Author: thousandmonkeys

Crowdfunding hitches: the skint and the tight

Crowdfunding’s been around for a while in its modern form, and even Victorian novels were sometimes funded by pre-orders, but publishers who use crowdfunding to support their new books are having a surge in popularity (or publicity) at the moment. Dead Ink and Unbound each had a few books on the Guardian’s Not the Booker Prize longlist earlier this summer, for instance, and I know that 3 of Cups Press are funding their first anthology at the moment via Kickstarter. It feels like half the people I follow on Twitter have crowdfunded novels or short story collections either already out or in the pipeline.

Naturally enough, I went to pledge for one of these books this week on Unbound and got a shock at the prices. First off, note that while the author isn’t someone I’ve met, we have a few mutual friends/acquaintances (in real life, not just online) so I’m naturally inclined to do him a good turn. Secondly, having read the blurb it’s a novel I’d choose to borrow if I ran across it in the library, so from purely selfish reasons (getting hold of a book I want to read) I want it to get published. Unfortunately it looks like the cheapest option is £10 for an ebook (which I didn’t want), £15 plus postage for the paperback, with (as far as I could see) no option to chip in a smaller amount as a simple donation. It stopped me from pledging, and I bet it stops others as well. There needs to be a lower threshold.

Now, before we go any further I’ll do my usual disclaimer about supporting the right of authors, proofreaders, editors and all the rest to reasonable remuneration for their time and effort. However, that £15 seems a bit steep compared to £7.99 or £8.99 for a full-price paperback, and we all know that in reality via Waterstones 3 for 2 offers, Amazon’s undercutting or supermarket bestsellers, many paperbacks aren’t even purchased at full price. Even if someone’s used to buying full-price new books, you’ve still got to give them an incentive to buy yours rather than the new one from the big name, the prizewinner, or their favourite author. So what’s the incentive to pay double here? Well, apart from the warm glow at supporting an independent publisher or encouraging an author, you get your name in the book. For higher pledges of course you get extras, special editions, original artwork, meet the author, that kind of thing, which seems fair enough. I’m not bothered about getting my name in a book though, I’d rather have the opportunity to buy the paperback at normal paperback sort of prices. Or just donate a small amount, get nothing but the warm glow in return, and maybe buy the book later once it’s out and I’ve got more spare cash.

Once I’d thought about it a bit I wondered if this is another instance of the long-running ‘privileged backgrounds in publishing’ saga (see also my recent posts about the cost of writing competitions). Both Dead Ink and 3 of Cups Press happen to have slightly lower prices than Unbound for their ebooks and paperbacks, but crucially they both have donation options. If you can only spare a quid this week, you still get to feel like you contributed towards a publication that means something to you, even if you don’t get a copy of the book out of it. I was once chatting to a student environmentalist (accentless, bit snobby, apparently from a well-off background) who couldn’t understand why everyone didn’t switch to eco-friendly brands as the prices were so similar and clearly it was the right thing to do – I remember trying to explain to this bemused lad that for many people the choice is not between Andrex and Nouvelle or Fairy Liquid and Ecover, it’s between the value brand and the eco version, and their budgets simply might not stretch that far even if they thought it was a good idea. As I confessed to Sam at Lounge Books on Twitter this morning, most of my reading material comes from the library, charity shops, or I get review copies. Before the reviewing it was mainly libraries and charity shops, and most of my family and friends are the same – for us £15 isn’t just usurping two novels we’d buy in the shops, it’s more like five on the expensive side from Oxfam or 30 from the charity shop near my parents. Crowdfunding publishers might be asking for a bigger investment from us than they think.

Summer story and science storytelling

As promised last week, here’s a link to my story Summer of ’96 at The Fiction Pool. I wrote it in June for the Ilkley Writers summer-themed evening of readings, as I mentioned at the time. Everyone will get something different from it, such is the nature of these things, but partly it was about it being time to move on, about not fitting but not necessarily seeing that as wholly a bad thing. I left school in the summer of 1996, aged 17, but I assure you I didn’t go to the coast with my friends and the story is entirely fictional (though Benjy has an element of a lad I was good friends with at the time). Though the link might not be obvious the story burst forth from my repeated relistening to Born to Run when I was reading the Springsteen autobiography of the same name, and the length and rhythm of some of the sentences are directly a result of that. They were kind of hard to read out, particularly with hayfever, so I’m glad it’s in print now and you can all read it for yourselves instead.

Another thing you can read if you’re of a mind is an article in the SciArt magazine STEAM special, about Alice Courvoisier and I doing science-related storytelling in York last year (which you may have read about here at the time). STEAM stands for the usual STEM (science, technology, engineering, maths) plus arts, and the special supplement is full of people from universities talking about interdisciplinary education. I had a minor moment of excitement at being on a contents list with someone from MIT (you may need a physics background to truly appreciate that).

A dystopian moment for your reading pleasure

There’s a slice of my dystopian imaginings over at Visual Verse, less than 500 words so it won’t take you long and you can read it via this link. I recommend dipping in to the other responses to the prompt photo as well, it’s amazing the variety that one image can spark off.

I don’t have anything else new for you to read yet, but I did have an editor express interest in the sound of the sci-fi noir novel (the one I’m reworking, if you recall) this week. A good sign, and simultaneously confidence-boosting and terrifying. Will the manuscript live up to its description? Only time will tell.

This month has brought a spate of near-miss rejections full of praise, urging me to submit again soon, but ultimately unable to find a home for my stories. The one that included the line This is the best flash fiction I’ve read this year almost made me cry – if I’m hitting the heights and still can’t make it, what chance is there? All is not doom and gloom, however. I have a cliche-ridden 150 word story available for your amusement (story number 16 on this list) as part of a project arising from a recent flash fiction festival which is intended to grow into a charity anthology. I’ve also got a story coming out at The Fiction Pool soon, I will of course give you the link once it exists.

The Manual of Detection by Jedediah Berry

Listening to Toby Jones doing an excellent job of reading The Manual of Detection on the radio ( reminded me of the book review I wrote 5 years ago. It’s still a good book, and I think it’s still his only novel.

The tip-tap of monkey keyboards

The Manual of Detection is fantasy noir, one of my favourite genre-blending combinations. First published in 2009, it won Jedediah Berry a couple of awards, and seems to be his only novel to date.

Charles Unwin is a clerk at the city’s gargantuan detective agency, efficient and ordered. He works on the fourteenth floor, is not permitted to speak to the detectives from the 29th floor, the watchers from the thirty-sixth, or visit the archives where his meticulous files find a permanent home. The only logical descriptor for such intricate, compartmentalised and rigid bureaucracy is Kafkaesque, but at least at the start it doesn’t feel sinister. Unwin is comforted by his known and predictable place in the vast machine, and proud of his achievements therein; this is Kafka wearing warm socks, drinking cocoa, and cuddling a purring cat.

Unwin has been assigned for many years to the agency’s star detective…

View original post 201 more words

The Watchmaker of Filigree Street by Natasha Pulley


I kept seeing this book advertised with a cover that looked like it should be speculative fiction, and noting it was described as historical, and passing over it. Eventually I read the synopsis, decided it sounded intriguing anyway and got it out of the library (from the general fiction shelves, not SF). It does have a historical setting but I don’t see how the main point of the book, which I can’t reveal without spoiling it for future readers, could be anything other than fantasy fiction. Besides which it contains a physics student and some ornate clockwork – if you’re at all of a fantasy bent and you like a Victorian setting I highly recommend it. Even if you’re not particularly of a fantasy bent but you enjoyed The Hourglass Factory by Lucy Ribchester you’ll probably love it.

A dull civil servant who didn’t particularly mean for his life to turn out that way inexplicably finds a gold pocket watch on his bed one day. Months later it saves him from an Irish bomb in Whitehall (Clan na Gael, this is the 1880s not the 1970s) and he tries to find out where it came from. Meeting the strange, lonely Japanese watchmaker changes his life. Meanwhile a young woman with a Japanese friend is finishing her undergraduate studies in physics and is desperate to finish her experiments on the ether before her parents can marry her off. All these lives eventually collide with fascinating consequences.

I can’t quite explain why but it felt like a delicate book, perhaps it was the intricacies of the plot (the clockwork theme, cogs, wheels within wheels are echoed through everything) or the descriptions of tiny pieces of machinery, hair-thin wires, fine Japanese porcelain. It made me feel as though I was holding my breath, and as though I was right there with the characters (even if where they were didn’t feel like an absolutely historically accurate Victorian London). There’s a lot about love and duty in it, and the idea of lives turning on the tiniest event which might seem inconsequential at the time. It was intriguing, beautifully written, and I thought it was refreshingly original in a nicely thought-out setting. I’m glad I finally picked it up.

The death of the apostrophe

I am the sort of person who tuts at a greengrocer’s apostrophe, though I wouldn’t go as far as the chap in Bristol. Mainly I don’t see what the big confusion is, the Ladybird Book of Spelling and Grammar has stood me in good stead for over 30 years and if you can pick the main points up from that it can’t be that difficult. However, I’m willing to concede there might be scope for confusion occasionally (more of which anon) and whether it’s hard to get right or not, do we actually need it? I started thinking about this after listening to Bill Bryson’s Journeys in English, in which he discussed the imminent death of the apostrophe which is clearly in difficulty and has only been around for a couple of hundred years anyway. More a passing fad than a rule set in stone.

The biggest ‘do we or don’t we’ is its (belonging to it) and it’s (it is or it was, a contraction like don’t). OneMonkey points out that it’s and its sound the same and we rarely struggle with verbal comprehension due to their different meaning. What is the apostrophe (or any punctuation) for? It’s to tell us how to read something out or to alert us to a different meaning. When we listen to someone we pick up on the different meaning without the aid of seeing the apostrophe so it can only be necessary to make us realise immediately how to pronounce it, to stop us hesitating over a sentence. As we’ve noted, its and it’s sound identical so it doesn’t apply here. However, consider: we need to read ahead to check we’ve read and understood the sentence correctly in order to read it out successfully. Same spelling, no modifying punctuation, different pronunciation and tense and yet we cope with that ‘read’. Do we need the apostrophe at all?

With don’t there’s no confusion if you take the punctuation away, I’m not aware of a word spelt dont that it could be mistaken for. The same goes for shan’t, didn’t, needn’t etc. With won’t and can’t you come up with the existing words wont and cant, pronounced differently but surely just as easy to spot the pronunciation from context as in my ‘read’ example above. I’m not about to say ‘as was his wont’ as though wont rhymes with don’t. And I can’t remember the last time I used cant in a sentence.

I had thought you’re and your sounded the same and so were currently distinguished by context in verbal communication, but I tried saying some examples: You’re off to Bradford on your own, are you? You’re responsible for your daughter. I’m now not 100% convinced I pronounce your and you’re quite the same, I don’t pronounce them consistently in the two examples given anyway (3 or 4 different pronunciations I think). They’re close though, even if not identical, and again we don’t usually struggle with them verbally.

Where I do struggle is the occasional uses that the trusty Ladybird guide doesn’t cover. My general rule is that if you know what something means, why you’re doing it, it’s easy to tackle previously unseen situations. But when I say I’m going to the doctors, am I saying a shortened form of ‘I’m going to the surgery belonging to the many doctors in the practice’ or ‘I’m going to the office of my GP’? That is to say, do I need to write doctors’ or doctor’s? At school I seem to remember being taught that words ending in s only have an apostrophe not ‘s to show possession, yet having worked at a university where medical teaching happened in St James’s (always with ‘s) I just followed the local convention and tried not to worry about it. Working my way through that I begin to see how its (belonging to it) looks like it should have an apostrophe to go with other belonging-to words like doctor’s, and it only makes sense if you consider that it follows yours and his.

In my lifetime ‘phone seems to have disappeared as punctuation indicating we’ve chopped the first part off telephone. I was taught to write it like that though I suspect it was old-fashioned even in the early 80s. Not so long ago I would have written ’80s there, now I hesitate and wonder if it’s necessary since you all know exactly what I mean if I drop the punctuation. Language changes, that’s one of the fascinating things about it, and while there are some things I would hate to lose, I value the connection with language more than any particular part of it. By which I mean, I like to know where words and phrases come from and I think it’s the sort of thing that should be taught to children – not only would it make some things easier to remember or work out, but it would also stop mixed metaphors or inappropriate phrases that get dropped in because people don’t actually know what they mean (I hasten to add I’m not claiming to be immune from such clumsy use on occasion). If by knowing what we’re trying to say and knowing how confusing it’s likely to be, we gradually agree to ditch the apostrophe (and it doesn’t have to be all or nothing, we could keep it here and there if we particularly need it) that’s surely better than firmly resisting its demise simply because it’s a rule in a (relatively recent) grammar book.

Rewriting a novel, a cry from the midst of chaos

Three and a half years ago, you remember, when we were all younger and more enthusiastic and had more energy, I started writing a sci-fi noir novel for NaNoWriMo. Because of a bad back which turned out to be a slipped disc, I wasn’t carrying my miniature computer with its heavy battery, instead writing longhand in a purple notebook at lunchtimes and on the train. As usual with me and NaNo, the 50,000 word target drifted way past the end of November and it was January before I declared myself finished.

In between all the other stuff, and allowing for the periods where I couldn’t face sitting at a computer (that back thing again) I eventually got the raw first draft typed up. Then I printed it out, wrote on it, crossed things out, split it into chapters and amended the file accordingly. And left it alone for a year.

In the meantime I re-read a couple of how-to-write-novels books and had a long think, and came to the conclusion that I had major flaws, possibly a character that didn’t need to be there, and not enough tension. I also realised that I didn’t know my world, despite the maps I’d drawn at the beginning and the history of the state that I’d dropped in here and there. I sat with a stack of scrap paper and wrote myself a list of questions (140 so far) ranging from the vague ‘What is really going on vs what appears to be going on?’ to the incredibly specific ‘What does Maud’s cafe smell like?’. The latter has no bearing on the plot whatsoever, but it felt like something I needed to know.


Even if you can read my writing I don’t think it gives anything away

So I haven’t forgotten you, dear reader. In fact it could be said that I’m doing this for your benefit, as maybe someday some of you will read Sunrise Over Centrified City and you’ll thank me for making a better job of it. Now I must get back to answering such pressing questions as ‘Are all the barges pulled by horses?’ and ‘How old is Greg?’.