through a divorce from his wife, ALISON, and appears to have been the last person in Glasgow not to know she was having an affair. He is also upset because he is close to his sixteen-year-old daughter, EILIDH, and Alison has been awarded custody, although Andy has secured visiting rights.

Andy’s father MICHAEL, a retired and ailing builder, and old Clydeside socialist, comes to see him. Michael and his mother had always believed that his father, JOHN, a Commando soldier, had been killed in the War after being posted 'Missing in Action' in Crete at the end of 1944. But a couple of weeks ago, Michael received a mysterious letter from THEMIA SFAKIANAKIS, a woman in Crete, saying that her husband, John, known as Yiannis in Greek, had in fact died only a month ago. Michael is to go to the mountain village of Korifi in Crete to collect a box of papers which John has left for him. Michael is shattered to hear that his father had not only not been killed in the War, but also had made no effort throughout all these years to contact his wife and son. Andy says that Michael must go to Crete, collect the box, and find the solution to the conundrum in his father’s papers. Michael says no way; he is too old, too unwell, he doesn’t speak Greek, and he is afraid of what he might find out. But, Michael argues, Andy could go because he speaks the language. Andy agrees to go because it removes him the scene of his messy divorce.

Crete: the present:

Andy travels to the village of Korifi, and finds it located in a beautiful and dramatic setting in the White Mountains. To his astonishment, he finds that his grandfather John was a noted guerrilla commander during the War, known as Kapetan Yiannis. He had married Themia, a local guerrilla fighter, at the end of the War and had lived in Crete ever since. Themia had died recently herself, but her niece, MARIA SFAKIANAKIS, has the box of John’s papers, which include a detailed wartime diary. Maria’s father, the elderly YERONIMOS SFAKIANAKIS, befriends Andy, and invites him to stay in the village house which belonged to John and Themia. Andy learns that the beautiful Maria is a widow whose husband was killed only a few months before in a vendetta.

Andy starts to read his grandfather’s diaries, which reveal a fascinating story. John was in the Commando unit landed to cover the retreat following the Battle of Crete, but had been left behind by accident and had taken to the hills. With a mate, he was on the run in the mountains for a full year, being cared for by the Cretan villagers, before being evacuated by the Navy. Once back in Cairo, he was recruited by Special Operations Executive (S.O.E.) because of his knowledge of the Cretan mountain villages, his connections with the locals, and his command of the dialect. He was sent to the guerrilla warfare school in Palestine, promoted to Sergeant, and parachuted back into Crete to train the partisans.

John’s diary continues by telling a story of political dirty work at the crossroads. The biggest and best-organised guerrilla grouping in Crete is E.L.A.S., a left-wing organisation. But the upper-class British S.O.E. officers in Crete perceive it to be a Communist organisation aimed at seizing power at the end of the war, and deny it arms and ammunition. This perception is wrong, and the diaries contain a nuanced account of a popular, disciplined, and democratic Resistance movement. John is eventually attached to E.L.A.S. in western Crete, and forms a high opinion of its fighting potential. But his pleas for arms, ammunition and supplies for his comrades-in-arms are denied by the S.O.E. officers. When E.L.A.S. becomes involved in pitched fighting with the Germans in November 1944, John hijacks an S.O.E. truck full of ammunition and delivers it to the partisans. A furious S.O.E. officer orders him to return it. John refuses, saying that it is an immoral and improper order; their enemy is the Germans, not the Cretan partisans of ELAS. The officer goes for his gun but John fires first and kills him. Knowing what would happen to him, John fakes his own death in action, places his identity-disks on the buried body of a British soldier killed in the Battle of Crete, assumes a Cretan identity, and vanishes. Andy realises this is why he could never return to Glasgow.

The diary also tells how John has buried something in an “Ossian’s,” but says neither what it is, nor where it is. Remembering that his grandfather had been a member of the legendary interwar Glasgow climbing club, the Creag Dhu, Andy deduces the “Ossian’s” is a cave like the ‘Ossian’s Cave’ in Glencoe, and starts combing the White Mountains looking for it. He is unaware that he is being tailed by the armed NEKTARIOS MAVRIDAKIS, who is a villain. But Mavridakis is unaware that in turn, he is being tailed by Maria, who is more than a pretty face. And with the start of the school holidays, the feisty Eilidh arrives in the village, and she and Maria become firm friends. Andy’s intervention in the life of the villagers of Korifi causes skeletons to dance of out cupboards, skeletons with a toxic background in the political and cultural enmities of the Second World War, and subsequent Greek Civil War in Crete. Given the salience of murderous vendettas in Crete to the present day, this generates an extremely dangerous situation, of which Andy is blissfully unaware. Can he find the cave, and what is buried in it? Can he outwit Mavridakis? Will he live to tell his grandfather’s tale? Could he and Maria form a relationship? Will he find redemption from his emotional trauma? 

Missing in Action is a novel in the vein of Atonement and Birdsong whereby someone in the present starts researching something in the wartime past to solve a mystery. So the novel contains two storylines laid out side by side, one showing us the wartime events, the other showing us the present. We see Andy trying to uncover the secrets of his grandfather John’s wartime experiences in Crete, a little at a time, with the past and the present reflecting each other, shedding light on each other, and doing battle with each other. It is based on real events which actually happened during the War on the island of Crete. 


I'm a new member, so here's a bit about me and what I'm up to.  I'm  a sociologist by training and a writer by inclination.  I've recently finished two historical novels.  The first, "Those Tyrannising Landlords," concerns the fate of the O'Donnells, an Irish Catholic family which emigrates from rural Co. Donegal to the huge industrial city of Glasgow in 1912.  (The title comes from a traditional Irish song called "Slieve Gallion Braes," and refers to rack-renting landlords in both Ireland and Scotland.)  So the O'Donnells encounter not only sectarianism, harsh living and working conditions, and slum housing, but the First World War is looming along with the stirring events of the Red Clyde.  Can the O'Donnells survive the pressures of urban living in wartime and a political ferment?  The story is told through the eyes of Peggy, the 17-year-old only girl in the family.  A major influence on my novel is James Plunkett's "Strumpet City," set in exactly contemporary Dublin.    

I have done a a lot of academic research on the social history of Glasgow, where I live, so it is relatively easy to construct an authentic world for the story.  It is much more difficult to construct a credible narrative voice for a 17-year-old girl who is embarking on a journey of rapid cultural, personal, political and sexual liberation!

My second novel is called "Missing in Action" and is set in the wartime Cretan Resistance.  I've been travelling in Crete for 45 years, have lived there twice, speak Greek, and have written academic books and articles set in wartime Crete, so again it is not that difficult to create an authentic world for my story.  The plot concerns a Glaswegian Commando soldier from a socialist background who is left behind on the island after the 1941 Battle of Crete, goes on the run, and survives in the White Mountains for a year, being cared for by Cretan villagers.  Eventually evacuated, he is recruited by Special Operations Executive (S.O.E.), sent to the guerilla warfare school in Palestine, and parachuted back into Crete as a Sergeant to help train the Andartes (partisans.)  He is attached to E.L.A.S., the biggest and most effective guerrilla grouping, but one which is politically left-wing.  He finds that the upper-class British officers of S.O.E. are paranoid about the political motivations of E.L.A.S. as a "Communist" organisation, and deny it arms and ammunition.  My Sergeant believes this is an immoral and militarily stupid decision as he know the partisans of E.L.A.S. constitute a potentially formidable guerrilla force.  He is also sympathetic to their left-wing political project.  The scene is set for deadly conflict.  The story is told backwards as the Sergeant's grandson, a Glasgow University Classics professor, travels to Crete to unravel the mystery of his grandfather's disappearance at the end of the War.  So the structure of this novel is like that of "Birdsong" or "Atonement."  It is based on events which actually happened in wartime Crete.  

So as will be obvious, I am interested in historical novels.  I would be happy to discuss both of these novels with anyone who is interested.  "Those Tyrannising Landlords" is currently under consideration by a publisher in Glasgow and another in Dublin.  I've a problem with "Missing in Action" because it is only 50, 956 words long, but I seem to have told the whole story!  I don't know what to do with it.  Any suggestions?  



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Of all the writing habits I have, one of the worst – the worst from good financial sense point of view – is that I like writing LONG books.

My first novel was a spine-breaking 180,000 words. Not one of my novels has ever been less than 110,000 words. The first “short story” I wrote was 8,000 words, which is to say miles too long to be an actual short story. Heck, even this email is likely to be far longer than any other email you get in your inbox today.

Ah well. There are some things you can’t fight, and my addiction to length is one of them.

But that also means that when it comes to short-form copy, I’m at a loss.

I’m not especially good at book blurbs, which want to be about 100-120 words (depending a bit on layouts and where you’re expecting them to appear.) Since titles need to be short and punchy, I’m not especially good at those either.

In a word: I’m pretty damn rubbish when it comes to coming up with titles … and this email is going to tell you how to write them.

Which means if you want to ignore the entire contents of what follows, on the basis that I obviously, obviously, obviously don’t know what I’m talking about, then I have to say that the evidence is very much in your favour.

That said, I think it’s clear enough what a title needs to do. It wants to:

  1. Be highly consistent with your genre
  2. Offer some intrigue – for example, launch a question in the mind of the reader
  3. Ideally, it’ll encapsulate “the promise of the premise” in a few very short words, distilling the essence of your idea down to its very purest form.

The genre-consistency is the most essential, and the easiest to achieve. It matters a lot now that so many books are being bought on Amazon, because book covers – at the title selection stage – are no more than thumbnails. A bit bigger than a phone icon, but really not much. So yes, the cover has to work hard and successfully in thumbnail form, but the title has more work to do now than it did before.

Genre consistency is therefore key. Your title has to say to your target readers, “this is the sort of book that readers like you like”. It has to invite the click through to your book page itself. That’s its task.

The intrigue is harder to do, but also kinda obvious. “Gone Girl” works because of the Go Girl / Gone Girl pun, and those double Gs, and the brevity. But it also works because it launches a question in the mind of the reader: Who is this girl and why has she gone? By contrast, “The Girl on the Train” feels a little flat to me. There are lots of women on lots of trains. There’s nothing particularly evocative or intriguing in the image. I don’t as it happens think that book was much good, but I don’t think the title stood out either. (I think the book sold well because of some pale resemblances between the excellent Gone Girl and its lacklustre sister. The trade, desperate for a follow-up hit to Gone Girl, pounced on whatever it had.)

The third element in a successful title – the “promise of the premise” one – is really hard to do. I’ve not often managed it, and I’ve probably had a slightly less successful career as a result.

So what works? Well, here are some examples of titles that do absolutely nail it:

The Girl with the Dragon Tattoo

Brilliant! That title didn’t translate the rather dour and serious Swedish original (Man Som Hatar Kvinnor / Men Who Hate Women). Rather it took the brilliance of the central character and captured her in six words. She was a girl (vulnerable), and she had a tattoo (tough and subversive), and the tattoo was of a dragon (exotic and dangerous). That mixture of terms put the promise of the book’s premise right onto the front cover and propelled the book’s explosive success.

Incidentally, you’ll notice that the title also completely excludes mention of Mikael Blomkvist, who is as central to that first book as Salander is. But no one bought the book for Blomkvist and no one remembers the book for Blomkvist either. So the title cut him out, and did the right thing in doing so.

The Da Vinci Code

Brilliant. Dan Brown is fairly limited as a writer, but it was a stroke of genius to glue together the idea of ancient cultural artefacts with some kind of secret code. Stir those two things up with a bit of Holy Grail myth-making and the result (for his audience) was commercial dynamite.

And – boom! – that dynamite was right there in the title too. The Da Vinci part namechecks the world’s most famous artist. The Code part promises that there are secret codes to be unravelled.

Four words delivering the promise of the premise in full.

I let You Go

This was Clare Mackintosh’s breakout hit, about a mother whose young son was killed in a hit-and-run car accident. The promise of the premise is right there in four very short words … and given a first person twist, which just adds a extra bite to the hook in question. A brilliant bit of title-making.


So that’s what a title wants to do. A few last comments to finish off.

One, I think it’s fair to say that it’s quite rare a title alone does much to propel sale success.

Because there are a lot of books out there, and because everyone’s trying to do the same thing, there’s not much chance to be genuinely distinctive. My fifth Fiona Griffiths novel was called The Dead House, but there are at least three other books on Amazon with that title, or something very like it. That didn’t make my title bad, in fact – it did the promise of the premise thing just fine – but I certainly couldn’t say my title was so distinctive it did anything much for sales.

Two, if you’re going for trad publishing, it’s worth remembering that absolutely any title you have in mind at the moment is effectively provisional. If your publishers don’t like it, they’ll ask you to change it. And if they don’t like your title #2, they’ll ask you to come up with some others. In short, if, like me, you’re bad at titles, you just don’t need to worry too much (if you’re going the trad publishing route, that is.) There’s be plenty of opportunity to hone your choice well prior to publication.

Three, you don’t want to think about title in isolation. There should, ideally, be a kind of reverberation between your title and the cover. That reverberation should be oblique rather than direct. Clare Mackintosh’s I Let You Go had for its cover image a butterfly trapped against a window – a metaphorical reference to the anguish of the book’s premise. If instead it had shown a mother obviously distraught as a car struck her son, the cover – and title – would have seemed painfully clunky and ridiculous.

If you get a great cover image that doesn’t work with your chosen title, then change the title. If you have a superb title and your cover designer’s image is too directly an illustration of it, then change the image. That title/cover pairing is crucial to your sales success, so you can afford no half-measures in getting it right.

That’s all from me.

My kids are making elderflower cordial and singing as they do so. They are also wearing helmets for no reason that I can possibly understand.

Till soon


PS: Want to know what I think of your title? Then I’ll tell you. Just pop your title (plus short description of your book) in the comments below. I’ll tell you what I think.

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Usually, on Thursday afternoon or so, I start pondering what I’m going to write about on Friday.

This week: no pondering. There’s only one thing I could possibly write about.

The biggest book-related newsflash this week – or this year – is that Barnes and Noble is changing ownership. The ins and outs are a little complex (and everything is not quite settled), but if all goes according to plan:

  • An investment firm, Elliott Advisers, is to buy Barnes and Noble, in a deal which values that business (including its debts) at about $700 million.
  • That sounds like a lot of money, but given that B&N’s sales are $3.6 billion, the pricing actually feels pretty cheap – reflecting the dismal state of B&N.
  • Elliott is also the 100% owner of Waterstones, the British equivalent of B&N. Both those chains are proper bookshops, appealing to proper book lovers. In that sense, the chains are distinct from the supermarkets, who just sell a lot of books but don’t care about them, or the British High Street & travel operator, WH Smith, which is as much a stationer and a newsagent as an actual book store.
  • Waterstones was rescued from impending financial disaster by CEO James Daunt. It was Daunt who negotiated the sale of the firm to Elliott.
  • Daunt will now act as CEO to both firms – B&N and Waterstones – and will divide his time between London and New York.

As it happens, Daunt also owns and runs his own mini-chain of high-end London bookstores. It was his experience at those stores which won him the position at Waterstones.

So, assuming that all goes according to plan, James Daunt will be the book world’s second most powerful human, after Jeff Bezos.

So what does that mean – for readers? For writers? For publishers? For anyone?


It’s a big and important move. James Daunt has a huge reputation in the UK and it’s probably deserved. His secret sauce for success? Quite simply this:

There is no secret sauce.

In the UK, Daunt simply took everything back to basics.

He turned bookselling into a proper career. (Albeit, inevitably, a badly paid one.) He retained staff who cared passionately about books and waved good-bye to the rest, perhaps a third of them. He cut costs. He made his stores prettier.

And, in a move so radical that it shook British publishing to its core, he let each store manager select their own inventory. So, yes of course, every store was expected to stock major bestsellers of the moment. But beyond that, what stores sold was guided by local passion and local knowledge. From a reader’s point of view, stores got better. There was more energy, more passion, more commitment.

But publishers, for a while, didn’t know what to do. In the past, publishing worked like this:

  1. Publishers paid Waterstones a big chunk of cash to get into a 3-for-2 front-of-store promotion. So Waterstones was actually retailing its shelf-space. It wasn’t really curating its own retail offering.
  2. Some of those 3-for-2s did really well, and became huge bestsellers.
  3. Others didn’t, and the volume of returns was enormous (often 20% of total stock.)
  4. Publishers pulped those returns, ditched those authors and just made money from their mega-successes

That was check-book publishing and check-book retail.

Daunt killed that, and terrified publishers. How could they market books if the key step wasn’t just throwing bundles of money at retailers? [and if you want a reminder of the different publishing options, you can get that here.]

Well, they solved that problem … kinda. But all they really did was turn their attentions (even more than before) to the supermarkets and other mass retailers. Waterstones’ local stores are great and feel like real bookshops … but they can’t build a bestseller as they did in the old days, because each store chooses its stock according to its own tastes.

Daunt’s path in the US is likely to follow the exact same route.

He’s commented that one of the issues he feels on entering a typical B&N store is quite simply “too many books.” Too much stock. Too little curation and guidance. Not enough knowledge from the booksellers. An atmosphere so flat, you could swap it for cigarette paper.

He’ll cut stock. Reduce staff, but retain the best and most passionate members. Eliminate central promotions. Get better terms from publishers. Sharply reduce stock returns.

Do the basics, but do them right.

The impacts, positive and negative?

The positive:

Elliott’s cash plus Daunt’s knowhow should save specialist physical book retail in the US. That’s massive. It’s the difference between a US publishing industry that operates much as it does now and one that would be almost wholly slave to Amazon. That also means that trad publishing is likely to survive in roughly its current shape and size, rather than being sidelined by the growth of digital-first publishers (notably self-pubbers and Amazon itself.)

The negative:

US publishers will have to learn the lessons already absorbed by the Brits. If B&N no longer operates national promotion systems as in the past, publishers can’t make a bestseller just by buying space. Yes, they’ll go on seeing what they can do on social media and all that stuff. But, as in the UK, they’ll be even more dependent on supermarkets. The make-or-break of a book will be not “Is this wonderful writing?” but “did we get enough retail space in enough supermarkets at a sufficiently attractive price?”

I know any number of authors where Book A did incredibly well, Book B did poorly … and Book B was better than Book A. The difference, in every case, was that the supermarkets backed A and not B, and there’s damn all a trad publisher can do once the supermarkets have said no.

Oh yes, and supermarkets don’t really give a damn about the quality of writing. They don’t know about the quality of the writing. They just buy on the basis of past sales (if you’re John Grisham) or a pretty cover (if you’re a debut.)

Of course, they’d say their selection is a damn sight more careful than that, and it probably is. But that’s still “careful by the standards of people who mostly sell tinned beans and dog food for a living.” That’s not the same thing as actually being careful.

That sounds like a fairly downbeat conclusion, but the Elliott-saves-B&N news is still a real big plus for anyone who loves traditional stores, print books and traditional publishing. It’s the single biggest win I can remember over the past few years.

What that win won’t do, however, is weaken the hold of supermarkets and Amazon over book retail. Those two forces are still huge. They’re still central.

And of course, talking about print books has its slightly quaint side. Me, I prefer print. I hardly ever read ebooks. I just spend enough time on screens as it is.

But print books constitute less than 30% of all adult fiction sales, and online print sales accounts for a big chunk of that 30%.

In other words, all those B&N stores up and down the US are still only attacking 23% or so of the total adult fiction market. However well Daunt does, that 23% figure isn’t about to change radically. (Or not in the direction he wants, anyway.)

But, just for now, to hell with realism. Let’s remember the magic of a beautiful bookstore.

Daunt does. Here are some comments of his from 2017:

“[there is a sense that] a book bought from a bookshop is a better book.... When a book comes through a letter box or when a book is bought in a supermarket, it's not vested with the authority and the excitement that comes from buying it in a bookshop. …Price is irrelevant if the customer likes the shop. The book is never an expensive item, [particularly for the many customers who] we know are quite happy to go into a café and spend dramatically more on a cup of coffee."

Quite right, buddy. Now go sell some books. The readers need you.

Till soon


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I’ve been reading a terrific guest post on our blog by our Craig Taylor. (And actually, “guest post” doesn’t feel like quite the right term, if I’m honest. Craig’s a buddy, not a guest.)

The post is on how to write a scene and, in it, Craig asks:

If the theme of your work, say, is unrequited love, does your scene angle in to that theme? Does it demonstrate a circumstance or a feeling which is associated with unrequited love? Or does it demonstrate a circumstance or a feeling about requited love, so as to throw into relief the experience that one of your characters will have about unrequited love?”

And those are interesting questions, aren’t they?

I, for one, don’t write a book thinking that every scene I write has to “angle in” to my major theme. But what if that’s wrong? What if, in a well-constructed book, pretty much everything angles in to the one same issue? (Or, rather, cluster of issues, because a book that is rich thematically can never be too neatly categorised.)

And here’s another thought:

What if you don’t especially think about these things as you build your story? What if you do concentrate on good writing (nice prose, strong characters, a well-knitted plot), but don’t overthink the thematic stuff?

What happens then? Is the result strong? Or will it never reach the kind of thematic depth and congruence that Craig is hinting at?

Hey, ho. Interesting questions. So I thought I’d take a look at my own work and see what’s actually happened there.

So my last book, The Deepest Grave, has a cluster of themes that include:

  • Ancient history, specifically post-Roman Britain and the shade of Arthur
  • Treasure and fakery
  • Death (because this is a murder mystery, but it is also a book about Fiona Griffiths, whose attitudes to life and death are deep and complicated.)

But then, I only have to write those themes down on the page here – something I’ve never done before; I don’t plan my thematic stuff – and I realise this: that those themes absolutely and necessarily contain their opposites. So a book that is about fakery and death is also, essentially, a book about:

  • Authenticity
  • Life – or, more specifically in Fiona’s case, the whole knotty business of how to be a human; how to establish and maintain an identity in the face of her overawareness of death.

OK. So those, broadly, are my themes. Let’s now look at whether my various scenes tend to hammer away at those things, or not. Are themes something that appear via a few strong, bold story strokes? Or are they there, fractal-like, in every detail too?

And, just to repeat, those aren’t questions I consciously think about much as I write. Yes, a bit, sometimes, but I certainly don’t go through the disciplined thought process that Craig mentions in his post.

And blow me down, but what I find is that, yes, those themes infest the book. The book never long pulls away from them at all.

So, aside from a place and date stamp at the top of chapter 1, the first words in the book are these:

“Jon Breakell has just completed his chef d’oeuvre, his masterpiece. The Mona Lisa of office art. The masterpiece in question is a dinosaur made of bulldog clips, twisted biro innards and a line of erasers that Jon has carved into spikes.”

That’s a nod towards ancient history. It’s a nod towards authenticity (the Mona Lisa) and fakery (a dinosaur that is definitely not a real dinosaur.) It’s also, perhaps, a little nod towards death, because in a way the most famous thing about dinosaurs is that they’re extinct.

It goes on. The mini-scene that opens the book concludes with Fiona demolishing her friend’s dinosaur and the two of them bending down to clear up the mess. Fiona says, “that’s how we are—me, Jon, the bones of the fallen—when Dennis Jackson comes in.”

That phrase, the bones of the fallen, puts death explicitly on the page and in a way which alludes forward to the whole Arthurian battle theme that will emerge later.

That’s one example and – I swear, vow & promise – I didn’t plan those links out in my head prior to writing. I just wrote what felt natural for the book that was to come.

But the themes keep on coming. To use Craig’s word, all of the most glittering scenes and moments and images in the book keep on angling in to my little collection of themes.

There’s a big mid-book art heist and hostage drama. Is there a whiff of something ancient there? Something faked and something real? Of course. The heist is fake and real, both at the same time.

The crime that sits at the heart of the book has fakery at its core. But then Fiona start doubling up on the fakery – she’s faking a fake, in effect – but in the process, it turns out, she has created something authentic. And the authenticity of that thing plays a key role in the book’s final denouement.

Another example. Fiona’s father plays an important role in this book. He’s not a complicated or introspective man. He doesn’t battle, the way his daughter does, for a sense of identity.

But what happens in the book? This big, modern, uncomplicated man morphs, somehow, into something like a modern Arthur. That identity shift again plays a critical role in the final, decisive dramas. But it echoes around the book too. Here’s one example:

“Dad drives a silver Range Rover, the car Arthur would have chosen.

It hums as it drives, transfiguring the tarmac beneath its wheels into something finer, silvered, noble.

A wash of rain. Sunlight on a hill. Our slow paced Welsh roads.”

That’s playful, of course, and I had originally intended just to quote that first line, about the Range Rover. But when I opened up the text, I found the sentences that followed. That one about “transfiguring the tarmac” is about that process of transformation from something ordinary to something more like treasure, something noble.

And then even the bits that follow that – the wash of rain, the sunlight on the hill – don’t those things somehow attach to the “finer, silvered, noble” phrase we’ve just left? It’s as though the authenticity of the man driving the Range Rover transforms these ordinary things into something treasured. Something with the whisper of anciency and value.

I could go on, obviously, but this email would turn into a very, very long one if I did.

And look:

Yet again, I’ve got to the end of a long piece on writing without a real “how to” lesson to close it off.

Craig’s blog post says, among many other good things, that you should ask whether or not your scene angles in to your themes. But I don’t do that. Not consciously, not consistently. And – damn my eyes and boil my boots – I discover that the themes get in there anyway. Yoo-hoo, here we are.

Uninvited, but always welcome.

So the moral of all this is - ?

Well, I don’t know. I think that, yes, if you’re stuck with a scene, or if it’s just feeling a little awkward or wrong, then working through Craig’s list of scene-checks will sort you out 99% of the time. A conscious, almost mechanical, attention to those things will eliminate problems.

But if you’re not the conscious mechanic sort, then having a floaty awareness of the issues touched on in this email will probably work as well. If you maintain that rather unfocused awareness of your themes, you’ll find yourself naturally gravitating towards phrases and scenes and metaphors and moments that reliably support the structure you’re building.

And that works, I think. The final construction will have both coherence and a kind of unforced naturalness.

And for me, it’s one of the biggest pleasures of being an author. That looking back at a text and finding stuff in it that you never consciously put there.

Damn my eyes and boil my boots.

Till soon


Added a post 

I had plans for today, plans that involved some interesting and actually useful work.

But –

Our boiler sprang a leak. Even with the mains water turned off, it went on leaking through the night. Finding an engineer who could come out today (for a non-insane price) took the first half hour this morning. The engineer is coming at 3.30, and that’ll eat the last part of the day.

And –

I have a vast number of kids: four, in theory, but most days it seems like a lot more than that. And one of them, Lulu, spent most of the last couple of nights with, uh, a stomach upset. Of the intermittent but highly projectile variety.

So –

Not masses of sleep. And today’s interesting work plans have been kicked into next week.

Which bring us to –

You. Life. Books. Writing.

The fact is that even if you’re a pro author, life gets in the way of writing all the time. Because writing isn’t an office-based job, almost no writer I know keeps completely clean boundaries between work stuff and life stuff. Life intrudes all the time. Indeed, I know one author – a multiple Sunday Times top ten bestseller – whose somewhat less successful but office-based partner always just assumes that she’ll be the one to fix boilers, attend to puking children, etc, etc, just because she’s at home and not under any immediate (today, next day) deadline pressure.

And that’s a top ten bestseller we’re talking about. Most of you aren’t in that position. You’re still looking for that first book deal. The first cheque that says, “Hey, this is a job, not just a hobby.”

So Life vs Work?

Life is going to win, most of the time. And it’ll win hands down.

The broken boiler / puking kid version of life intrusion is only one form of the syndrome though. There’s one more specific to writers.

Here’s the not-yet-pro-author version of the syndrome, in one of its many variants: You have one book out on submission with agents. You keep picking at it editorially and checking your emails 100 times a day. But you also have 20,000 words of book #2 on your computer and though, in theory, you have time to write, you’re accomplishing nothing. You’re just stuck.

That feels like only aspiring authors should suffer that kind of thing, right? But noooooooo! Pro authors get the same thing in a million different flavours, courtesy of their publishers. Your editor quits. Your new editor, “really wants to take a fresh look at your work, so as soon as she’s back from holiday and got a couple of big projects off her desk …”. Or your agent is just starting new contract negotiations with your editor, and you are hearing alarmingly little for some reason. Or you know that your rom-com career is on its last legs, so you’re looking to migrate to domestic noir, but you don’t know if your agent / editor / anyone is that keen on the stuff you now write. Or …

Well, there are a million ors, and it feels like in my career I’ve experienced most of them. The simple fact is that creative work is done best with a lack of significant distractions and no emotional angst embedded in the work itself. Yet the publishing merry-go-round seems intent on jamming as much angst in there as it can manage, compounded, very often, by sloppy, slow or just plain untruthful communications.

So the solution is …?



I don’t know. Sorry.

The fact is, these things are just hard and unavoidable. Priorities do get shifted. You can’t avoid it. The emotional strains of being-a-writer – that is, having a competitive and insecure job in an industry which, weirdly, doesn’t value you very highly – are going to be present whether you like them or not.

There have been entire months, sometimes, when I should have been writing, but accomplished nothing useful because of some publishing drama, which just needed resolution. No one else cared much about that drama, or at least nothing close to the amount I did, with the result that those things often don’t resolve fast.

Your comfort and shelter against those storms? Well, like I say, I don’t have any magical answers but, here, for what it’s worth, are some things which may help:

  1. Gin. Or cheap wine. Or whatever works. I favour beers from this fine brewery or really cheap Australian plonk. The kind you can thin paints with.
  2. Changing your priorities for a bit. So if you really needed to clear out the garage or redecorate the nursery, then do those things in the time you had thought you’d be writing. You’re not losing time; you’re just switching things around.
  3. Addressing any emotional/practical issues as fast and practically as you can. So let’s say you have book #1 out on submission, you can help yourself by getting the best version of that book out (getting our excellent editorial advice upfront if you need to.) You can make sure you go to a minimum of 10 agents, and probably more like 12-15. You can make sure those agents are intelligently chosen, and that your query letter / synopsis are all in great shape. (see the PSes for a bit more on this.) You can write yourself a day planner, that gives some structure to the waiting process: “X agents queried on 1 May. Eight weeks later is 26 June. At that point, I (a) have an agent, (b) send more queries, (c) get an editor to look at my text, or (d) switch full-steam to the new manuscript.” If you plan things like that upfront, you don’t have to waste a bazillion hours crawling over the same questions in your head.
  4. Accepting the reality. It’s just nicer accepting when things are blocked or too busy or too fraught. The reality is the same, but the lived experience is nicer. So be kind to yourself.
  5. Find community. Yes, your partner is beautiful and adorable and the joy of your life. But he/she isn’t a writer. So he/she doesn’t understand you. Join a community (like ours). Make friends. Share a moan with people who know exactly what you mean. That matters. It makes a difference.
  6. Enjoy writing. This is the big one, in fact. The writers who most struggle with their vocation are the ones who like having written something, but don’t actually enjoy writing it. And I have to say, I’ve never understood that. My happiest work times have nearly always been when I’m throwing words down on a page, or editing words I’ve already put there. And that pleasure means you keep on coming back to your manuscript whenever you can. And that means it gets written. And edited. And out to agents or uploaded to KDP and sold.

Of those six, then cultivating that happiness is the single biggest gift you can give yourselves.

And the gin, obviously.


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Seán Damer
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