Film Noir Feeds my Fiction

The rules have changed.

I’ve made no secret of the fact that Raymond Chandler’s writing is one of the inspirations for my Thomas Bladen spy thrillers, but I also owe a huge debt to cinema.  It’s my great pleasure now to introduce you to a back catalogue of films that remain classics of the spy / thriller genre. Many of them are derived from novels but for consistency I will only reference the films and I’ve added the IMDB links so you can read about the plot in more detail. I hope you find some old favourites here, as well as some ‘new’ classics to add to your own list.

We’ll come back to Raymond Chandler in a bit. First and foremost, I have to pay tribute to The 39 Steps, a tale of a man unwittingly drawn into a murderous conspiracy, who goes on the run to prove his innocence. I favour the 1935 version with Robert Donat and Madeleine Carroll, as well as a brilliant BBC version from 2008 (which includes elements from the novel that were left out of every other film). How much do I love The 39 Steps? Well, in Standpoint, Thomas watches the 1935 version with Miranda and comments on how Hitchcock changed the story from the novel. There’s also a homage to one of the film’s plot devices in Line of Sight, my follow-up to Standpoint. I put North by Northwest (1959) alongside The 39 Steps as another great example of a mistaken identity driving the plot forward. How do you win through when you don’t know what you’re supposed to know? I think it helps to have other people looking out for you from time to time.

The films Farewell My Lovely (1944), The Big Sleep (1946) and The Long Goodbye (1973) allow Raymond Chandler’s world-weary private detective, Philip Marlowe, to fill the screen; much like Bogart’s performance as Sam Spade in the Dashiell Hammett co-scripted adaptation of The Maltese Falcon. My original intention had been to write Thomas Bladen as a detective, only he arrived pretty much fully formed and had his own opinions about what he did for a living. What I love most about this batch of films is the dialogue and the characterisation. The plots are well-crafted but to me they are secondary. The ‘hero’ is flawed and his attitude is often more hindrance than help as he battles relentlessly against the tide. These films are gritty, sometimes sleazy and show the underbelly of society. Yet somehow, almost miraculously, the hero emerges with most of his honour intact. My fondness for this genre led to the creation of Leon Thurston, a West Indian private detective who plies his trade from an old minicab office in Dalston. East London. While we’re on the subject of Chandler, make time for The Blue Dahlia (1947) – it’s an intriguing whodunit that apparently involved a controversial rewritten ending…but you can research that for yourself! Like Alan Ladd’s Johnny Morrison, Thomas Bladen is a little out of steps with the world around him, but the right woman makes all the difference.

Spies yet? Well, almost. Vicious Circle (1957) finds a humble doctor (humble but with a cravat!) drawn into a deadly game of blackmail and intrigue that leads him questioning who is out to get him – and why? I’d put this one in the same category as The Man Who Knew Too Much (1934) and also (1956). Ordinary people in extraordinary times, who dig deep when they find themselves pawns in a much bigger game – much like Robert Hannay in The 39 Steps.

Both The Conversation (1974) and Enemy of the State (1998) tackle surveillance, paranoia and ethics, along with the perennial question of who watches the watchers. It is perennial too, as that phrase is as old as the Romans. In Thomas Bladen’s world, a simple surveillance job often turns out to be far more complicated and it doesn’t pay to ask too many questions (not that it stops him). The observer may seem impartial but they cannot deny there are consequences to their work. Three Days of the Condor (1975) pits one man against the ‘organisation’, by trying to stay one step ahead of everyone, in order to get to the truth and hold people in power accountable. By book five, Flashpoint, Thomas has learned that justice can take many forms and sometimes even a bitter compromise is the best option. The Third Man (1949) involves a mystery, a disappearing act with a difference and a conspiracy – how do you find out the truth when everyone is telling you something different? Its cunning and amoral titular character (compelling played by Orson Welles) dominates the film despite not being the main role. This group of films demonstrate another element that I wanted to bring to my books: unresolved endings. The moviegoer is left wondering what could happen afterwards.

I hope you’ll make time to watch all these films, even if you’ve seen them before.  

For those who enjoy extra homework, make time for:
The Long Memory (1953)Rear Window (1954) A Prize of Arms (1962)Gilda (1946)Build My Gallows High (1946)In a Lonely Place (1946)

When not watching classic cinema, I write Thomas Bladen spy thrillers - intrigue, action and sardonic humour.

UK https://www.amazon.co.uk/Derek-Thompson/e/B0034ORY08


US https://www.amazon.com/Derek-Thompson/e/B0034ORY08

FLASHPOINT – Part Five of the Spy Chaser series

After London suffers a coordinated terror attack, Thomas Bladen questions everything – his future with Miranda, his Surveillance Support Unit job and even his clandestine role as a Spy Chaser.

But his troubles are just beginning. 

When the Unit comes under MI5’s control and two senior SSU staff disappear, his search for answers is blocked at every turn. 

A missing handgun and the reappearance of old adversaries forces him into uneasy alliances and hard choices.

-       Could there be a double agent in their latest assignment?

-       What is behind the rift between government departments?

-       And what if he has got it wrong this time?

Thomas must face his deepest fears and what he discovers could change the rules forever.

Amazon UK

Amazon US

Pull the Other One - Adventures with Cracker Jokes

A ghost of Christmas past.

This is the second year I've entered the Gold Channel cracker joke competition. The fact that I'm mentioning it at all should alert you to the prospect of a happy or unhappy ending. In this case, both!

The brief was for something topical and festive, perhaps with a twist on a traditional Christmas cracker groaner. I posted 15 on Twitter and my favourite is neither topical nor festive. Maybe that's why it failed to impress the audience.

Who is Rudolf's favourite singer? Elkie Brooks!

Anyway, one of my little crackers made the cut for the top 20. Sadly for me, only the top ten get a writer's mention and mine came in at number 11. 

My winning entry.

Here are the others:

What do you give the man who has everything for Christmas? Amnesia.

Which Triumph model did Gabriel and Michael prefer?

Hark the Herald, angels sing

Which monarch drinks too much at Christmas? Good King Senseless.

How do Royal Mail staff run a strike ballot? First past the post.

What do you get if you use power tools to make the house more festive? Double-decorations.

Where does Father Christmas go to the toilet? In an igloo.

What is the Christmas gift that money can't buy? Money, unless it's foreign currency.

How do Santa's elves decide what to wear? They suit themselves.

Where do armies fear to tread at Christmas? Snowman's Land.

What is Rudolf's favourite dessert? Chocolate moose.

Where does Father Christmas go for his holidays? Easter Island.

Why did the elves give Santa cranberry sauce and mustard? They wanted to pass on the condiments of the season.

What do Santa's midnight feasts and London drivers have in common? They both pay a heavy congestion charge.

What does Father Christmas eat on Boxing Day? Quiche la reindeer.

Merry Christmas, one and all – that’s my festive motto!

Guest spot - Being Krystyna by Carol Browne

Most authors will tell you that the fictional world of their books comes from a real world inspiration. - a news item, an overheard conversation, or perhaps a personal experience that sparks off a chain of inspiration. There is another purpose of storytelling - to memorialise a true story so that friends, family and future generations can see history through the eyes of those who lived through it (and often those who did not).

I'm grateful to Carol Browne for making time to discuss her work on Being Krystyna - A Story of Survival in WWII.

1. What was it that drew you to the project?

I volunteered to write the life story of local woman Krystyna Porsz after a chance meeting with her son in a Polish restaurant in 2011; but I was a very reluctant biographer. I did it because no-one else could be found who was either able or willing to take it on and that was my only reason. I thought, “If I don’t do it, no-one will.” It seemed far too big a responsibility to me but I told Krystyna’s son I’d give it a go, even though I was convinced I wasn’t up to the job. I write fiction. I make stuff up. I assumed non-fiction would be completely different.

2. Did your approach differ from writing fiction?

I discovered that non-fiction and fiction aren’t so different after all because the author still needs to provide the reader with a compelling read. It can’t be written as a chronological series of events or it will be very dull. In the case of Being Krystyna - A Story of Survival in WWII, although I had the facts of Krystyna’s life, they amounted to a few sheets of A4 paper, hardly enough material for a book. So I had to build a structure to hang those facts on, very much like creating a plot for a work of fiction. A young Polish friend of mine had visited Krystyna on two occasions and I used her as a narrative device, so we see the story unfold through her eyes. This gave me much more opportunity to expand the text while still being true to the available facts. It also added another dimension to the story, comparing the very different life experiences of two Polish women.

Additional challenges, however, present themselves when you remember you are dealing with someone’s actual life. Writers of fiction know that characters are apt to take on a life of their own. They seem real to their creators and as authors we want to portray them in their best light. When you are writing a real person’s story, this becomes vitally important. The sense of responsibility the author feels is magnified. For me, writing about Krystyna, it was off the scale; here was a very old lady whose ability to communicate was seriously hampered by dementia. There wouldn’t be any chance of being able to discuss the book with her. There wouldn’t be any feedback. While I was writing the book, I kept thinking, “If this were my life story, would I be happy with how it’s being handled?” That was my benchmark all the time and I’m confident I kept to it.

3. How did the experience change you?

Writing a real person’s story is a challenge. It’s hard work. But I recommend it, especially if that person’s life is drastically different from your own. It’s an enlightening experience. It will broaden your mind and test your ability as a writer. It will give you the opportunity to write something that really deserves to be written. I only met Krystyna once but I made a point of shaking her hand before I left. I needed to physically touch someone who had survived the Holocaust, who had lived a history I had only read about or seen on black and white newsreels. Krystyna Porsz is a truly brave person. A survivor. I’m grateful not only to have met her, but to have had the honour of telling her story.

4. Where can we find out more about Being Krystyna?

Being Krystyna is available in Kindle format on Amazon.

Being Krystyna (UK): http://tinyurl.com/hanoycg

Being Krystyna (US): https://tinyurl.com/ya6gn7c5

You can visit the website of my publisher, Dilliebooks:  https://www.dilliebooks.com/ 

I also write other books and you can find my blog at https://authorcarolbrowne.wordpress.com

This Old Thing - why writers shouldn't hide their light

I'm fortunate to know many writers, each at different stages of their craft, and I've yet to find one who really celebrates their talent. True, there is the social media 'woot' when a chapter is completed or a word count is reached, but ask them to take a bow and you can practically hear footsteps receding into the distance. 

I think our US cousins have a more expensive approach to their moment in the spotlight, although even there I've seen proud pen smiths become shrinking violets. So this is pep talk for all writers, only with a difference. I'd like to remind them - and readers - about the perils, pitfalls, and dark clouds we weather as part of our literary obsession.

1. Writing is an amazing, imaginative and, on occasions, transformative process, but it is not without its shadow side.  Despite the tropes of a four-hour typing flourish with words streaming perfectly on to the page, entire and cohesive book plots arriving in your consciousness like the morning post, and characters introducing themselves fully formed with back story (although this one has happened to me a few times), the elephant in the writing room is that it’s bloody hard work. 

2. Maybe it’s changed now but when I was at school, creative writing was simply about telling a story and playing with ideas. Nuance, style and technique were prizes of serendipity and not hard-won achievements. Now, when you write to be read you can’t help but be aware that someone will (hopefully) sit down with your book and a cup of tea (other beverages are available), eager to get their entertainment quotient for the cover price. When you disappoint them you also feel that you've disappointed yourself and your craft. (Sometimes you can also hear the muse crying or ranting in a corner!)

3. The creative process is a solitary one and it has to be. You can’t enter fully into your own inner world if you’re still being pulled by the outer one. To misquote from my yet-to-be-contracted US novel, it’s a little like building castles in the air and then choosing the furniture.

4. Once you have written your book and gone through the seven levels of hell that are editing, deciding along the way that you love / hate / love / hate / are indifferent to your opus, you then put your baby on the stage and start contacting agents and publishers or prepare for self-publication (where you are responsible for everything). If you are successful you will attract the praise, wonder and ire of your peers - most of whom you’re never likely to meet except online. But hey, you’ve climbed a rung and those who have not are entitled to their own take on the situation. Well, as long as your editor or agent isn’t a family friend or a member of your family. That state of affairs is never going to win you friends and will dog you like a bad smell – irrespective of the actual artistic merit of your book. There is no entitlement in writing, but heaven help any writer who appears to have been given a side door into the magical world of publishing!

5. Let’s move the calendar forward. You are officially a published writer. Now you can call yourself an author and everyone will want to know what you write (insert genre prejudices here!), who is publishing you (and who has heard of them), whether it’s going to be out in paperback or ebook (e-sniffiness is an allergy affecting many writers), and the $64,000 question – will you be receiving $64,000? The question is a strange one since, in my limited experience, no answer is a happy one. Explaining that there was no advance will earn you the pitying look one gives an old Labrador Retriever that’s in its dotage, while a modest advance merits a nod of condolence. A large advance, meanwhile, earns you an enthusiastic response that translates as ‘you lucky (and probably undeserving) bastard’. 

6. The calendar skips along and your book is out there for all the world to see. Your greatest challenges are now, in no particular order:

a) Promoting your book without abusing the hospitality of your fellow writers, sounding like a cracked record, and spending so long on social media that you stop doing any further writing.

b) Not checking for book reviews like an addict. 

c) Finding new angles to promote your work.

d) Not  oversharing your happiness about your success, or – worse in my opinion – underplaying your success. I’ve seen it several times where writers have really gone through the mill and put their lives on hold to finish a book and then take on an attitude of ‘what, this old thing – it’s just a story really’. No. Bad writer. You jolly well stand there and take the credit for your efforts. 

To do otherwise is disingenuous at best and self-sabotage at worst. And it absolutely won’t help you sell books, which is part and parcel of your role as an author.

7. As bright at your star is, and as well received as your book will hopefully be, you will meet critics along the way. Some will have valid observations, some will have chosen your book unwisely, some will feel their expectations have not been met, and some…well…some people enjoy finding fault. 

Your star will usually fade – I won’t say inevitably as some authors buck the trend. Often though, sales decrease, other writers come along to steal your thunder and friends of yours who were behind you on the trail catch up and may surpass you. Celebrate their success with them and give them all the support you can because you know, from experience, the rocky path they’ve travelled.​

Derek

Amazon UK https://www.amazon.co.uk/Derek-Thompson/e/B0034ORY08

Amazon UK https://www.amazon.com/Derek-Thompson/e/B0034ORY08

To write or not to write?

The hidden ingredient in every piece of writing.

Ask most writers, whether they are starting out, seasoned, or overcooked, and they all tell you the same thing - they write because it's a compulsion. It's the nagging internal voice when you read someone else's below par writing that whispers, "You could do better than this." It's that same voice when you're amongst other people that nudges you and mutters, "Write that line down." It's also the barely heard wraith of a voice through the fog of your self-doubt that reminds you to keep going.

It can be so, so easy to fall out of love with writing. There are more challenges thrown at you than Romeo and Juliet had to contend with. They could have simply eloped, although it would have made for a much shorter play.

Reasons to doubt yourself as a writer:

1. The first draft is awful. On a par with a two-month old piece of cheese left at the back of  the fridge.

2. Unlike a rather lovely 1945 film, you frequently have no idea where you're going. And sometimes you'll need to turn back or head off through the thicket.

3. Countless writers do it better than you and are doing better than you. And you can read about them online, in newspapers or in bookshops.

4. It can be a hard slog to grab the attention of an agent or a publisher, and even then there is no guarantee of a contract. And even a contract is no guarantee of sales.

5. Everyone is a critic, and those who are the most critical are not shy about it. They will vilify your paper / electronic children and in so doing humiliate you. They will insist that they have 'found you out' and unmasked you as a pretend writer. In fact, they are often so busy doing this that they have no time to write their own masterpieces. Now that's what I call sacrifice and public service.

6. Talent, plaudits and sales are not the same thing. Let's not forget that even Jane Austen was a slow burner. 

7. You rarely feel your final version is the final version. However, over-edit at your peril.


Reasons to stick with it:

1. You have absolute freedom to write absolutely anything. How brilliant is that?!

2. You and your writing develop simultaneously. The more you understand about yourself and life, the more you can pour that into your writing. Conversely, reading other people's work and examining your own creative process can enrich your life. [The one non-writers jokingly refer to as 'the real world' (whatever that is).]

3. Sometimes, when you write there can be moments of magic - unexpected insights, characters talking back to you and guiding the pen, or the threads of a book converging like the final note in The Beatles' A Day in the Life. Who wouldn't welcome a little magic into their lives?

4. You could finish a book. A book. By you. That book can then be read by other people, giving them a visitor's ticket to your inner world.

5. You can connect with a worldwide community of writers who understand your challenges on the page and can sometimes help you through them. 

6. Your writing can lead you to interesting and unimaginable places. Not just publication, but opportunities you've never even dreamed of. I wrote 100 funny slogans about socks, co-wrote a magazine for a while, and also scripted a short comedy film script because I stuck with writing and gained the confidence to put myself out there. 

7. Your stories are unique to you. An individual perspective that no one else can replicate. Think about that. Little me or little you, staring at our screens and creating something from our own experience and imaginings. Giving form to ideas and emotions that the people can then experience for themselves.

Now, what are you waiting for?


Derek
My books live here. Not everyone likes them and that's okay too!

When Words Collide

No sense sitting on the offence.

As I progress with my fifth thriller and tie myself in knots with middle class angst about some my working class characters' attitudes, I'm quite attuned to our propensity to get things wrong. Getting it wrong doesn't mean you're necessarily prejudiced or bigoted. You could just be thoughtless. On the one hand, your characters need to speak and act freely to fulfil their literary destiny. You could even argue that the point where you cringe as you're writing is also the cut-off point where you step outside your boundaries and start to inhabit their perspective. On the other hand, frankly, you may need to think about where you're being authentic or just trying to be clever. 

I write jokes that occasionally find their way into live performance (and even less occasionally - like almost never - onto radio). It's so easy to offend a section of the populace without even meaning to. Not just bucking the trend or subverting the form but out and out pissing people off.

And speaking of 'out', something really interesting happened recently that illustrates not only how easy it is to get it wrong, but how that misfortune can occur even when it's a cause that matters dearly to you.

Pride in London went for 'humour' in its Love Happens Here marketing for London's Pride Festival (now running until 9th July). It missed the target by a wide margin and managed to offend the LGBTI community. In particular, the use of the word 'gay' as irony (that's my take on their motive) was subsequently considered misjudged after being interpreted as a pejorative term. 

You can read about it here:

http://www.bbc.co.uk/news/uk-40446096

It's a reminder that words have power. Forget all that 'sticks and stones' nonsense. As an example, ask any child or adult who has been bullied and they will be able to vividly recount what was said and how it made them feel. 

We all have a responsibility for what we communicate and how we do it. Writers can and do walk that line between expression and censorship, and sometimes we cross it. It's our freedom to do that, but we have to accept that others may see that as a step too far. Unlike fiction, life can be messy and remain unresolved. In the above case, there's an added dimension, which is the impact on other people who might go on to use the words.



Have any writers out there ever misread the mood with a piece of writing? And if so how did you recover the situation, or did you let it stand?


Derek

Author of the Spy Chaser series, which so far has only managed to offend a few readers.*

UK: https://www.amazon.co.uk/Derek-Thompson/e/B0034ORY08

US: https://www.amazon.com/Derek-Thompson/e/B0034ORY08



* Swearing, a shower scene, violence, and - bizarrely - a lead character expressing too much emotion. 

Music for Writing

I can hear music. Not just a brilliant track by The Beach Boys (and also nicely covered by The Ronettes), but also a statement of fact. Why? Because generally I write fiction to a musical backdrop. 

When I work on a novel I use different types of music to get into the mood of a scene. Classical music and jazz (especially Chet Baker) are favourites but sometimes an individual track will capture the essence of a moment, or complement a section of dialogue. As my Spy Chaser owes a debt to Raymond Chandler, I find anything with a noir feel to it opens that magic door to the active imagination. 

A haze of smoke lingers and I see shadows beyond it where Thomas Bladen is waiting for me, leant against a faded brick wall, looking at his watch. He glances over and nods to Karl McNeill who is standing by the opposite wall, eating a bag of crisps. A haunting bassoon lends a melancholy tone to the steamy night air... And then Miranda Wright strolls along the alleyway, doing her slinky walk for Thomas's benefit even though her eyes are fixed on that doorway where I listen to her approaching steps. She pauses, just ahead of Thomas and Karl, facing me down. Her lips part, breaking the streetlight glint, and then she takes a breath. I hold mine in anticipation  and she smiles momentarily before bestowing her wisdom. "Maybe if you stopped pissing about so much you'd get the book finished?" She raises an eyebrow and then turns, her heels tapping out a sensuous beat that recedes into the night. Thomas and Karl follow in her wake.

Miranda has a point.

It's been a funny old year. An illness and then a death in the family, bloodshed on Britain's streets and a seemingly never-ending conveyor belt of tragedy, politics and other bad news. Oh yeah, and I took a short holiday for the first time in two years. Sometimes the page reflects with near perfect clarity, even if no one else can see it.

But the thing is, writing doesn't always have to change the world, or make things better - even for ourselves. Writing is about the story - the characters, the dialogue and the pulsing heart of it. So I'm back now, cocooned by music to dissuade me from leaving the confines of my writing desk. Well, I say confines but really it's the stepping off point. 

And speaking of music...

Before Standpoint was published I put together a soundtrack of the book, selecting music to accompany the film. Now that it is published, I'm still rather fond of those original choices.

I'll keep this as spoiler-free as possible!

I'd open with I Specialise by Christine Collister & Clive Gregson. Who couldn't love Christine's powerful voice, conveying cynicism and indifference. Another option would be Someone's Looking At You by the Boomtown Rats.

I have several tunes for Thomas and Miranda, depending on how things are between them: 

I Can Hear Music by The Beach Boys, Will You by Hazel O'Connor, Here with Me by Dido

and Kiss the Rain by Billie Myers.

One song always make me think of Thomas and his trips to Whitehall is The Queen and the Soldier by Suzanne Vega. 

When it comes to Thomas being back amongst his family in Yorkshire (and confronting his father) it has to be The Story of the Blues Pt 1 byThe Mighty Wah. 

It's Bridge of Spies by T'Pau when Thomas is alone, on the North Yorkshire moors, heading off to confront the bad guys.

And the final tracking shot, as the dead are counted along with the cost? I Saved the World Today by Eurythmics.

Readers of the sequel, Line of Sight, will know that Karl has a theme song, sort of, which is another story altogether!

Do you write books and what importance does music play in the process?

Do writers need boundaries?

Vive la difference!

I'm at a really interesting point in the novel I'm writing. And I know that because it's making me uncomfortable. It's not violence or sex or swearing; no, it's more subtle than that. It's about religion and culture. More specifically, religion and culture that aren't mine. 

I've recently had some brilliant email conversations with Lynn Michell, founder of Linen Press, and it's been fascinating to see where our thinking aligns and where it diverges, when it comes to books. We've chatted about the tropes in genre fiction and how, for example, some of the archetypal characters in noir don't play so well out of context, or in a more modern one. It all got me thinking about the boundaries writers place upon themselves and how that can either be a blessing or a curse.

Sometimes when you create a character with a walk on role there is something about them that makes you want to spend more time with them. In Line of Sight that spotlight fell on Thurston Leon, a West Indian private detective based in Dalston. Then (same book) there's Stuart Fraser, the Scottish bloke working for Special Branch over in Belfast. And let's not forget the two cops from Shadow State, Karen Edwards and Jun Wen - a black Brummie and a British Born Chinese detective. You see where I'm going with this now?

The BBC website ran a piece recently about how prolific author and TV writer, Anthony Horowittz, was cautioned to not create a black lead character because he is white. I don't anticipate having a profile that high any time soon so it's a moot point for me, but one that I have considered anyway. Sometimes ethnicity, religion and culture are entirely secondary to a character because they either aren't relevant to the story (and let's face it, I'm talking about my stories here), and sometimes there isn't space for that secondary character to get more than her five minutes on the page. And sometimes, for a whole heap of reasons, I don't feel I have the skill to do it well enough.

But when a fear of being labelled patronising or concerns of allegations of tokenism prevent literature (or any aspect of the arts) being diverse and, well...imaginative...I think we have a problem.

My fifth book in the Thomas Bladen Spy Chaser series stumbles into that maze because it takes place during the 2005 London Bombings. There are a few changes to the team and an assignment that forces people to confront their values and prejudices. 

As writers we're so used to Mark Twain's 'write what you know' advice. (Or Hemingway's, if you prefer.) And you've probably heard my own updated version, which is 'know what you're writing about'. When it comes to diversity and inclusivity, I think it's more important to just get out of the village of our own experience. We need to be able to write about people we don't know, so that some of our readers can meet new people too. And not merely perfect, politically correct and sanitised stereotypes, but real, flawed and surprising people. 

Anyone who has read the series so far will know that I like to bring characters back from other books - Jack Langton, Sheryl, Sir Peter, and even Bob Peterson (I have a soft spot for Uncle Bob!). This time, MI5 operative Rupee Tagore also returns to Thomas and Karl's world. She was always there, on the floor below.

Writers need boundaries to see how far we've come and then how far we're willing or able to go. Beyond that, we're into the wastelands of taste and the quicksand of appropriateness.

It's a sad fact of our interconnected world that whatever you write, pretty much, someone will take issue or offence with. That's lesson one from social media! I believe, as writers, we have to be true to the muse and to how faithfully we can express our imagination on the page. It's a process, a continual momentum against that formless boundary made up of our own preconceptions and society's mores. When we lose that momentum we become static, trapped in the confines of our own experience, culture and identity. It's not that we have to continually push and risk offending or challenging; it's that we need to feel free to explore the other when the muse takes us. 

My books live here!

Who Owns Your Books?

Now you see me.

When it comes to books, the word 'ownership' can mean different things at different times.

Who owns an idea?
Nobody. Try copyrighting an idea and be prepared for laughter and disdain.


Who owns a completed manuscript?
Unless you've been paid to ghostwrite a novel, ownership rests with the author. The laws on copyright different between the UK and US, so as this is a mixed audience I will simply say that in the UK copyright exists (but would still require proof if there was a legal challenge) from the act of writing it. The Society of Authors has some brilliant information here:
http://www.societyofauthors.org/Where-We-Stand/Copyright


Who owns your book once it's contracted?
You own the manuscript and you enter into a contract with an agent or a publisher. They own their edited version of your original manuscript. No matter how many drafts you've gone through, an objective editor will find more gold and cut away more. Their contract permits them to do certain things with your manuscript and specifies which of those actions requires your prior approval.


Who owns your book once it's published?
You and the agent / publisher retain the same proprietary interest in the book, but the reader owns their copy. Now, here's the thing, they may also have an emotional investment in your characters and their adventures, which - I would argue - is every bit as important as the nuts-and-bolts ownership principle. If you disappoint them during that book or in any subsequent book, they will vent their frustration online or by word of mouth. Once you become aware of this factor it can be a challenge to balance what you want to write, what your characters want you to write, and what your audience expects. 

I have spoken on this blog before about the principle of 'the same but different'. However, different can mean different things to different people.

The BBC website recently reported that JK Rowling  tweeted her apologies for killing off Professor Snape in the Harry Potter series. Some would argue that the plot demanded it and that there's a certain logic in his demise. Others were so attached to Snape (and, of course, Alan Rickman who portrayed him) that it felt like an act of literary cruelty. 

I ponder all of this as I write my fifth book in the Thomas Bladen Spy Chaser series, and I'm mindful of the feedback I've received, including:
- Isn't it about time that Thomas and Miranda settled down?
- Is there an ultimate revelation at the conclusion of the series?
- Is Book 5 the end of the series?
- Why isn't Thomas more macho?
- I hope you don't kill someone off just for the sake of it.

Without giving away any spoilers, my statement to the imaginary panel is:
Someone dies in each book. I won't name the dead but I make it a body count of at least eight so far. Thomas has shot five people, been wounded by one, and restrained himself from shooting someone on at least one occasion (not counting a familial near-miss!). How much more macho do you want him? Thomas and Miranda's relationship has its own carousel of baggage, but it has also evolved through the series. Book 5 continues that journey. Is it the end for Thomas and Miranda and Karl? That depends on the readers and what they want. Of course, a TV deal would certainly help bring Thomas Bladen to a wider audience! And yes, there is a revelation of sorts in Book 5. It's subtle, but it is there.

Now, if you'll excuse me, I have gun battle to conduct. Or do I?

Derek


https://www.amazon.co.uk/Derek-Thompson/e/B0034ORY08

https://www.amazon.com/Derek-Thompson/e/B0034ORY08