Musings Of An Eccentric Rogue

A bit of business to see to today before I get started. I probably won't be blogging again until after the weekend, and on Monday I've got a post by Glynis Smy, who has her release date for her book that day. I've got company coming into town, so I'll likely be quiet for a couple of days. Hopefully I can catch up afterwards!

Oxfordshire, Great Britain

I thought I might go on a bit today about the writing process, and about the odd thing or two I've found while polishing up Heaven & Hell. I've been keeping my beta readers waiting while I've been doing a few things to the manuscript. After I was done, I think I set it aside a bit longer then I should have, and I realized that I've been going over it too much with a fine tooth comb rather then making the adjustments that have to be made now. Anyway, the touch ups are proceeding quickly now, and soon enough, the book will be off in the hands of beta readers. After that, I can start with the whole fine tooth comb thing.

One of things I've been keeping in mind as I've been going back through has been two things I'll add onto the book: acknowledgments and writer's notes. The acknowledgments will to be various people; first, there are those like Norma, without whom the book would still be locked away in my head. Second, a number of professionals in museums, embassies, or other occupations have lent some expert advice along the way. And there are other people who live in the places in question and to whom I've known. Selene, for example, lives in Greece and was very helpful in her knowledge of the country. And a good while back another online compadre who lives in England helped out with little things like the travel time between Oxford and Essex. In addition, of course, there are items here and there through the book that I'd like to add into a writer's notes postscript, complete with an apology to the odd real locale for staging meetings between terrorists or protagonists in their facilities. Daniel Silva likes to do the same in his books, apologizing to a real-life hotel for running a field operation out of their premises, and it's a good touch.

I recently had a moment in which I thought of making an alteration to the book, one that would have required massive overhauls, and work that I quickly realized wasn't needed. The reason? The F-35 fighter jet. The project is currently in perpetual delay, with several client nations waiting on delivery, but it appears that the fighters won't be actively in use for several more years. As I originally wrote Heaven & Hell, I incorporated the use of the F-35, as if for all intents and purposes the plane would already be in use. The research I've done was based on that type. The planes are a critical factor in the book. And yet... the program is plagued by delays. I was almost set to switch over to older models as an alternative, but I've realized just how much overhauling would have to be done. I also realized that in a case like this, particularly because I'm not incorporating dates, the writer (also known as me, myself, and I) can use dramatic license.

Lockheed Martin F-35

One of the things that I've been mindful of while writing was creating a very real world sensibility about the book. It had to feel plausible, as if the events of the book could happen. In the last year, we've seen uprisings in the Middle East and beyond, and that's certainly had an influence on my writing. In particular, the situation in Syria- given that Syrian military forces play a part in the events of the book- has been something I've been paying close attention to. Anyone paying attention to the news these days knows full well that the situation remains unresolved. Assad has made a point of butchering those who have risen against him, and has pretty much earned himself a spot in hell reserved for dictators, tyrants, mass murderers, and vacuum salesmen.

I've built it into the background of the book, featuring a possible path that the uprising might take in time. For the most part, however, this is where the story diverges from the real world. I knew that writing Assad himself into the book was not possible, given where I wanted to take the story. I wanted a scenario where the tyrant has been overthrown, where the nation is in a state of transition. Will that happen? We can only hope for the best, and expect the worst.

Lastly, the Lucky Seven meme has been going around for a little while, so I thought I'd take part. The idea is simple. Go to page seventy seven of your manuscript, go down seven lines, and copy the next seven sentences to the blog. I was tagged for this by Lena and Cheryl, and I've also seen this done by Cynthia. Of course, at our joint blog, our alter egos also played along. So with that, I'll leave you with the sentences in question, from Heaven & Hell....(at least until any further adjustments are made!)

            Malach smiled. “Splendid. See you later.” I’m on my way.

            He ended the call, replacing the phone, finishing the tea. Leaving a decent tip, he paid his bill, smiling pleasantly at the waitress as he left, and walked out towards the waiting Land Rover. One part of the operation was done.

The Cat Is Going To Swat Oliver. I Repeat, The Cat Is Going To Swat Oliver

I was born into a long and distinguished line of feline overlords five years ago. Our kind had always ruled over the lowly humans with an iron claw. They catered to our every whim, feeding our delicate appetites with only the best, because that's all we would stand for. They gave us all the attention we sought, treated us as gods, because we deserve no less. In return, we treated them with disdain and sullen attitude. It's an expected thing to do when dealing with lower life forms.

And then there came the day when I, Sovereign Majestrix Felicity the Mousekiller, encountered my arch foe. For that was the day when my human servant Alice met the fop who calls himself Oliver. I mean, honestly, what self respecting human uses that name?

Ahem. Couldn't resist. Sorry about that....

Before I get started today, I'm also guest blogging over at Beths' blog, where I'm blogging about telegraphs and telegrams.  Be sure to check it out. And now, on with todays' foolishness...

Backstory. It's a narrative in a novel that refers to an earlier time then the main part of the book. It can be revealed through exposition, flashback, summary, or other means, weaved into the narrative, or it can be its own narrative, serving perhaps as an opening chapter in the book.

In the espionage genre, a backstory will often be the history of the villain, or a crucial supporting character being introduced for the first time. A protagonist will usually have their backstory introduced in bits and pieces through the narrative of several books, if it's a series, but if the author's telling the story of a character who's only turning up one time, using the back story is a handy way of getting the reader acquainted with the character.

Last time out, I talked about the genre and three of the big names in the traditional side of things. I thought I'd return to them today with a look at their techniques for employing backstory in their books.

Tom Clancy has given the world his main character, Jack Ryan, a CIA analyst who rises through the ranks of the Agency to ultimately become the President of the United States. That is, of course, when Jack wasn't dealing with his author frequently stopping to explain a techno-fact along the way. Jacks' backstory gets weaved into the narrative in bits and pieces, particularly in the early books, like The Hunt For Red October and Patriot Games, as we were just getting to know him. He's a former Marine, his parents died in a plane crash, and he doesn't like to fly. He has a deeply estranged relationship with his father-in-law. The bits and pieces technique actually works well when you're starting out with your protagonist in a series: don't give the readers too much at a time. Just as long as you don't retcon things in future books that you write as prequels. Mr. Clancy, Red Rabbit is Peoples' Exhibit #1 in this matter.

Clancy brought another primary character into the game in Cardinal of the Kremlin, a field operative named John Clark. His backstory remained essentially a blank for three books, barely hinted at, until Without Remorse. The book is essentially all backstory, set well before the present day books, during the last stages of the Vietnam War. It follows the character from his days as a Navy SEAL to becoming a CIA agent, while the man himself wages his own secret war against a drug gang to avenge a tragedy in his personal life.

Backstory has played its role for other characters in Clancy novels. In Cardinal, a spy deep in the Soviet government often finds himself flashing back to his experiences in the Second World War, sequences that are crucial to explain why he becomes a spy against his own country. In the novel Debt of Honor, a villain has a deeply personal connection to the WWII story of Saipan, and his reflections on it form a critical part of his motivation. And in Rainbow Six, the people pulling the strings behind a diabolical scheme to wipe out much of humanity have their own backstories, carefully placed in such a way not to expose their agenda to the reader until Clancy is ready to reveal it.

Jack Higgins has, for the last twenty years, concentrated most of his effort on the Irish gunman turned British agent, Sean Dillon. He's introduced first in Eye of the Storm, where he's the villain, a one time student of the theatre who turned to the IRA after his father was killed. The book concerns itself with placing Dillon as the man who's hired to attack Ten Downing Street with a mortar during Desert Storm (an attack that really did happen). Dillon becomes the protagonist in the following books when the British make him a deal he can't refuse, primarily because Higgins' wife told him Dillon was too good a character to kill off. In the books that follow, Dillons' backstory makes the occasional appearance here and there, from connections to multiple terrorists on both sides of the Irish issue to operations he's taken part in back in the old days.

Higgins' technique is to often start off in the past with a novel, so a chapter or more might serve on its own as the backstory, seperate from the main narrative. In Thunder Point, the escape of the Nazi Martin Bormann by submarine sets off a chain of events that lead to the present day action and links to the antagonists Dillon has to deal with. Angel of Death uses opening chapters to unveil how a terrorist group comes together over a handful of years. Drink With the Devil uses the first third of the book as pure backstory, since that portion is set several years before the main narrative, following a Protestant Irish terrorist who pulls off a gold heist in the English countryside. The ramifications spill over into the modern day.

Most notably in The President's Daughter, Higgins uses backstory to open the book. He follows the life and career of a young man from the Vietnam War days to the White House, which includes an ill fated romance and finding out long after the fact that he has a daughter. It links into the current day action when that daughter is kidnapped and used as a bargaining chip for a terrorist group who wants the American President to do the unthinkable.

Daniel Silva has made use of backstory in creative ways as a novelist too. Most of his novels have centered on the operative Gabriel Allon and his colleagues. From the earliest books, like The Kill Artist, we learn that Gabriel has been killing people for the state of Israel since the aftermath of the Munich incident. We discover that he's suffered the death of a son and the physical and psychological maiming of his first wife, an act of revenge by an old enemy. Silva weaves details here and there about Gabriel in the books that follow, showing us how he came to be an art restorer (a very handy cover for a man in his profession), and his ties to some of the people in his life, the people who in the more recent books become his team of operatives.

In some of the more recent books, the backstory of a villain comes in the form of a briefing. In the recent Portrait of a Spy, the backstory of two terrorists is laid out midway through the book, the members of the team going through what they know of both men as if the entire chapter is an intelligence briefing. It's a different way of giving the reader a taste of a character, somewhat detached from that characters' point of view, but it works beautifully.

With Heaven & Hell, I've been making use of backstory in various ways. With my protagonists, it's tended to lean towards the "bits and pieces" at a time mentality. There's no need to give away too much at once, since they'll be back again in future books. Where my antagonists are concerned, they get much more of a fully revealed backstory. The first three chapters of the book, in fact, are their story. Over a period of several years, starting fifteen years in the past, the events that bring together the Covenant are laid out, coming to a conclusion with their first official operation as a terrorist group.

A certain dead Muppet's backstory....

Backstory plays a considerable part in fiction writing, but in the espionage genre it's particularly useful. I've certainly made use of it, and in works to come, I'll be revisiting this narrative device.

Post script: Yes, the title's yet another play on espionage codephrases... but let's face it. Someone named Oliver deserves to get swatted.

The Dog Eats The Wedding Cake At Five. I Repeat, The Dog Eats The Wedding Cake At Five

"Never judge a book by its cover."  ~ old proverb

"....Unless the cover's rich Corinthian leather." ~ addendum to old proverb

"I'll have to read Marges' book, and I swore to never read again after To Kill A Mockingbird gave me no useful advice about killing mockingbirds! It did teach me not to judge a man by the colour of his skin, but what good does that do me?" ~ Homer Simpson

The book cover. We're not supposed to judge the contents of what's in the book by the cover, but let's face it, one glance at the cover is often enough of a spark to make us either pick it up off the shelf and have a look at the blurb on the back or the dustcover... or to leave it behind. A simple, bold image might be the sort of thing that draws our eye. By the same token, a generic sort of image that's basically just playing on the same theme of a previously established hit (deserved or not) will tend to backfire. I know I've seen any number of Twilight inspired rip-offs (can you rip off something that's already cheesy to begin with?) on the shelves, the covers obviously designed with feeding off that market. The covers have that uninspired cashing in on the fad before the fad breaks feel to them. You've seen them, right by the checkout at your drug store, no doubt.

As the industry changes and ebook publishing becomes more and more of a force to be reckoned with, those of us who are breaking out into the world of ebook publishing have to keep the cover in mind. Though it's being read in an ereader or a computer, that cover still serves a purpose. It grabs the readers' attention. So it needs to be bold, distinctive... the sort of imagery that makes someone want to take a closer look.

The color should be a consideration, of course. It should compliment the tone of your title lettering. I would avoid using psychedelic purple for your motif. Unless you're writing Puff The Magic Dragon: How I Spent Five Decades Stoned Out Of My Mind.

Admittedly, I'd have been lost having to design on my own. I'd have stumbled around in photoshop or other computer programming, and the finished image wouldn't have come out all that well. I was lucky. Collin Beishir designed the cover for Heaven & Hell, which you can see over there to the right. Below that is a link for his facebook page, so have a look at some of the other work he's been doing. He's brilliant at this kind of thing, and I'm happy with the end result. The cover is bold, distinctive, and carries a gravity to it. I knew generally what I was after, as you can see in this blog, which offers the explanation for the image.

Anyway, since I write in the spy genre, I thought I'd take some time today to have a look at some of the covers in the traditional side of publishing, from three of the big names. Usually these have been designed in-house by the publishing company, and with the author's input being hands off. Some of them work very well. Others, unfortunately, come off as generic. And when you add new editions, movie editions, and international editions, a traditionally published book might have quite a few different covers before it's all said and done.

Tom Clancy's been a heavyweight in the genre for a long time, though realistically, his day is done. Having had read his books, I've often been annoyed by his tech-happiness and tendency to stop in the middle of the narrative to explain how this works, where that was designed, and who made it. His last four books, as a reader, have shown a steep decline in narrative, to the point where I don't think he cares much for writing anymore. That, and he's got a whole pack of apprentices now to do the writing for him. He's a franchise, not a writer.

Some of his covers have worked well; others, not so much. You'll often find a piece of military equipment, a vehicle, that sort of thing superimposed on a Clancy cover. Sometimes it works. Other times, not so much.

This one seems to work well. Patriot Games remains my favourite of his novels, and the early cover is simple, to the point. The name and title, while large, don't overwhelm the whole cover. The colouring is bold and compliments well, and the gun is the proper image, since the book revolves around the issue of an Irish splinter terrorist group.

Not so good here. The name and title seem to drown out the cover... and the image of rocket flares (assuming that's what it is) seems lost in the mix. Given the subject of the book, a man in silouhette with a gun might well have worked better.

Rainbow Six has an original cover that I've always thought is the best his graphic designer ever put out for him. The book is about a multi-national counter terrorism team confronting a threat against nearly every human being on earth. Using small flags for America, the UK, Germany, and Israel, and placing them among the name and title gives the cover a very crisp, distinctive look. Whoever came up with that did a terrific job.

Jack Higgins is another big name in the genre for some fifty years now, and among some of his earlier books is the classic The Eagle Has Landed, a World War Two yarn about German commandos going after Churchill. His primary character through most of his work in the last twenty years has been a former IRA gunman who's gone to work for the British, a charming rogue named Sean Dillon. Some of the books have been outstanding, and personal favourites in the genre. His more recent books have shown a decline; it's a combination of his age and, I think, killing off a major character several books ago. He might not have realized it at the time, but it took a lot of heart out of the series.

His cover designers tend to go in different ways. Some books will feature a person in the shadows, late at night in some location. Other covers focus on a location itself, like a famous building or a skyline. Most of them are dark and brooding.

His Angel of Death uses a distinctive image against a black background that I'd always liked. A tombstone angel superimposed against the Union Jack mirrors the terrorist group who's the threat in the heart of the book.

The cover designer for the first edition of Flight of Eagles really outdid themselves with it. The layout for the World War Two story of twin American brothers who go off to fly for two airforces, the RAF and the Luftwaffe, features a stylized swastika overlying an American flag.

The last of the trio is Daniel Silva, much younger then Clancy or Higgins, who's been writing for a decade now, his thrillers based primarily on an Israeli operative named Gabriel Allon. I started reading the books at the suggestion of a librarian in my local library, after talking with him about the need to get inside the head of an Israeli spy. He suggested Silva, so I started reading, and got hooked. His main character spends his time as an art restorer, which serves as his cover, when he's not off dealing with one threat or another.

The cover designs for Silvas' novels tend to make use of location more often then not. It might be a building, a skyline, or a hidden cloister. Invariably it'll be a dark brooding, nighttime setting (what is it about spy novels and life in the shadows?). And in a nod to the primary character, the covers will often have an artistic sensibility to them, particularly in the way it uses shadow and light.

Now then, you've been wondering what that title means, haven't you? Well, I was thinking about the title for this blog... and then it occured to me that since I was writing about espionage thrillers, I might as well use a nonsensical codephrase as a title. So no, it doesn't mean anything. Unless, of course, you're the bride and groom, walking in on your reception to see Marmaduke gorging himself on the cake.

I'll be doing the same for my next blog, incidentally, since I'll be revisiting these authors for another aspect of the espionage genre, so expect a really out of the loop title. Unless, of course, The Dog Eats The Wedding Cake At Five is an actual codephrase that starts off the second Korean War before then. If that's the case, all I can say is.... oops.