It isn’t necessary to have read The Murder Tree to enjoy The Titanic Document. Some of the same characters appear in both stories, but the plots and sub-plots are not related.
Wait a minute… “Plots and sub-plots”? What do I mean by that?
Okay, as the main purpose of these posts is to give readers an insight into what I do as a writer, it may be worth a word of explanation. Most storylines work on at least two layers. The surface layer is the plot that runs through the whole book, while underneath there is usually a connected theme that evolves as the main story unfolds. Take Dickens’ A Christmas Carol for example. The (surface) plot concerns a miserly man haunted by ghosts who visit him over three nights. But the sub-plot is about the poverty of people around Scrooge, and how it affects his relationship with them.
So, looking back at The Murder Tree, the top layer is the search for a personal connection between ancestor and descendant over a murder in Victorian Glasgow. Beneath that are the criminal actions of a brilliant academic using his unique talents to further his personal ambitions. One of the main characters is Billie Vane, a Manchester-born librarian working in Glasgow’s Mitchell Library. He is befriended by an American girl, Chrissie Fersen, and helps with her quest to understand how she relates to a woman convicted of killing her best friend. Throughout that story, Billie is often at odds with Chrissie’s protective brother Ed, who remains sceptical of Billie’s interest in his sister. At the end of this first story, Billie and Ed become friends.
On to The Titanic Document. Six years have passed, and the friendship is now well-established. An author attends The Mitchell Library in Glasgow to promote a new book about Titanic and her sister ship Olympic. Billie and Ed both attend the talk, one from a personal interest in the tragedy and the other as a marine engineer. The two are drawn into providing professional research input for a second book by the author, unaware that a high-ranking politician is taking extreme measures to obtain a document he believes to be in the author’s possession. And he’s desperate enough to commit murder in the process.
The sub-plot here is built on the criminal activities of a former Cabinet minister. In earlier posts I’ve made no secret of my cynicism for the UK political elite. To a degree that is a result of personal experience, but when looking for material for a second novel I was heavily influenced by news articles from 2016 – the period in which much of The Titanic Document is set. One such story was the demise of Operation Midland, an investigation by Metropolitan Police into allegations of child sexual abuse and homicide. Coupling that with media accounts of personalities like Jimmy Savile, Cyril Smith and Jeremy Thorpe, a toxic mix of powerful men abusing their positions seemed to me a suitable vehicle for development. I make no apologies for including sections in my story that might be labelled “adults only”, but on the subject of “abuse” I found further examples attributed to figures in the story of Titanic. I didn’t need to dig too deeply to find parallels between the political climates of 1912 and the present. In 2016, the UK voted on a referendum to leave the European Union, while America stunned us all by electing Donald Trump as President. Just over a hundred years earlier powerful businessmen with ambitions in America and the UK tried to capitalise on a developing situation in Europe that would lead to international turmoil. Not much difference there.
That then is the “Who” (Billie, Ed, an author, the police and some dodgy politicians), and the “What” is the plot and the sub-plot. I’ve also touched on the “When” – 1912 and 2016 – but in the next post I’ll explain why historical events in 1985 also played a key part.
By the way, THE TITANIC DOCUMENT is now available to pre-order online at all the big bookstores – including Waterstones, W H Smith and the new Bookshop.org. (Oh, and Amazon, naturally!)
It has been over seven years since I published The Murder Tree. At that time I had no plans for writing another novel. This was a one-off, an outlet for a story that had been nagging away at my brain for years. That might have been my one and only attempt at fiction, especially as the next project on my To Do List was a non-fiction piece from my own family history. But the reaction from readers of The Murder Tree was so warm that I knew a second novel deserved serious consideration.
So, here it is.
Right now, The Titanic Document is only weeks away from publication. In this post I want to explain a little about the process of bringing my second novel to print, and over the intervening period I will tell you more about the story itself.
But first, why has it taken so long?
The simple answer is: I write slowly! Every writer has his or her own methods. Some (like me) need time for ideas to formulate, and have distractions in their lives that often pull them away from the keyboard. Sometimes that link between brain and fingers NEEDS to be broken to preserve a semblance of normality (or avoid domestic strife). Others apply themselves every day, treating their writing hours like a job and being supremely disciplined about it. L J Ross is an independent author at the top of the Amazon rankings who regularly trots out several books per year. That works for her, but a conveyor belt mentality would never do for me. I prefer to treat my work as a craft proceeding at its own pace. Then there’s another element I feel that separates my style from Ross’s: teamwork.
Authors can be solitary individuals, and today’s technology allows a writer to produce a document they can publish themselves using Amazon’s proprietary software. No middle-man. Quick and relatively easy. If you have the creative skills, the dedication and the technical mindset that Ross clearly displays, you can make a success of being a one-woman band. I did something similar when I published my mother’s memoir (A Kangaroo In My Sideboard) through Amazon in 2018. But the major difference between me and L J Ross is that, in writing both The Murder Tree and The Titanic Document, I incorporated a team of experts at every stage.
That process did slow things down, but for me, feedback on my draft work was hugely important. Periodically I would receive critique from fellow writers on the text I produced. Then I would make adjustments, or re-write sections. Even when I’d finished the whole story, I employed a professional editor to provide an in-depth analysis that induced further changes before starting the publication process with Troubador. Their professional services (typesetting, design, marketing and distribution) can easily take around six months, even longer for the big traditional publishing houses like Random House, Penguin or Harper Collins. All these companies (including Troubador) have high standards, and the quality of the books they put on shelves in our shops and libraries is what I aim to match.
So, it all takes time.
I’ll end this post with a link to Troubador’s shop window. This is where you will find the paperback version of my second novel, and because of the present restrictions imposed around Covid-19, it’s a useful place to obtain a physical copy in future. Have a look around HERE. The standard of the products on offer is second to none, and each one only gets there after months of careful application by a team of skilled professionals. I’m proud to work with people who care as much as I do about quality – but, at the end of the day, it is the reader who will judge the end product.
In around eight weeks’ time…
COMING NEXT: Who, What, Where and When? The Inside Story of The Titanic Document.
Need to know:
I don’t just write fiction.