Gavin Smith is the author and co/author of 14 books, a couple of novellas and multiple short stories. His books include (but are not limited to) Veteran and its sequel War in Heaven, the Age of Scorpio Trilogy, the Bastard Legion Series and Spec Ops Z. As well as having written for Black Library, Gavin wrote the novelisation of the Sony Pictures Bloodshot movie and Marvel’s Original Sin series.
Within the games industry he has worked with Yoozoo, Ubisoft, DPS Games and CCP. In addition, he has optioned several film scripts.
And his new book ALIEN CULT is murder mystery noir set in the ALIENS universe and I can’t wait to discuss it with him!
Sorry folks, but the next livestream is now on Monday 3rd November, 8pm GMT. My apologies for any inconvenience!
Pernille Hughes is the author of TEN YEARS, PROBABLY THE BEST KISS IN THE WORLD and PUNCH-DRUNK LOVE; novels brimming with warmth, wit and unforgettable characters. And now she’s back with her new novel A COPENHAGEN SNOWMANCE, which is here to herald in Christmas. Yes, I said the C-word! What of it?? Join the conversation LIVE on Monday 3rd November at 8PM GMT for what promises to be another cracking episode of the podcast that dares to shop early for Christmas.
Rowan Coleman is the internationally bestselling and award winning author and screenwriter of many novels including THE MEMORY BOOK, THE SUMMER OF IMPOSSIBLE THINGS and THE GIRL AT THE WINDOW.
Her latest novel NEVER TEAR US APART is out now, and under the name Stella Hayward she’ll be publishing THE GOOD BOY in September (about a dog who turns into a man)…
Do please join us live as you’ll have the opportunity to ask Rowan questions on the night (we’ve also written on a number of projects together, and we’ll definitely be chatting about that!). It’s going to be so much fun. Thursday 24th July 8pm BST.
A reminder: the live show is just that, live and raw and things can go wrong including stuff that gets edited out of the final podcast, but… it’s also your opportunity to ask questions of the guests. So if you have a question for Rowan, join us and get involved.
MARK: What small thing has made a big difference to your creative process?
NICOLA: I think planning the middle, really. Because I used to plan the end and then, you know, your characters do their decisions, and then it would be like, hey, guess what? This 90,000 word novel is 130,000 words. And now I’m like; if I know the middle, it is much easier to stay on track. I think that’s probably the biggest change for me. I think in terms of, yeah, stopping me from going absolutely bananas. But also like a piece of information like… we talk about the German market: I was in a, a workshop with Imogen Cooper, and she said that if you translate a book into German, it adds almost a third onto the length of the book. When you consider translation costs, and paper costs, and ink costs and all the rest of it, it was like, whoa. Because up to that point I was like, it’s not that big a deal to cut some words, but actually, you realise in terms of making it appealing… So those two things together really focus me on not overwriting, not just enjoying myself forever and meandering off down wherever, and just keep me focused.
MARK: So yeah, yeah, I see that’s a very good point. The German editions of my books are quite chunky, but I just thought it was because they were a slightly smaller format. But that makes complete sense now. And when you when you talk about planning the middle… because for many people this is one of the most difficult parts, because the opening is all fun and games, the middle act is where you need to escalate and things have lots of consequences and sooner or later you have to tie these things up. How are you planning that middle?
NICOLA: So it’s that big shift. What’s the big change that is going to happen? That gear change. So when I’ve decided like what’s the big turning point, where everything sort of goes up a gear, once I know what that is, then it keeps me on track. And it means that my characters are never… You know, it’s like keeping the target in sight so they can’t veer off too much. You know, if you do what the characters want you to do, you will end up so far away from where you need to be. And editing for word count is probably one of the most painful versions of editing. When you’re trying to shave off 40,000 words and you’re going, ‘I can’t possibly!’ but you have to. Learning the hard way is also a very big motivator.
MARK: Are your first drafts usually quite tidy and well structured, or are you still making big changes?
NADINE: They are the opposite of tidy and well structured. I will say that structured in the sense that… I stick very closely to that three act structure. So they’re structured in that sense. But in terms of it being tidy: no, they’re so messy. But I always say there’s freedom in the mess because I know that with the second draft I’m going to be fixing things and rewriting and restructuring. So no, that first draft is not tidy. But what I will say, I said it the other day to someone was that what I’ve realized is that my… the first three chapters of my books, they are relatively unchanged from the first draft to what’s finally put on the shelf. They very rarely… I mean, I’ll say I’ve changed a little bit in the editing process, but fundamentally those chapters one, two and three, and if there’s a prologue, they’re pretty much how they are from the very first draft to the end.
Mark Stay Writes 