​One thing I’ve noticed whilst trying to market my books, is that everyone -readers and writers alike-seem obsessed with the idea of ‘genre’. But consider this:
 
There's a boy, unsure who his father is. He lives alone with his mother, in a backwater. They make ends meet, but the rumour is, it's only because the local ruler gives her preferential treatment. Turns a blind eye to short taxes, gives a slightly higher price to the goods she sells him, that sort of thing.
The local ruler is a tyrant. Abuses his power, suppresses all opposition, takes what he want from whoever he wants, with impunity.
One day the boy comes across an injured stranger. Takes him in, nurses him. His mother wants the man out. The boy meets with the man in secret. The man tutors him, broadens the boy's mind. Teaches him how to fight. Tells him a secret.
'The tyrant is my brother', he says, 'and I'm here to kill him.'
What does the boy do? He hates the tyrant, but can he be party to insurrection? Can he afford to lose the favours his mother has earned?
One day his mother follows him. Discovers where he's been going when he should have been working. Questions him when he returns. The boy tells all.
She's terrified. She tells him, the stranger is your uncle. If the tyrant dies, all he owns should be yours, not his. We'll go to the tyrant tell him everything.
But the tyrant is cruel, and mean, and unjust. And the boy us too young to rule. Now he has to choose between his birthright and his conscience.
 
A decent story, I think, and one that's been told in one version or another countless times. Sometimes it's the plot that draws us in to a story. Sometimes it's the characters. But the genre?
I live Stephen King's writing. But my list of favourite books includes Hitchhiker's Guide, Discworld, Weaveworld, Watchmen, The Sandman, Of Nice And Men, and countless others. People are often surprised at this; as if a horror author should read only horror. I've lost count of the times I've heard, 'Oh, but you're a horror writer- you must have read X!' If truth be told, I'm not massively knowledgeable about the genre. I like Masterton's work, though am far from being an avid fan. Jack Ketchum is on my 'should read soon' list. So why am I not an obsessive horror reader? Sure, there are tropes that any genre author should be familiar with. And I think I've read (and watched) enough horror to be able to invert and play with those tropes.
But think about the story above. The two main characters, the boy and his mother, even in that brief unfinished sketch, have enough conflict to keep the reader hooked. And the uncle - is he as altruistic as he seems, or is he motivated by a cynical power grab? Is he just using the boy?
It's the story and the characters that have your attention. You don't know the genre.
The backwater is a farmstead, the tyrant a sheriff. You've got a western.
The backwater is a run-down asteroid mine, the tyrant the local administrator. You've got a sci-fi.
The backwater is a cottage in a swamp, the tyrant a wizard. You've got a fantasy.
The backwater is a post-room job, the tyrant a CEO. You've got a thriller.
My advice to readers is to not get hung up on genre. If the characters and story captivate you, the setting doesn't matter.

​There’s a McDonald’s. In fact, there are two. There's a KFC. A Burger King. A Domino’s. A Frankie and Bennie’s. All scattered along the bypasses and roundabouts strangling this town, dropped like Lego bricks on a sick child’s duvet.
The river runs through and away from the town. Sometimes it doesn’t matter where you’re running to, just that you’re running.
It’s fucking freezing, biting my fingers.
The trail walks along the river. Stop here. Look there. Think about this.
Mist hangs in funeral wreaths over the river. In the water a fluorescent jacket clings to a rock, covered in long strands of stringy weed. Bright eyes in a gaunt face. Carling, Bulmer’s, Stella; their detritus hides in the undergrowth on the banks. Interlopers, all. A phrase from a movie pops into my head: “Never shit where you eat.”
Here, in the mist and drizzle, tracksuits clutching Home Bargains carrier bags, baseball caps skipping college, minimum wage zero hours, zero opportunities, zero reasons to stay, is anybody hungry?
Fifteen feet of mosaic forms a mural. Trams. An industrial past, the skeletons of which are still in the valley’s carcass. Miners. Happy, smiling miners, hardworking men of the pits, industrious men, hard hats, a pickaxe over one shoulder, smiling, not coughing, not desperate for breath, not post-industrial destitute, not dying of lung disease and COPD before they can enjoy their pension, not leaving widows in terraced cottages as cold a tombs.
Black and grey spray paint, the cheapest, nastiest graffiti of meaningless slogans, names, crudely-drawn bollocks, cover the flat-capped chappie on the Penny Farthing, obliterates the tram and the generation-to-generation shops, and the exciting high-rise housing of the nineteen-sixties, a flash new scrapheap for those left behind.
Not art. A dirty spray-can Fuck You to the sanitised, gentrified, tourist history.
It’s glorious. And I wonder if India, if Hong-Kong, if Cairo or Sierra Leone or St Helena or Ireland are told what their heritage should be.

Through my time in self-publishing I've used Kindle publishing, Smashwords and latterly Pronoun. Pronoun was, for me, the easiest and smoothest tool for self-publishing. And, it was a platform that enabled me to access all e-book markets.
All that is now over.
A few minutes ago I received an email informing me that as of today, no new products can be uploaded to the service and no new accounts created. For reasons not really explained (come on Macmillan, you owe us that much!) the service will end in January 2018. Perhaps there are genuine business reasons. Perhaps it was all a data harvesting exercise. Who knows? Either way, I've downloaded all of my work and will now spend time I can't really afford to lose putting all my books back on Amazon and Smashwords.
This is a very important lesson. Whether you are publishing through an aggregator like Pronoun,or directly through Kindle You are at the mercy of another company's whims. It's the same for any platform you do not own. Just look at the faith we had in Facebook and how it was going to help us reach all those readers... and look now at how wide your reach is if you don't pay Mr Zuckerberg enough silver.
As indies we need more control over our work, our platforms, our marketing; everything. For several months now I've been looking at ways of hosting files for purchase via this website rather than relying on third parties. It's something I'm going to look at again in the coming months. What if I put everything through Smashwords, and they go to the wall? What if Amazon decide to charge indie authors for promotion? None of us can know what the future holds.

The full text of Pronoun's email is below:
Epilogue
Two years ago Pronoun set out to create a one-of-a-kind publishing tool that truly put authors first. We believed that the power of data could be harnessed for smarter book publishing, leveling the playing field for indie authors. 
We are proud of the product we built, but even more so, we’re grateful for the community of authors that made it grow. Your feedback shaped Pronoun’s development, and together we changed the way authors connect with readers. 
Unfortunately, Pronoun’s story ends here. 
While many challenges in indie publishing remain unsolved, Macmillan is unable to continue Pronoun’s operation in its current form. Every option was considered before making the very difficult decision to end the business. 
As of today, it is no longer possible to create a new account or publish a new book. Pronoun will be winding down its distribution, with an anticipated end date of January 15, 2018. Authors will still be able to log into their accounts and manage distributed books until that time. 
For the next two months, our goal is to support your publishing needs through the holiday season and enable you to transition your books to other services. For more detail on how this will affect your books and payments, please refer to our FAQ. 
Thank you for the time and attention you’ve contributed to this experience. It has been a privilege to publish together, and we look forward to meeting again. #keepwriting
Sincerely,
Macmillan Publisher

UPDATE: 
For reasons of ease and speed I have chosen to use Draft 2 Digital as a distribution platform, rather than Smashwords. 11all the links to my books are on the relevant pages.

Not so much a blog post this week. Instead I thought I’d share a short story with you. As regular visitors to my Facebook page will know, the 24th of this month sees the launch of my latest novel, Swarm.
The initial draft of Swarm was written very quickly. I tend to think at least one book ahead, so when I’m writing one I’m planning the next.
Swarm was different. I had the core of the story drafted in a few days. I was working on The Soul Bazaar at the time. My wife, who has trypohobia, came in from the garden. Something had bitten her on the cheek, leaving a small hole. What if it wasn’t a bite? What if it had laid an egg? Within moments I had Malcolm, Sandra, Iain and Emma’s story. As I played with the idea, I came up with Lucy’s story (though I changed her name several times before I found one that sounded right). But how the hell did such deadly insects come to be in a National Park?
Around the same time, I came across a flyer in my local library. The Dean Writers Circle was holding a short story competition to celebrate their fortieth anniversary. As it was a local competition I decided to keep the story local. I wrote a few stories that I placed in the forest, or in local towns. None of them felt ‘local’ once I’d written them. You could see they’d been dumped close by; they could have taken place anywhere. Then, whilst out with my family at Cannop Ponds, I saw an older guy fishing. Nothing unusual in that. But this guy looked asleep. Not just dozing, either. I mean, could-have-caught-anything-and-wouldn’t-have noticed asleep. So I began wondering why. I used to fish myself in the estuary near where I grew up. It was always a relaxing way to spend a few hours… until I got good enough to actually catch fish. I was never a fan of killing them, so I used to catch-and-release. Then one day I caught a flatfish that had swallowed the hook. A young, healthy fish too small to eat. I had to kill it. The act felt cruel and pointless. After that I lost the bug, and sold much of my fishing equipment at a car boot.
An old fellow who fishes but not for fish. Why? Fishing as a blood sport. And, by association, animal rights protesters. What if the fisherman had found himself a quiet spot away from picnicking families? What if the protester found him? What if the protester saw himself as some sort of vigilante? What if he valued the lives of those who kill less than the animals being hunted?
People think stories come from inspiration. They don’t. They come from questions. And with these questions I had a story and two characters. One of the characters, Spider, was a perfect fit for Swarm as well as The Stranger at Cannop Ponds.
 
 
 
The stranger at Cannop Ponds.
 
 
The lake was wide and dark and flat. Stalky grass grew in awkward tufts at the edge.  Above the still waters an overcast sky glowered, sulky clouds grey and low.
Aaron’s rod perched on its rest, his newspaper sprawled on his lap. His green canvas seat creaked as he shifted his weight. It was quiet out here. There was the breeze. Lapping waves. The swishing of traffic from the road.
Footsteps crept from behind. Padded almost, like a cat hunting birds. Aaron looked over his shoulder. He didn't recognise the face.
"Allright mate, how's it going?" Not a local accent.
"Not too bad. Nice day for it. Could do with a bit more sun, though." The stranger didn’t reply, only rocked on his heels. One hand stayed in the back pocket of his jeans. His eyes flickered from Aaron to the road at the sound of every passing car. Aaron tried again. "What's your name, but?"
"Spi- Simon. Caught much?"
"Simon. Aaron. Pleased to meet you. Where you from?"
"Just visiting. Staying in the Forest nearby."
"Ah, one o' the b’n’b's around, maybe Parkend, yeah?"
"Sure."
"I see. They're all pretty decent down there."
"Sure. This a good spot for it? How many have you caught?"
"Me? Ho ho. Let me show you something."
Aaron leaned forward and picked up the rod. The multiplier whirred like a showroom model as he cranked the handle. Yard by yard he reeled in the fishing line until it was clear of the water.
"You've lost the hook."
"Don't use 'em. Don't like fishing. But I can't drink, see. Diabetes, my doctor said. And we've no garden in the flat. I only work part time, to top up my pension. Wife's the same. Love her to bits, we've been together nigh-on forty years, you know. But her can't stand me being under her feet when we're both off work. So I comes down twice a week for a break."
"Why fish?"
"It's quiet. Out of the way. I can read my paper in peace, ‘er indoors gets a break from me. By the time you've parked up across the road, traipsed this far from the picnic area... I'm surprised you came here rather than there. There's a car park nearer it, if you want to pay. You must have missed it. Anyway, the wife, her sister's a carer. Looks after old people at home. Their own homes, you know. Drives back and forth along this road between Parkend and Lydbrook a dozen times a day. Always slows down to look. She'll let the old girl know if I'm not here. And if I’m not… well, that’s a whole load of questions I can’t be buggered answering." He proffered his flask to the stranger. "Tea?"
"No thanks, mate. I’m, ah, exploring. I'll be off."
"Oh. Right. Well, take care. Enjoy the rest of your holiday."
"Yeah, yeah."
Spider backed away from the lucky old man. He released his grip on the blade in his back pocket. Fishing was a blood sport, and those who took blood should be prepared to lose their own.
You can order your copy of Swarm for any device via this link.

It's been a while since my last blog post, I know. What can I say? I've been busy. I've completed Swarm, which you can preorder here. It's the first time I've commissioned a book cover rather than a piece of art I've turned into a cover. There's an obvious difference between the results of two approaches. I'd be happy to hear your thoughts on which you think is more effective.
I've also finally completed my first thriller, a short story titled 'Piece by Piece'. It's been through several iterations and several titles since I first started work on it. That was back in May, I think. It's the longest time I've ever spent on a short story. It'll be released soon. I'm giving it the final look over, and will get to it as soon as I've finished the initial marketing of Swarm.
Speaking of which, I was lucky enough to be included in the 31 Days of Horror promotion by a fellow author PJ Blakey-Novis. He reached out to me and several other authors via Facebook. Throughout the month of October he's showcasing up-and-coming horror authors, of which I'm one. You can check out his website here.
And that's it for this short post. Preorders for Swarm are already coming in. I've had a few readers review it too; the reviews will be published in the usual places closer to the release date on the 24th Oct. Please, if you do purchase a copy leave a short review. As I always say, reviews are crucial to an author's success - especially to an emerging voice like mine. I do appreciate every single one.
I'll be back next month with a regular blog post. Until then, take care.
​Anthony

As anyone who has been following me on Facebook knows, I’ve spent a lot of time recently recording tracks for my upcoming audiobooks. As with anything to do with self publishing, I’ve had to learn to do it myself, and learn quickly. If you’re interested in doing this yourself, here are telling tips to get you started.
Where to spend
There is, of course, a minimum outlay involved in this. Isn’t there always? I’m going to assume that you have a decent-spec computer or laptop. The biggest expense for me was the microphone, but even that wasn’t too expensive. A decent USB microphone is essential. Do a bit of research before buying one. There are several different types. I gave a Fifine Studio condenser mic, which I paid about twenty quid for. If you intend to use the mic for podcasts with other people a bidirectional mic may be a better purchase – though you will pay a lot more. A pop filter is essential too, but these are cheap enough.
The last essential is a set of good headphones. I picked up a pair of Sony monitoring headphones a few years back in a half-price sale. I only paid thirty-five pounds for them. What you need is a set of overhead phones with as little bias as possible.
Where to save
Software. You don’t need a high-end studio to record simple vocal tracks. Audacity is free and powerful. I use it, and I’m certain I’ll never use all of its features. There are also good quality free plug-ins available to enhance the program.
Audacity is simple to use once it’s going, but I’ll admit I found it a little intimidating at first. But that’s no reason not to do it. Writing was intimidating at first. The gym was intimidating at first. Releasing my work was intimidating at first. Everything is.  Thankfully there are tons of free video tutorials on YouTube, which I’ve made liberal use of.
Where to record
I’m lucky that the front room of my house is quiet enough to allow me to record. It’s also large enough that my voice doesn’t echo from the walls into my microphone. During term-time it’s ideal. During the holidays... during the holidays I cut back on writing activities and spend more time with my kids. I can write in the evening’s but the house is never quiet enough to record in. If I’m working to a deadline there are offices above my local library for hire at thirty pounds a day. They’re run by a local co-operative. If you don’t have a suitable space at home  it’s worth you finding out what local facilities you have.
Recording an audiobook is a much longer task than I expected. You won’t do it in one sitting – that much is obvious. Less obvious is the difference in sound between one recording session and another, if you’ve had to remove your equipment and set it out again. It’s essential to have the equipment set up in the same way each time you sit down to record, and to sit/stand the same distance and angle from the mic as before. A few discreet marks on the surface holding the mic can serve as a reminder of how to set it up again. If this is not possible then measure and make a diagram of the recording set up. This sounds like a hassle, but will ensure the finished product sounds like one professional recording rather than a series of recordings edited together.
Where to sit
Do a few test recordings to find the best place to sit and the best angle for the mic. You’ll want to be close to the mic to get as ‘dry’ a recording as possible. Try different angles to get as clear as sound as you can without the harsher p, b, and s sounds ‘popping’.
A word about posture. You should sit upright. Slouching will affect the quality of your recording and make the reading more difficult. I found I had to concentrate on my breathing as much as the words when I first started. Regular breaths, deep and steady, are the way to go. Sitting upright, or even standing, helps this immensely.
What to read
I find it easiest to read from the Kindle. It’s easier to prop up in a readable fashion, the text is scalable, and it has no pages to rustle. I find it easiest to read each short story or chapter in one continuous take, editing out all the mistakes afterwards.
What to wear
This may not seem important, but the more comfortable you are when you record the easier you’ll find the experience – and the better the final product will be. Wear something loose, and not too hot or cold.
You’ll also need to be aware of any jewellery you’re wearing. If anything clinks or rattles the mic will pick it up.
What to drink.
Water is best. Keep a beaker handy, and drink regularly when recording. Little and often is the best way to keep your throat moist when reading or speaking all day. A coffee or tea is okay too, though I find I need to leave the mic more often when I’m drinking caffeine. Avoid sugary drinks. They’ll give you a claggy throat and affect your recording.
When to record
This one’s up to you. I prefer to record in the mornings once the kids have gone to school. I’ll usually do two or three hours’ worth before moving on to another task – writing, drafting, social media, editing or mastering the recording. Try recording at different times of the day, and for different lengths of time to see what works best for you.
Those are my ten tips for recording your audiobooks and podcasts. If you have any to add please leave a comment! 
The Tor will hopefully be releases on Audible before Christmas. The Soul Bazaar is undergoing post-production.

​My bookstore can be found here.

​As a white, male author I have taken a great interest in the ongoing debate over diversity in fiction. The furore rages on every blog and podcast. At least, that’s what it feels like some weeks.
It fascinates me for several reasons.
Firstly, the number of people who don’t understand what ‘diversity’ means. It doesn’t mean inserting your minority of choice into everything you write. Homogeneity is homogeneity regardless of who you are writing about. If you only write, for example, sci-fi that takes place in a favela and features Hispanic characters, or fiction that only takes place in the Caribbean, or only features any one non-white ethnic group, then your fiction is as ‘diverse’ as any that features only white people. Case in point: whilst using Google to look for sci-fi magazines open to submissions I came across an online ‘zine that wanted diverse sci-fi presenting women in a nonstereotypical and empowering fashion, with a focus on bi and homosexual relationships. If that’s what you enjoy writing, then fine. If that’s what you want to focus on as a publisher, if that’s the niche you want to give exposure to, then great. The more writers granted a platform, the better in my view. It’s the pedant in me that objects to such a narrow, targeted market describing itself as “diverse” and “inclusive”. It’s neither. It shouldn’t pretend to be, and it has no obligation to be. If it was it wouldn’t be specialised, and those writers would likely have lost a voice.
It also doesn’t mean ensuring that people of colour, or women, or people with disabilities or any other group of people in your fiction have to be presented in an eternally positive light, as some commentators maintain. That’s unrealistic. People are complex. They are good, bad, aggressive, caring, greedy, ambitious and self-contradictory, and their gender ethnicity and sexuality have nothing to do with this. Cassandra is the lead character in Swarm, my next work to be released. She can be sarcastic, even caustic. She is loyal, but not foolish. She thinks Iain, her husband’s friend, is both shallow and stupid, and on occasion she lets this show. She is a strong lead female character, yes; but she’s not without her flaws. Rachael is the main protagonist in The Tor, but read between the lines of Rest and you’ll see she isn’t as all-powerful as she seems. She may be a negative force, but she retains some compassion, some humanity. Why else is she so reticent to lead Joseph along her dark path?
I get the need for diversity in fiction. People are all different, and all people can be found everywhere. In other words, to introduce diverse, three-dimensional characters into your work is to introduce a healthy dose of realism. Your ability to manage diversity is your ability to write realistic characters.
What I don’t get is the right some commentators think they have to impose their inaccurate ideas of diversity on other people. Yes, genres such as scifi and horror and action have an overabundance of male leads. Yes, roles for women in those genres tend to be limited in both number and scope, which is why characters such as Ripley and Janeway made such an impact on the screen. Can you name the literary equivalents? People of colour and people with disabilities are practically invisible in such roles.
In large part this has been due to the monolithic nature of the industry. White male publishers saw no market for non-white, non-male characters in these roles, which created no market, which in turn meant few stories were published. Yes, that’s a simplification, but the broad strokes are accurate. Certain groups of people were denied access to the market, whether that was due to a political choice on the part of the publisher; or due to a commercial decision, based on a mistaken belief that the market for certain types of fiction wasn’t big enough to show a return on investment.
However, the industry has changed. The market is both broader and more accessible than it was several years ago. Broader, in that more books are being sold to more people in more places than ever before. More accessible, in that books are cheaper to buy and to produce than they ever have been. Crucially, you no longer need a publisher’s permission to get a story out. I love to see the type of story traditionally considered ‘niche’ to find a place on the open book market.
It astonishes me how, in an age when anyone can write and publish a book on any subject for any market, people still expend time and energy lambasting authors for being too white, too male (phrases that some people use as pejoratives when discussing diversity, without any sense of irony). We live in a time of long-tail marketing, when every literary permutation has a market waiting to be tapped.
Now, I should clarify that I’m not saying that there’s no need for white male writers to fill their writing with a range of characters. Being able to do so is the sign of a good writer. What I’m saying is that we are not obliged to. And to those who read a stereotypical plot-driven novel full of white males and criticise it for being just that: move on. There are plenty of other novels available; perhaps you could even write your own. Are James Herbert’s early novels (I’m not a fan of his later works) any less entertaining for being white, plot-driven horrors? Of course not. Would it be boring if every horror was white and plot-driven? Definitely. Enjoying such novels for what they are does not mean you are against diversity in your reading.
The book market is becoming ever more democratised. Read what you like. Write what you like. And let others enjoy what they like.
What do you think? Do we worry too much about diversity in fiction? Is it a relevant debate given the nature of self-publishing? As writers, do you feel under pressure to be inclusive and diverse, or would you rather a diverse range of writers working in their own niches? Let me know in the comments.
 
My bookstore can be found here.

I've had several people recently ask me about my writing process. Mine evolves with every new project I start. Normally I don't reveal much about a project until I'm near the end, but this time I've decided to share the writing process with you. My current work in progress is a paranormal horror which I hope will be the first of several in the series.
I started off as a Discovery writer, but the process has evolved to the point where I now plot most books before I start the first draft. I find that this helps a lot with a pacing and structure of the novel, it helps me spots potential plot holes before they cause a massive rewrite, and I find it speeds up the writing process.
Whenever I'm out I carry an A5 notebook with me. This together with the Word app on my phone allows me to write whenever I get a few free minutes. However, the story I'm working on at the moment is something that I first thought of about three years ago, before I completed the first draft of The Tor. That's why in the photos you'll see the book is larger than A5. Smaller notebooks are great for carrying around with you, but the margins in the larger books mean I can make more notes on my notes as I'm writing. Longhope is going to be the result of two unfinished manuscripts that lacked a home until I realised the common ground between them, much like The Tor was the result of a whole raft of ideas floating around a central theme, only coming together once I mixed them up.
For the first time, I'm also using Google Docs to write my work via the voice input function. Or at least I will be. I'm using that right now to write this blog post and it's already increased my word count considerably. It’ll also be good for my RSI.
The plot of my current work in progress revolves around a woman in her 20s searching for her long-lost sister with the help of an older medium. It flips back and forth between the 1990s and the present day. The book will be titled Longhope, and I hope Vol 1 will be out next year.
I tend to write very quickly. I usually have several projects on the go at once, between my editing projects, my short stories, my blog, my newsletter, and whatever novel I'm currently working on. I'll be keeping you all updated with the progress of this new novel through my blog, and I hope you'll all be happy to join me as I discuss my progress and the problems that I encounter whilst writing this novel.
If you have any questions about my writing process or about any of my work, please feel free to message me via the website I will get back to you as soon as I can. I do try to respond quickly, but like most authors I also have a day job which often gets in the way of my real job (writing!) so please don't be disappointed if I take a little while to get back to you. I'm really excited about this novel and can't wait for the release, even though it's a long way off yet.
Once I've finished the plan I'll start work in the character bios. Stay tuned for those!
Feel free to share your writing hacks in the comments.

​My bookshop can be found at http://books.pronoun.com/AnthonyMorganClark.

One of the most common questions to get asked as an author is, “Where do you get your ideas?”.
The fact is, for me at least, it’s difficult not to get ideas. Snippets of conversations, something about the way a person acts or walks, asking ‘what if’, juxtaposing two or more facts or phrases or concepts, a line from a song or movie or book, a photo, a painting, a dream.... inspiration can come from anywhere. Because I’m always thinking about writing.
Put it this way. I’m currently working on a final re-edit of Swarm, which is set for an Autumn release. I have a WIP I’ve just started, a horror mystery jointly set in modern-day Gloucestershire and a children’s home in the early 2000s. I’m plotting a character-driven slasher horror with a twist, and a body-swap horror, both of which are likely to be novellas rather than novels. I keep each novel/novella idea in separate notebooks; then there are the two notebooks dedicated to short stories. Notebooks, notebooks, notebooks. My writing area is a swamp of them, each filled with ideas and observations and potential scenes and characters.
Being a writer is a matter of focus. I’m not talking about the craft of writing, but the practice. I frame everything in terms of story. I don’t believe this is because of any special gift; it’s because writing is my passion. When I’m not writing a draft I’m scribbling ideas. When I’m not making notes I’m editing something I’ve written.  When I’m not doing either of those things I’m thinking about scenes and plot holes.
Think about this. Imagine you rise each morning soon after the sun. It’s summer. Your bedroom has French doors opening on to a balcony. You open them, step into the warmth. The balcony overlooks rolling farmland leading to distant hills. Two farmers are already up, working in fields under the sunrise and birdsong. Several fields away a third person loiters near a gate, out of sight of the first two. A musician might listen to that birdsong, spin an entire melody from a few of those notes. A photographer might look at the scene and think in terms of framing, composition and colour. One painter might focus on a few key details, whilst another may be happy to leave you with the impression of a serene country morning. How best to relate a vivid image full of life?
Me? I’d do my best to capture the moment through describing the sound of the morning, the sensation of the sun on my face and the cool balcony rough under my feet. The still crisp air with an undercurrent of the heat to come. I’d also wonder who the two farmers were. Are they brothers? Do they co-own the farm, or is there a rivalry over who will inherit it? Is one happy to work as he always has, whilst the other wants to introduce new ways of doing things? And what about that third guy? Is he an employee? Relative? Is there something in that first field he doesn’t want the brothers to find?
Being a writer means to look at things in a certain way, to live in a certain frame of mind. Once you’ve decided to do so, it’s difficult to stop.
Being a good writer, however... that means applying a particular skillset to that frame of mind. And that’s a different thing altogether.
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 The last few months have seen me rethink my approach to being an author. My books may not be paying all my bills yet, but I feel that the standard of my writing alone qualifies me for that title, not to mention the amount of time I spend working on my craft. My new series’ of short stories (‘Sci-Fi Bytes’ and ‘Horror Bites’) will require me to write a publishable short story each month; I aim to alternate between the two. Swarm is getting a further rewrite, and I’m also drawing together my ideas for my next novel. That’s a heavy workload by itself, never mind the full-time job, the NVQ5 I’m doing and spending time with my family. My new found solution to meeting my (self-imposed) deadlines?
 
Write less.
 
That’s right. Every waking moment that’s not dedicated to my family or to the day job I tend to spend writing or editing. But I’m an author, not a writer. This isn’t a hobby. Which means I want to make money from my efforts.
 
Which means learning to market effectively.
 
Which means learning new skills.
 
I see lots of people, particularly on Facebook, asking advice on how to sell more books. More often than not they want a cheap, quick solution that delivers instant results. Wish in one hand…
 
Marketing is a skill. As is copywriting for adverts, as is copyriting the blurb on the back of the book. As is writing a compelling email subject line, a compelling email itself… I could go on. Not only do these skills take time to learn, they take time to implement.
 
I’ve subscribed to a few marketing blogs, a few video tutorials and made time to read some books I’ve bought on the subjects. I don’t think of it as a loss of writing time, even though I would much rather be at the keyboard. How many businesses do you know to have flourished with a bit of investment? How many have failed due to a lack of it? If you want to be an author, carry on writing for yourself and maybe a small circle of friends and family. There's nothing wrong with that. If you want to be a successful author, learn the skills of selling your book. There's no point in writing the next 1984 or American Psycho or Grapes of Wrath if nobody knows about it.
 
From now on I’m dedicating every Monday to training and marketing. It’s when I watch and make notes on my videos and books, when I write my blurbs and my blog posts and draft my emails.
 
Authors, what are your plans for making a living from your work? Please share any tips or resources you have.
 
 
My ebooks can be found at my Pronoun store, including my upcoming release Nurse Krahe. I’m on Twitter and Facebook. And don’t forget to download your free copy of The Cauldron.