Well, I had an unexpected and nice surprise this morning when Audible sent me my sales report for April. Normally, audiobook sales are about a third of ebook sales and paperbacks are about a fourth.
For whatever reason, and I am not complaining, the report showed that three or four times more people downloaded the audiobook of Cobra Flight than the ebook.
We are not talking big numbers here, but it is interesting and very heartening,
By the way, I got a note from the FindAwayVoices people who are handling non-Audible audiobook sales for me to say that Kobo will soon be distributing the audiobook. That is something unexpected because I had been under the impression that Kobo was taking only a few select audiobooks into its catalogue.
Since Kobo is much bigger in Canada than Amazon for ebooks it is an important development.
It has taken a while and the delay was entirely my own fault.
But, Cobra Flight is now out in a handsome paperback volume through Amazon. I wasn’t going to bother with doing a physical edition, but so many people said they wanted a “real book” and were willing to pay the much higher price that I went ahead with the project.
It has taken a while, and it will be a short while yet before you can buy, but Cobra Flight has now been accepted by a couple of dozen audiobook publishers worldwide including Google Play, Kobo, etc. Amazon, Audible, and iTunes are doing their final quality checks.
Next week I will receive the printer’s proof for the paperback and those of you who want to can buy a physical copy. And of course, the eBook is for sale just about everywhere worldwide, including Kobo and Amazon
I hope that this is the last time I have to write about typographic errors, but quite frankly I doubt that I will ever be free of the chore. They breed like wild boars in a forest and forever root around in all of the text like it is swill in a trench.
But, it may be the last time I have to write about them in context to Cobra Flight.
If you click on the Categories list in the sidebar and then on Writing-Skills you will find several entries about my unfortunate experiences with typos in publishing the book. One entry in particular has an unfortunate and premature title .
As I neared the end of doing the voicing of Cobra Flight for the audiobook I resolved to send the manuscript yet again to a proof-reader before I shipped it off to be turned into a paperback.
I was, however, quite confident that I had nailed every one of the little bastards and doing another proofread would be for reassurance only.
Now, keep in mind that the manuscript had been through my own, not inconsiderable editing skills, a professional copy-editor, and two experienced proofreaders. In addition, just about every piece of grammar checking software I could find had been let loose. And then in the recording phase I had found what I believed were the remaining bastards.
So, imagine by chagrin, shock, and anger, when it came back to me with 1,062 errors flagged in MSWord Tracking.
That was a staggering number of errors and I was ready to just drive an oaken stake through the black heart of the book and walk away.
But, on closer inspection I saw what had gone on.
You have to understand that there are two approaches to writing and those approaches affect how words are edited, and how they are handled.
Formal prose is the sort of thing one would find in a weighty non-fiction treatise. The other approach is focused on clarity of communication and is suited more for things like novels than 15 thousand word New Yorker Magazine essays.
My third proofreader was very much from the world of Correct Grammar and the precise use of punctuation. My two other proofreaders were the other way, as well as being blind of course.
I write, or I try to write, very much as how an itinerant story teller would spin yarns and myths around the fires of the Golden Horde as they swept out of Asia to massacre Europe; the way people tell each other ghost stories late at night around the fire at the weekend cottage. It is the way that good radio and television personalities reach out and grab listeners by the ears so they cannot pull away from the story.
Unfortunately, the people who write grammar books, who make up rules about punctuation, who use strict language usage rules to establish power over others, never seem to read novels, so they miss the point.
My writing bible is the Chicago Manual of Style. While there are other style guides out there, none are as comprehensive and so widely accepted.
No one ever got tossed into the grammar dungeons for following the guides in the CMOS.
But, one needs to keep one’s head when reading it.
The section on comma usage is 16 pages long and contains something like 35 sections about this or that and whatever involving commas. All worthy stuff if you are editing for the New Yorker, but a sticky tar pool of disaster for the novel writer.
The authors of the CMOS recognize this and make a crucial point, which seems to escape the understanding of pendants.
This is how the editors introduce the comma section.
“ … it usually denotes a slight pause. … Effective use of the comma involves good judgment , with ease of reading the end in view.” (My emphasis)
Let’s just scoot over to end of the chase where we cut them off at the pass.
I did a bunch of spot checks in the list of suggested changes and then decided I didn’t have enough time to see where I might have misused a comma. Instead, I hit Accept All Changes and accepted the fact that while I would never have sprinkled commas around the way this proofreader thought proper, no one was ever going to come after me for being pedantic, whereas they would if their beady little nazi eyes spotted a Rick Grant induced comma error.
I’ve mentioned this before in context to typos, but Sod’s Law, requires there to be typos in this post as well as the microscopically checked Cobra Flight, so don’t complain.
Ethan Jones is writing strong and hard spy thrillers with a Canadian viewpoint and engaging characters.
Here’s his promo copy for the newest in the Javin Pierce series.
You should buy a copy.
A hero, sent out as a mark; who is behind the betrayal?
Covert CIS operative Javin and his partner Claudia are on the hunt for two terrorist masterminds, but their mission suspiciously goes awry right from the start. The team is now forced into a dubious alliance with Mossad and the infamous Iranian Islamic Revolutionary Guard.
Pursuing the terrorists deep into hostile Saudi Arabia, they not only discover an assassination plot that could topple the Saudi kingdom, but also suspect a traitor has infiltrated their team. Who is behind this betrayal? In a race against time, can Javin and Claudia unmask the traitor and stop the assassination plot before the Middle East is plunged into an all-out war?
Betrayal is the next instalment in the explosive new bestselling Javin Pierce spy thriller series.
You will love this fast-paced international suspense, action, and mystery novel that will appeal to readers of John le Carré, Ian Fleming, and Daniel Silva.
Grab a copy of Betrayal now to enjoy the low price of $3.99 (or the equivalent in your country’s currency) and the following exclusive limited- time bonus content:
The Way to Closure, a short story that ties into the next book in the series.
An exclusive excerpt from Closure, the third book, to come out on May 3.
There are some pretty specific techniques and practices you can pick up from the world of serious journalism, in particular newspaper, magazine, and broadcast journalism, that will elevate your analytic and writing skills far above the average.
They will work for any kind of writing you do, be it Fiction, Journalism, Non-Fiction, Plays, Daily Journals, whatever.
I am a product of the journalistic world, and I still use its tools and practices in my non-fiction and fiction worlds which of course have nothing to do with daily journalism.
They are founded on attitude, consistency, and simplicity.
They do not require much if any work on your part. But, they will, absolutely, improve everything in your writing life.
The first thing you have got firmly grasp is that you will forget some, part of, or all of a thought or observation you have unless you get it down in physical form.
Memory is as fleeting as summer lightning. It is all too common to forget the very fact that you had thought of something in the first place. You have no hope of hanging onto more than a few fragments of an idea if all you rely on is memory.
And be aware that the mind is far too quick to make up details, recreate false statements, and utterly mess up anything that has been in your head in an incomplete manner for more than a few minutes. There is a reason why police offices, lawyers, journalists, doctors, and many other detail oriented professionals get issued a notebook before anything else.
The second thing is that no note-taking system can be too simple. And the simplest is pen and paper.
If you need to stop what you are doing to open an app, or fish your phone out of your pocket and enter its security code, or stop to find your special pen, or fire up a voice recorder, your thought is in danger of disappearance. At best, your thought is subject to corruption as your mind tries to fill in details it does not have.
The third thing is, as much as possible try to use one system only.
Don’t use Evernote, One Note, Google Keep, Zoot, or any others indiscriminately and simultaneously. You will lose notes.
Here is my system. Others will have better and perhaps worse, but that’s okay as long as you pick something and stick to it, making no changes to it without long and hard thought.
One of the writers I greatly admire is James Rebanks (A Shepherd’s Life) who says he and his fellow shepherds in England’s Lake district are pathologically opposed to new ways of doing things. “If you have done something on your farm for generations the same way, and it works, then that is a good reason not to change.”
Now generally, I am not a follower of that philosophy. I am the type who is always the first kid on the block with the latest technology, the latest software, the latest gadget. But, when it comes to writing, and more specifically the recording of those ideas and other elements that go into writing, I am a purist.
So, pick something and use it without modification until you are unequivocally sure that a change will help.
I carry a softcover notebook of about 60 pages that fits into a hip pocket. It is with me all day, everyday. With it I also have a telescoping pen that also sits in the hip pocket. The Space Pen is the right size but there are others. You could also have a cut down pencil if that is your preference. But the point is that the notebook and the pen are always together and always on your person.
Date and time your thought.
Write it in one simple sentence, or a decent sentence fragment.
Only when those two things have been done, and it doesn’t matter how fragmentary your recorded note is, do you then tag on any context, color, or subsidiary thoughts.
Don’t worry about handwriting, in fact it is good practice not to even look at the paper while you are jotting. When you open your notebook, don’t try to find the next available page or section of page, just open it at random, give it a quick glance to make sure that you have a clear space to write, and then charge ahead. You can indeed write without looking at what you are doing.
You must always try to make sure that nothing gets between the still bubbling thought in your brain and the words on the paper.
The next step, and it can be done quite some time after the actual note taking, is to make a Table of Contents entry.
I number all the pages in my notebook. When the note is done I flip to the first page and on its own line I put down the random page number where I dumped the note. Then, I give it some sort of title so I can refer to it later. A primitive TOC will make finding and using your note a lot easier. Having to flip through dozens of pages looking for something or other is no a good use of your time.
It is really important to get these notes into a more formal record keeping system before they turn into cryptic messages from an alien underworld. So, as soon as you can it is best to put them into your favourite computerized data system, be it Evernote, Zoot, One Note or whatever. It really doesn’t matter what you use as long as you only use one. If you scatter notes across recording systems you will lose them.
For longer notes, or perhaps even full scenes in a book manuscript, you can use a portable voice recorder and then import them as text files using one of the Dragon Naturally Speaking editions that supports transcription, not all do.
Using a voice recorder is superb for describing a location you might want to use in a story, or to get down as much complicated detail that you think you will need.
A variation on that technique is to hit the video button on your phone and visually record your surroundings as you describe the scene.
A different system might be necessary when working right at your computer. It may be best to pop open your database program and type out a note, but be wary that you don’t get shunted down a rabbit hole. I keep my little notebook right next to my mouse, or I reach for the voice recorder.
Remember this at peril of losing your thought; your note taking system has to be one-step simple.
A lot of people have asked me about the idea of learning shorthand for note taking. My answer is, don’t bother.
I learned shorthand as a young reporter and use it still, but it is of limited use to the fiction writer. There are rather simple techniques outlined on the web and in instruction books for what is called Speed Writing and you could look into them if you are interested.
The main thing is, have a way of getting that thought out of your head as quickly as possible, with the least technical effort so you don’t run into this common scenario:
Menu, select Make New Note
At which point you forget what the hell your were going to say.
“I should take some lead pencils with you. Bloody cold where you’re going and pens freeze don’t you know.” Parting advice from my Managing Editor in CBC Radio News as I was being happily packed off to the eastern arctic to set up the first radio newsroom there.
Dear old eccentric Eric Moncur had about as much knowledge of what we now know as Nunavut as I had— absolutely nothing. We both had to look at a map to see where he was sending me.
Oddly enough that advice about pencils was spot on. Many many times over the years that I have spent in the arctic, first as a bush pilot, then reporter, and now media consultant, I have yet to find a pen that doesn’t freeze.
But pens are the least of the problems facing a reporter in the arctic and more particularly in Nunavut.
First of all there is no such thing as being a journalist in Nunavut. Such pretensions are reserved for fly-in foreign correspondents and southern media types on short-term swings to vacuum up interesting features.
To cover the arctic one has to be a reporter first and last. Reporters must talk directly to people to find out what is going on, they have to record their comments exactly, and they have to tell the stories fairly. As a journalist, and I was one of those for a long time too, you can afford the lazy luxury of doing analytical pieces formed from your own opinions, interpretive insight pieces, and just generally a lot of writing that requires more thumb sucking than anything else.
Journalism by journalists just doesn’t work in a region where the people demand to know just what the hell is going on and to hell with the editorial spin and gloss.
There’s also a strong cultural problem in trying to do southern trained reporting in Nunavut.
The Inuit as a people dislike direct confrontation. Any questioning that has to be done for a story must be indirect, respectful, and non aggressive. On Parliament Hill in Ottawa we are used to the full speed bulldozer approach to news gathering. In Nunavut one needs the slow careful attitude of a palaeontologist.
When I was sent to Frobisher Bay, now Iqaluit, to set up the first CBC radio news operation, I had the largest beat of any reporter in Canada. It crossed three time zones, encompassed a quarter of Canada, and took in western Greenland for good measure. At the time I think that only four of the 26 communities in Nunavut had long distance phone service.
Have you ever thought how difficult it is to conduct a broadcast radio interview with someone at the other end of a snapping, crackling, and fading short wave radio link? Throw in for good measure that the person you are interviewing has english as a very limited second language and you begin to understand why some of the stuff we put on the radio was utterly incomprehensible.
All of the communities now have superb satellite phone links, email, fax, and in some cases video conferencing facilities, but the old job of reporting is still exactly the same. Reporters in Nunavut have to get out and talk to people otherwise they won’t have a thing to put into their broadcasts or newspapers.
I’m fond of saying that 90 percent of reporting is simply knowing that something is going on — the rest is just mechanics. But in a region where there are precious few news releases, fewer news conferences, no wire services, and a general reluctance for people to phone you up and offer a story, worrying about what might be going on turns into a huge dark monster that haunts every northern newsroom.
The best way to find stories is of course to talk to people as much as possible. That’s fine if the reporter is based in Iqaluit and wants to only cover that community. But to discover the weird and wonderful goings on in places such as Pangnirtung, Resolute Bay, Arviat or any other community, a reporter pretty well has to go there. Very few news operations can afford travel to even the closest communities except in rare and unusual circumstances. It’s cheaper to fly from Ottawa to Australia than it is to go from Iqaluit to let’s say Cambridge Bay or Resolute.
Any Ottawa journalist who accepts a freebie flight pretty well guarantees a snarky and career deadening conversation with a humorless news manager following policy. A reporter in Nunavut, or anywhere else in the Arctic for that matter, who doesn’t learn the fine art of hitchhiking by aircraft, piggybacking on charters, and playing the “send us the invoice” game, is never going to do much in the way of providing decent news coverage.
This once reached an extreme for me when I wanted to cover the start of Naomi Uemuera’s solo trip to the North Pole in 1978. His DC-3 Dakota aircraft was leaving Resolute Bay for Greenland and then to the last bit of land in Canada before the pole. The trouble was that the flight was being paid for by National Geographic Magazine. They were not about to let any reporter on board at any ticket price.
I got on the flight and covered the story (surreptitiously) by talking the charter airline into allowing me to fly as co-pilot, out of date ratings and licenses be damned.
The Canadian Broadcasting Corporation had very strict rules against this, and still does. Fortunately there were more than a few managers with at least one blind eye. I hope there still are.
While I continue to work on my Adventure Thrillers such as Cobra Flight, I am also developing some Non-Fiction projects.
In active development now is a quirky, irreverent, and most likely scandalous look at how relief workers and journalists conduct themselves in war zones and humanitarian disaster areas. It also turns a jaundiced and withering eye on the criminals, politicians (often the same people) and the celebrities who make huge money out of human suffering.
I’ll be posting excerpts from my outline as I move ahead with the project.
But keep in mind, this is Non-Fiction and although it may read as Fiction it most certainly is not.
The Disaster Tourist
The Disaster Touristis about the wild and often hallucinogenic world of aid workers and journalists caught in the huge disasters of our time.
It’s about the strange state of frenzied insanity that develops among reporters and relief workers amid death, starvation and mass murder, a state which allows them to always know where to find beer and a good time, even when millions can’t find water.
It’s about how the people who run aid organizations are more concerned about publicity and making money than the lives of their aid workers or the people they are supposed to be helping.
It’s about media bosses in North America, Europe, and Australia being more concerned about the impact and ratings of news coverage than the conditions under which their reporters have to live.
The Disaster Tourist tells how aid groups are more concerned about appearances during a disaster than helping people and how they try to engineer the best coverage possible.
Through a highly personal and controversial style, Rick Grant, tells of his experiences as a foreign correspondent, consultant, and as an aid worker following the Ethiopian civil war, through the fall of Somalia into savagery, and amid the debris left following the disintegration of Yugoslavia, the Kosovo War, and many years amid the ruins of Afghanistan.
The Disaster Tourist relates tales of amazing ineptitude by the world’s aid organizations, about senior officials endangering the lives of their field workers, about how combatants in disaster areas now know that the arrival of aid means vast riches for them.
It tells how the world’s media helped to create the debacle that led to the death of US troops in Mogadishu and the retreat of the UN Force from Somalia. How senior news anchors such as Dan Rather, Tom Brokaw and Ted Koppel, and Geraldo Rivera conducted themselves in war zones, sometimes very badly.
It shows how once famous Hollywood celebrities prostitute themselves for media exposure in disaster areas and endanger aid workers doing it. How major aid donors are given free “tours” of disaster areas at the expense of money that could go to famine victims.
It contains accounts of aid workers dealing in the black markets of Bosnia Somalia, Afghanistan and other countries. How one United Nations worker looted museum artifacts, how another bought automatic rifles for sale back in the United States, how a major aid organization fed its workers on looted food and used looted equipment.
It’s about the vast drug trade that fuels the Somali civil war, the mafia operations in Bosnia, how the people of Sarajevo had to survive both the shelling and their own criminals.
The Disaster Tourist is about what it is really like to live and work in a disaster area and how knowing where to find the beer is sometimes more important than worrying about the dying.
I don’t have a tentative publication date yet. That depends on how some of my Adventure Thriller novels in the pipeline go but I hope to get it out in eBook form in time for Xmas 2018 and in paperback and audiobook shortly after.
In the meantime, if you wish to keep abreast of this and other projects then why not sign up for the newsletter through the link in the main menu at the top of the page.