A circular walk of 9.5 miles including 2,100 feet of elevation overall (excluding Dinas Bran) Start Point: Panorama Walk, Llangollen LL20 8ED. Map References: SJ 2340243187 or Lat: 52.980530 Lon: -3.142302
Llangollen is a small town in Denbighshire on the River Dee known for its network of canals featuring horse-drawn barges, and various sites of historical interest. This is a route of varied terrain including dramatic limestone escarpments, open pasture and woodland and a short section along the Shropshire Union Canal. There is an opportunity to visit Valle Crucis Abbey, founded in 1201 on the site of a wooden church. Valle Crucis was the last Cistercian monastery to be built in Wales – check opening and entrance fees online. Or if you prefer more of a challenge, take the additional climb to the ruins of Castell Dinas Bran, adding around an extra 1,000 feet of elevation. Castell Dinas Bran translates to English as: The Castle of the City of Crows. Perched on a conical hill above the town it enjoys fantastic aerial views and despite its dilapidated state, commands not only a strong historical presence, but also one of love, legend and fairytale.
More on the castle: https://janruth.com/2015/07/21/castle-of-the-crows/
Park on Panorama Walk; a narrow elevated road with plenty of parking space and fantastic far-reaching views across the vale of Llangollen including the River Dee, the castle ruins, and the canal. With this panorama to your right, walk away from Castell Dinas Bran perched on its distinctive conical hill, and take a left on the hairpin bend by the finger-post onto a steep grassy bank. (Ref: 52.981276 -3140336) Continue the ascent, ignoring the metal gate a little further on and keeping to the left of the fence-line. Aerial views of Castell Dinas Bran, the limestone escarpments, and far-reaching views of the valley materialise to the left.
At the next finger-post go straight on, continuing to follow the undulating track through heather and bracken, especially colourful in August. At approx one-and-a-half miles from the start point, pass through the metal gate by a signpost for the Llangollen Round. Follow the track as it begins to wind downhill and bears to the right. At end of this track, cross the stream and turn left at the signpost, continuing downhill. At the next signpost keep LEFT, ignoring the sign indicating the route continues uphill. Continue downhill alongside the stream. Some easy scrambling then between a deep cleft in the rocks.
Head towards a single-track driveway ahead but bear slightly right over a broken wall, and then turn right at the Offas Dyke signpost by a white property, and follow the obvious track. Walk along this ridge for a short distance and then descend towards trees, keeping the fence-line to your left. Cross the stream and keep LEFT to descend slightly. Ignore all gates, and continue through the trees on a rough track to locate a stile on the left.
Enter the pasture and cross diagonally, bearing left to locate another stile by the farmhouse. Turn left onto the road, then after a short distance look for an orange post-box set into a tree on the right. Turn right here to locate a stile and a signpost indicating the Clwydian Way. Follow this track through the trees, a stream to the left. Continue over the next stile and descend to another stile by the stream. After a short distance, cross a wooden bridge into open pasture.
Walk through the fields on an obvious track to the farmhouse. Turn left at the road, then take the first sharp right into a driveway with a cattle-grid, by a finger-post signed for Valle Crucis Abbey. Follow this gradually ascending single-track road, passing two or three individual dwellings, until the road dissolves into a track through a wooded area. Continue through the trees to the fork, then take the lower righthand track, signposted for Valle Crucis. Look for a stile on the right, then take the next stile immediately to the left by a white property, and enter the open pasture.
Keep to the fence-line on the right, and look for an old iron ladder stile set into the trees on the right, by a signpost for Velvet Hill. Follow the path as it descends through woods to a wooden bridge over the Eglwyseg River, and into a field. A caravan park and Valle Crucis Abbey is situated to the left. Climb the stile by the house and continue along the driveway to the A452. Take a detour here to visit the Abbey, or continue the walk by crossing the road to go over a stile opposite, giving access to Velvet Hill.
Once over the stile head up to the right and follow the steep track as it begins to bear right along a wide, steep grass path to the summit. Good views of Valle Crucis Abbey from here. At the top, turn left and follow this undulating route until all tracks begin to descend. It’s difficult to be precise about this section but generally head south/south-west without climbing any higher, to leave the hill via a stile by the road into trees.
Follow the short woodland track to the road junction. Turn left towards the main road, then turn right to walk along the main road a short way before turning first left towards Corwen on the B5103. After a short distance, take the steps on the left signposted for the canal. Cross the bridge, and descend the iron steps on the other side, then turn left and walk along the canal towards Llangollen Wharf, with the River Dee to your right. After a mile or so, look for a blue sign: Please give way to working horses on the tow path. Exit the canal at this point, opposite Tower Road.
Cross Abbey Road (A542) and enter Tower Road. After a short distance you’ll arrive at the crossroads; go straight on. At the top of this section turn left and follow the signs for Castell Dinas Bran. Go through the kissing-gate and take the lower track to the left by the fence-line. (Or take a short detour here and tackle the ascent to the castle ruins by walking up and over the hill.) Follow the fence-line path as it gradually ascends to a lane, signed Llangollen History Trail and Panorama Walk. Pass through the kissing gate (If you’ve walked down from the castle, pick up the route here) onto the lane and turn left, then right onto Panorama Walk and return to the start point.
The described route is a guide only, it’s always advisable to use a map or a GPS device.
A novel based around a North East coal-mining town in the early 1900’s. This was the age of capitalism and the rapid growth of industry, interrupted only by the first world war. For a while, fighting on the front for King and country seemed a better alternative, until the reality hit and few hero’s returned home in one piece. But for most working men in this northern town, this era meant the continuous daily grind of working below ground in pitiful conditions, often facing the possibility of death – or starvation if they came out on strike. Socialism was beginning to raise its head but more often than not it was considered a dangerous and dirty word. Joe Gowlan escapes the mine by running away to the big city, living on his wits and looking for every opportunity to better his life. Unscrupulous, full of swagger, and prepared to take risks, Joe climbs the gilded ladder mostly by exploitation and cunning. He avoids conscription, continuing to work his way into a number of lucrative business deals presented by the war.
David Fenwick, also born into the life of a miner along with his father and brothers breaks away from a life below ground by educating himself. He looks set to achieve a B.A. until his head is turned by pretty inveterate social-climber, Jenny. Determined to do right by everyone and full of integrity, David is the voice of the working man and after playing his part in the war eventually breaks into politics; only to go head-to-head with Joe Gowlan.
Arthur, sensitive son of the mine owner becomes estranged from his father after a terrible flooding disaster in the pit kills hundreds of men, including David’s father and brother. Like David, Arthur suspects his father failed to invest enough in planning and safety. He refuses to fight in the war as he only sees more death and destruction, and Arthur is thrown into prison. When he eventually takes control of the pit, Arthur spends too much money on improving working conditions and when the big industrial slump comes along and the workers riot, he’s forced to sell out to Joe Gowlan.
The strength of this novel lies in the richness of the story and the strong social messages throughout, skilfully expressed through real, multi-layered characters. The hopeless, fearful trudge of life in the mining community is well contrasted with those lives of the rich fat cats in charge; the steak and oyster feasts, the gleaming cars and the ignorance of working life. And yet despite the hardships of the mining towns there is a relentless pride and a strong sense of comradeship. Arthur serves as a wonderful bridge between the classes, and yet his lack of hard-nosed business acumen results in the complete collapse of the mine, and this subtlety adds a clever dimension to the black and white politics of the day.
The understandable greed of Joe Gowlan after such humble beginnings. The strength, pride, and stoic nature of David’s mother, Martha, faced with a strike in the dead of winter, no food, no money, and giving birth to a stillborn child. And those powerful scenes when the mine is flooded and husbands, brothers, and sons, are trapped below ground; scenes which will stay in my mind for a very long time. This is just great storytelling, a huge saga involving many intertwined threads, the triumphs and struggles of life through many different eyes, and the harsh reality that the good guy does not necessarily win.
Feeding the World and Saving the Planet.
1. There are many opinions about how our food is produced and how the countryside should be managed, but some of the arguments are wildly inaccurate. When did we get so far removed from reality? For some people, the lack of exposure to nature is causing depressions and other mental health issues. Keeping hens and bees, growing food from seed and looking after the land and our animals is not only something we need to understand and protect, but is of tremendous benefit to our overall health.
2. Farm animals are not slaughtered for their skins to make leather handbags, in the same way that sheep are not slaughtered for their fleece. The wool is a by-product of the meat industry and is vastly underused and undervalued. For some breeds of sheep, not shearing can bring great misery and even death via parasites. But the fleece has become almost worthless, and so understandable that some farmers cannot afford to shear. Those breeds which don’t need shearing are not always able to survive winter conditions on a traditional hill farm.
3. It seems out of kilter in these planet conscious days that man-made fibres have overtaken the more traditional materials such as wool. Maybe we should get back to what is, after all a more natural product and helps to sustain the farming industry. As it stands, cheap imports rely on materials which are not always planet friendly and may even contain plastics. If the animal is bred for the food chain, then it makes ethical sense to use every part of that animal.
4. Farming and food production gets unfairly singled out for the mass destruction of animals. Extreme vegan activists are concerned about the exploitation of sentient beings. This is an admirable cause, but we are all guilty of the claims made against non-vegans by merely existing and going about our business. I don’t believe it’s tenable to take the food chain argument down to extreme levels. We kill animals when we drive cars, fly in planes, build railway tracks, farm grain, grow apples, hunt for pleasure, or mine sand. We alter ecosystems when we put up new housing developments and ship lentils across the world. We push native animals out of their environments all the time and being vegan doesn’t alter these facts. Being vegan doesn’t make you a paragon of virtue in relation to saving the planet. We all need to consider planning smaller families, recycling and repairing, taking less long-haul trips and driving smaller cars.
5. It’s good to have diversity in the food we produce. If the population was all entirely vegan and reliant on a short list of ingredients, it would create yet another set of problems in trying to feed millions of people on legumes, nuts, and flax; and artificial meat substitutes produced in a factory. The entire countryside would be given over to vast swathes of specific crops. Controlling those areas set aside for growing crops such as peas, creates a need to control other animals eating or destroying that crop because to grow anything on a vast scale invariably means that something else is compromised. Over a five year period up to 2013 rice farmers in NSW killed 200,000 ducks in order to protect the crop.
6. As an aside, I think we do eat too much protein, especially red and processed meat, and probably not enough vegetables and fruit. Meat is not good for us in big quantities – but then, neither is anything else, including peas, beans and lentils. All things in moderation is a cliche for a reason. It makes sense to eat foods in season and produced locally so why not spend a little more and buy local, grass-fed meat, but eat it less often? Natural, sustainable, and local to the area where we live surely creates the right balance and is likely to be more suited to the land. Massive carbon emissions are created by long haul flights bringing out of season foods to the UK, invariably wrapped in plastic.
7. I’m not vegan or vegetarian, but that doesn’t mean I have no empathy for animals reared for the table. What we should be doing is looking to improve animal welfare ie: not importing animals thousands of miles in crates and lorries to meet their demise in another country, or supporting those products which are mass produced, such as eggs from battery hens. Eggs are cheap anyway so take a moment to read the labels, and buy local, free range.
8. Our world population is too high – the root of all our problems – to restrict food production to a single type. The key to finding harmony between all the arguments, moral or otherwise, is respect and education. I think it’s great that some of the population are vegetarian or vegan, but it’s just as worthy of acceptance that the rest of us choose to eat meat, fish, and dairy.
Uncle Alex, a lonely and unloved translator, enjoys leading his passive, pretty niece, Gemma, astray. At first these possessive indulgences are quite innocent, but when she marries a rather cold, albeit successful doctor – a man Alex actively despises – his mission becomes all-consuming. In working on the story of Troilus and Criseyde, fantasy and reality begin to merge to the point where Alex encourages an affair between Gemma and an attractive out-of-work actor, David. But the increasingly complex web of deceit Alex manipulates for his own entertainment gradually begins to spiral out of control, with devastating results for Gemma.
A unique, somewhat disturbing novel, filled with egotistical liars and actors, voyeurism and sneaky manipulation. Cleverly plotted and impossible to put down. None of these characters are likeable but they are fully fleshed-out, exceptionally large warts and all.
Self-Publishing is a Last Resort.
No. To self-publish or operate as an Individual Publisher or an Indie, is often the best creative choice. Without the shackles of commercial pressure, genre-blending or your own personal genre, is the new kid on the block! The author retains global selling rights across all platforms and retains the majority share of any royalties. Most importantly, the author is in complete control of the entire process, from designing the cover to organising events, to advertising and pacing the release of new material. The more you invest of yourself the greater the opportunity for growth, development, and experience, not only as a writer through valuable on-line networking but in all aspects of the publishing world.
Depending on your technical skills, it’s quite possible to design your own covers and promotional material using a range of high quality software, some of which is accessible for free. Learning to format for ebooks and paperbacks cost nothing more than your time. If you make a mistake, fix it, learn from it, and move on. There are many publishing platforms out there now – to produce both ebooks and paperbacks – all of which are user-friendly and free. Print-on-demand allows an individual to invest in small quantities of paperbacks which are easily manageable from a financial point of view, and allow the author to either produce copies simply for their own use or order in sizeable quantities for shops and events.
However, not every author has the skill nor the inclination to want to deal with every aspect of publishing. Some authors find it enjoyable, some find it stressful. And it’s fair to point out that if you don’t have the necessary technical skills then of course, not every aspect of self-publishing is free. The material needs to be professionally edited, proofread, formatted and designed to a recognisable industry standard if you wish to compete with the traditional market and produce something to be proud of. There are many excellent, experienced freelance professionals working in the self-publishing sector to enable you to achieve this. The quality (both in terms of the writing and the book itself) of self-produced work can vary from mediocre, to a standard which is actually way above that of some small press publishers because quite often the editing and designing of your book is a bespoke, individual process. After this, it’s perfectly possible to approach libraries and independent book shops.
Beware of: Experts. There are plenty of swish looking websites and unscrupulous folk willing to take your money for advice and services offered, from editing to advertising, from special award badges for your book, endorsements, amazing reviews, to everything in-between. Don’t pay for anything – unless the service offered comes from a reputable source and you are happy with their examples. Ask around on the many forums available and choose carefully.
Self-Publishing is the same as Vanity Publishing.
No. Vanity Publishers have no selection criteria. Vanity publishing is a complete service to authors who have no wish to become involved with the nuts and bolts of producing a book as an independent, or perhaps they don’t possess the knowledge or inclination to send out endless applications to agents and traditional publishers. Maybe they’ve simply become worn down by rejection letters, and we all know how that can feel. Some flattery from an editor is all it needs to get you to sign on the dotted line…
You will more often than not relinquish all rights to the material. The author is expected to cover all costs out of their own pocket, usually upfront, and the publisher will collect the majority of the royalties on the book. It’s an expensive, often disappointing route – because quite simply the publisher has been paid for his trouble and has no further interest in the material as they’ve already made their profit – from the author! Vanity Publishers have no relationship with bookshops or suppliers.
Beware of: Huge costs (running into several thousands of pounds) and vague promises. Quite often these types of publisher come across as the real thing through cunning advertising (sometimes they refer to themselves as self-publishers).
A Good Book will be Published by a ‘Real’ Publisher.
Not necessarily. There is still the belief that agents and publishers secure the best material out there, and you may wish to try this route first. Lots of smaller publishers can be approached directly without the need for an agent to represent the author. This is where signing a contract can be confusing and in some cases, detrimental. However, a genuine publisher will never ask for a financial contribution towards producing your book. If they do, you could be dealing with a vanity press.
Traditional publishers are mostly interested in commercial fiction which fits neatly into a genre they are familiar with. This makes the job easier for them and less of a financial risk.
You will of course relinquish all rights to the material and the majority of the royalty payments will go first and foremost to your publisher. This is not necessarily a bad deal if the publisher is knowledgeable about the current market, is selling lots of books and is proactive in maintaining those sales. In a lot of cases though, this simply doesn’t happen. Publishers rarely promote consistently and effectively. The risk of taking on books that don’t sell isn’t much of a deal breaker to them because ebooks are remarkably easy to produce and who knows, your book just might take off without too much effort or investment from them. They can also control expenses by only publishing print versions on demand; exactly as per the self-publishing route, and many of them use the exact same platforms. The alternative to this is that you’ve negotiated a traditional ‘print-run’, in which case the publisher may be keener to recover those costs and work harder on your behalf to shift the copies. The finished product may well look exactly the same as a self-published book but will retail at a much higher cost because of course, the publisher needs to factor in his cut. In some cases, the print book may even be of inferior quality. You will probably be expected to pay for copies of your own book or to buy any stock at trade price, around 40% of the retail cover price.
Beware of: High expectations, grey hybrids and contracts which tie you in to several works, or years of commitment at a low rate of royalty. You won’t necessarily see your book in a major retailer on the high street for example, or in libraries. You may be expected to produce a novel every 3-6 months if the publisher is mostly concerned with commercial ebook sales in a current popular genre. They’ll want to catch the market trends and a steady stream of material will (hopefully) make money.
Some small presses are blending traditional methods with services approaching those required by the self-publisher. It’s perhaps a way of capturing everything which is going on in a fast moving, constantly changing market. The material may be better treated from an editorial point of view and usually the author will retain all selling rights, but at the end of the day it’s the author who is footing the bill and choices can be limited. Additional services such as offering an author a Facebook page is an example of how new and confused authors could be attracted to a ‘gold package’ when everything seems scary and complicated. Making a Facebook page for example, is simple and free, and yet in some cases, this is listed as a service. This hybrid type of publishing is often the sister arm of a reputable publishing company, encouraging authors to submit under the impression that the experience of the genuine publishing house will spill over into the self-financed version. Maybe it will, maybe it won’t… grey area?
Do I Need An Agent?
Not necessarily. You only need an agent if you intend to approach publishing companies who don’t accept unsolicited manuscripts and/or you wish someone to act on your behalf to wade through the legal jargon of a complicated contract. Bear in mind that around only 1% of manuscripts are selected in this way. An agent may be able to secure a good contract for you, but remember they take around 15% of whatever they negotiate. This could be well worth it if the agent has great connections and you have a great manuscript which everyone wants…
How Much Money Do You Make?
If you are looking to make money from your writing, then you may be shocked to discover that the profit on a paperback can be as low as £1. This is without factoring in the time spent writing the novel, paying for an editor, a cover designer and a formatter. This is based simply on the printing costs of a physical book. Nothing beats seeing your work in print, regardless of how you arrived at that point, but unless you’ve written a commercial best-seller and it’s handled by one of the ‘big six’ in publishing, then it’s unlikely you’ll make any cash from selling paperbacks.
This is why the ebook market is so lucrative and why lots of small presses have popped-up offering contracts for material. Some of them are pretty good, but an awful lot of them are best avoided. If you self-publish an ebook and it starts to sell, then you can make a reasonable return, especially if you have the technical know-how to produce the book file to a good standard and you’ve studied the market for trends. While some authors fail to break even, some make a reasonable living from writing, usually supplementing their income with author services or non-fiction publications. There is a multitude of levels in-between, depending on how much time and effort you are willing to invest, but there are no guarantees.
During this week the previous year my phone rang just as I approached Llangelynin Church, a call to inform me that my mother had passed away. I knew the instant it rang. I don’t really believe my mother hovers along with me as I ride through life, saving me from falls on the hillside and keeping my feet in a position of safety at all times, but I do like the idea of it even if only in symbolic terms, because this is exactly what mothers do. And then there was an occasion the previous winter where I actually did lose a stirrup and found it again in the strangest of split-second circumstances, so I feel entitled to the odd whimsical thought during this time of summer rain, rainbows, and humid mist.
Mum was cremated more than 70 miles away, and it’s a place I don’t really wish to revisit for the sake of remembering her as that would feel not only a worthless chore, but insincere. I’m not sure riding to Llangelynin church with a bunch of hedgerow flowers on the anniversary of her passing is especially more apt, because towards the end of her life Mum’s feelings about religion were gradually worn down to an angry indifference. But consecrated places are not always about the constraints of religion. More importantly she loved Wales, and all things flowering, despite her absolute refusal – towards the end – to believe she was ever knowledgeable of plants and once upon a time cherished a large garden. Remembering her at this peaceful, historical spot in the Welsh hills is surely the greatest symbolism of freedom after years of suffering the emotional and mental prison of dementia. Those years when the shadow began to move across her memory until the disease finally swallowed it whole, were the hardest years of all. I realise that collecting flowers on the way to the church whilst astride Storm, might prove problematic. As well as a lot of dismounting I imagine His Lordship might presume I was collecting some of these delicacies on his behalf. So I gathered the bouquet a couple of days before, from the ancient, abundant hedgerows by the church. Before too long I had a small bouquet of natural beauties; Harebells, Foxgloves, Heather, Valerian, Cranesbill, Rosebay Willowherb, Campion; Bracken for greenery, and for fragrance, my own Lavender and Jasmine.
The day of the symbolic gesture – the day I choose to ride to Llangelynin with my bounty – is heavy with low cloud and drizzle. I tie the flowers to the saddle with a length of pink string. Storm is remarkably respectful and gives it only a cursory glance. Undeterred by the worsening weather, we set off at a smart pace, fired by the importance of our quest. On the small rise of Craigfedwen where the landscape would normally roll in front of us for as far as the eye could see, visibility is reduced to a thick wall of mist, and the only sounds are those of muffled bleating. I think about the song my brother and I chose for Mum’s service, by Enya: So I Could Find My Way. Before too long I admit defeat – I genuinely cannot find my way today. The heavens burst wide open and progress across the open mountain is made not impossible, but miserable and uncomfortable. Saturated, I turn for home. The pony gives me some tremendous heart-lifting canters through the wet bracken, raindrops and an array of petals flying in his mane. Does he know? As a symbol of freedom and a nod to the joy of wild Welsh foliage, I reckon we still completed our brief. And I suspect Mum had the last say.
I don’t claim to be an expert on ebook sales, neither do I sell many thousands of copies; but I do receive a variety of emails relating to the subject, and I often spot frequently missed opportunities for sales and some rather more obvious reasons why books don’t sell.
EDITING. The single most important process of publishing a book is structural editing and proofreading. The lack of consistent, industry standard editing will kill sales in record time. Readers can forgive a smattering of minor mistakes throughout an 80,000 word novel, but if the first thing they see when they look inside the book sample are glaring grammatical errors – then there’s little chance they will buy. It’s a false economy to skip the editing process simply because your sister said it was ‘ok’. Or someone you met in a Facebook group said they’d edit the entire manuscript for £100. Only employ a recommended editor with a good track record and be aware there are many, many plausible fakes out there. Be super critical and don’t publish too soon.
COVER. The cover can and should work in a number of ways to help sell your book. Mostly it needs to match the content and the expectations of the genre – ie: not a photograph which you happen to like and may be related to the material in some vague way, but means absolutely nothing to a prospective reader on the other side of the world. Do some research and look at other books in your genre. Unless you have an eye for design, understand book marketing, and own the relevant software to be original and creative; pay someone who does. Of course, it’s perfectly possible to make your own cover with free software through Amazon’s publishing platform or something like Canva, but if the end result looks homemade – and you want to reach beyond friends and family – then consider the commercial impact.
FONT. Often overlooked, but the font is a vital bit of selling kit. Nothing screams homemade more than a bog-standard font scrawled across a third-rate cover image. If the cover and the font look third-rate, then the reader is fully entitled to presume that the content is much the same. Do the research: you will not find a loopy font on a cold-blooded thriller. Consider the impact of this and apply accordingly.
FORMATTING. If you can’t handle the formatting, then please pay someone who can. It might be the best story ever and perfectly well edited but if there are blank pages, irregular indents, or oversized margins, then after a while it just becomes too irritating to read. Your text needs to look consistent on a variety of screen sizes.
BRANDING. If you’ve got all the above in order then do also consider branding. If you write across different genres this can be difficult but covers which are easily recognisable as one of yours, do help follow-on sales – so at least consider keeping the font of your author name consistent. Four or five cross-genre books with variable cover styles are notoriously difficult to sell. Same applies to using more than one author or pen name. This is why traditional publishers like material which is easily branded to match their current list. It’s easier to market and sell, and the reader knows what to expect. More on branding here: https://janruth.com/2016/06/24/the-importance-of-branding/
SHORT LINKS. Every time you talk about your book across social media add the buy link! Potential readers will not go searching, and if you also use a pen name which is different to your social media persona, this can be an impossible task. Why make it so difficult and confusing? The social media audience has a very short attention span at the best of times. Make a short universal link – it’s so easy – and use it. I can’t recall the amount of times I’ve tried to find a book and given up because the author didn’t use a buy link and I couldn’t remember the exact pen name or the specific use of initials.
PRICE. Study the market and take note how much is free or priced at 99p. How much do you spend on ebooks? Personally, I’m cautious at anything over £1.99 if the author is unknown to me. It makes more sense to sell 10 books at 99p than one book at £2.99. Free books have lost their impact in raising visibility. Still useful if you’re offering the first in a series as a free download – which hopefully will attract readers to buy the next, and the next. But always price the first book in the series less than the sequel – as a loss-leader – not the other way about!
KINDLE SELECT, CATEGORIES & KEYWORDS. The Kindle Select programme (staying exclusive to Amazon) is worth considering, rather than spreading yourself too thin and being available on every other sales platform. Amazon Kindle remains the most popular so why not use this to your advantage – at least initially – and use the free promotional tools available. Select also means you can enroll in other programmes such as Kindle Unlimited. This allows readers unlimited access to books in the Select programme and for the author, pages read can earn as much – if not more – than those elusive sales. Experiment with categories on Amazon, the smaller ones are more likely to get your book noticed. Likewise the keywords – it’s worth doing some research, there are plenty of articles about keywords and which are trending and are currently effective
SOCIAL MEDIA & WEBSITES. Build a social media platform before you launch the book, not as an afterthought a few months later because ‘you really don’t do promoting, advertising, Twitter, or all that stuff…’ Your ebook is an internet-based product which is targeted at an internet-based audience who own an e-reader and therefore browse the internet for their next read. A commercial page – use your author name for this, not your book title – on Facebook and a website are both worth having because they are public sites and allow readers to discover you. They will not discover you via a personal Facebook profile. A website is more static – a ‘go to’ place to locate the books and hit that universal buy-link. Keep it clean and simple. Get rid of the dancing cats, change the white text on a black background to the other way about, and fix the links that don’t work.
REVIEWS. Reviews do help to sell books in that they increase customer confidence in the product. Approach book bloggers and reviewers who are interested in your material and whose opinions carry some weight; they will also have a good presence across social media. Don’t approach other authors or send multiple requests through Messenger to all your friends begging for reviews. And the other biggie: don’t respond to negative reviews in public. Nothing looks worse to a prospective reader than to witness an angry response to someone who didn’t enjoy your book. They are entitled to their opinion and if it’s malicious then interacting in any way will add fuel to the fire. There are plenty of people who will enjoy a good to-and-fro at your expense. Not only does it look desperately unprofessional to join in, but it’s wise to remember that reviews are not directed towards the author. Neither are they an easy, cheap critique service – they are there to help other prospective readers decide if they might enjoy the book. Only take them to heart if there are several reviews flagging the same issue. And then… get it fixed.
BLOGGING & NEWSLETTERS. The clue is in the title… these are not meant to be hard-sell sales platforms. Blogs are a good way to build a slow but sure fanbase, but your blog needs original and interesting content. Write articles you can share across social media and build followers. I’ve written some equitation-based fiction so blogging about horses brings me into contact with the right audience. And if you cannot produce engaging, interesting, and informative content on a regular basis, don’t start a newsletter. Sending advertising copy through email disguised as a newsletter is SPAM.
MARKET TRENDS. Are you writing fiction the public are looking to read? If it’s a complicated contemporary romance set in Newcastle and your main female character is aged 45, it won’t sell as well as a formula romance set in Cornwall with a heroine aged 25; even if your book is more original and better executed. Sadly, this is the way commercial sales and marketing works for the big guys, and the independent publisher can either try and swim with the mass-market tide, or accept that writing to their own agenda and enjoying creative freedom will always produce books which are more of a struggle to sell.
A linear walk of 8 miles including 900 feet of elevation overall. Start Point: Roman Bridge railway station, Dolwyddelan LL25 OJG. Map References: SH 7127 5140 Lat/Long: 53.04439926 -3.92163991
An interesting, easy walk through the Lledr Valley from Roman Bridge to Betws – as the crow flies – and one which is full of ancient history. Begin with a train ride from the busy town of Betws-y-Coed to the request stop at Roman Bridge. If the train isn’t running along the Conwy Valley – which was the case at the time of walking and writing, due to the track being swept away in the floods of early 2019 – it’s easy to take the replacement bus. The route of this walk incorporates much of Sarn Helen, the Roman road local to the area. Sarn Helen actually refers to several stretches of Roman road throughout Wales. The full 160 mile route follows a meandering course through central Wales, and connects Aberconwy in the north with Carmarthen in the west, although debate continues as to its precise course. Many sections are now used by the modern road network and there are sizeable stretches that have been lost and are unidentifiable.
It’s worth allowing time to take a look at Dolwyddelan Castle along the way, reputed to be the birthplace of Llywelyn the Great. Built in the early 13th century, the castle functioned as a guard post along the main route through North Wales. This straightforward, direct route – the Romans loved straight lines – gradually descends to the spectacular River Llugwy, and continues over the steep and striking Miners Bridge. This is likely the same spot the Romans used to cross the river many centuries ago on their way to invade Anglesey and conquer the Druid stronghold there. The name evolved during the nineteenth century when local quarrymen used the bridge to reach the lead and tin mines of Gwydir Forest.
From Roman Bridge station turn right and follow the single-track road as it winds downhill, and then sweeps to the right. Good views of Moel Siabod. Cross the stone bridge and continue up to a farmyard.
Walk through the yard and turn right at the finger-post to join the Sarn Helen road. Where the track forks, keep right and continue walking until the castle comes into view. The track skirts the castle and continues to a metal gate. Go through the gate and walk to the end of the track to the main road.
Turn left here, and walk a short distance along the road towards Dolwyddelan village. Turn right in the centre, along Church Street. Take the first left towards the station, passing the school to your left. Take the single-track road ahead.
Follow the road to the end and pass through a metal gate into grazing land. Follow the track as it winds to the right beneath the railway line and then turn left to go through a gate. Continue along the driveway and turn left at the end onto a single-track road. Pass Pont-y-Pant station, then continue to cross the bridge onto the main road. Take the footpath opposite and turn left.
Take the stile at the end to exit the path, and turn right along the single-track lane. The lane climbs steadily towards a metal gate – go through here and continue forwards along the rough track. At the fork bear right, then the way divides into three options. Ignore the righthand path, and ignore the lefthand path as it heads up towards a fir plantation. Take the less obvious middle path through the copse.
Follow this route for about a mile until it passes through a gate at the end. Cross over the road at the junction to pick up a stony path as it heads downhill. Again, at the next junction go straight ahead on the track and continue downhill to a wooden bridge.
Pass some large properties to the left and at the main road, cross over to take the footpath opposite through woodland down to the River Llugwy and the Miner’s Bridge. Turn right after crossing the bridge, and continue along the river bank into Betws-y-Coed.
The described route is a guide only, it’s always advisable to use a map or a GPS device.
Michael Henchard sells his wife and child to a sailor at a fair; a terrible drunken act and something which comes back to haunt him with a vengeance. Eighteen years later the sailor is lost at sea, presumed dead, and Susan seeks out her former husband to discover that Henchard has not only established himself as a wealthy corn merchant, but is also the Mayor of Casterbridge. Anxious to save his reputation and partly out of a sense of duty, Henchard marries Susan again, pretending Elizabeth Jane is his step-daughter – but Susan hides a dark secret, and Henchard has already promised a future to Lucetta Templeman. When a handsome, straight-speaking Scotsman, Donald Farfrae, arrives in town Henchard is quick to employ him and his clever business ideas, but then matters become compounded when both Lucetta and Elizabeth Jane are romantically inclined towards Farfrae, and Henchard is thrown into a state of flux. As their relationships – both business and pleasure – become hopelessly intertwined and fraught with wrong turns, Farfrae’s fortunes look set to rise and Henchard finds himself on the downward spiral as his past rushes to meet him.
The narrative is quite hard-going, partly down to a lot of old English words and the rural slang of the day. The dialogue is authentic, especially the regional variations, and it’s also a rich and vivid portrait of country life in 1840’s Dorset. There are a few convenient deaths and the overall atmosphere is one of melancholy and redemption, but the strength of this novel lies in the twisty plotting and how well it is structured. Characters are multi-dimensional and rise and fall by their own hand. Henchard, although he tries to do the right thing isn’t quite the moral upstanding man his image represents, and the author really does make him pay! It’s a great story, one with a strong social and moral conscience.
Cashelmara is loosely based on the lives of Edward I II and III; although this story mostly takes place in late nineteenth-century Ireland, through those troubled times when the country was besieged with famine and uprisings, and frequently at odds with the Protestant Englishmen who owned the estates. An epic, historical saga written from 6 different viewpoints, the story follows the fortunes of three generations beginning with Edward de Salis and his second marriage to his wife’s cousin, a young American, Marguerite. The eldest son from Edward’s first marriage naturally inherits everything on his death: the Irish estate, Cashelmara, plus the beautiful English county mansion where Patrick grew up, and his considerable wealth. Unfortunately Patrick does not inherit his father’s head for business, and although he follows in his footsteps when he marries his step-mother’s American cousin, Sarah, his drinking, reckless spending and gambling looks set to ruin everything. Forced to live humbly at Cashelmara, Patrick spends his time cultivating the garden and perfecting his wood-carving skills, and continues to form intense ‘friendships’ with men rather than pursue a more serious occupation fitting to a gentleman of his class. When the insidious Derry Stranahan becomes intimately involved not only with Patrick, but also with managing Cashelmara’s estate, the rot really sets in. Poor, beleaguered Sarah forms her own, dangerous allegiance with Hugh McGowan, both romantically and otherwise, and before too long the fate of Cashelmara is the subject of a scandalous power struggle giving rise to affairs, betrayal, revenge, and murder.
This is a heavily characterised novel and the structure is superb, allowing one to be fully immersed not only in the narrators head, but in another time and place as the plot is skilfully moved forwards without repeating what we already know, and without revealing all. There is a strong element of psychology allowed to influence character motivation, leaving no doubt that these events happened. Vivid historical detail, the suppression and sexual naivety of women, the super-rich and the super-poor and the iron fist of the church are all incorporated to great affect.