Colin Mulhern

I've just made my first unagented submission. It's only to a couple of publishers to test the water, but I'm fizzing. It's been so long since I sent something out on my own. The story is a 10,000 word chapter book aimed at younger readers, subtly titled: Buttercup Sunshine and the DEADLY UNDEAD ZOMBIES OF DOOOOM! It's probably the silliest thing I've written, but it was great fun. A huge change from the edgy YA stuff. Couldn't resist a scribble of the MC and one of the zombies as I see them. But I'd also like to leave it up to the editor, and see how they'd like this story presented.  So... fingers crossed.

I think I've reached a whole new level of nerdism. I've done a video blog on the quality of a paperback. But, somewhere out there is another equally nerdy writer desperate to know the quality of KDP paperbacks - are they actually any good? How long does the process take? Do they look like real papery paperbacks you find in bookshops. Hold onto your seats... it's a white knuckle ride on the crazy wild roller-coaster that is Kindle Direct Publishing.

Can a writer survive without a literary agent? A few weeks ago I decided to take a step back from the traditional route to publishing and cancel the contract with my agent. A bit of a leap of faith in one respect, and a bit scary in another, especially when you consider that many writers are desperate to get taken on by an agent. After all, if you want to get a manuscript in front of an editor with a major publisher, the only way to do it is via an agent, right? So why give up that chance? Short version: An agency is a business built on reputations. Agents build up a reputation with sales - rejections are set backs, so pitching a second or third book from a writer that an editor has already rejected is a bit of risk to that reputation. The agent works for the agency first, the writer second. In my time with my last agency, my first novel scored a contract (18 months later, the publisher had problems and the book didn't come out). However, after that I wrote two other books - ...

Have you ever seen those model houses with an old woman and an old man that come forward to tell the weather? The old woman means it's sunny and nice; the old man means it's stormy and cold. Today was my first day back at work after the break. I work in a primary school and I like it. Usually, I'd say I love it (especially Fridays - on Fridays I work in Reception and Nursery. I could write a load of posts on that alone). Today I was talking to a colleague about Christmas. She initially said she'd had a great Christmas, then added how it was, in fact, pretty bad. Grandparents and falls and broken hips and hospital. That sort of thing. So not really a great Christmas at all. I made a joke that people are inclined to say they've had a good Christmas because that's what people expect to hear, but actually, if you've had a shit holiday, it's good to have it acknowledged from those who understand, because Christmas is a pretty tough time for some. This...

Finally saw the movie. I read the book a couple of months ago and loved it. I first heard about it when it was shortlisted for the 2015 August Derleth award (alongside Station Eleven and that year's winner, the completely brilliant No One Gets Out Alive by Adam Nevill). It took me a long time to get round to it but it was worth the wait. I read a few early reviews that were quite severe, stating it was an original idea that fell into cliché territory once the main characters left the compound. I can understand the frustration because neither the original cover nor the blurb gave any indication that this was a zombie story. And as zombies are the the modern day luvvies of the horror world, this particular area is getting a tad tedious (but thank god the romantic vampires finally slipped away). There was a lot I loved about the book. More than anything, the detailed look at zombies at the physiological level. This approach, for me, means The Girl With All the Gifts does for zo...

Most writing guides focus on writing good scenes, getting the conflict and tension in there. A bit of detail to add colour and location, good dialogue. I'm going to put forward the argument for bad scenes - the stuff that gets cut. The problem with focusing on good scenes and top copy is the moment you write a dull scene, you have a good idea that it should be cut, so you cut. And you start again, which leads to frustration and the feeling that you're getting nowhere. I certainly feel that way. And then I read an article by a YA author who said she had to write nearly half a million words to get one particular novel right. If an average YA novel is 70,000 words then that's 430,000 words not needed. Does that mean they could be avoided? Well, it got me thinking to how I wrote Clash and Arabesque. Clash actually started as a very different book, something called Get Even, Get Girl, Get Lost, and the story of Kyle and Alex was really just the opening of the book. It wasn...

I don't read a lot of crime fiction, but the mild dystopian/sci-fi slant of ZERO grabbed my attention. And the cover... I just love the texture on that yellow text. ZERO is set in the near future where authorities have adopted a zero tolerance policy towards crime. If found guilty, regardless of the crime, there is only one sentence: execution. And without giving any spoilers, it's the manner and delivery of execution that has more than shock value - it really resonates throughout the book. There are no flying cars, no robots or spaceships, but ZERO holds an unsettling atmosphere reminiscent of Bladerunner. The story kicks off with the kidnap of a judge, which at first doesn't seem particularly surprising. The events and investigations that follow build up slowly, leading to a fairly complex, but convincing plot. Underpinning this is the conflicting turmoil within the main character as she digs deeper. Again, no spoilers, but the result is a novel that avoids the quic...