Author Interview with Nick Stephenson
(I tried cross-posting this at my book blog where it really belongs but apparently Blogger's wonderful new template with which they'd saddled us last year gets cranky and enables metadata encoded in Word files from which several of my posts originate. It doesn't happen so much with this template but my other blog uses a different template that apparently forces you to type directly on the editing page to avoid that formatting bullshit. So here it'll have to remain, unless you like having to highlight white text so you can read it against a white background. -JP)
Ever since I’d begun my book blog back in November, I’ve been meaning to post interviews with independent authors and I can’t think of a better place to start than British thriller novelist Nick Stephenson. Mr. Stephenson has recently kicked off the Leopold Blake series with a short but very eventful novel entitled PANIC (Which I’ve already read. I’ll be reviewing it here in a day or two). In his own description, Blake “is Sherlock meets Die Hard – an explosive mix that fans of Lee Child, Dan Brown, and James Patterson will love.” Befitting the quality of this little gem of a thriller, it’s been featured at the top of Scribd’s Fiction-Thriller page, where it’s amassed close to 3000 reads in the short time since its posting. You can purchase it here for the economical price of $3.99 on Kindle. What follows is an interview I’d conducted with this exciting new independent author.
Ever since I’d begun my book blog back in November, I’ve been meaning to post interviews with independent authors and I can’t think of a better place to start than British thriller novelist Nick Stephenson. Mr. Stephenson has recently kicked off the Leopold Blake series with a short but very eventful novel entitled PANIC (Which I’ve already read. I’ll be reviewing it here in a day or two). In his own description, Blake “is Sherlock meets Die Hard – an explosive mix that fans of Lee Child, Dan Brown, and James Patterson will love.” Befitting the quality of this little gem of a thriller, it’s been featured at the top of Scribd’s Fiction-Thriller page, where it’s amassed close to 3000 reads in the short time since its posting. You can purchase it here for the economical price of $3.99 on Kindle. What follows is an interview I’d conducted with this exciting new independent author.
Robert Crawford: First off, I’m curious
about one thing. You’re British. Fellow Brit Tim Rob Smith, author of CHILD 44,
once told me he decided to make his series hero Leo Demidov an agent with the
Russian forerunner of the KGB simply because of the heavy intrigue of the late
Stalinist era and the obstacles it presented to his character. So why did you
choose to make your protagonist an American FBI consultant instead of, say, an
Inspector or consultant with Scotland Yard (which is what Holmes was), which
has a richer and longer history? What or who inspired the conception of Leopold
Blake?
Nick Stephenson: Yes, many people find my
British-ness curious. We are a curious folk. What I really wanted to do was
write the sort of book I enjoy reading. That is, fast paced, full of action and
with a decent mystery at the heart of it. I like not knowing how a book is
going to end before I’ve gotten half way through, and I like it when every
chapter leaves me hanging. I think I’ve achieved that with the book.
As for the protagonist, Leopold Blake, he’s
really a mash-up between multiple characters. Holmes was certainly the starting
point, but I wanted to bring the character more up to date, and make him a
little more ass-kicking. Holmes, although of formidable physical strength (I
think at one point, Conan-Doyle refers to him bending an iron poker in half),
rarely used his muscles in the field, favouring his mental capabilities instead.
I figured – why not use both? What would that look like? What I ended up with
was a Sherlock Holmes / John McClane character, who – despite his best efforts
– regularly gets his ass handed to him, only to get up again and keep on
fighting.
For me, it’s what makes a great character –
having some kind of special skill that makes them unique, but not so superhuman
that they don’t taste defeat now and again. As for my decision to make him
American – well, that’s the marketer in me. I write for my audience, most of
whom are American (by about 10 to 1), and because that’s what I like to read –
if it’s good enough for fellow Brit Lee Child, I figure it’ll work for me.
RC: Have you ever lived in America and did
it give you insight into the American way of life and American law enforcement
as Irishman John Connolly’s residence in Maine and elsewhere did for him? Or
did you have to do in-depth research?
NS: I’ve spent a good deal of time visiting
family in the States for the last two decades, often for several weeks at a
time, but I’ve never lived there full time. I think Americans can often
under-estimate just how much the rest of the world knows about their culture,
lifestyle and politics – just through the sheer amount of visual and social
media that covers every aspect of their lives. I was brought up on a diet of
Friends, ER, Cheers, CNN, Hollywood summer blockbusters and Presidential
scandals. It’s hard to avoid picking up the influence, so research wasn’t
really required for that aspect of the book – y’all ain’t so different from us,
ya hear?
RC: I see Leopold more like a Batman with
Robin on a lot of steroids (Jerome). Yet you’ve described the Leopold Blake
series as a cross between Sherlock Holmes and John McClane of the Die Hard film franchise. What’s similar and
what’s dissimilar between the heroes?
NS: Robin on steroids – I like that! I
touched on this earlier, but I think it’s to do with vulnerability. With
Holmes, we never really get to see him fail. With McClane, he spends so much
time with someone else’s boot up his ass, that we never get to see him think. I
wanted to bring brains and brawn together a little more, and have some fun with
it.
We never really know much about Sherlock’s
or John McClane’s upbringing, and we don’t really care. We just want to see
them kick butt. With Leopold, as the series develops, his background becomes
more and more important – in book one (Panic) he’s very much this cocky, young
crime-fighting, billionaire badass – but by book two (Departed) he’s already
had his world turned upside down, and by book three (Requiem) – well, I won’t
spoil it.
The next books will see Leopold’s “Bruce
Wayne” advantages stripped away, so we get to see what he’s really made of. No
more technology, no more connections, no more friends – he’ll have to survive
on his own. It won’t be pretty, but it’ll make for one hell of a read.
RC: Since you’re British, do you have to
consciously make an effort to write in American English as so many British
actors fake American accents and did you choose to do out of marketing
considerations?
NS: Yes – again, it’s a marketing decision
as well as a personal one. For me, it wasn’t that hard though – swap out
“pavement” for “sidewalk” and drop the letter “u”, and you’re 90% of the way
there. For the remaining 10% I had 2 American editors go through it with a
fine-tooth comb and strip out the British-ness. By golly.
RC: We know the Barrett exists. But what
about the other technology in PANIC? Do the mini explosives that can be
surgically implanted subcutaneously and the white phosphorous hockey pucks
actually exist?
NS: The more exotic pieces you mention
probably do exist somewhere, but nobody’s going to be admitting to it. I wanted
to create relatively realistic tech, and, while that level of damage might not
really happen as it does on the page, it’s certainly feasible. It all operates
within the laws of physics and chemistry - I ran a lot of it past an ex armed
forces writer, and implemented a few of his suggestions to make it a little
more authentic.
RC: The bad guy Stark and others
(understandably) take a dim view of American politics. How much of that is
manufactured for the characters and how much genuinely comes from the author?
NS: I’m very much on the side of the
underdog in any given scenario – and I think we’ve all lived through our own personal
injustices, so fixing the main crisis of the book within the political playing
field seemed like a natural fit.
All the major characters in the book have
suffered their own personal injustices – Leopold lost his family, Mary has her
boss riding her case and threatening to fire her, Albert got kicked out of
school, Jerome keeps getting shot at – and even Stark isn’t so cut and dry a “bad
guy”. He’s doing what he thinks is the right thing – if I were in his place, I
would probably think much the same. Although I probably wouldn’t take such extreme
measures.
In terms of my own politics, I really just
hate to see the little guy getting screwed. Which, unfortunately, is the name
of the game when it comes to government policy most of the time. You just have
to side with the guy you disagree with the least, and let due process and
constitutional law do its job. Which, for the most part, it does – both here in
the UK and abroad – but I always remember the saying: “A good compromise leaves
everyone mad” (Calvin and Hobbes) and try not to let it get me down.
RC: Do you see publishing at this moment as
an exciting time for independent authors who are now empowered to call their
own shots or as indie authors trading litanies of failure and rejection for
another? Speaking as an author, what would be the best of both worlds
(independent vs traditional publishing)?
NS: It’s a very exciting period for
independent authors – for the first time in history, it’s financially feasible
to self-publish, with very little risk, and potentially have your work seen by
millions of people. Of course, like any field, only the top authors are ever
going to make any money at this. Well, actually, if Amazon numbers and rankings
are anything to go by, it’s more like the top 0.5%, so it’s by no means a
guaranteed road to success.
The main issue is that now it’s so easy to
publish, everyone who can use a word processor and can remember their cat’s
name is having a go – mostly riding the coat tails of EL James, with various
arrays of naked cowboy vampire BDSM stories. Not that there’s anything wrong
with that, it’s just there’s a lot of slush on the pile.
Where that top 0.5% can really shine through
is where they’ve taken obvious steps to invest in their work – as a business.
That means a pro cover, pro formatting, expert editing and a damn good story
underneath. Wash away the writers that don’t invest in their work to that
level, and suddenly the top 0.5% becomes the top 5%. Consider most of the
bestselling authors have multiple titles out, that top 5% of titles becomes the
top 30% of authors. And that’s a much more realistic (and achievable) figure.
Indie authors need to wake up and realise
that readers expect quality – whether you’re doling out free copies or charging
$10, any book that’s out there for sale should be indistinguishable in terms of
quality from the bestsellers. Indie vs Trad pub becomes much less of a
distinction then – as readers really don’t care who published the book. When’s
the last time you checked the inside cover of a book to see who pubbed it? When’s
the last time you thought to yourself “I wonder when the next Hachette is out?”
Readers don’t care – only other writers do. I can quite confidently put my work
up on the digital bookshelves next to a Patterson, or a Brown, or any other
thriller author – and it will hold its own. And I’m immensely proud of that.
With a few dozen more titles out, who knows – maybe I’ll even start seeing
those kinds of sales! Ebook sales are forever – so that’s plenty of time to
build an audience.
As for litanies of failure and rejection - I
always cringe when authors say they can’t afford a professional cover, or to
pay someone to go over their work and check for errors and poor style. And then
wonder why they don’t sell anything. I’m not saying you have to pay through the
nose for these things, you can barter, call in favours or do what I did – and
network your ass off. It’s all very do-able, if you want to put in the work and
have the patience to realise you won’t see success immediately.
In terms of the best of both worlds (indie
vs traditional) we’re starting to see this now- self-pubbed authors such as
Blake Crouch, Hugh Howey, Amanda Hocking, etc have signed print deals, but kept
ebook rights. After all, the only thing a publisher can do that you can’t do
for yourself is get your physical book into stores. And that’s a huge market
that the indie just can’t access. So a print-only deal, with fair royalties,
and the ability to authors to retain electronic rights seems to be the way to
go. And we’re getting there, slowly but surely.
RC: What’s next for Blake after he heals up
from his countless injuries? I’m not expecting you to give away the plot to the
sequel but just asking for a taste. When is the new Blake thriller coming out?
NS: The next Leopold Blake thriller,
“Departed”, is due out this Spring – and sees Leopold, Mary, and Jerome travel
to London to assist Scotland Yard and MI5 with a series of brutal murders. Much
like “Panic”, the book gets off to a flying start, and the pace keeps up all
the way through. It’s a similar approach, with the same focus on a central
mystery, which will keep readers guessing and tons of action on the side. In
this book we learn a little more about the central characters and where they
came from, as well as building upon the final act twist of the last book – so,
plenty for people to get their teeth into.
For anyone interested in getting hold of the
first few chapters of “Departed”, just visit my website at www.noorosha.com/books
and join the mailing list – an ebook and pdf version will be emailed straight
to your address. [EDIT – this goes live at the weekend 9th March]
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