Today I’m excited to welcome award-winning author/publisher Paul Collins to share his experience writing across genres and celebrate the launch of not just one, but two new books.
Paul is best known for The Quentaris Chronicles, which he co-edits with Michael Pryor, The Jelindel Chronicles, The Earthborn Wars and The World of Grrym trilogy in collaboration with Danny Willis.
Paul has been short-listed for many awards and won the Aurealis, William Atheling and the inaugural Peter McNamara awards. He has had two Notable Books in the Children’s Book Council of Australia Awards.
Congratulations, Paul, on the recent release of both The Only Game in the Galaxy (book three in the The Maximus Black Files) and your first adult novel The Beckoning.
You have been published in an incredibly diverse range of genres from picture story book/chapter book/YA fantasy and science fiction through to adult thriller. A very impressive range. I’m curious to know how you cross genres so successfully both from the writing and promotional aspects.
It’s really a matter of encompassing cross-subsidisation. Writers are notoriously the worst paid workers around. Who else would work for a year and risk not being paid? Writers do this all the time. So early on I realised that if I were to make writing a full time career, I needed to work several jobs, and jobs that allowed me to write. Hence, I opened bookshops. These didn’t pay much, so I worked as a bouncer in hotels at nights. During the day, I’d write stories in my various shops. This worked for around twenty-five years until I started making more from my writing than both my security work and bookshops. I knew I had to edit anthologies, write chapter books and non-fiction titles for education publishers, and as an indulgence, ‘real’ books. I say ‘real’ meaning thicker, substantial books. But even though I’ve been published by most of the major publishers, I have to admit that these ‘real’ books aren’t in any way lucrative. I don’t want to sound like it’s a monetary thing, but if you’re serious about being a career author, you do need to look at what you make from it. I’ve never received writing grants.
With two concurrent newly published titles, The Only Game in the Galaxy and The Beckoning, how are you splitting/sharing your promotional time and energy on such different projects and readerships?
This was tough in one sense as I’m primarily known as a writer for younger readers. But luckily for me most of my contacts were curious as to how I came to write an adult horror novel. Most wondered where I found the time. But this in itself proved a marketable story. I wrote it around 30 years ago – the counter of several bookshops as I mentioned. I typed it onto a computer in the 90s, saved it via various storage devices such as 3.5 floppies, CDs, zip drives, USB sticks. Suddenly I noticed on Buzz Words that Damnation Books was after horror books so figured what the heck, I’d submit it. So all the blogs I wrote and interviews I gave, I got to mention The Beckoning, although primarily people were interested in The Only Game in the Galaxy. So they both got equal billing. And it seems to have worked. Both titles made the Top 100 on various Amazon pages. The Beckoning actually made #7 on the psychic thriller page, just six spots behind Stephen King’s latest novel. It’s been in the Top 100 ever since it was published. The Only Game in the Galaxy is also in the Top 100 on the spies’ page.
The Beckoning is your first published adult novel. What (if any) differences or contrasts can you make between writing for young adult readers and writing for adult readers?
Not much, really. Simply because most kids books have, surprise, surprise, kids in them. The Beckoning also features a kid. But whereas a kid’s book would be told from the kid’s POV, an adults book focuses on an adult’s POV. So The Beckoning is told from Briony’s father’s POV.
The Beckoning was thirty years from first writing to publication. How much changed since that original version and in what ways did you need to alter it to suit a changed world and readership?
Believe it or not, very little. A few things have changed, such as the cost of living, mobile phones and such, but generally the novel stood the test of time. I was tempted to ‘set’ the time period as mid eighties, but there was no need to. I did change some text to suit the US market, but that too was minimal. The Beckoning is a real time capsule to what I was writing back then. I was recently reminded that I also have another horror novel sitting in a box somewhere. Unfortunately this one was never converted to a computer, so I’d need to find time to type it again. And who knows, perhaps it’s best left in the box. I have to say I’m staggered by the reviews The Beckoning is getting. Over the thirty years it’s been rejected by many publishers. The closest it came to being published was reaching the long list of Lothian’s short-lived adult horror series.
Paul, you have said that there is nothing to like about Maximus Black as a character, breaking a taboo in publishing that says authors need to make their protagonist likeable if they expect readers to follow his/her journey. Yet readers have embraced Maximus. What do you think it is about him and his stories that appeals to readers amd keeps them reading?
Tough question! I can’t answer directly – you’d be better off asking readers that question. I thought perhaps readers would relate to Max’s nemesis, the irrepressible Anneke Longshadow. But so many reviewers have basically been behind Maximus Black. Maybe I’ve somehow reached down into his soul and exposed him in some inexplicable way that readers have picked up on? Dunno. I do know that I asked a good friend of mine to have a read of the first title, Mole Hunt, and he thoroughly detested Maximus. The book depressed him. And yet readers across the board disagree with this first reader – as you can imagine, I’m much relieved!
Will the reader see another side of Maximus Black in The Only Game in the Galaxy being the final book in the series?
Certainly. He does become more ‘human’ throughout the trilogy. I can sort of see how readers would ‘finally’ relate to him. But not from the beginning, which they did.
We hear a lot these days about “author branding”and how writers need to focus on one genre to build a “brand” for themselves, their books and their publisher. As the wearer of dual hats, as both author and as Publisher at Ford Street Publishing, how important to you think author “branding” is?
It obviously works for some people. But like I mentioned, I’ve had to write across the board – everything from picture books through to books for adults. I don’t see how I could brand myself with this work ethic. It simply wouldn’t work. Publishers expect you to remain loyal to them so as not to dilute their investment in you. But let’s be realistic: writing one book a year is not going to feed you, much less pay the bills. Only a small percentage of authors can make a living in Australia writing one book a year and sticking with a single publisher.
Do you have any advice for writers wanting to write across genres and readership ages?
Reading books across genres and readerships helps. See what the main publishers are publishing. Don’t be afraid to take risks: send your manuscripts out to as many publishers as it takes to get them published. And remember, we all get rejections. Be persistent. Take on board editorial tips for improvement if they’re offered. Subscribe to magazines such as PIO and Buzz Words. You only need to discover one market to which you sell a story or a novel, and you’ve more than made back your investment.
You have published a phenomenol 150+ books, Paul. Is there any advice that you wish you’d been given as a young, emerging writer or something in particular that you’ve learned that you’d like to share with the readers of this post?
Apart from the above, I wish I’d participated in some writing courses. I pretty much went it alone and made mistakes, but never had anyone to show me where I was going wrong. I think a mentor would’ve proven invaluable; would’ve certainly been a short-cut to getting novels published. Despite writing my first novels in the early eighties, it wasn’t until the mid nineties that I sold The Wizard’s Torment to HarperCollins. Not until then did I realise that I was on the right track.
Thank you for visiting From Hook to Book, Paul, and sharing your insights and experiences. Congratulations again on publication of both The Only Game in the Galaxy and The Beckoning.
Paul’s latest titles are available at Amazon:
The Beckoning: Kindle and print: http://tinyurl.com/ny6urwy
The Only Game in the Galaxy at Amazon: http://tinyurl.com/mshxpsx
The Only Game in the Galaxy
In a galaxy of cutthroat companies, shadowy clans and
a million agendas, spy agency RIM barely wields enough control to keep order. Maximus Black is RIM’s star cadet. But he has a problem. One of RIM’s best agents, Anneke Longshadow, knows there’s a mole in the organisation.
And Maximus has a lot to hide.
Ford Street Publishing ISBN: 9781925000061
When evil intent is just the beginning…
Matt Brannigan is a lawyer living on the edge. His daughter, Briony is psychic and trouble shadows his family wherever they go.
Cult guru Brother Desmond knows that the power within Briony is the remaining key he needs to enter the next dimension. Once he controls this, he will have access to all that is presently denied him.
When Briony is indoctrinated into the Zarathustrans, Matt and psychic Clarissa Pike enter the cult’s headquarters under the cover of night to rescue her.
So begins Armageddon…
Damnation Books LLC ASIN: B00F5I6ZWE
Paul Collins website
Ford Street Publishing