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On sequels

On Sequels

I've written two sequels to date and, by and large, I enjoy writing them. One of the hardest things for me, when beginning a new book, is getting to know the characters. Once I have them nailed - as in they live in the dark hole in the back of my brain that seems responsible for writing books - I can, generally, happily write a new book about them.

Up until now, however, my sequels have all been in the Abendau world. Not only do I know the characters insanely well - I can slip into any of their point of views easily - but the first book hadn't been released so there was no weight of expectation. If I write another in that world - and my plan, eventually, is a second trilogy based around the younger generation - it will be because it has exploded out of me and I'm writing it because I need to and I love to.

The sequel I'm starting to work on is different. It's to Inish Carraig, it's been asked for and will follow up a book that is popular and the one …

What’s in a cover?

This week, and coming soon to an Amazon near you – honest! I just have a few hoops to jump through first – I updated the cover to Inish Carraig. I’ve also, a few months ago, had a new cover designed by Gary at Tickety boo for the Abendau trilogy – and this is the cover I think best represents the trilogy.
Here’s that cover: 


I’ll talk about why we went from a spaceship to a picture of a person, looking determined and dogged first.
A spaceship is a great cover image for many Space Opera books. It tells, clearly, what genre the book is in, it states who its target audience is. But! There are a zillion Space Opera books with space ships on them and, frankly, they don’t tell the reader much about the story. Which is fine if you’re playing with the SO tropes and writing a conventional, space-based, story.
Which Abendau isn’t. It’s a big sprawling story about people, centred on one man. Anyone picking it up to read about space battles will be sorely disappointed. Which is why, when it c…

Filtering things

I apologise in advance of my rant. Feel free to have a cuppa, go and vote (if you're in the UK), read a book, whatever, and completely ignore me.

My long-suffering critique partners will assert that if there is one thing bound to annoy every writing gene I have on my radar, it's filter words. But, generous soul that I am, I can tolerate them in critiques - that's why we go through the hell of such matters, after all - and in my own first drafts. But when I read published books absolutely full of them, I get a rant on.

Now, let's get this out of the way. I know there is, sometimes, a place for filter words. If you want to keep the reader distant from the character, they're a tool for that. If you want to ape an older style, yes to keeping them in (remember, omnipresent narrators used to be the norm). And if you want to write in omnipresent, filter away.

But! If you want to write a book with close character interventions that will pull a reader into the character,…