Category Archives: novel

So who’s Mr. French, and why is he unmasked?

Like most writers I know, I have voluminous files of old drafts, abandoned chapters and even abandoned novels. It’s all part of learning the craft – knowing when to let go of something that just isn’t working.

Last year, I began writing a complicated dystopian novel. My writing critique group at the New South Wales Writers’ Centre (I couldn’t live without them) gave it a big thumbs down.

Undeterred, I brought it back a few weeks ago with a new beginning. Thumbs down again.

Another beginning. Another thumbs down.

But last week, with beginning #3, I got the seal of literary approval. The corpse has risen from the dead. It is walking. A twisted future world is under construction.

To celebrate, I dusted off a short story I wrote a while ago, did some more work on it, gave it a new title Unmasking Mr. French, and posted it on this site as the prize for signing up to my newsletter. I even invested in a Shutterstock image and made a ‘cover’. (My regular professional cover designer is  busy right now, and will probably shriek in horror when she sees my work!)

Because I’m still in celebratory mood,  I’m giving you the story  without making you sign up since you managed to find my website. Just click here and pop in the password FREE.

Have a read and let me know what you think.

Stu

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Cairo Mon Amour gets big surge from Goodreads

 

espionage romance thriller cairoAfter Goodreads giveaways in November, December and January 2018, word is spreading about my espionage romance Cairo Mon Amour. In total, 2597 people entered the giveaways, and 547 have the book on their ‘to read’ list.

I’m planning more giveaways this year, but if you want to skip the line, just click here to find out how to buy a copy.

Sincere thanks to publisher Austin Macauley for organising the December and January giveaways.

Compelling debut novel, a mash-up of Lord of the Flies and Ivan Denisovich

I’m still puzzling over Mutch Katsonga’s novel Beyond the Spiral Gates a couple of days after finishing it. It’s a weirdly compelling book about the experience of a boy in Wickfields, a brutal home for criminal children. I read it quickly in two sittings, with questions accumulating in my mind as I went along.

Where is it located? Perhaps Australia, perhaps Europe, perhaps New Zealand; the clues are contradictory. The language of the first-person narration is faintly archaic, but peppered with colloquialisms that would be familiar in modern Australia.

What is the time period? The rural setting has horses and carts – but there is mention of plastics. And the legal-political context: A dystopian future, or a grindingly cruel modern dictatorship?

My guess is that Katsonga’s invented world is tailored to the psychological and spiritual journey of the boy. It’s a reversed-engineered mash-up of Lord of the Flies and Ivan Denisovich, and it doesn’t matter a bit if I can’t pin it down to a place and a time. I believed in it and I wanted our boy to win over his travails.

This is a debut novel of the kind I like: It’s brave, fresh and different, and it owes nothing to anyone.

There’s a bonus: Mutch Katsonga doubles as musician Indie Soull, and has recorded some sweet tracks on Spotify to accompany the novel. Check out Frozen in Time.

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Find out about my new novel Cairo Mon Amour here. Like Mutch Katsonga, I write quirky novels about love, betrayal and redemption.

Picture gallery: Fading traces of the Soviet era

Aeroflot ticket, 1974. Lost aesthetic or Communist kitsch? (author’s collection)

When I was studying  Russian in Moscow in 1974, it was unthinkable that in  less that twenty years, the Soviet Union and the Warsaw Pact would be no more.

For my literary invention Ivan Zlotnik, the flawed Soviet diplomat in Cairo Mon Amour, the USSR was there to stay. Zlotnik gambled his freedom on the date of the outbreak of the Yom Kippur war. Did he win or lose? That’s for the reader to judge.

Forty-three years later, tourists buy up Communist kitsch in nostalgic homage to regimes whose harsh outlines soften over the decades. But more permanent traces of the Soviet era remain, as this small gallery shows:

Remnant plaque, Berlin (photo: Stuart Campbell)
Symbols of communist industry and military power, Prague (photo: Stuart Campbell)
Vintage URAL motorcycle spotted in a Budapest street (photo: Stuart Campbell)
Soviet Memorial, Budapest. The Russian reads ‘In honour of the liberating Soviet heroes’. (photo: Stuart Campbell)

Going easy on the f-word in fiction


Writers are getting more foul-mouthed

The recent Guardian article on the increasing rates of foul language in literature got me thinking about my own use of the f-word and its derivatives.

I checked my f-quotient in my last three novels and – yes, my language is getting fouler with every book, rising from a demure 0.012 f*cks per hundred words in my first novel to 0.031 f*cks per 100 in Cairo Mon Amour, my latest.

Highly skilled at cursing

Confession time: I spent my early years on a council estate just outside London, and I Iearned to handle the f-word like an East End fishmonger. Later I became part of the Australian intelligentsia, and honed my skills so that I could out-f*ck any Professor of English Literature in the room.

But why do I use  f*ck in my novels?

Here are the results drawn from the 26 f*cks in Cairo Mon Amour:

  1. Sometimes I use it to locate a character on the British class scale:

Bellamy said, “If we’re right about this we’re finished when those f*ckers from Ealing work out that they’ve put us together.”

“How come you talk like a barrow boy sometimes? I remember that from Shemlan. It’s quite a turn on, you know!”

2.  Here’s a similar example, where I contrast the restrained and courteous Pierre with a thug:

“It’s a .22 calibre model 70,” he grunted. “Israeli military issue. Good quality. Liberated from the enemy. Probably used to shoot some poor Egyptian f*cker. Haha!”

“Take it back,” Pierre hissed.

 3. And here’s Pierre learning to swear in English:

“Well, sort of gallop like f*cking hell. We’re being shot at.”

 4. In this example my Soviet diplomat Zlotnik is supposed to be speaking in Russian, and the f*ck is a translation of the common Russian curse:

 “Where’s that f*ck-your-mother Englishwoman gone?” Zlotnik rarely cursed. It had all unravelled, all gone to shit. He sank into the sofa.

5.  In this last example, I have a bunch of American diplomats fleeing Egypt on ship. There has been a stream of f*cks as they lose their cool. Here’s the last one:

As the Cynthia’s engines groaned rheumatically into life, an American in a suit and a baseball cap pointed at the Soviet ship and shouted, “Look, they’re unloading f*cking missiles!”

I’m actually very pleased with my self-diagnosis: Every example has been strategically selected. There’s not a gratuitous f*ck in the book. Obviously, I was well trained!

Let me know what you think!

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Click any of these links to buy a copy of Cairo Mon Amour

Amazon.com

Amazon.co.uk

Amazon.com.au

Austin Macauley Publishers

 

Australian murder mystery with a perfect sense of place

Western Australian author Steve Rogers’ novel An Artifact* of Interest is so filmic in character that you’ll excuse me for referencing some Australian movies in this review. It’s a murder mystery set in the Kimberleys with the little-known Bradshaw cave paintings at the heart of the plot – but no spoilers here.  As a thoroughly urban Australian who rarely ventures fifty clicks from the coast, I relish the novels and films that transport me to the bush: The terrifying petty brutality of Ted Kotcheff’s film Wake in Fright; Ellen Roxburgh’s ordeal in Patrick White’s novel A Fringe of Leaves; the mystical film version of Picnic at Hanging Rock.

Rogers’ novel is another retelling of the bush: A young city man on a rural adventure; a mysterious death; an anthropological mystery; an unlikely romance. It’s the style that conveys the mood, with Rogers employing present tense and a relaxed regard for point of view, which results in a feel of spontaneity and authenticity of place. Short chapters, suggestions rather than conclusions – these yield a laconic and fluent narrative that leads us through the plot rather than shoving and dragging us. You can almost spot the dissolve between chapters. I loved the imagery of the bush, and my mind kept returning to Margaret Preston’s painting of Western Australian gum blossoms

*Yes, it’s spelt with i for a good reason: Check out the definitions of artefact and artifact.

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Find out about Stuart Campbell’s latest novel here.

The story of my beautiful book cover

This beautiful book cover for Cairo Mon Amour has an interesting evolution. It was actually designed for a self-published edition of the book, but I offered the artwork to my publisher, who was happy to take it over.

When I first discussed the project with my designer Rachel Ainge of Tribe Creative Co, I imagined a cover that tried to tell the story. I cooked up the idea of an aerial shot of Cairo with a pair of women’s shoes (containing feet) on the ledge of a building.

Rachel took things in hand: “Don’t try to tell the story.  Leave it with me.” We’d had this discussion before when I’d talked her into creating covers that told the stories of two other books of mine. They were lovely covers, but did they help to sell books? I wasn’t sure. Here they are, along with one of my crude sketches:

 

 

 

 

Rachel came back to me with the idea of branding the three books under a common theme, including new covers for the older books, and a new title for one of them.

Over to me for the theme. I thought hard about what linked the three books: A contemporary  Australian political satire, a psychological drama set in England, and a thriller/romance set during the Yom Kippur War. How were they connected?

It came to me in a flash while I was walking on the beach (that’s where my most creative thinking takes place): Love, betrayal and redemption. That’s what I really write about.

This gave me a formula for uniform subtitles for the three books:

  • Love, betrayal and pure theatre
  • Love, betrayal and genteel crime
  • Love, betrayal and espionage

Incidentally it gave me my elevator pitch: Stuart Campbell writes quirky novels about love, betrayal and redemption.

Next, Rachel asked me for an iconic scene for each book. “I’ll give you the blockbuster treatment – a big dramatic sky and characters looking into their destiny,” she said. I came up with Martin Mooney looking at the distant mountains, Jack Walsingham approaching a rural cottage, and Pierre Farag and Mark Bellamy riding towards the Pyramids.  This is what I got:

And I’m very happy with the result!

Cairo Mon Amour will be published in late June 2017 by Austin Macauley Publishers, an independent trade publisher with headquarters in London and New York.

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