Showing posts with label Scottish Book Trust. Show all posts
Showing posts with label Scottish Book Trust. Show all posts

Monday, 16 September 2019

Author Confessions - Scottish Book Trust

I will have actual new book news soon, I promise! I can't tell you much about 2020's book but here's a clue as to where it's set...



In the meantime, here's another Q&A from the archives. This one is from Scottish Book Trust, who grilled me on some author confessions...

Do you ever mentally edit someone else’s work while you read?

Yes, I can’t help it. Not just while reading books, either. I’m always thinking about how I would have handled a particular film, TV show, song lyric or commercial differently, despite not knowing the first thing about directing, songwriting or advertising. Basically I’m just an incorrigible back-seat driver.

What’s your opinion on reading in the bath?

I’m very much in favour. In fact a nice hot bath or a nice quiet train carriage are the two best places for reading a book, because there are no interruptions.

How do you react to bad reviews?

With surprise. Just kidding. I probably have the same initial reaction as most people – I get huffy and defensive. I do genuinely appreciate constructive criticism, though. If a negative review hits on some points that ring true, I try to take it on board for the next piece of work. I’m fairly harsh on myself as an editor, so I’m usually not too surprised by the specific things people don’t like so much about my work. Especially if I’ve already had my wife’s feedback, because she is brutal.

Where do you stand on spinebreaking?

I’m relaxed about it – books are for reading. Water damage from reading in the bath is a bigger risk for any books in my possession. Break the spines on any of my comics though, and I’ll rip your head off. I’m a man of contradictions.

Which author or fictional character would you most like to party with?

Jay Gatsby is the obvious answer – not just because he throws lavish Jazz Age parties in his sumptuous Long Island mansion, but because I’m the type of guy who likes to stay on the fringes of a party having a conversation with somebody interesting… and Gatsby certainly fits the bill.

Author-wise, I’d have to say Neil Gaiman. I’m a huge Sandman fanboy, and Neil seems like he knows how to have a good time.

How do you arrange your bookshelf?

Pretty randomly, although I make a half-hearted effort to group books into genres and authors. A shockingly large proportion of my books are nowhere near the shelves, and are instead arranged in stacks beside the bed waiting for me to get to them.

Do you judge books by their covers?

I think everyone does, to some extent. A great cover means I’m far more likely to pick up a book by someone I’ve never heard of, just as a terrible cover makes it less likely. Having said that, if the book has other things going for it (an interesting title or endorsement, for example), I’ll give it a chance regardless of the jacket.

Have you ever pretended to have read a book to impress someone?

No, but I have pretended to like a book that I didn’t.

Do you ever turn to the back of a book and read the end first? If not, what would you say to such people?

Actually yes, all the time, but never to spoil the ending. I just love to read the first and last lines of a novel. I think you can learn a lot about an author from their first and last lines.

Is there a book by someone else that you wish you’d written?

No, because I’d have written a different book, and the book I like would no longer exist. Occasionally I read something where they’ve started with a fantastic idea and I haven’t liked the execution, so I guess in those cases I might like to have a stab at it.

What’s the worst/trashiest book you secretly love?

I don’t really believe in ‘guilty pleasures’, and if a book’s enjoyable on any level then to me it isn’t a bad book. To paraphrase Duke Ellington, there’s only two kinds of books: good books and the other kind.

Sunday, 1 September 2019

Five Underappreciated Classics - Scottish Book Trust

Another blog from the archive - this one was written for the Scottish Book Trust, who asked me to pick 5 underappreciated thriller gems.

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Like many crime writers, I'm also a music lover. As any music lover will tell you, while it's sometimes nice to enjoy a massive stadium act along with everyone else, it's even more gratifying to be into a more obscure band that feels like your little secret.

Books are like that too. Every once in a while you'll pick up an interesting-looking thriller in a charity shop because the cover looks intriguing. Sometimes you’ll try a new author because someone else you admire once namechecked them in an interview. If you’re lucky, you discover an underrated gem.

Some of the books on my list of forgotten crime classics are like that. A couple of them inspired films that went on to eclipse their literary source in the public consciousness. Others are the kind of books that have been well-kept secrets for so long that they're probably not really secrets, or forgotten. But it's safe to say you probably won't find any of these in your average airport bookshop.

So while it's great to read the Rebus series or LA Confidential or Gone Girl and appreciate them with the rest of crowd, here are some alternative picks that are a little off the beaten path, but no less rewarding for that.

And you'll be able to impress people at parties with your offbeat tastes. As long as the parties you go to are populated with people who read thrillers, that is. But let's face it – aren't they the best people to party with?

1) John D. MacDonald - The Lonely Silver Rain

2) Geoffrey Household - Rogue Male

3) Ira Levin - A Kiss Before Dying

4) William Hjortsberg - Falling Angel

5) Walter Wager - 58 Minutes

Sunday, 8 October 2017

Writing tips / musings: omnibus edition

I've written a few blog posts over the years on how I write, and been asked to contribute various 'top tips' articles to other publications.

I thought I'd group the ones which have been most popular together here.

I get irritated by writing tips blogs which hand down knowledge from on high as though graven in stone (talking of which, bonus tip - clichés are fine, used sparingly), so you should always go with the advice that works for you, and not feel bad about discarding the advice that doesn't.

Everyone's different, and your mileage may vary, as they say.


~~~







Thursday, 12 January 2017

Writing a series - top tips

I've been pretty busy lately, but the good news is that means there are more books in the pipeline. The paperback of The Time to Kill comes out in the UK on February 9, which happens to be the same week that it's published in hardcover under its American title Winterlong.

It snowed today, so here's an appropriately wintry picture of the new edition:



Book 4: Don't Look For Me is out in the UK in April, and you can preorder it now. I'm currently writing the fifth book, which seems incredible since it doesn't seem all that long since I started writing Killing Season.

It makes me glad I put some thought into the series before I wrote the first book. With that in mind, here's a piece I wrote for the Scottish Book Trust website last year: my top 5 tips on writing a series of novels:


Writing a continuing series has a lot to recommend it. You don’t need to start everything from scratch with each new book, and you have the opportunity to develop your characters and themes across multiple novels. On the other hand, you don’t have the standalone author’s luxury of an entirely blank slate at the beginning of every new project.

Here are my tips for writing series fiction. Bear in mind these are from the point of view of a crime writer, but they’re adaptable to working on any kind of ongoing series.

Build your protagonist to last before you write the first book, rather than trying to turn a standalone character into a series lead

Ideally he or she will be intriguing and compelling (though not necessarily likeable), and will have room to grow as a character over the course of the series. That means you don’t necessarily want to give them too detailed a backstory. If you leave your protagonist’s history reasonably vague, there’s more to discover about them in future books. Just as importantly, you have less continuity to keep track of. 

Don't make your central character too old


Ian Rankin recently spoke about this problem, as Rebus hit retirement age a long time before his author. Even Jack Reacher is now pushing sixty as he hitchhikes toward his twenty-first adventure. If you want your character to age naturally but have a long fictional life, it’s best not to start out with an octogenarian detective. Alternatively, you can just make them immune from ageing. Like Batman, for instance, who started his caped crusading in 1939 but shows no signs of slowing down.

Naming convention - yay or nay?

Choosing titles that are immediately identifiable as part of a series can work really well. James Patterson’s early ‘nursery rhyme’ Alex Cross books and John D. MacDonald’s colour-coded Travis McGee thrillers are examples of this done right. What you don’t want to do is pick a title theme that has you scraping the bottom of the barrel by the fourth book. One Direction song titles will probably be of limited use.

Think carefully about your hero or heroine’s job

Is your protagonist a police officer? A private investigator? A lawyer? A random troublemaker?

A job in law-enforcement will provide all the rationale you need to get them embroiled in murder investigation after murder investigation, but it also means more research and pressure to keep up with the intricacies of modern policing procedure.

A lone wolf character has its own pros and cons, but the big advantage is you get to invent their rules.

A related concern: make sure they’re not so great at their job that they get promoted out of the action. This doesn’t just apply to the police: James T. Kirk hated being an admiral.

Easy on the formula

Series fiction is popular for a reason: people like knowing what they’re going to get, to an extent. Meeting your readers’ expectations while at the same time surprising them can be a difficult balance.

In an ideal world, you want to keep enough familiarity in the books to keep regular readers happy, but not so much that each book is indistinguishable from the last. Formulas are necessary and enjoyable, but each book has to stand on its own and offer something different to the reader.

Focus on the sweet spot: you want familiarity to build content, not contempt. If the reader can recite the plot of the next book before it’s published, you need to mix things up a little.

Thursday, 25 August 2016

Encounters, Bloody Scotland and some great reviews



It's not long now until the gore-drenched staple of the literary year that is Bloody Scotland - my event is on Sunday 11 September and I'm appearing with Steve Cavanagh and GJ Brown on a fake Americans panel, which should be a lot of fun. Book tickets here, and you can win signed books from all of us by retweeting this link:



I'm pleased to say I'm back at the fantastic Encounters Festival this year on 26 October at Coatbridge Library. Find out more about how to get your free tickets on the festival website, and check out lots of other great author events including fellow crime peeps Marnie Riches, Matt Bendoris, Sophie Hannah, Martina Cole, Theresa Talbot and Tim Weaver.

Speaking of library events, I've updated my Live Literature page over at Scottish Book Trust. If you live in Scotland, your library can book me to come and talk through this excellent scheme, so let them know about it if you would like me to visit a library near you.

As always, check the Events page on my website for new dates.

You still have until Sunday to win a signed copy of The Killing Season - all you have to do to be in with a chance is sign up to the Mason Cross Readers Club:


Join the Mason Cross Readers Club

* indicates required





https://www.amazon.co.uk/Time-Kill-Mason-Cross-ebook/dp/B011A97F8Y



The Time to Kill seems to be doing pretty well, and I suddenly seem to have a big backlog of lovely reviews to link to. See below for a taste, click through to read the full reviews:

Grab This Book says:

An action adventure (and a chase story) across the USA which kept me gripped as I read. A five star thrill-fest.

Adventures in Crime Fiction Land was lukewarm about The Samaritan but finds The Time to Kill more to his liking:

The Time to Kill is a roller coaster ride of tension, a great read that touches on geo-political issues and the war on terrorism while delivering a darn good yarn. On the basis of this and book 1 (book 2 just not being my cup of tea, though as I say, there was nothing wrong with the writing) Mason Cross is certainly somebody who's writing I will watch out for.

Meanwhile, The Crime Warp comes up with a brand new suggestion of who could play Carter Blake in the movie:

Action packed and sensitive - a James Bond type book for the 2000's (Maybe if Idris Elba doesn't get the 007 role he could play Carter Blake?- just saying).

Tweet me, Idris, we'll do lunch.

Going down under, Readings picks The Time to Kill for its best new crime reads in August:

I really love picking up a special-ops-type thriller like Cross’s The Time to Kill – they’re always so supremely satisfying. Someone’s usually died in a dramatic, sneaky fashion by the end of the prologue, there’s usually travel to all kinds of international countries (or at least their bars/hotel rooms/abandoned warehouses), the main character knows how to handle themselves, someone gets their comeuppance, people slam phones down in anger – you get it, and you love it too.

Stuff says:

If you've come across either of his first two thrillers, you will know this writer is a keeper. If not, put him on your list.

Also in the Antipodes, the radio station Newstalk ZB's resident book reviewer gives Blake's latest adventure a big thumbs up. Fans of Kiwi accents like myself will want to listen to the link in full:

The story starts to really race and it's very cleverly constructed with a dual narrative ... people that like Lee Child and Jack Reacher would probably really enjoy this.

The Morning Star calls it "a superior example of the chase thriller" and goes on to say:

[Blake's] former employers are coming after him, the truce he made with them when he left no longer in force. But they trained him well and he’s not going to be easy to kill. There’s all the set-piece action you could hope for.

If those reviews make you want to read more, the novel is available from all good bookshops - go here to buy in your chosen format. If you enjoy it, taking a moment to write an Amazon or Goodreads reviews is a big help.

That's all for now... see you in Stirling?








Tuesday, 12 January 2016

Top tens and articles and the continuing coolness of seeing one's book in a shop

Hello, hope 2016 has been treating you nicely so far!

I'm taking a short break from writing Carter Blake book 4 and listening to David Bowie songs to do a quick blog update.

Things have been pretty busy over the past couple of weeks with The Samaritan paperback coming out. Of course, on publication day I made sure to head out to bookshops and supermarkets to see the book on shelves, particularly as part of the Richard & Judy Book Club in WHSmith...
..


I still love seeing my book in a real bookshop. I think some of the Smiths staff may have assumed I was a mystery shopper when I was busily taking pictures of their shelves.

Anyway, to coincide with publication, I've been asked to do some interviews and articles in various places. If you're interested, click on the links to check 'em out:

Susan Lobban interviews me for eReader1 as the featured author for January, grilling me on my inspirations, my typical writing day, how I deal with writers' block, advice for aspiring writers and lots of other things.

A couple of 'Top 10' blogs for two great booksellers - Foyles asked me for my top 10 locations to set an action thriller, while over at the Waterstones blog they have my top 10 thriller heroes and heroines.

Tartan Noir maestro Michael J. Malone kindly hosts me on his MJM Ink blog to give my top 5 tips on being a writer. There are 5, as the title suggests, but if you're in a rush it can all be boiled down to "write stuff", really.

Scottish Book Trust includes Winterlong in its 27 Scottish novels to look forward to in 2016. It's not really a Scottish book if we're being strict, being set in Siberia, Seattle, Kandahar, Minnesota and New York, but I'll gladly accept a place on any list that includes Chris Brookmyre, James Oswald, Irvine Welsh and Helen Fitzgerald.

And that's about it for now. I'm hoping to announce some events soon, but in the meantime, I've updated the buy page on my website to make sure you can get Richard & Judy Book Club selection The Samaritan (I'll never get tired of saying that) and The Killing Season in all formats.

If you've already bought them, a million thank yous, and please tell a friend!

Monday, 16 March 2015

Competitions and reviews and other stuff

Scottish Book Trust are running a competition to win a limited edition slipcase set of The Killing Season and The Samaritan - all you need to do is click here and tell them what your favourite crime book is (no extra points for it being one of mine).


As part of the competition, they also asked me to pick my top six forgotten crime classics, although weirdly only five are showing at the moment (number 6 is Geoffrey Household's awesome Rogue Male, if you're interested). I feel like I cheated a little including A Kiss Before Dying as it's not exactly forgotten, but it's much less well-known than it deserves to be. You'll need to go to the article to find out the rest of my picks.

Speaking of giveaways, there's still lots of time to enter to win a copy of The Killing Season on audiobook, and (not quite a giveaway, but damn near), the ebook is currently on sale at only £1.99 on Amazon.co.uk and Sainsburys in the UK.

Couple of nice reviews around the US hardcover and ahead of the UK paperback release. Book Addict Shaun gave it 4.5 out of 5 and said:

The Killing Season was an exhilarating roller coaster ride of a read and when I finished it I wanted to read it all over again. Brutally fast-paced and brilliantly addictive, I can't recommend this book enough.

Kingdom Books in Vermont liked the way Killing Season operated in the same field as Jack Reacher while changing the pattern somewhat, and said:

Cross provides plot twists that raise the ante, as well as the suspense. Hard to believe this one's a debut; I'll be watching for more of his books.

Simon McDonald thought it was a solid thriller and that:

While there’s nothing innovative on display, The Killing Season is finely crafted with a confidence that rarely radiates from debuts. It’s soundly constructed, and moves quickly, with plenty of action, and a deep-lying conspiracy that propels the novel above the genre’s riff-raff.

Other stuff


Whew, seems like there's a lot to catch up on.

Fiona at Author Interviews gives yours truly the third degree about who I am and how I came to be.

I've confirmed a few more events and will be announcing them as soon as I can, so check the events page next time you drop by.

I've been busy over at the Murder Room, with the latest of my and Steve Cavanagh's Bosch reviews, as well as blogs on three movie-inspiring noir classics: The Maltese Falcon, Cape Fear and Psycho.

And speaking of Steve Cavanagh, his debut novel The Defence is finally out - it starts with a head in a bag, a kidnapping, and a bomb strapped to the hero and gets more exciting from there. It's awesome, go buy it.

Monday, 10 November 2014

Five tips on plotting

Welcome to another fun-filled effort-avoiding installment of my periodic reposting of articles I've done elsewhere on the web.

This one was from the Scottish Book Trust, who kindly asked me for my top five tips on plotting a thriller back in April.

With a mere two and a bit novels under my belt, I don't make any claim to be an expert. These are just some things that work for me, and that may or may not be of use to other writers starting out. Feel free to pick and choose which of these to pay attention to. Rules are made to be broken, after all...


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1. First person narration makes plotting a lot more difficult

I’m instinctively drawn to writing in the first person, as it’s the purest way for a reader to identify with your protagonist. You can really get inside a character’s head when he or she is the one directly relating the story. However, this approach has its drawbacks, particularly when it comes to plotting. If the story is told from the point of view of a single character, that means that every notable event in the book has to happen while the character is there, or else has to be told to them in exposition from another character. If something exciting is happening somewhere removed from your hero, you can only find out about it after the fact.

That’s why when I began writing The Killing Season, I decided to cheat a little. The chapters focusing on the hero, Carter Blake, are told in the first person. The chapters where I cut away to other characters are related from their point of view, but in the third person. That way, I get to have my cake and eat it: the reader can be a few steps ahead of Blake, but still see the world through his eyes for the most part. It’s much easier to plot and pace the story, because the action doesn’t all have to happen to the lead character.


2. Make sure there’s regular action beats

It’s important to have key scenes that advance the plot by introducing a new element or unexpected reversal

I don’t necessarily mean action in the obvious sense; there’s no need to force yourself to insert a car chase or gunfight every thirty pages. Rather, it’s important to have key scenes that advance the plot by introducing a new element or unexpected reversal. That can be the aforementioned car chase, or it could simply be the hero encountering an intriguing new character in a bar.

3. Lay the groundwork, then go back and make sure it’s solid

Anton Chekhov famously said that if there’s a rifle hanging on the wall in the first act, it has to be fired in the third act. Stephen King perceptively pointed out that the reverse is also true.

Authors are in the happy position of being able to snap their fingers and rewrite reality whenever they choose. So if you get to the end of the book and realise you need a key element in place earlier on, go back and add it in so it looks like you meant it all along. You can see this being done in movies all the time – it’s pretty obvious the power loaders are going to come in handy later on in Aliens, for example. The trick is to weave this in so that the reader doesn’t twig that there’s a Deus in that seemingly uninteresting Machina in the background…

4. Don’t neglect character beats

Action is fundamentally important in any thriller, but I’d argue that character beats are every bit as vital. Maybe I’m weird, but the parts of a thriller that stay with me are the quiet moments when the hero is alone and in a contemplative mood. One of my favourite scenes in the James Bond novels is a short sequence in Live and Let Die where we discover that Bond is quietly terrified of flying. People say they want an exciting plot, but I think what they really care about is interesting characters.

5. Keep track of the loose ends

Thriller plots tend to be complex, because there’s usually a central mystery and you have a bunch of characters running around keeping on top of various secrets and skulduggery. That means it’s important to make sure the plot hangs together and that the fine detail makes sense. It means that what most people think is an artistic endeavour can sometimes feel more like a massive construction project. I keep detailed timelines, spreadsheets and cheat sheets everywhere when I’m writing, because otherwise I wouldn’t have a hope in hell of keeping it all together in my head.

Having said that, you should never lose sight of the fact that you’re targeting the reader’s gut, not their brain. The plot should stand up to scrutiny, but the technical work should never overwhelm the desire to tell a good story.