[Originally posted on Goodreads 2016-06-27.] I’ve written about my children’s books in a post about The Foolish Hedgehog and a post about Quack, Quack, Quack. Give My Hat Back! but I haven’t really said much about my adult fiction, so I thought it was about time to write about my published fiction and a pending novel.
I’ve Heard the Mermaid Sing is a short story ebook (approximately 2,500 words) set in 1928 about a yegg (thief) from St Louis who’s fleeing to Europe on the RMS Aquitania after a jewellery shop heist turned to murder when an off-duty policeman happened to turn up to get a bracelet repaired at the wrong moment. The story is written in 1920s vernacular, but although I was aiming to reproduce the style of that era some slang doesn’t age well. There was one phrase in particular that I had to cut when my writing friends advised against it as they said it conjured up an inappropriate image, and it wasn’t the image I had intended. As much as I wanted an authentic feel, there’s no escaping the fact that anyone reading it is living in the twenty-first century.
The Private Enemy is my first published novel, although it isn’t the first novel that I wrote. The first draft dates back to the early 1990s (possibly 1992, although I can’t remember exactly) but I completely rewrote it after going on the online creative writing course I’ve previously mentioned and the first 10,000 words formed the majority of my portfolio for my later diploma in creative writing. It’s a crime/thriller story set in a technologically-regressed future where the world has been divided into numbered sectors, each with a governing city called Central City, which is located in roughly the geographical centre of the sector. The back story is that 32 years before the events in the first chapter, a fuel crisis triggered global anarchy that lasted for two years before order was restored. The aim of those restructuring the newly established peace was that by removing national identities wars could be averted, but human nature being what it is this merely papered over deep resentments and corruption. The regression in technology is publicly justified by the fuel limitations and the lobbying of anti-technology groups, but privately the restrictions on technology allows greater control over communications. This isn’t a whodunnit mystery, but a story about one person’s private quest to prove that murder has been committed and ensure that justice is done in an increasingly volatile world. The novel is approximately 136,000 words. The paperback (revised first) edition is 140mm (5.5in) wide by 216mm (8.5in) high with a 32mm (1.3in) spine. The text is 11pt on cream paper. It’s also available as an ebook which, without the hefty print costs, is a lot cheaper. [Update 2019-09-18: there’s now a second edition paperback.]
The Fourth Protectorate is actually the first novel that I wrote, although it has had many titles and undergone many revisions. I wrote the first version in the early 1980s when I was probably around eleven or twelve years old, and it was heavily influenced by science fiction stories I was reading at the time, in particular Doctor Who and the Cybermen. (Before the proliferation of videos, the novelisations were the only way to access those old Dr Who stories, and they had the added advantage of not suffering from low-budget props.) As I grew older, I became more interested in politics, so by the time I went to the University of Essex in my late teens, the science fiction elements of the story had been toned down, with a totalitarian government rather than futuristic machines as the antagonist. I put the story on the back burner and returned to a fantasy story that I had started when I was seventeen. My third novel was The Private Enemy. I wrote a few other stories after that and from time to time switched attention back to the earlier novels, but after I rewrote The Private Enemy, having improved my writing style on the creative writing course, I decided to revisit that first novel and I rewrote it from scratch. It still has a residual science fiction device echoing back to that first draft, and it still has a police state from that second draft, but (I hope) it’s much better written. (It also now has a supernatural element that wasn’t present in the earliest drafts.) The 1980s have been and gone, and the novel is now set in an alternate history from 1984 to 1995 that charts the rise of a Cromwell-style Protectorate in Britain that becomes a dictatorship. Britain in the real 1980s was fairly turbulent, with plenty of strikes and riots, but the alternative 1980s in the story notches this up. How does the Protectorate establish itself? Through a referendum. Hmm. Yes, seriously, I wrote that before the recent  referendum was proposed.
On a side note, if you’re at all interested, I voted to remain last week. While I’m disappointed with the result, we need to move on or we may, like those sci-fi stories where attempts are made to change some past event, make a bad thing worse, but I hope that, at the very least, people will learn from it. However, recent events have taught me that I was wrong to think that just because my novel is set in an alternative history from 1984 to 1995 it can’t be affected by current events, so I’ve decided that I really ought to crack on and get it finished before life overtakes it. It’s currently around 133,000 words, so it will probably be around the same size as The Private Enemy. It’s going through the final tuning stages at the moment. Are there any plot holes? Does the topology of the world in the story make sense? (That is, if characters go from A to B, does their route make sense? A few rough sketches can help here.) Are any scenes too dialect heavy or too wordy? These things usually require an impartial reading by someone experienced in the art of creative writing. How much more work needs to be done will depend on the feedback. The final task is proof-reading to pick up any spelling mistakes or typos that have been missed in earlier readings.