Tuesday, 21 February 2012

Interview with Kathryn Brown


Kathryn Brown writes about the world of spirit and is the author of the paranormal romance novel, Discovery at Rosehill. When not writing, Kathryn is busy running a farm alongside her husband in Northumberland. 

Buy for Kindle HERE 
Buy in Print HERE 
Buy at Lulu HERE 

Kathryn's BLOG 


My review of Discovery at Rosehill
I read Discovery at Rosehill in just a few sittings – and well into the night – as I couldn’t bear to not know what was going to happen next! And during those hours reading, I grew quite fond of Camilla Armstrong, the main protagonist.

The story opens as her deceased grandmother leads her to Rosehill – a rundown Georgian manor house. And where most of us would probably find the house entirely empty, Camilla, a medium, senses the spirits of a variety of visitors to the house and is able to communicate with many.

When she strikes up an unlikely friendship with the Rev Marcus Calloway things get a tad tricky, not least because the vicar has a few secrets he’d rather keep under wraps. A relationship between the two develops though it isn’t an easy ride, with mistrust and doubts on both sides.

To add to this, there is an ongoing mystery concerning the house and its past occupants, so the book has just about everything, romance, intrigue and hauntings, within its covers.

Kathryn Brown’s writing style and 'voice' is characteristic of classic novels making Discovery at Rosehill a truly memorable read.

INTERVIEW WITH KATHRYN

Is there a special place you like to write?
Yes. I inherited a beautiful antique desk from my late father. Because he inspired me to write Discovery at Rosehill, almost six years after his passing, it felt only right that I should use the desk. I am quite sure his energy surrounds it, which made writing a paranormal novel all the more interesting.

Do you have a writing routine or any odd writing quirks?
The only routine I have is to write when I am in the mood. To discipline myself whilst writing this particular book was quite hard as I spent a long time unable to write because of my epilepsy. My life is quite hectic as I not only help my husband run the farm, but I also care for my autistic daughter so my hours are limited. However, when editing Discovery at Rosehill, I did have lots of support from my husband so that I could at least try to stick to a deadline.

What do you feel are your writing strengths and weaknesses?
I’m not sure whether it is a strength or a weakness, but I am a stickler for grammar and typos. Every author is capable of letting the odd error slip through the net but I find myself in a state of panic if I realise I have missed a typo and someone else has picked it up. I guess it’s a bit of an obsession!

One strength I do pride myself on having is not giving up. I knew I had to write Discovery at Rosehill, however long it took me, because I felt I needed to make my dad proud. Even though he is no longer with us in person, he will always be here in spirit and to feel him around me when I was writing the book gave me all the strength I needed to continue.

How important is it to you to plot your novels?
I honestly didn’t do a lot of plotting for Discovery at Rosehill. I think I underestimated the amount of plotting needed and I just went ahead and wrote the book. Changes were obviously made, characters taken out and scenes swapped around, but there were many times when I would ask my spirit friends to guide me with the story. I’m quite sure they did.

I did, however, meticulously plot the novel I am currently working on called Hideaway. I spent a few months making notes, drawing up characterisations, creating place names and of course the plot, and it took only two months to write the first draft. I think this taught me a valuable lesson!

Did the inspiration for Rosehill come from a real place?
Yes it did. It came from my own home, a large Georgian farmhouse which is filled with astral energy. The house was built in 1750 and there are many parts that are active, including the staircase, a guest room, the dining room and the upstairs landing area. In all these areas, including others within the house, I have felt a presence, and I occasionally see shapes and movements.

Are your characters ever based on people you know?
In Discovery at Rosehill, the main character, Camilla, is based a little on me. I don’t have her romantic interests towards a vicar of course, nor has my mother passed away, but I do share her sensitivities to the spirit world. The character of Ross was also based on someone I know but haven’t seen for a very long time....

Who is your favourite author and why?
That’s a really difficult question. I have so many books on my shelves, not to mention on my Kindle, I couldn’t begin to think of a favourite author. I love reading Catherine Cookson, Josephine Cox and I have many chick-lit authors on my shelves, too, but to pin just one down is impossible.

What qualities do you think writers should have?
Following my experience writing Discovery at Rosehill, I think new authors in particular should have discipline. As I stated above, I found it hard to find a routine until I was editing the book but that was because of my personal circumstances. If one is writing as a sole career path then I imagine discipline and finding the right balance is paramount to being a successful writer.

What are you working on at the moment?
I’m currently working on a murder mystery called Hideaway. I finished the first draft back in November 2011 and have recently started editing it. The story is about Lydia who believes she has the marriage made in heaven until she finds out her beloved husband has been having an affair. A murder, a fugitive, a romantic encounter and a lot of secrets make up the novel, and I hope to have it ready for submission shortly after Easter.

Kathryn Brown was talking to Maureen Vincent-Northam, co author of The Writer's ABC Checklist (Secrets to Success - Writing)
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Thursday, 9 February 2012

The Value of Free

 

I’m a Yorkshireman; I don’t believe in free.

If I ask a plumber to fit a new tap in the kitchen he has a certain amount of money to pay out: cost of the tap, fittings washers, etc. It probably comes to just a few pounds, so why does he charge me £50 for the job? I pay for his time and expertise.


Why, then, do people assume that my time and expertise as a writer has no value? I work as hard as our plumber, the job takes a lot longer than he spends fitting a new tap. Why should I not be paid for that time?

That’s the underlying reason for my rejection of ‘free’. When I look at a new magazine or site calling for contributions, the moment I see the words “we are unable to pay you at this time,” I come away. Would they expect the plumber to fit their new tap for free just because they’re short of capital?

The same is true of my self-published titles. Their value as a commodity I based upon what I believe they’re worth. If I get that wrong, the thing doesn’t sell and I go back to the drawing board. I don’t give it away.

So how come I’m giving away my latest effort, Tales from the STAC Casebook?

Effective advertising is expensive. Ineffective advertising is just as costly. We’re in the middle of an economic recession and people are tightening their belts. My combined sales for the whole of January and the first two weeks of February are slightly less than those for the first two weeks of December.

Free, however, has a remarkable effect. People find free without the need for advertising. With some publicity to back it up, ever increasing numbers of people find free, and in doing so, they find links to my other titles which are included in the back of free.

This isn’t just theory. Within hours of uploading Tales from the STAC Casebook there were knock-on sales. Free works: I can recommend free.

If there’s a problem with free, it’s one of public perception. Free means badly written garbage, cobbled together in a hurry. There’s an element of truth in it, but to be fair, it can be said about many paid e-books, too.

If you’re going for free, don’t skimp on the work. Maureen edited Tales from the STAC Casebook and also consulted on the cover image. It is of the same editorial and design standard as all my other titles.

If you’re putting out e-books, if you’re setting up a website where you intend to put up short stories or articles as free reads, the word free should not mean shoddy. That work will become a window on your writing world, and second best should never be good enough.

Neither should it be a blatant advertising vehicle. Tales from the STAC Casebook is what the title suggests. A brace of short crime capers with Joe Murray, Chair of the Sanford 3rd Age Club. They’re constructed with the same care and attention to detail as the novels. They’re entertaining and intriguing (even if I do say it myself) and links to other titles are contained within the front and back matter. They don’t interrupt the stories.

Your readers download to be entertained, not pitched. So entertain them. It will help establish your reputation as a writer and entertainer, someone the reader will want more of. Sales will follow quite naturally.

It’s early days yet, but notwithstanding my ingrained Yorkshire thrift, I can recommend free.


David's bio
David lives and works as a novelist on the northeast outskirts of Manchester, England. He is a prolific author, having produced works in cosy crime, psycho-horror, sci-fi and humour. 
The latest book in his popular whodunit series starring the members of the Sanford 3rd Age Club, The Filey Connection, will be published soon by Crooked {Cat} Publishing.
You can read free sample chapters of David’s books HERE.
David's website
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