Saturday, 25 June 2011

Free PDF Book

Tell Me A Story  - Free PDF Book


Okay, I know I'm mad - but I'm offering 10 free PDF book versions of the romantic suspense, WITHOUT REPROACH, to anyone willing to write an unbiased, honest, Amazon review.

WITHOUT REPROACH is available at Amazon.com for $2.99 and Amazon.uk for £2.13 - but a free PDF book can be yours. Just send an email to tbarnett@terra.es and 10 readers will picked at random from the applicants


The only requirement is that you already have an account with Amazon so that you can add a tag to the book, and leave an unbiased review. It doesn’t have to be a long rambling review, a few honest lines will be fine. If you find you like the book, an Amazon ‘like’ won’t go amiss either.




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End of - Free PDF Book -

Friday, 24 June 2011

Kindle Book Gifts - Buyer Beware

Tell Me A Story

I recently gifted a book to a reviewer.

You can't expect reviewers to purchase your books if you want them to offer a critique. It's a time honoured custom that authors and publishers allocate a certain amount of books for this purpose.

Now that I have elected to forsake the traditional publishing route, I expect to do the same with my ebooks. Amazon allow you to gift Kindle books to whoever you please, so it would seem to be a reasonable way to send books to reviewers - WRONG.

If you live outside the USA, it not only costs more money if you want to read a Kindle book, it also costs more for you to gift a Kindle book to a resident who lives INSIDE the USA. My book which a USA resident can purchase for $2.99, costs $5.74 for me to send to that same USA resident.

A strange affair indeed. I understand the wireless net might incur extra costs for reading outside the USA, but why on earth should it cost more to gift a Kindle book to a USA resident, just because I reside outside the USA.

Payment is by VIsa, so the transaction costs ought to be the same - so where do the extra charges come from.

Are you listening, mister Amazon - get your house in order.

.

Saturday, 18 June 2011

Don't Write From Experience

Tell Me A Story


Hello AJ, can you help. I'm thinking of writing my biography. I've undergone things in my life that I'm sure others will want to read. How do I go about it?

Hi Brian, thank you for sending this question in.

Please don't think I'm being a wet-blanket, but readers probably won’t be interested.  If you aren’t already a celebrity, people mostly don't want to know. It's a sad truth. I know we are told to write what we know, but it's not always a good idea to use elements of your life in a biography. Instead, think novel.

Sometimes it can be better to use the feelings and deep emotions spawned by an occurrence, rather than the occurrence itself. So I suppose I’m advocating, ‘Don’t Write What You Know’ but, ‘Write What You Felt’.

The consequence can be a story that is rich with emotive issues, because you've already explored those emotional boundaries. 

Sometimes you can be simply too close to what has taken place if it was real life, and it can warp your writing. Instead, draw off the energy of the evocative experience, develop it, push it to a unique area and the result can be devastating! 

Be honest, unless you are a TV presenter, film-star, radio personality, or have achieved something incredible, who's going to be interested in reading about your life? Everyone has problems they overcame; we all do things with our lives. It can be a little narcissistic to think that others will find our own life interesting. 

Weave things you've undergone, into a piece of fiction, breathe life into a novel with experiences. Use already suffered emotion as a vertebral column, and who knows, you might have the next best-seller.

Thursday, 16 June 2011

Review of Treachery

Tell Me A Story

Yay! I have just had my romantic suspense, TREACHERY reviewed by the best selling author, Erin Kern, on her blog.

Take a look here to see what she had to say about - TREACHERY




Thank you Erin. Much appreciated.

Tuesday, 14 June 2011

The Route To Writing

Tell Me a Story


The Route to Writing

Let’s face it, the majority of people will never write a book. Those who aspire to do so, tend to be curious about those who’ve actually done it - such as how they managed to create an entire book.

I thought it might be fun to ask any of you out there who’ve hit the spot, to share in a small way, how you go about it.

  • How do you select what you are going to write about - where did you get the idea for your heroine’s lifestyle?
  • Why did you choose to set your latest novel where you did?
  • How you physically write - Do you write with a pen or pencil, or do you sit in front of a computer?
  • Do you outline a detailed plan, or just jump in with writing?
  • How do you know when your book is complete and ready for public consumption?
  • Do you picture film stars in your story while you write?
  • Where do you put those magic words down - in a study at home, in a corner of a bar, or while your partner watches TV.

Come on. Share your secrets with all the struggling people out there.

Crossbow - Gordon Kirkland

Tell Me A Story


Author - Gordon Kirkland

Someone is killing the residents of a small Kansas town. Although the victims appear to have been randomly chosen, the killer has, in fact, decided that they must die for transgressions he believes they have committed. Among the first to be slain is the County Sherriff, leaving two deputies to try to solve the case before the killer can achieve his ultimate goal. 

The deputies are far from seasoned police professionals. Dave Simmons, the senior of the two, is doing his best to improve by learning new police techniques. He'd like to bring geographic profiling to the department, but a serious impediment to that goal is his propensity to get lost whenever he gets behind the wheel of his police cruiser.  

Chuck Wilson the other deputy would like to be a police dog handler. Unfortunately, the County cannot afford a properly trained police dog, so he is trying to make do with Duke, his own Springer Spaniel, a dog with an intelligence quotient just slightly lower than the average head of cabbage.

Added to the mix is a missing romance author who arrived in town to interview the first murder victim just before his death, an ambitious small town newspaper reporter who gets her leads across the pillow from the junior deputy, and the grieving father of one of the victims. 

Just as it seems that the case has been solved, the deputies learn that the killer was not acting alone, and that other, seemingly upstanding citizens of the town, had set the whole process in motion. As the evidence unfolds it becomes obvious that the case is going to hit the deputies much closer to home than they could have imagined. 

“Like Fargo without the wood chipper!”
“Like taking an intensive course in plot development!”
“Filled with quirky characters and plot twists.”

.

Monday, 13 June 2011

Raymond Birdsell - Ratticus: A True Tale from Critter Corner

Tell Me A Story

 Author - Raymond Birdsell

The true short story of one family, one critter, and one month's worth of problems.

A comedic look at the travails of being a homeowner and dealing with the occasional uninvited houseguest.

Check out our interactive blog website where you can weigh in on the story, see actual pictures of the “critter” in question – and some of the destruction it left behind - and leave your own “Critter Gone Wild” stories.

http://talesfromcrittercorner.blogspot.com

First profits will be made payable to our local appliance dealer since our critter ATE our dishwasher. Wait until you see those pictures.

Take a look here: Ratticus 

Saturday, 11 June 2011

Bryan R. Dennis - An Epitaph for Coyote

Tell Me A Story

Author - Bryan R. Dennis
Looking for a new read this summer - try An Epitaph for Coyote

Here lies Henry Pluck -- real estate closer and frequent visitor of nursing homes, who believed his life was one slice short of the starry-striped apple pie of success. A perfectionist at work and an eater of sandwiches, he drove an import, lived alone in a box, and was virtually indistinguishable from any other salaried clerk in Vegas Baby, Nevada.

So might have read the inscription on his gravestone.

But when he encounters Rosa Santana, an unconventional and perplexing young woman from the desert, he learns what a defunct building feels like before a wrecking ball.

This is a portrait of a lonely man coming to terms with his flawed interpretation of perfection. For the world is not what Henry thinks it is, and as he’ll soon discover, neither is Rosa. This is the wild, mysterious world of 4,000 year old movies, cosmic irony, predators, and prey.  

A lonely clerk encounters a mysterious young woman from the desert who leads him on a path of self-discovery and enlightenment - http://amzn.to/ilywUg

Thursday, 9 June 2011

Erica Sloane

Tell Me A Story

Even more great news. TREACHERY and an excerpt from it, have been featured on Erica Sloane's blog.

I love all this extra exposure for my books - I just hope it turns into extra sales. Please take a minute to check out the blog-post and help support these great people.

For more read: Erica Sloane

Indie Snippets

Tell Me A Story 

Great news - well great for me. I have just had WITHOUT REPROACH showcased on the book review blog, Indie Snippets.

Getting your name 'out there' is one of the biggest challenges for authors, and bloggers such as this do a stirling job, and should be applauded and supported.

Please offer your support by taking a look: 

Tuesday, 7 June 2011

The Essence of Action, Plot, and Change

Tell Me a Story

I've been asked several times about action and plot. There seems to be some confusion regarding action. 

Janet W. was adamant that there would be NO action in her romantic novel. HER romance was going to be of the old-school, all hearts and roses. I had to disagree.

It is ESSENTIAL for every story to have action; be it romance, mystery, thriller or short story there must be action. Don't throw your arms up, action doesn't necessarily mean the 'wham, bam, thank you ma'am' type that modern blockbuster films seem to favour.

Action
  • Action does not imply that protagonists should always be on the go.
  • Action does not mean constantly shifting the setting for your story.
  • Action emerges out of conflict between characters and/ or circumstance.
  • Action comes about through contradictory beliefs and qualities that gradually emerge and become apparent.
  • Action means an escalation of circumstances.
  • Action drives the story onward. A story is always about change; without change, there is no story.
 

Change, should be especially true for central characters, by the end of a story central characters should have grown in some way …. be it better or worse, they should have developed. This is action.

 So if action and change are what drive the story forward, what does the plot do?

Plot
  • Plot is the arrangement of actions.
  • Plot is the progression of fascinating happenings that cause change.
  • Plots MUST be sensible and valid. Twists of fate and acts of God are not allowed in modern writing!

Hope this clears things up a little.

Sunday, 5 June 2011

Yet another Sample Sunday

Tell Me A Story- Gritty Contemporary Fiction

It's that time again, I'm afraid. It's Sample Sunday. For my regular readers, I apologize, please forgive me, but Sample Sunday is a Twitter-thing. We publish a sample of our published novels for the Twitterverse to take a peep. My sample this week is from PAST SINS - steamy, contemporary fiction.


Eduardo took hold of her arm. “Maybe I should go first?” he said prudently. “We don’t want you getting lost.”
She moved to one side to allow him to pass, but their bodies locked. She freed herself very carefully, as thoughts of sex sprang to mind. She’d have to keep a tight lid on this thing.
He said, “Actually, your instincts are good. We’d normally go that way, but we need to take a detour. We had a bad storm a few weeks ago and it caused a roof to fall. A lot of damage was done.”
She followed him without speaking until they reached the west wing of the ancient house. The door creaked as he opened it. He said, “This room desperately needs work doing on it. It’s a good example of its type, though. A secret room was added.” He waved his hand. “It was a hellish time you know, the inquisition and all that. A lot of people needed somewhere to hide.”
Jenny looked around with growing unease. She seemed to recognize this place as well. Why would she recognize it?
“The secret room will also need work.” Eduardo pushed a lump of wood to one side with his foot. “In fact, there’s a lot of renovation required all around. However, there are other people involved and I shall have to persuade them first. I’d like you to draw up plans, though. We’ll worry about the work later.”
She said, “Just think, all that violence and torture. I suppose evading the inquisitors became a way of life for most of them.”
“Or death. They used the inquisition as an excuse to settle scores – the evil bastards!”
“It must’ve been dreadful cooped up like that, praying they wouldn’t discover where you were hidden.”
“I guess for a lot of people it’s not so different now. The world’s a terrible place.”
Jenny ran her hand over the arm of a chair. Years of work had probably once buffed it to satin, but now it looked lifeless. “I can picture what it must have been like. Small tables with knobbly legs, tiny beds, perhaps a window with moth-eaten linen drapes. I’ll bet it was like living in an oversized doll’s house, loads of dust and must and heartache.”
Eduardo frowned, reached for a lever hidden on the underside of the sill, and pulled hard. There was a dull thud, a wall panel cracked open, and he indicated for her to go through. She hesitantly pushed the panel and entered the small doorway.
The room smelled. It was ridiculous, but she knew the odour. Jenny turned to look back to him but he impatiently waved her on. She crept in and the hairs of her neck stood on end. 
The room looked like a large doll’s house. In the centre was a dark oak table, legs with chases, convolutions and ridges. In the corner, a tiny bed, and at the window, threadbare linen drapes. She damn well recognized every bit. Had she dreamed it? How could you dream smells? She made her way out, stunned, suddenly afraid.
He was irate. “You know all about it don’t you, I can tell. Elvira has shown you around. Thank you for wasting my time. What did you hope to gain by it?”
“No, wait!” Jenny stared with dismay as he strode into the corridor.
He said, “I’m going back to the main hall.”
She caught up with him. “A lot of places are built like this I suppose? You know, secret rooms and the like?”
“Didn’t Elvira tell you?” he said sarcastically. “This is unique, the only Finca in Valencia like it.”
“Elvira told me nothing.”
“El Duque Benito Cabra designed the secret hole. He liked to dabble where he shouldn’t.” Eduardo thrust his hands deep into his pockets. “Quite a character by all accounts. Did a spot of ducking and diving, was one of the nouveau riche of the day. He was popular at the Spanish court. There was envy. It made him vulnerable.”
They turned to the left as the corridor branched. Jenny walked by his side, trying hard to keep up. He behaved as if she was responsible but it was hardly her fault. She cleared her throat. “I suppose all of this is well documented. There are books on it, photographs and suchlike.”
“I doubt it. Not that it’s confidential,” he added, “It just isn’t public knowledge. Why should it be?”
Then why did she know things? How could it be? Jenny followed him back to the main hall feeling distinctly nervous. Elvira was there and came over as he saw them. “Señor, the interior designer has arrived.”
“Designer?” He stopped abruptly and turned to Jenny. “Then who are you?”
“There hasn’t been a chance to tell you.”
“Don’t be absurd. Of course there’s been a chance.”
“I tried but…”
“Just who the hell are you?” He gripped her arm and spun her so that she faced him again. “Are you one of their bloody spies? Have they sent you? What have they told you?”
Elvira looked at the two of them warily. “I’m sorry I had to leave you, Señorita Bucknall. I looked for you, but you were gone.”
“Señorita Bucknall? Bucknall… I know that name.” Eduardo glared fiercely. “I know who you are. You’re the one in Juan’s will, the pretender to the bloody throne.”
“I’m not a pretender. Everything is legal and above-board.”
“Is that what you think?”
Jenny strove for a biting remark; none would come. Her mouth opened but snapped shut without uttering a sound. Triumph skittered across Eduardo’s face… The bastard.
“So, the usurper cometh.”
“Sod off!”
“The English invaders in full force…”
Elvira said quietly, “Perhaps the Señorita would like café con leche, some biscuits? I can prepare tea, if you prefer.”
Eduardo said, “I suspect the English Señorita is ready to take her leave.”
Jenny tossed him the most scathing look she could and strode towards the housekeeper.
Elvira was anxious. “I hope Señor García looked after you. I’m sorry I was so long. It’s a beautiful Finca though, isn’t it?”
Jenny nodded in dumb agreement, but she’d changed her mind. La Finca Piedra was a bizarre place and she didn’t know if she wanted anything to do with it.
As they neared the entrance, a woman swept past with barely a glance; tall, elegant, dressed in severe black, as self-important as any person Jenny had seen.
“A fine building.” Elvira frowned, her eyes unconsciously following the woman. “Absolutely top notch. It’s full of history. Did it rise to your expectations? I’ve always loved the place. You’re very lucky.”
Jenny didn’t answer. High on the wall was a huge oil painting of herself, and she was completely naked. Her legs and arms were draped insolently over a chaise longue. Dark strands of unruly hair escaped in a provocative manner from beneath a comb. Dangling from her left shoulder, covering nothing, was a thin fragment of grey silk with a gold lion emblem sewn into the corner.
She suddenly felt sick. Who was doing this to her? This was part of no dream. That silk scarf had been a birthday gift.




-----------------------------------------------------------------------------------------

Saturday, 4 June 2011

Author's Summer Read

Tell Me A Story

Ever wondered what famous those authors read? Well here’s what a couple of them might be touching on this summer:

Laura Lippman, author of the Tess Monaghan books, has said, "I am a greedy, lustful reader with poor impulse control, so there's very little planning in my reading. So instead, here's my fantasy summer reading list: a new Bill Bryson, preferably a follow-up to 'The Life and Times of the Thunderbolt Kid,' perhaps a memoir of his life as a journalist in London; a new Anthony Bourdain memoir or novel, I'm not choosy; a new Kate Atkinson novel, despite the fact that she just published a book; a new George Pelecanos (that one is actually achievable); a new audiobook by Julia Sweeney; a heretofore undiscovered manuscript by the criminally neglected Edward Eager."

On the other hand, Lisa Napoli, writer of the chronicle, Radio Shangri-La said "This summer is all about researching and writing my next book, which is about building community. I can't wait to dive into 'The Great Good Place' by Ray Oldenburg and reread Robert Putnam's 'Bowling Alone.' "








For more read: http://www.mercurynews.com/books/

Friday, 3 June 2011

Generating Tension


Tell Me A Story - writing tips

 From time to time, I’m asked how to go about generating conflict in a story. It isn’t magic; it comes about when a certain mixture of elements in a story, are correctly balanced.

Creating Tension
I can’t claim this to be complete, but here’s a short list that might be useful as a starting point for creating tension in stories.
  1. The aims of the central characters should be contradictory, and mutually exclusive.
  2. The central characters should be fighting to reach their separate goals autonomously, and to the detriment of the other.
  3. The path your characters take in reaching their goals becomes the foundation of action. You should exploit the actions and contradictions - take full advantage to heighten the tension.
  4. The plot should have a poignant side.
  5. Strong feeling shouldn’t merely be narrated in characters; show by reactions, don't tell.
  6. Emotions that you invoke in your readers are what count most.
  7. It’s essential you understand the feelings you wish to stir in your reader before you write. You must write with that emotion in mind at all times.
  8. The theme of the story should be one about which you care deeply.
  9. You must be affected by your characters, and caught up with what happens to them.
  10. You should believe in your characters and empathise with their struggle. If you don’t, how can anyone else. Your work will lack the oomph that tempts people to turn pages.
As a final thought, a time restriction can also heighten anxiety. Having to complete something vital, before it adversely affects characters, is often a good way of creating tension.

Tuesday, 31 May 2011

Getting to Grips With Writing

Tell Me A Story - Creative Writing

AJ, can you help. I have a story hanging around. I know the names of the protagonists and where I want in the story to go - but each time I start to type - it feels wrong, it’s weird. As I begin writing, I lose interest. In a bizarre way I want to write, yet for some reason, I can't.

Thanks for the email. There are a number of things that may help. To start with, if you’re absolutely sure you want to write, nothing should prevent you. Don't let anything get in your way.
  • If you are sincere, you need to beg, buy, or borrow, a couple of text books on creative writing (dare I suggest Just About Write  at only 99 cents from Kindle). All writers need to understand the basics of story-telling. The desire to write may feel like a fire burning into your soul, but unless that fire is fed with the oxygen of skill, those flames will dwindle and die.
  • A text book on creative writing can help you appreciate the why and wherefore of what you're doing – and point you the right direction to help you become productive.
  • Artists of every genre - dancers, painters, musicians, have to study for years before they are able harness their natural gifts. They exhibit talent in the first place of course, but without direction that talent will flounder. Writers are no different.
  • Stop listening to people who are not professionally involved in writing. Friends love offering advice - telling you how good you are - telling you where you're going wrong..... forget it. Friends and family can be too enthusiastic or too critical – they don’t read with a qualified eye.
  • Join an online Writer’s Circle. They're free, friendly, and full of like-minded people - some with years of experience to tap into and take advantage of.
  • Find a local writer's group - mixing with other writers can help your morale. They will offer advice and give a more qualified critique to your work. You'll start feeling like a proper writer - what more could you want?
Hope this helps you on your way a little. Don't give up, don't get dispirited - keep writing and one day it will happen.

Friday, 27 May 2011

The Clan Of The Cave Bear

Tell Me A Story - Review 


The Clan of the Cave Bear (Earth's Children, #1)The Clan of the Cave Bear by Jean M. Auel

My rating: 5 of 5 stars


When her parents are killed by an earthquake, 5-year-old Ayla wanders through the forest completely alone. Cold, hungry, and badly injured by a cave lion, the little girl is as good as gone until she is discovered by a group who call themselves the Clan of the Cave Bear. This clan, left homeless by the same disaster, have little interest in the helpless girl who comes from the tribe they refer to as the "Others." Only their medicine woman sees in Ayla a fellow human, worthy of care.

This is a story of Neanderthals and the physically modern Cro-Magnons.

I read it quite a while ago, yet this surprising book persists amongst those on my much loved shelf.

With a few clever brush strokes, Jean M. Auel paints a believable story, with a well-researched backdrop, an absorbing plot, and endearing characters. I can ask for no more in a novel – yet somehow, Clan Of The Cave Bear goes beyond that. Perhaps it strikes some deep ancestral chord. Whatever, I found I couldn’t stop reading it. This probably outshines most other fantasy novels out there.




View all my reviews

Thursday, 26 May 2011

What To Do After A Rejection Slip

Tell Me A Story

So you’ve finished your novel, polished it until it gleams, sent it off, but it’s been rejected. Justifiably you feel hacked off with the system. What are you going to do next?

Well first off, read through the manuscript again to see if there's something you’ve missed. Ask someone you trust to check it over, or if you're feeling wealthy, try sending the first three chapters to a critique service. 

If you’re certain it’s okay, the next step is to send your baby off again - and again, and again, if you have to. A rejection means nothing. Live with it. A rejection is one person's opinion, nothing more. All authors suffer it, even the best. 

Take a look at some of these statistics taken from Online College – it might just give you heart…
  1. William Golding's Lord of the Flies was rejected 20 times before becoming published.
  2. Agatha Christie had to wait four years for her first book to be published.
  3. Zane Grey self-published his first book after dozens of rejections.
  4. John Grisham's A Time to Kill was rejected by 16 publishers before finding an agent who eventually rejected him as well.
  5. Richard Hooker, the book that inspired the film and TV show M*A*S*H* was denied by 21 publishers.
  6. Madeline L'Engle's masterpiece A Wrinkle in Time faced rejection 26 times before willing the Newberry Medal.
  7. In one rejection letter, Rudyard Kipling was told he didn’t know how to use the English language.
  8. J.K. Rowling submitted Harry Potter to 12 publishing houses, all of which rejected it.
  9. Before reaching print, Frank Herbert's Dune was rejected 20 times.
  10. Gone With the Wind faced rejection 38 times.
If it happened to these great authors, it can happen to anyone - and believe me, it does. Writing is not for the faint-hearted. Stick at it, and you might just find success. Give up, and you never will...

For an interesting look from the publisher's side read this
.
.

The Firm - a review

Tell Me A Story - Review 



The FirmThe Firm by John Grisham

My rating: 5 of 5 stars


This is a well-drawn story that dragged me straight into the central character’s dilemma. I found myself believing this really had taken place, and longed for a successful end to the problem - yet couldn’t see it happening.



The backdrop Grisham uses is excellent, showing the upright customs and principles of Memphis, yet with a substructure of dishonesty and exploitation. John Grisham created a reality from his imagination that left me feeling cold. I found The Firm to be a compelling reading experience, and thoroughly recommend it.





View all my reviews

Tuesday, 24 May 2011

A Plot is a Plot is a Plot.....

Tell Me A Story - plot

You’re writing your first novel and you're full of anticipation. Your plot sets off with a super concept, which of course is your main conflict - it is isn't it? So, what do you tackle next?

Getting the plot right
  1. Now you must bring about, in the most unaffected way you can, one intriguing setback after another. There must be nothing contrived about the plot. Flukes, misunderstandings, and Acts Of God are NOT allowed in modern writing. 
  2. The challenges in the plot should come in a progression of highs and lows, one sub plot crisscrossing with another.
  3. The most astonishing point of the main plot should not be reached until just before the end of your novel.
  4. Before you reach this ‘astonishing’ point, all sub plots should be resolved. This supreme climax of drama should come about only from the original main conflict.
  5. Combined with, and part of, this ‘astonishing’ point, should be the bleakest moment of the whole story.
  6. At the ‘astonishing’ point, the central characters must appear to be up against an impenetrable barrier, but make sure you don't make this predicament so tortuous there is no way out. Each time you come up with a situation, scrutinize it. Work out how it affects the characters, and the previous and following parts of the plot.
  7. Your reader must be convinced there is no way to resolve the predicament – until suddenly, the plot is disentangled, and the story is over.
  8. Do it quickly. Tie up all loose ends, leave no threads hanging.

      So you’ve written the end. The novel is finally closed.
      Your reader MUST now be satisfied the characters have overcome all problems.

      Readers should feel that your novel was about convincing people, facing plausible problems, who found realistic solutions... If they don't, you're in trouble!

      Sunday, 22 May 2011

      Another Sample Sunday

      Tell Me A Story - TREACHERY

      Sorry to my regular readers, but Sample Sunday is a Twitter hashtag that allows writers to communicate a sample of their books to prospective Twitter readers. This week I've taken a sample from Chapter One of TREACHERY - available from Kindle at 99 cents
      TREACHERY - A Romantic Suspense
      Katrina carefully put down the huge, fragile volume, still open at the page. It was ancient, a tome: a digest of work from times long gone.
      Francine grinned. “So, it might be useful then?”
      “Useful? It’s incredible! I’ve been struggling to do something like this for ages. I can’t believe they cracked it so long ago.”
      Francine settled into her chair. “If you read on, it tells you something about how they do it. It’s all technical stuff. It doesn’t mean a thing to me, but I’m sure you’ll understand it.”
      “I really can’t thank you enough.” Using a tea towel, Katrina carefully twisted the cork from a bottle of Bollinger so that it didn’t pop, tilted Francine’s glass, filled it with froth then filled her own.
      “It’s no problem.” Francine took the glass, held it to the light, watched the bubbles for a moment.
      “Well it means a lot to me. Where on earth did you dig it from?”
      “Aunt Moll. It was amongst the stuff when we cleared the house. She was a hoarder you know, kept anything and everything. There were boxes everywhere. To be honest, I was on the point of throwing it away with other junk, but spotted the samples and thought of you.”
      “I’m glad you did.”
      “I thought to myself, my friend Kat, she might like this… It’s okay then?”
      “It’s more than okay. It’s brill!”
      “Moll used to prattle on when I was a kid, telling me tales about her grandmother… I loved it. You know how kids love stories… daft stuff... I think she had the book from her. I’ve no idea where she had it from though, but I know it’s as old as the hills. You can tell by the look of it can’t you.”
      “I know. It looks as if Moses made it.”
      A sheet of fine paper covered one of the samples. Kat carefully peeled it away, and revealed the delicate fabric beneath. It looked new, as if it had been made yesterday. Childlike, she touched the fabric, letting it hang over her fingers. It clung rather than hung… almost liquid, shimmered in the light.
      “Good then?”
      “Good?” Kat said, “It isn’t good, it’s fantastic! I think something like this would really add wow-factor to my outfits.”
      “I’m sure it would. And just think what it will do for you.”
      ***
      Eduardo rubbed his nose.
      A bad sign. Rafael learned a long time ago that when Eduardo rubbed his nose it meant trouble. He said, too hurriedly, “Like I say, nothing can go wrong. I mean; you have to admit I know my stuff. No-one knows the rag-trade better than me.”
      “Don’t they?”
      “You know they don’t. I’m the one. I’m the best… and I’m telling you, it’s like nothing I’ve seen before. Man, this stuff is the finest.”
      “What about balance sheets, market plans, forward projections?”
      Jeez!” Rafael pulled a face. “You’re a hard bitch. Look! These are unknown factors at the moment. It’s a winner though, and I’m sure that…”
      “A winner? And just what do you mean by that?”
      ”I’m telling you. I feel it. Gut instinct says ‘go for it baby’. You know I know my stuff and…”
      Eduardo put up a hand to stop him. “I know you’re asking for a bagful of money, with nothing to back it up. No collateral, no plan, nothing. If the job screws up, if you screw up, what is there? Naff all.”
      “Why are you talking like this?”
      “It won’t be the first time you’ve messed-up.”
      Rafael glared, hardly believing Eduardo was taking this attitude. He said slowly, “Well stuff you!”
      Eduardo shrugged.
      Rafael breathed in deeply. It was slithering away from him. He stared around, suddenly despondent. The office looked out over the busy streets of Valencia. Down there, way below, people scurried, traffic blared, exhausts fumed. Up here, it was calm, peaceful - except for the bile rising between them. On the walls were a couple of original watercolours by some artist whose style he recognized, but crap-knows from where. The office furnishings were sparse; chrome and leather, modern. A calendar hung behind Eduardo, no markings on it. His own calendar was scribbled to high heaven. No wall-charts to be found here, not in this high-tech office, it was paperless, everything on computer, all white, chrome, and damn-all soul.
      What happened if there was a power cut? Would Eduardo’s commerce die? Well stuff Eduardo! He hoped they had a power failure every day.
      He said carefully, “Okay, I might have got a couple of things wrong in the past. Not this time though… Look… Come with me. See for yourself. You’ll change your mind. I know you will.”
      “And what about your Papá?”
      Jeez! Rafael held his breath. When was this mess-up going to end? It was a farce. He knew he must sound desperate, but what else, what other way to do it? He tried to be nonchalant. “Damn Papá!”
      “Isn’t he the one you should be trying to convince? My interests lie in hotels, not clothes. Fashion just isn’t my scene.”
      Rafael’s stomach churned. He didn’t know how to turn the situation around. He wanted to, he badly wanted this thing to happen, but hadn’t a clue how to go about it. He’d been on cloud nine since his discovery and assumed that everything would fall into place. The cloud was drifting away.
      He’d convinced himself that Eduardo would jump at the chance. He hadn’t and Rafael didn’t know what else to do; there was no ‘Plan B’
      He felt a surge of irritation as he watched Eduardo study his fingernails. It was as if this was nothing, instead of the biggest thing to happen in Rafael’s life. He said, “I wanted this to be my scene, my bit. Up until now, I’ve been at Papá’s beck and call. I want to prove to him that I can hack it on my own.”
      “So it’s your way of looking for praise from Papá?”
      “I want to show him I’m worth something.”
      “Don’t you think it’s a little late for that?”
      Rafael stared him out. He eventually said, “Damn you!”
      Eduardo shook his head. “Do you honestly think you can feed me bullshit?”
      “I wouldn’t…”
      “Do you know what I’m thinking? I’m thinking maybe you just want to sneak behind your Papá’s back and steal the show for yourself. You want to set up in competition and…”
      “I wouldn’t…”
      Eduardo raised his hand to silence him. “And you want me to sponsor it.”
      “But it wouldn’t be competition. Don’t you see? It would be a business venture in its own right. Papá doesn’t go for that sort of thing. He likes a quick turnover.”
      “Not from what I understand. He deals in quality stuff. That’s not quick turnover.”
      The problem was, Papá had flatly refused, said it wasn’t worth the effort, said if the company were in such a bad way, the stuff couldn’t be up to much. 
      Rafael took a deep breath, no use telling lies. “Look…” he said. “Papá simply isn’t interested, and you know what he’s like once he’s made his mind up.”
      He stuck his hands in his pockets, walked stiffly to the huge window and stared morosely. He watched Eduardo’s reflection in the window.
      “That says it all then doesn’t it? If he shows no interest, why should I?”
      “You’re not backing me then?”
      Eduardo shook his head. “I guess not.”
      “That’s that, is it?”
      “I guess so.”
      Rafael spun on his heels and walked to the door. He’d show him, he’d show them all. This wasn’t something he was going to let go without a fight. There was a fortune to be made and he was damned if he was going to let anyone else get their hands on it.
      “Rafael…”
      Rafael paused.
      “You're behaving like a complete ass-hole. Put a business plan together. Do it properly, or you'll end on your butt."

      Saturday, 21 May 2011

      Tooth & Nail - a review

      Tell Me A Story - Review

      Tooth and Nail (Inspector Rebus, #3)Tooth and Nail by Ian Rankin

      My rating: 5 of 5 stars


      This is another brilliant story from Rankin – truly one of my favourite authors.

      The story spirals and twists quite ingeniously, with Rankin deceiving readers, like the master magician he is, all the way to the end. He stuns and astounds over and over, until the final, accomplished, and thrilling apogee.

      If you enjoy thrillers, you will love Tooth & Nail.



      View all my reviews

      Friday, 20 May 2011

      Let it Bleed - a review

      Tell Me A Story


      Let It Bleed (Inspector Rebus, #7)Let It Bleed by Ian Rankin

      My rating: 4 of 5 stars


      Another nail-biting book from one of my favourite authors. As always, you become drawn into the dark life that surrounds Rankin's infamous, Inspector Rebus.


      Rankin's stories are always overwrought, always insistent, and always completely electrifying in content. At the centre of them is Rebus, a police detective with bad habits and a large measure of corrosive humour - as human and flawed as the criminals he chases. 

      Rebus has always understood that murder is inspired by passion or greed, but in 'Let It Bleed', when bodies begin to pile up, he recognises that there's nothing simple about it.
      .





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      Thursday, 19 May 2011

      Finding Balance in Your Story

      Tell Me A Story

      I don't really like saying there are rules to writing, because someone somewhere, will prove me wrong. However, every now and then a convention in writing becomes so accepted that it almost becomes a rule. For instance - All stories must have form and proportion. 

      A plot must have balance. Stories that are in balance are things of beauty, get the balance wrong and they start to feel ugly.
        1. A plot should never consist of continuous desolation and emotional anguish. Readers soon tire of it, they become emotionally exhausted.
        2. Readers should always associate with your characters. Make this connection by ensuring that incidents are feasible for the situation and genre.
        3. The tempo of the story should vary - some scenes must be calmer than others.
        4. After writing a chapter containing a significant episode, give readers time to recover by writing a more leisurely scene - not a boring scene of course, but one with fewer disparities, fewer ups and downs.
        5. Make your story congruent with, yet larger than, life. Everyday life is mostly boring - readers of fiction want entertainment, not a documentary - and they certainly don't want lecturing.
        Give your readers interesting and believable variation and if you're lucky, they’ll give you time.