Authors Electric

Murder on the Orient Express by Agatha Christie I’ve had a brainwave. Why hasn't anyone thought of this before?  (Ah, turns out they have. See below. Never mind, I'm not stopping now.) So many stories – detective and mystery ones in particular – are set in a closed community that your characters can’t get away from. A train perhaps. Or a boat. (Agatha Christie’s Murder on the Orient Express and Death on the Nile .) An office block ( Die Hard , one of my favourite films) or a hotel on fire ( The Towering Inferno ).  The reasons for this are obvious: throw a bunch of different characters together in a tight cauldron, add some kind of disaster or threat, and BOOM, you have all the ingredients for a gripping, heart-in-mouth tale. Death on the Nile by Agatha Christie For children’s authors (including, cough, me) the enclosed setting is more likely to be a holiday camp, or a school – boarding, if possible, meaning that your beleaguered hero really is stuck with all the problem...

Img-Eleanor Spiess-Ferris/ Ds-Roger Carpenter Perhaps this will sound gushy to the prolific masters of mystery novels among my distinguished colleagues here at Authors Electric . But I can't help being over the moon at the moment -- and deserving of a pause to enjoy! I reached another book publishing milepost the other day --  creating a cover for my latest book, putting production on it's final leg towards release, promotion, and, I hope, sales. It's a kick no matter how many books I've published, no matter how many candles on my author's cake. You can't judge a book by its cover. but the cover can get us to buy one, often as not. It sets the tone, particularly when it comes to fiction. It gives us a taste.  The best ones intrigue, tease, whisper compelling secrets and become an icon for the novel, its sequels and adaptations. Sometimes it's clever, morphing typography that tells the story, for example, Joey Hi's design for Lauren Beukes' Zoo City ....