Showing posts with label blog tour. Show all posts
Showing posts with label blog tour. Show all posts

Monday, March 17, 2014

What I'm Working On Now

This week, a blog post was handed to me on a silver platter in a tweet, to participate in a blog hop/blog tour. The wonderful Ken Armstrong, of the Mayo variety, was in touch to find writers to follow up from his post.

I met Ken back in the days when Bebo was the exciting place to be. They had launched two new features: groups, and Bebo Authors. Ken joined the group, after I plugged it on his writing page. It wasn't until I joined Twitter that we really started talking. His blog has been a joy to follow, and it was my utmost pleasure to take the baton from him to continue on The Blogging Tour.

The gist is that at each stop, we point you in the direction of another three writers, in the hopes that they too will write a post on what they're working on now. You should check out their blogs, now, to get to know them before they put up their posts next Monday. (They might not, but hey: awesome writers!)

Darke Conteur is a writer at the mercy of her Muse. Author of stories in several genres, she prefers to create within the realms of the three 'S'; Science Fiction, the Supernatural, and Steampunk. Some with erotic elements. She has stories published in several online magazines including Bewildering Stories and Aphelion.

A gamer at heart, she also enjoys knitting, gardening, cooking and good music. When not busy writing, she looks after one husband, one wannabe rock star, three cats, and one ghost dog.

Check her out at: http://darkeconteur.wordpress.com/

I also contacted a couple of wonderful Irish writers, Ruth Long and Alison Wells, to post. If they're still up for, or you want to find out more about them, just click their names.

Incidentally, all three of the writers I contacted have books available, across different genres and on different formats. There's something for almost everyone! Now, onto to the questions that are begging to be answered!

1) What am I working on? At the moment, though it's in the early stages of writing, I'm working on a book called The Shadows of London. It's the first in a series about a few individuals in the London area who grew up with what could be described as superpowers. They're not heroes. They don't see themselves as special. As it is, the protagonist of The Shadows of London is a petty thief.

I'm also working on a couple of books on writing, but progress on them slowed down when I found something new and shiny from my childhood. (Okay, yes, I'll admit it: it's a game. I've been bitten by the procrastination bug.)

2) How does my work differ from others of its genre? I've been following the superhero genre for some time now. When I was younger, I was obsessed with the X-Men comic of the 90s. This then led to me watching Spiderman, The Justice League, Static Shock, and all manner of Batman cartoons. As I grew older, new heroes joined the mix. Several television shows featuring superheroes - or people with superpowers - were aired and cancelled, and I seemed to fall in love with each of them. Recently, superheroes are making a comeback on the big screen.

With the exception of Misfits, though, most of the stories I became familiar with didn't push the boundaries of morality, and didn't seem to focus on what might otherwise be considered a normal life. It's the normality of what I'm writing that I think sets it apart. My characters are struggling through life, the same as anyone their ages might. Collectively, they'll experience homelessness, depression, mental illness, unemployment, criminal activity, physical illness, grief, and suicide. The fact that they have superpowers are merely the other side of their stories.

The powers provide a reason for them to find each other, and a means for them to deal with their situations, the same as an author would write, or an athletic would exercise, or an artist would paint. These are their skills, their abilities, and they're as natural to them as writing is to me. They're just less common abilities than most people have.

3) Why do I write what I do? Aside from my obsession with superheroes, I've wanted to write about normal experiences that many people shy away from. I wrote a play about depression, suicide and mental illness for the sole purpose of getting people to pay attention to the existence of those conditions and actions. I want to get people to think about the difficulties others might face.

Not everything I write will have superheroes in it, but this is the constant I want to maintain for my more recent ideas. I want to tell stories about experiences that are very real, and remain taboo. Addressing the New Adult market, I want to get people my age - people who are at the beginnings of their careers as doctors and teachers, bankers and lawyers, builders and store managers - to look at the world differently. We're blessed with advancements in technology. Many of us are fortunate enough to come from relatively stable backgrounds.

Someone has to talk about these issues, because it's too easy to ignore them until it's too late. I'm not going to pretend I write simply for the joy of words. Obviously, I do love writing. But it's people that make me want to write what I do.

4) How does my writing process work? This varies from book to book, and from week to week. It all depends on how many days I work per week. In an ideal week, if I'm starting a book fresh, it looks like this:

- Plan the book.
- Write the book, either exclusively (without even stopping to play Tales of Symphonia), or spread out over a couple of weeks.
- Edit the book.

Okay, that's simplifying it a bit. The writing process is more complex than that, usually. I follow my plan strictly, but that doesn't stop me going onto Twitter or Facebook. So, really, I write on-and-off for a few hours, sometimes with some successful marathons.

Often, I'll "warm up" with a haiku or two beforehand, or I'll put on music and just focus on the word document for a couple of hours. That's how I wrote Balor Reborn, and that's how I tend to write most of my books. More recently, I'm writing while my niece is asleep (when I'm minding her, obviously), which gives me about two hours to complete something. That could be a chapter, or it could be a blog post, or a combination of the two. On a good week, I'll get my posts for the week scheduled across various sites by lunch time on Wednesday, and then focus on other projects after that for the rest of the week.

***

Anyway, you're probably tired of me talking about myself for this post. If you've gotten this far, thank you. If you're new here, welcome. And if you're Ken, thank you for passing the baton on to me. I look forward to seeing what Darke, Ruth and Alison have to say next week.

Thursday, March 28, 2013

Guest Post: What Does It Take to Publish a Book? (James Calbraith)



I’ve done this publishing shtick a few times now, so I gather I have a good experience. The following are a few pointers to what it really takes to publish your own book.

For the sake of the post, we assume your manuscript is already written, beta-read and polished by yourself. Otherwise, do the above first :-)
1. PROFESSIONAL EDITING
This is my way; you may be confident you don’t need a professional editor, in which case, good for you. BUT: if it’s your first novel, I highly recommend it having looked through by a professional editor, somebody who’s worked with books all his life.

A line-by-line edit is much too costly an affair for an indie author; in fact, it’s increasingly costly for big publishers as well. So don’t take that – instead, if your editor offers such service, get an advisory edit, with general notes. This is an equivalent of a very thorough review, often with emphasis on what makes a book commercially successful, so if you’re in this game for money, you will need that.

Read the notes and take them all to heart. If you’re smart, you may not need to do that for every book you write – as long as you remember what you’ve learned that first time.
The edit for my first two books cost about a $1000 altogether.

2. PROOF READING.

Don’t make a beginner’s mistake. The one thing you HAVE TO DO is hire a proof reader, with good academic credentials, somebody who checks people’s writing for a living. Even if you decide to skip everything else, not hiring a proof reader is a crime against the community of indie writers. Don’t give everyone else bad rap because you’re a scrooge. Remember, this is all an investment.

Good proof readers don’t have to be costly. After some shopping around I ended up with one who takes only about $300-$500 per book, which is fairly reasonable. I’d advise against paying more than $1000 unless your work is highly academic.

3. COVER.

As much as I like my covers, and it gives me a fuzzy feeling whenever somebody mentions how great they are, I’m not sure if a cover is very important marketing tool these days anymore. I’ve seen some real howlers on the best-seller lists, and it seems readers in certain genres don’t really mind what’s on the cover.
That said, if you do want a professional cover and have no skills to make one yourself (and most of us don’t, trust me), prepare to pay from $300 to $1000 for a cover, depending on level of detail and popularity of the artist.

4. FORMAT THE BOOK OR HIRE SOMEBODY
There are many people these days who offer book formatting (I’m one of them) and it’s probably the least expensive part of the process: up to $200 (likely less) for an average sized book. The turnaround on that is just a few days. I recommend having your first book done by a professional, but make sure to request all the source files from the process, so that you can repeat it if needed with the next books. It requires just a little technical savvy. There is now software which does most of the work for you and, if you don’t care too much about being in full control of the process, Amazon or Smashwords do the conversion for you. Just don’t expect fireworks in the result: you get what you pay for.
5. REGISTER AS PUBLISHER
We’re getting to the actual publishing part here. Personally, I recommend against using small presses. I know it’s a livelihood for many, but with just a little bit of skill you can do everything yourself.

Becoming a publisher is easier than most people think, and it gives you plenty of advantages with almost no downsides. The most obvious advantage is full control over everything that happens with your book; you can decide your own promotions, you know exactly how many copies are sold – in case of e-books, on an hourly basis, paperbacks can take a while to register – and how much you earn. You get all the royalties for yourself.

The downside – you have to do everything yourself. But that’s not as scary as it seems. After the initial setup, there’s not much to do on the publishing side, and everything to do on the marketing side – but you’d have to do all the marketing anyway, no matter how you’re published. That’s the curse of a modern writer.

The setup of a publisher’s account should be fairly straightforward – at least, it is on KDP and Kobo. It doesn’t really matter whether you use just your name or a “publishing house” name; I use Flying Squid press name for my books, but in reality it’s just me and my wife :-) It may look a tiny bit more professional, I can’t really tell.

Set up your payments – since this year, Amazon offers bank transfers to everyone instead of checks, which I find a lot more convenient – and your tax affairs, if necessary. If you’re outside US, you will need to go through the W8-BEN hoopla; that’s worth a separate post, so just check Google about it.

6. UPLOAD AND PUBLISH!

It really is that simple! After making sure your book reads properly on the devices of your choice (use Kindle Previewer for Amazon, and any good ePub reading app for everywhere else), upload the book, fill out the forms, set up categories and keywords where necessary, set the price, and publish the book!

It will take up to a few days for the book to appear on the store website. Amazon usually takes about 12 hours, Kobo is a bit longer. You’ll be notified – or check your dashboard once in a while.

Once you can see the book is available for purchase, it’s time to get on with marketing: and that is where the fun ends and the real hard work starts!
***

Title: The Shadow of Black Wings
Series: The Year of the Dragon #1
Author: James Calbraith
Genre: Fantasy, Historical Fantasy, Epic Fantasy, Alternate History,
Publisher: Flying Squid
Format: Ebook and Paperback
Length: 70000 words
Purchase: Amazon |

Book Description:

"Fast paced and full of energy" 
--Adrian Tchaikovsky, author of the Shadows of the Apt

"This manuscript is full of highly crafted detail that will make readers shiver at times with fear and delight ... a familiar yet highly original fantasy that is a worthwhile read."
-- Publishers Weekly 

"The real-world cultures are incredibly well-researched and truthful, and yet well-balanced with the fantasy elements. An intriguing and impressive series."
-- Ben Galley, author of the Emaneska Series 

It is the Sixteenth Year of Queen Victoria. In the powerful empire of Dracaland, Bran, a young dragon rider, joins his father on a military expedition to the mysterious lands of the Orient. In the reclusive Yamato, Sato, a tomboy samurai girl, strives to prove her right to inherit her father's school of western magic. Nagomi, a timid shrine apprentice, is haunted by the visions of dark future she must keep secret even from her best friend.

They don't know it yet, but their paths will cross... And when they do, nothing will ever be the same again.

Welcome to The Shadow of Black Wings, a steam-powered romp across the land of dragons, wizards and samurai. It's big, it's fast, it's been compared to Tolkien in terms of world-building, it has strong female characters and lots of carefully researched detail. You will meet the Royal Marines sailing mighty ironclads and Chinese walking machines; mysterious warlords and crazy inventors; you will discover dark prophecies, family secrets and blood-thirsty demons. And all that in just the first volume!
About the Author:

James Calbraith is a 34 year old Poland-born writer, foodie and traveller, currently residing in South London.

Growing up in communist Poland on a diet of powdered milk, Lord of the Rings and soviet science-fiction, he had his first story published at the ripe age of eight. After years of bouncing around university faculties, he moved to London in 2007, found a decent IT job and started writing in English. His debut historical fantasy novel, ""The Shadow of Black Wings"", has reached ABNA semi-finals. It was published in July 2012 and hit the Historical Fantasy and Alternate History bestseller lists on Amazon US & UK.


Excerpt from The Shadow of Black Wings

A single gear whirred and clicked into place. A valve opened, letting out a thin plume of grey steam with a quiet hiss. A gold-plated dial moved by a notch. A tiny mallet sprang from its compartment, striking the brass gong - one, two, three, four, five, six times.

Master Tanaka looked up in surprise - an hour of the Hare already? He turned towards the window and the pink light of dawn illuminated his face. The temple bell only now started to ring out the time. He sighed then yawned, rubbing tired eyes. Another night had passed without him noticing.

The elementals inside the clock awoke with a soft purr and the automatic brush began to move swiftly inside the glass cloche. A slot opened in the mahogany pedestal and spat out a piece of paper upon which was written the day’s divination. Hisashige reached for it absentmindedly, his attention focused on the piece of complex clockwork on which he had been working. He glanced briefly at the calligraphy - Oku, ‘a gift’. He smiled to himself and nodded knowingly.

A higher-pitched chime rang eight times – counting out the hours of the Western reckoning. The door slid open and a small boy entered the workshop. With his long and angular face, puffed lips and wide straight nose, he bore no resemblance to Master Tanaka.

‘It came from Kiyō this morning, Father,’ the boy said, presenting Hisashige with a large, ornately packed wooden box.

‘Excellent!’ the old master exclaimed.

He put the box on the workbench beside the clockwork and began to unwrap it eagerly.

‘Shūhan-sama was supposed to send me some Walcheren glass.’

He stopped abruptly and his shoulders sank when he saw the crest on the box, in golden leaf – three lines in a circle. He lifted the lid without enthusiasm. Inside was what seemed like a small human head, completely bald.

‘Some gift.’ Hisashige looked at the clock with reproach. ‘It’s just another of Zōzan’s broken dolls.’

Tuesday, October 30, 2012

Guest Post, by A M Jenner: It's All in the Details


Sixth stop on my international blog tour, Dublin Ireland. Thanks so much to Paul Carroll for hosting me; it’s good to be here.

I'm sure we’ve all heard the old adage, "The devil is in the details". I've certainly found this to be true when writing novels. Some days it is devilishly tricky to strike the proper balance between too many details and not enough of the little beggars.

As an author, my job is to keep my reader totally engrossed in my story. I don't want them to put it down until they’ve finished it. When a reader finishes a book in one session, they become completely convinced that the book was "too good to put down". This leads to them telling their friends about the book that was too good to put down, which leads to more people who want to read my books.

As long as I can keep the reader's mind entirely inside of my story, there’s no danger of them putting the book down voluntarily. If they do have to put it down, I want them to be thinking about it, with their mind still in the story, until they have the opportunity to pick it back up.

In order to keep a reader that involved in a story, the place has to seem like a real place. The characters have to seem like real people. And the reader has to be able to relate the problems facing the hero.
What does that have to do with descriptive details? Everything!

If I put my characters in a car and send them someplace, it’s not very interesting if they’re traveling through a blank, gray wasteland. My readers’ minds will be wandering off, trying to figure out those background details I haven’t given. To keep that from happening, I have to provide some of the details of what is happening outside of the car.

Think about it. If you’re a passenger in a car, even if you’re involved in a conversation, you are peripherally aware of what is going on outside of the car. You’re aware of the landmarks you pass, red lights you stop at, and the idiot on the motorcycle who just cut you off. If I put some of these descriptors in between the lines of dialogue, it’s much more interesting to read and seems more like a real conversation.

At first novice writers might think that the more detail that’s included, the better the story will be. This is not true. Too many details are just as damaging to your readers’ attention span as too few. For example, if my character walks into an office for an interview, time is not going to stop while they examine every item in the office and describe it in their mind in loving detail. They’ll pick up the details a little at a time as various objects come to their attention.

As they first step through the door, they’ll notice the color and lushness of the carpet. When they greet the interviewer across the desk, they’ll notice the size and placement of the desk, and possibly what it’s made of, if it’s an unusual material. No one is going to consciously notice a plain metal office desk with Formica top, when they are busy being concerned with their upcoming interview. However, they might notice the beautiful hand-carved oak desk with a glass top to protect the carvings, simply because of its unusual construction.

They’ll probably not notice what the interviewer is wearing, unless they were worried about their own appearance earlier, and are comparing the two outfits in their mind. They will notice the one outstanding physical characteristic of the interviewer, however, whether it’s hair of an unusual length, style, or color, an overly large nose, eyes that don't match, or a prominent wart. Most characters should have one outstanding physical characteristic, which is mentioned often enough in the narrative to assist in identification.

What’s the right amount of detail to include? This is probably one of the most difficult questions to answer. A lot of it depends on the setting, not just of your novel, but of the particular scene within the novel. For example, most people have seen enough historical movies, that if the characters are in a large manor house, and I state they walk into the library, the reader can provide a picture of a large room full of books, probably containing a fireplace with a grouping of chairs nearby. However, if I have the character walk into the buttery, the reader is likely to conjure a picture of a small room with a wooden butter churn. A buttery is actually a small room near the dining room where plates, silverware, and other serving implements are kept handy. In this instance, a quick description of either the appearance or the use of the room is in order.

When I sent The Siege of Kwennjurat out to my beta readers, there were several places where they asked me for more details. There were also several places where they noted the action was too slow, and I therefore removed some of the details. In one place, I knew I had the mix exactly right, because one reader asked for more details while another was complaining there were too many. Learning how many details and where to put them is an ongoing process for every author.

About the book: The Siege of Kwennjurat is the second book in the Kwennjurat Chronicles. Alone in Kwenndara, Princess Tanella cares for the refugees from war-torn Jurisse, while she worries about her loved ones’ safety. Her new husband Fergan is two days away in Renthenn, coordinating the business of two kingdoms.

Kings Jameisaan and Fergasse join forces in Jurisse to pursue the war against the Black Army. They know Liammial hasn't played his last card, and are willing to give their lives to protect their people and their children.

Who will triumph and claim the throne of Kwennjurat?

About the author: A M Jenner lives in Gilbert, Arizona, with her family, a car named Babycakes, several quirky computers, and around 5,000 books. A self-professed hermit, she loves to interact with her readers online. Her books are available at www.am-jenner.com, as well as most major online retailers.


Monday, October 8, 2012

Guest Post, by Gabriel Fitzpatrick: Falling for a Professional Liar
























Today on the blog, finishing up on his Literary+ Blog Tour, we have Gabriel Fitzpatrick. He's been busy this past week and a half on tour, promoting his new book Rmnce. With that wee intro out of the way, I'll hand you over to Gabriel.



Falling for a Professional Liar


There are those who say that dating people who lie for a living is a loaded prospect. It’s a mindset which is not hard to fathom, since trust forms such a core part of most people’s conception of romantic love, and a large part of the cynical side of trust is in the ability to detect when the other person is lying. The more a person lies, as the reasoning goes, the better they get at it, and the harder it becomes to separate fact from fiction.

This last collocation, fact from fiction, is fortuitous since it leads us to the particular breed of professional liar which is relevant to my world: That is, fiction writers. While actors, poker players, and politicians are experienced in the practical side of lying, being practiced in telling lies, writers exist on the other side of the coin, being practiced in inventing lies. We spend our days and nights sitting at computers lying to empty pages, wracking our brains to come up with plausible falsehoods which can be woven together into a grand narrative of abject fiction.

So, the question becomes, how can one be expected to trust such a person? A professional liar must surely have a greater propensity to dissemblance than one who only lies casually, a hobbyist liar if you will. Yet this is a question which acts on presumptions which need not be true.

The most interesting of these is that it is always assumed that the truth, honesty as a practice, is the ideal to be striven for in a romantic relationship. One could, I hope, certainly imagine a relationship which might go quite beautifully built on a foundation of lies, provided the liar could maintain them as if they were the truth without any cracks forming (and who better to create a rock-solid foundation for such an arrangement than a writer?) and crafted them in such a way as to serve a desired purpose.

Most people who claim to want the truth want, instead, the sensation of being told the truth in conjunction with the pleasantness of a lifestyle without strife. Ignorance, as they say, is bliss. Thus, from a purely utilitarian standpoint, the standpoint of the maximization of subjective happiness, a benevolent, well-intentioned professional liar is perhaps the best possible partner. Capable of building for their lover a beautiful world, a beautiful fiction in which they may both live happily, a professional liar can bear the burden of reality unilaterally; two professional liars in conjunction can very nearly escape the fundaments of relationship reality entirely, a state which seems quite pleasant to contemplate.

Gabriel’s new book, Rmnce, hit digital shelves October 1st! Find it on Amazon, B&N, and Smashwords.

Rmnce series is a love story told in 4 parts. It follows a couple from the first drunkenly passionate days of their college romance all the way through a life together, often tumultuous, always overwhelming, and overridingly disquieting as only true love can be.

Rmnce is not, however, your traditional love story. Or perhaps more accurately, it does not appear to be your traditional love story. It is written entirely through the communications of the couple. Text messages, emails, and even a few old-fashioned letters make up the entirety of a story, what one early reader termed "A story not so much written as formed organically in the negative space."

It is, in short, a commentary on love in the digital age, a tribute to the great love affairs of the digital generation, romance not lost in the sea of text-speak and instant gratification, but merely obscured from the prying eyes of those too far removed from its cultural roots.

Buy on Amazon
Buy on Smashwords

Saturday, October 6, 2012

Guest Post, by John O'Brien - Haunted Halloween Blog Tour

Today, we've got a guest post as part of the Haunted Halloween Blog Tour. You can find more info about that below, but in the meantime, I'll hand you over to John O'Brien, author of the A New World series.

***

Hello there. My name is John O’Brien and I’m the author of the series, A New World. I released the fifth book, “A New World: Awakening”, a couple of months ago and am starting on the sixth book tentatively titled “A New World: Dissension”. 


Halloween is almost upon us with ghouls, goblins, and all manners of creatures roaming the streets. Imagine those streets actually being roamed by the real thing. Barricaded in your house with zombies or rage creatures prowling constantly. Not knowing when the next will come banging to your door. I wouldn’t recommend leaving the light on or answering the door. The trick would be on you and you would definitely be the treat.

I’ve often thought about the post-apocalyptic world and what it would be like. My first thought is “Great!” but in reality, it would be a struggle every day. Your family at risk and having to be in survival mode every minute of every day. As fun as that sounds having to scrounge for food and taking your weapon to create holes in the heads of said creatures, but there are a thousand other issues to think about. Sanitation, the dead that are around, medical supplies, knowing that any injury can fester and be life threatening, water supplies, marauders, etc. Yeah, not the ideal world we may think and dream about.

But, honestly, I both would enjoy it and dread an actual event at the same time. It would definitely push the survival skills to the extreme where any mistake or lapse in judgment could be the last. Where one is constantly tired and the right decision difficult to make. And one thing to think about after a period of time under constant threat is the PTSD that is most certainly to occur in everyone. Everyone has their breaking point and it would take a large amount of mental stamina to continue to survive. That’s why having family or others around is important. Each one can boost the other through the difficult times.

What can you do? Make sure you have your stamina built up beforehand. Cardio will go a long ways to help. Have you ever carried a weapon and gear over a distance? Run down the block with gear and then thought about having the energy and stamina to fight? All things to consider. However, yes, bring it on and I’ll meet you at Cabelas. 

John O'Brien
For me, I’ll be hunkered down at my desk hammering out the latest on Jack Walker and his merry little band. Or at least envisioning their next escapade. Perhaps that might be with a beverage of choice enjoying the late fall evening. And then finding my pillow to fall off into a world of night runners.

So, think about that when you are opening the door to hand out the candy. Look out on the street at the groups of ghouls prowling the area looking for treats and think about them being the real thing. Most importantly, enjoy your evening and see in the post-apocalypse.



All five of us - Tonia Brown, James N Cook, John O' Brien, Armand Rosamilia and Mark Tufo - hope you have been following along on the Haunted Halloween Blog Tour 2012. We love to see comments after the posts, and we also love to pick a random commenter and give away a free eBook or even a signed print book, so maybe you'll get lucky!

We have centralized all the upcoming dates and blog posts on a Facebook event page. Feel free to join us there and see what is coming up next!

https://www.facebook.com/events/211796112284317/

Friday, August 31, 2012

Guest Post by Sophie Duncan: The Sidekick - Plucky, Loyal and Just a Tad Annoying


Well, it's double thanks to Paul today, 1 for hosting me and 2 for organising this blog tour (and thanks to Literary+ for making it possible).
The Sidekick - Plucky, Loyal and Just a Tad Annoying :).

Romana and Leela

Ever since I was little, I've always been a fan of sidekicks. Maybe it's because I grew up watching Dr Who, a show in which the Doctor's companions are very important. I always missed them in the episodes when the Doctor was alone. I was exposed to my first kick-arse woman in Dr Who, Leela, the Sevateem warrior who liked her Janus thorns just a little too much. I also love Mary Tamm's Romana, but I only got to watch her in reruns, I was too young to watch the shows on the TV. The Doctor's companions used to have to put up with quite a lot and I liked it when they managed to get one up on him.


Sarah Jane Smith

The Doctor and his companions is the classic power dynamic between hero and sidekick: the hero knows more, is generally better at stuff and is frequently explaining things to his/her younger companion and thus explaining things to the reader/viewer. However, because there were so many companions, Dr Who did get to crack the mould. The Doctor remained (mostly) in charge, but the likes of Sarah Jane Smith could make their mark and stepped out of the Doctor's shadow, especially so with Sarah Jane, who eventually had her own series.

I was being flippant with my title when I described the sidekick as annoying, it's not a universal truth, although I have to admit, some have turned out that way, or at the very least started that way. A character I loved as a child, Adric, again from Dr Who, annoys the hell out of me as an adult, I just want to smack him over the head for being willful, childish and arrogant. Richie Ryan from Highlander The Series, in the first episode I saw, I wanted to take a sword to his neck, but he grew on me, so much so, I preferred him to The Highlander himself. Richie is an example of a sidekick growing beyond the role in which he starts. There were five seasons of Highlander (well, okay there were six, but some of us don't talk about #6) and Richie grew from rebellious teenager, there to generally get in trouble so Duncan could moralise at him, to a mature, independent immortal who then began to lose his usefulness for the writers, because he was too like the other immortals in the show. Personally, I liked the adult Richie, he was a sidekick who came of age, someone who could stand up to McLeod, a more modern companion.

Richie Ryan

Richie was not the first sidekick to do this, we have the likes of Robin becoming Nighthawk in the Batman comics as well. And maybe in written media, comic serials and book series that run over a longer time-frame than TV, sidekick growth is easier to accommodate and you also don't have to worry about the actor getting older, either. I suppose my sidekick character in Death In The Family is Sean, he's younger than my protagonist, Tom, but they share common goals and Tom feels protective towards him. I certainly see him growing and changing over the sequels, after all, he is currently fourteen, a time of transition from child to adult. In fact, I intend his evolution to be as much part of the story dynamics as Tom's. I won't be using him as a stooge, nor as an example of how not to do things, the sidekick in modern literature is far more sophisticated than the 2D characters of old TV, e.g. Scrappy-Do from Scooby-Do, Vince Romano from TJ Hooker, Penfold from Dangermouse.

CSI

Unlike the aforementioned traditional sidekicks, who were generally stuck in their ways with a particularly annoying catch-phrase if you are really lucky, Sean does get to take the lead in some things, he knows more about their mutual condition than Tom does and at least in the beginning, he is the stronger character. Modern sidekicks are more than there for the 'but why Doctor's of old. In fact, a lot of stories are moving to the ensemble model where there is not such a distinction between leader and supporter. In TV, this can be seen in the likes of CSI, where there is always a lead figure, but the sidekicks, or rather, subordinates are no longer on the side, they have almost as big a role in proceedings as the head honcho. There are, of course, always the mentor-mentee moments, providing the classic one-on-one learning experiences, but there is not so much of the subordinate being there just to get it wrong so the hero can show them how it's done, because *gasp* in our modern world, even heroes are allowed to be fallible.

Lord of The Rings

Ensemble structures are not something I've played with a lot in my writing, I suppose the classic is the fantasy quest adventure, the likes of J R R Tolkein's Lord of The Rings, where there are many characters each striving for the one goal. I tend to veer towards one or two characters when I'm writing, so this group dynamic is a challenge for me, making sure each character has enough 'air time' and this style of story lends itself to an omnipotent view point, also not a narrative mode I go for. Still, I do have a short story that I released for The Wittegen Press Giveaway Games, Samling Born, that will be developing into an ensemble format novel, so I better get practising.

Stein and Candle Detective Agency

Despite the rise of ensemble shows on TV, I don't believe the hero-sidekick relationship will go away, especially not in written format. There is still something to say for the best-friends and/or master-student relationships that this dynamic creates. Much good literary material lies in 'wise sage give young apprentice advice' and, in modern relationships, the inverse is also true, teachers can learn from their pupils. I think, due to the flexibility of our format, a novel writer can develop a much more nuanced and intimate relationship between characters than a forty-five minutes a week TV show and the sidekick has his or her role to play in many stories. They are there to: help the reader learn about the environment the author is creating; maybe lighten the mood from time to time; keep the hero on the straight and narrow (there is a particularly good example of this in The Stein and Candle Detective Agency #2: Cold Wars where Weatherby makes his opinions known to Mort when Mort's actions become questionable).

I think the role of the sidekick can be summed up by saying that they, more often than not, provide the humanity a story needs. Your hero/protagonist can be a psychotic bastard, as many of the darker superheroes can be from time to time, if you have that small breath of loyal, earnest humanity in the form of the, yes I'll use the term, plucky sidekick.
Sophie Duncan



Sophie was born with the writing bug in her blood, boring her primary school teachers with pages of creative writing and killing her first typewriter from over use when she was thirteen. She began publishing her work on line while at university where she discovered the internet and fanfiction. It took another decade for Sophie to realise her long-time dream of releasing her own original fiction as an author through Wittegen Press.
Death In The Family (Heritage is Deadly #1)



Leaving a good London school with solid prospects, Tom Franklin has the world at his feet. Yet one thing has always haunted his perfect life: his dreams. When Tom discovers that the nightmarish images of dark places and even darker instincts are in fact repressed memories from his early childhood, he must face the heritage from his birth-father, a savage vampire known only as Raxos.
Realising his memories are his only hope of controlling his awakening instincts, Tom returns to, Coombedown, the sleepy, Cornish village in which he was born, unknowing that the night-breed in his veins will lead him into danger.
Death In The Family is a young adult, paranormal novel.


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