Meet Dan Micklethwaite in person at the BookBlast® 10×10 Tour discussion at Waterstones, Newcastle, 6.30 p.m. Wednesday 12 SEPT. Theme: The Northern Influence on Culture. With Kevin Duffy BLUEMOOSE BOOKS chair, authors Dan Micklethwaite (The Less than Perfect Legend of Donna Creosote) and Colette Snowden (The Secret to not Drowning). Book Tickets
Meet Colette Snowden in person at the 10×10 Tour event, Waterstones, Newcastle, 6.30 p.m. Wednesday 12 SEPT. Theme: The Northern Influence on Culture. With Kevin Duffy BLUEMOOSE BOOKS chair, authors Dan Micklethwaite (The Less than Perfect Legend of Donna Creosote) and Colette Snowden (The Secret to not Drowning). Book Tickets
Where were you born, and where did you grow up? I was born and brought up in Manchester and found myself back here after university and working abroad. I live in a different area of the city from where I grew up but I have stayed here ever since.Continue reading Interview | Colette Snowden, author
The second talk of the BookBlast® 10×10 tour, a nationwide celebration of independent publishing, features Kevin Duffy, founder of Bluemoose Books, based in Hebden Bridge, West Yorkshire. Prizewinning writers include Benjamin Myers, Michael Stewart and Adrian Barnes. He will be in conversation with Dan Micklethwaite and Colette Snowden, and the talk has as its theme The Northern Influence on Culture @waterstonesNewc
I was delighted to be invited on to the Robert Elms show on Saturday to talk about The BookBlast® 10×10 Tour in association with Waterstones.
Interview with Robert Elms, BBC Radio London
A carnival of authors, poets, translators and #indiepubs will visit 9 major cities across England, 11 September-15 November, inspiring readers to immerse themselves in authentic and offbeat writing which adds value to the cultural landscape. The independent sector is the home of experimental writing, poetic innovation and world writing in translation. With these events BookBlast® aims to unite people in the spirit of friendship and exchange.
Indie Publishing vs. Self Publishing vs. Traditional Publishing
With commissioning editors at mainstream publishers increasingly under the corporate cosh, any literary submissions calculated to sell less than 5000 copies are turned down regardless, which leaves the field open for independent publishers to come in and have a go at the roulette table imagining winners that might come their way.
An experienced commissioning editor may be able to spot high-quality writing and know their target readership, but s/he is no less a gambler than anyone else playing the publishing game. Their gut instinct counts for little in the corporate boardroom nowadays, even though the way in which advances are calculated is an inexact science, and tales of legendary rejections make for juicy water-cooler chat. Harry Potter and the Philosopher’s Stone was rejected 12 times before being picked up; Gone with the Wind got the thumbs down 32 times; Under the Frog 22 times; Dune 20 times; and The Tale of Peter Rabbitwas rejected so many times it was self-published.
Smaller publishers generally avoid formulaic writing for the genre market, provide greater personalised support, and – as opposed to a vanity press – do not ask the author for money. Added to which crowdfunding has become a more than viable option, not only to raise funds, but to develop a community of readers ahead of publication (Peirene Now! No. 3, Shatila Stories was recently successfully funded with 327 backers pledging £13,350 via Kickstarter). Best not confuse authors self-publishing their own books only – generally via a digital platform such as Amazon or Kobo – with indie publishers; the term indie authors would be more accurate.
According to a recent report in The Guardian, “Independent publishers have unleashed a boom in sales,” and “turnover across the Arts Council England-funded portfolio surged above its budget by almost £100,000 this year, reaching £277,930.”
“Why was he so curious? Perhaps it was partly because of her mystique, her hold over him, and partly because her world was not his. Were they really so different? Maybe they were and maybe he believed that if he could only figure her out, emulate her – her gestures, her attitude – then maybe he could be invincible, extraordinary, like her.”
The novel tells the story of Marcus Murray, “forty-ish with a small paunch and a few grey hairs,” and his fascination with gorgeous free-spirit, Melanie, who had disappeared when he was seventeen. “It’s as if she was a figment of my imagination . . .” Not only is there a dead body virtually on the first page, but also a missing person, presumed dead.
Where were you born, and where did you grow up? I was born in Chatham in Kent and grew up in the surrounding towns – called the Medway towns – so in and around Rochester, Chatham (on various estates), Gillingham. I left when I was seventeen and moved to London, but even though I’ve not lived there for a long time, Medway remains a potent influence.
What sorts of books were in your family home? Who were early formative influences? My mother and grandmother were avid readers, and I was taught to read and love books from a very early age; but they were busy, working class women who’d left school early so the books in our homes tended to be Catherine Cookson and romances, Mills and Boon etc. Having said that I had lots of classic children’s books and I had a couple of teachers who were pretty amazing in encouraging me to read widely. When I was teenager I skipped school to go the library in town and would read anything and everything curled up in a chair by a window that looked out over the River Medway. I read a lot of Dickens, Daphne du Maurier and Stephen King. I used to read any of the Penguin Classics, because that seemed to be a foolproof method of reading; I was hungry to learn, but hated school. I suppose my earliest influences that I was consciously reading to learn to write were Angela Carter, Plath and Sexton and John Steinbeck. I loved his work.Continue reading Interview | Heidi James | Author of the Week
Our monthly round up of deliciously eclectic, mind-altering reads to see us into the Autumn now that summer is over.
Uncovering a Parisian Life
The Madeleine Project by Clara Beaudoux, translated by Alison Anderson (New Vessel Press) buy here
A young woman moves into a Paris apartment and discovers a storage room filled with the belongings of the previous owner, a certain Madeleine who died in her late nineties, and whose treasured possessions nobody seems to want. In an audacious act of journalism driven by personal curiosity and humane tenderness, Clara Beaudoux embarks on The Madeleine Project, documenting what she finds on Twitter with text and photographs, introducing the world to an unsung 20th century figure. Along the way, she uncovers a Parisian life indelibly marked by European history. This is a graphic novel for the Twitter age, a true story that encapsulates one woman’s attempt to live a life of love and meaning together with a contemporary quest to prevent that existence from slipping into oblivion. Through it all, The Madeleine Project movingly chronicles, and allows us to reconstruct, intimate memories of a bygone era.
The BookBlast® Diary will be running a review and an exclusive interview with the Author at the end of the month.
Benjamin Myers is the author of six novels – The Gallows Pole, Turning Blue, Beastings, Pig Iron, Richard, The Book of Fuck – a novella, Snorri & Frosti, and four collections of poetry. He is also a journalist contributing to various online and print publications.
Where were you born, and where did you grow up? I was born in Dryburn Hospital, Durham. I grew up three miles away in a suburb of the city.
What sorts of books were in your family home? Any particular formative influences? We had all sorts of books, but especially a lot of fiction. From a young age I enjoyed Roald Dahl, the anthologies of suspense stories that Hitchcock put his name to, Stephen King novels, a lot of works that bridge the gap between adolescence and young adulthood – Dracula, Robinson Crusoe, Huckleberry Finn – but also a lot of female-orientated books too, especially by Judy Blume. I read all of her work, which of course went down with the lads in the north-east in the 1980s.
That was all probably under the age of twelve, at which point I got heavily into comics, particularly the counter-cultural underground, stuff like Robert Crumb and The Fabulous Furry Freak Brothers. Then I delved headlong into fiction: George Orwell, Laurie Lee, D.H. Lawrence, James Baldwin, William Burroughs, Harry Crews. Given that the average household in the UK purchases 1 or 2 books per year, I was very lucky to have access to the written word at all.
The Yorkshire moors: wild and untameable. Land of the Brontës, Bram Stoker, Ted Hughes and David Hockney, that much I knew, until I read Ben Myers’ pungent and addictive novel, The Gallows Pole, about a forgotten chapter of history. King David Hartley of Bell House was the leader of the Cragg Vale Coiners, “whose brutality had put the fear in many and whose wicked practices had damaged the trade of the common man, but whose efforts had rewarded the brave too, and whose rumoured generosity had put clothes on the backs and food on the tables of the starved communities of the upper moorlands when everyone else had failed them.”
In the 1760s, Hartley ran “the yellow trade,” creating counterfeit coins, from his “gloomy sky palace” perched on the lawless upper moorlands — Sowerby Bridge and Halifax to the east; Hebden Bridge and Heptonstall to the west. A place apart, it is well away from a changing England where the “wheels of industry turn ever onwards and the trees are falling still. Last week I did chance to meet a man right down there in Cragg Vale who told me that soon this valley is to be invaded. He spoke of chimneys and buildings and waterways and told of work for those that wanted it, but work that pays a pittance and keeps you enslaved to those that make the money. This man — he told me this land around us was soon no longer to be our land but that of those who want to reap and rape and bind those of us whose blood is in the sod. They’re pulling it out from beneath our feet like a widow shaking out her clippy mat. He said he had it in writing. Said it was legally binding.”