Whenever you read something it seems obvious that that was the only way to tell that story, but of course there are a dozen ways to take a reader from A to B, and in trying to decide which is the “best” way you often end up with a lot of extra material you no longer have use for.
Whilst editing Dexter & Sinister it became clear that I needed to tighten up the start as much as possible, and the easiest way to do that was to get rid of side characters. First drafts often generate threads that don’t end up going anywhere, and Dexter & Sinister was no different.
I found two characters who made it as far as draft six, who I could do without – Becky Bates and Old Jimmy. Becky was a coat-check girl at the Scion Club, primarily there to provide John with information, and Old Jimmy was the former nightwatchman at the airship factory.
I was very fond of them both, but when I realised that everything Becky did could be achieved by two lines of text, and Old Jimmy could be cut out altogether and it not affect the story whatsoever, they had to go.
Still, it made me sad. They were good characters, with some nice writing around them. I didn’t want them to go. But that’s what they mean by “Kill all your darlings.” You don’t keep something because it’s good, it’s meant to be good, but if it doesn’t advance the plot then, bye bye.
Anyway, long story short, I thought it would be amusing to share Old Jimmy’s two appearances, since I like his moments very much indeed. See if you agree with me.
Part 1 – The original opening to the book:
Some people don’t know how lucky they are.
When Old Jimmy lost his job as night watchman down the airship factory he certainly didn’t feel all that lucky. It’d been a good job for a man like him. You didn’t need much skill or education to wander about making sure nothing happened, two things which Jimmy had never had an abundance of. It also helped to have a lack of imagination, as the factory at night was full of strange shadows and odd noises which would put the willies up a more creative man. Old Jimmy had no problem in that department either. Upon discovering there were two Jimmies at the factory he’d come up with his own nickname, Old Jimmy, and even that had taken him a while.
When they let him go a few weeks ago they hadn’t given him much of a reason. Cutbacks, that’s what the boss had said. Cutbacks, and changes. And re-or-gan-eye-zay-shun, or some-such. He wasn’t really sure. He’d stopped listening after the words “let you go.” Their reasons didn’t matter. He had a job, and then he didn’t. That was all that mattered.
What he missed most about the job was the peace and quiet. He missed the money of course, what little there was of it, but he missed the silence even more. He was home all the time now, and though he loved his wife dearly, she could talk the hind legs off a donkey. And her sister, who always seemed to be round, was even worse. She’d been there for over an hour already tonight, going on about how next-door’s dog was always trying to hump Trixie, her Teacup Pomeranian. ‘And you know how delicate little Trixie is, poor thing. Shaking all afternoon she was, after what that Great Dane did to her!’ It was enough to drive a man mad. He may not have had much of an imagination, but all Old Jimmy could think about as she banged on was what would happen if he turned round and told her to ‘Shut yer pie hole!’ Y’know, just this once, just to see the look on her face.
But he didn’t of course. No one ever does. Instead he simply sat there in the lumpy armchair, eating two day old stew, ignoring his sister-in-law as he looked forward to his bedtime and the sweet refuge of sleep.
Yes indeed, Old Jimmy had no idea how lucky he was. If he’d been at work that night the only thing he could have looked forward to was a slender blade in the rib cage, followed by a cold and lonely death on the factory floor.
Part 2 – After John’s first visit to Gravesend Bridge he goes to the sewer outlet pipes, where the body was found:
John spotted an old man over the road, sitting on a squat little stool outside his squat little house – a small, fluffy white dog at his feet – openly watching him as he drank his beer. He went over to him.
Half way across the road the little dog started yapping. ‘Shut up,’ growled the man. He took a swing at the dog but it dodged the blow, jumping around like this was a new game or something. The old man fished a small wooden ball out from under his seat and tossed it into the street. ‘Here. Go get it, you little bugger you.’ The dog shot past John, falling over its own feet as it chased the ball into the gutter.
‘Nice dog you got there,’ John said, smiling. ‘What’s he called?’
‘She’s called Trixie,’ said the man. ‘And she’s a pain in the arse.’
‘Right. I see. Um, listen. I was wondering if you could help me? There was a body washed up here a few days ago, and I was wondering if you knew anything about it?’
‘Oh, aye. I do at that. It were the wife’s sister that found it y’know.’
‘Yup. Found ‘im on her way over Saturday morning. She usually comes round early on the weekend so she and the wife can get to the market when it opens. Turned up pitching a fit this time she did, wailin’ and sobbin’ and being all dramatic. Took us ages before we got any sense out of her. Then I was dispatched to go get the bloody coppers wan’I?’ He didn’t sound too amused about that.
‘And what time was this?’
‘Some time around six I reckon. Or maybe nearer seven. I dunno. It was too damn early for all that racket though, that’s for sure.’
‘Right. Um… I don’t suppose your sister-in-law is here is she? I’d like a quick word with her if I could.’
The little dog came trotting back – a Teacup Pomeranian by the looks of her – and dropped the slobbery ball at the man’s feet. ‘No, she’s away,’ said the man, reaching for the ball. ‘The shock were a bit much for her, so she and the missus have gone off to their mother’s for a few days to get over it, like.’ He tossed the ball down the street, and the little dog shot off after it. ‘I wouldn’t mind so much, but they could have taken the bloody dog with ’em. Damn thing won’t sit still. I gets no peace at all.’
‘Sounds rough,’ said John. ‘Say, I don’t suppose she said anything about the body did she? What state it was in and that?’
‘She didn’t say much of anything mate. Just a lot of Lordy Lord!s and Oh my days!es. Besides, what was there to say. I’ve seen a few bodies in the river before now, living here, and they all look the same in the end; dead. Beyond that, what does it matter? Nowt to them, I can promise you that.’
‘Right. I see. Well, nice chatting to you. I’ll see you around.’
‘Aye, right enough,’ said the man.
John wandered off down the road. The dog passed him in the opposite direction, the ball in its mouth, looking very pleased with itself. Behind him John heard, ‘I swear to God I’m gonna make you into a stew one of these days. Here, gimme that.’ followed by the pock-pock-pock of the ball bouncing off down the road again, and the flappy slap of the dog’s feet as she gave chase.
Can you see why I didn’t want to get rid of them, but at the same time how they advance the plot in no way whatsoever? Weird, eh.
Still, it’s not the end of the line for either Old Jimmy or Becky Bates. They’re good characters, so they may yet make an appearance in future novels. And when they do you can say you heard of them here first! Now that’s the kind of insider knowledge you normally pay good money for.
They say you should never judge a book by its cover. You know why they say that? Because everybody does it. That’s why getting your cover right is so important. Without a good cover people may never pick up you book. And if they don’t pick up your book, how will they discover the many delights that lay within.
Some writers relish the idea of working on a cover for their book. Hell, some writers will start designing a book’s cover before they’ve even started writing the book itself. Others though will approach the prospect with a little more trepidation. There’s a lot goes into designing a book cover, and it can be a daunting task if you’ve never done it before.
What follows is a rough overview of how I ended up with the design for my debut novel, Dexter & Sinister: Detecting Agents. I’ll tell you what I did, describe what it was like working with a designer, give you hints and tips, and hopefully demystify the process a little bit, so that even those with no design experience can get a handle on what to expect.
As with pretty much everything else in life, it all starts with…
There’s a certain amount of expectation in book cover design. The cover for a thriller looks different to the cover for a romance novel which looks different to the cover for a YA coming-of-age story.
Whichever genre you are writing in you need to know what people expect. I’m not saying you have to adhere to the norms, but you need to know what those norms are before you can subvert them.
For Dexter & Sinister I found two main threads in the steampunk novels that I looked at; fantastical machinery, and a hint of gritty dystopia. Not always both (or indeed, either) and not always to any extreme, but more often than not.
I also looked beyond the genre. I looked at fantasy and crime and comics, anything that contained the same type of story I was telling. If I thought my potential readers might be interested in it, I gave it a look.
I went into bookshops and photographed covers that stood out to me. I tried to work out why they stood out? What made them work? Why did I like them? I looked for common themes, themes that I could incorporate into my own cover design. In short, I thought about it A LOT.
And what monumental conclusions did I come to? I like the colour red because of how it draws the eye, and I needed a character on the cover. Abstract wasn’t going to work for me. I needed for people to know what they were getting from the very beginning.
I also needed a cover that was instantly recognisable as a Hammersmyth novel, one that stood out at a distance. I was going to be selling a lot of books at conventions, so I needed something that would draw people in from ten feet away.
And I needed a layout that was repeatable. This was the first in a series, so I needed a layout that could work for multiple stories.
Clearly there was a lot going on in my head by the end of all this, so for clarity I decide to create a…
Simply put, a brief is you telling your designer exactly what you want, and when it comes to writing briefs, clarity is your friend. Be clear, be concise, and don’t hold anything back. The person you are sending the brief to is coming at this fresh, with no preconceptions, so the more precise you can be in your brief the better.
Now that’s great if you know what you want, but what if you don’t? I am fortunate enough to have a bit of a design background, so I was able to sketch out my ideas first. That gave me a head start in knowing what would and wouldn’t work for me.
But if that’s not you don’t worry about it. You’re not expected to know about design. You’re a writer. So instead, focus on what you want to achieve.
Here is the original brief that I wrote. Note how I discuss the type of reader I hope to attract, and that I need it to work as a series. I know that I also mentioned in my e-mail the fact that I needed it to be eye-catching at a distance, for conventions. This sounds like something that might be obvious, but again, assume nothing!
Notice how the cover described in the brief differs to the one at the start of the article. We’ll get into that later.
Once I had a brief I needed to find a…
Unless you really know what you are doing, you need a cover designer. People can spot a poorly designed cover a mile away, and if the cover looks disorganised and slap-dash they’re going to assume what’s inside is disorganised and slap-dash as well.
That’s not to say you have to spend a lot of money. There are a lot of cheap options out there. But making your own cover to save yourself £20-30 isn’t doing anyone any favours (and yes, if you go on Fiverr.com you can get a cover done for that much).
I knew I would need an original illustration for my book cover, since it features one of the characters. I looked on Fiverr for designers, as well as Twitter, Deviant Art, Instagram, all over the place. I even messaged a publisher to ask who had done the design for one of their covers that I liked.
It’s a special kind of frustrating to find an illutsrator you like only to discover they are not open to commission, but then I was fortunate enough to come across Jasmin Garcia-Verdin, a very talented artist who was doing the kind of thing I was after and was available.
After agreeing terms and a fee, I sent Jasmin the brief, along with a ridiculous amount on supporting material. I’m talking design sketches, cat photos, maps, anything I thought might help. As previously stated, when it comes to getting your ideas across, clarity is key.
Jasmin then took my brief, came up with some initial designs, and together we started…
Developing The Idea
Based off my initial brief, Jasmin came up with this.
You may think you know what you want, but that’s like saying you know how your story is going to end. Ultimately it’s best to keep an open mind, especially when working with someone else.
Two things leap out at me looking at these initial designs. First, that designs A and B, which fit my original brief, weren’t as good as design C, the wraparound cover suggested by Jasmin. And second, that we were going to have to change the colour of Dexter, as he just did not stand out enough against the background.
We then had a period of back and forth where we discussed changes, I sent further supporting material – pictures of ships, block and tackle rigs, lop-sided celebrity grins, even more cats – until eventually we agreed upon this as the final design.
Note the airship with the number in it. That was Jasmin’s idea. An illustration to use as chapter headings, which I was very much on board with.
At this point I’d like to underline the need for you, as the client, to be decisive. It’s not for your designer to tell you what you want (and if they try, then by all means tell them to get stuffed). It’s the designer’s job to offer up possibilities, and the client’s job to consider those possibilities and either go with them, or turn them down. Be polite, be respectful, but if something doesn’t work for you then say so and move on. No one’s feelings will get hurt, this is all part of the process, and it’s a part that your designer will be all too familiar with. At the end of the day it’s your cover, so you need to get it how you want.
I’m quite visual in my thinking sometimes, so I couldn’t resist taking her design and adding a little text, so I could get my head around what the final thing would look like.
Once the design was finalised we then went into…
From the author’s point of view, this is the easy part. Just sit back and wait for it to be done, right? Wrong.
Whilst the general direction has been agreed, there are still going to be a number of decision that have to be made along the way to help keep things on track.
For me, these decisions came in two parts. First, because Jasmin was also doing the layout for my cover as well as the illustration, we had to discuss text placement and title design. And second, because I was self-publishing, we had to figure out how to make it work on Kindle Direct Publishing (aka Amazon).
As you can see, my first upload test into the KDP cover creator (I had to use the cover creator because the manuscript was still being edited – which is a whole other thing I need to go into) did not go well.
Now, I wish I could tell you why this was, but I can’t. We thought we’d done everything right, but KDP can be a law unto itself sometimes. You can do everything right and still get it wrong.
Thankfully it was something that we could fix simply by zooming in on the image a little bit, losing some of the edges but enlarging Dexter along the way, so swings and roundabouts in the end. It could have been a lot worse.
For most of you, you won’t run into this kind of problem. It’s only because I went with a wraparound cover that I experienced issues with width and height. If you just do the front cover, as long you get the ratio right, it won’t be an issue.
But if your cover is going to bleed over onto the spine or back, you need to get your starting calculations right. And my best advice is for doing that is finish your edit first, because how many pages you end up with is going to affect the width of the spine, and that’s going to affect the entire design.
Once we had the image the right size it was all a question of text placement and title design.
As you can see, we went through a number of iterations, moving the text around, and even changing the colour of the original image, to better make it work with the final title design.
Once again, as the client, decision making is key. You have to know whether something works for you or not, and you must communicate that to your designer. I know that can be awkward for some people, but it’s a necessary part of the process. And if your designer is in any way worth their salt, they will want you to be happy with your final design, so they will welcome clear, honest feedback.
I am lucky in that I know a little about Photoshop and image editing, so rather than just telling Jasmin what I thought was wrong, I could do a little cut and paste (image three above with the clumsily cut out text) and colour correction, to show what I wanted. If this is an option for you I heartily recommend it, but if not don’t worry about it, designers are used to interpreting verbal feedback. So long as you are clear you’ll get there eventually.
After all that, we ended up with our final image.
Job done, right? Nope. Wrong again, because now we had to deal with the joys of…
Uploading To KDP
As I mentioned before, KDP has its own little foibles. Take a look at the image below.
See all those dotted lines. The white one around the edge is the trim line. That’s the part of the image you can expect to lose during the printing process. But it’s not exact, you might lose a bit more, so the red line is the safe area. So long as the text and image you want to keep are within the red lines you should be fine. I say “should” because, you guessed it, there are no guarantees (to quote Dirty Harry, “If you want guarantees, buy a toaster.”)
Getting the text and the title in right right place, in the centre of the front cover, in the centre of the spine, in the centre of the back page, took over two weeks of work and six proof copies. Again, because it was a wrap around cover, changing one thing affected something else, so there was a major amount of tweaking going on.
One of the main problems, and not something they tell you about, is the helpful soul at Amazon who would move the image around to get the title in the centre. Now, whilst that seems like a good idea, it pushed the back page text, the spine text, and Dexter, to the left. And getting it so that didn’t happen took a lot of work.
I mean, we got there in the end, but it involved multiple versions of the cover with the title shifted by increments, to get it right. The final proof arrived the day after launch day, so you can see what a long, drawn-out process it was.
NB: I bought a font to use on the cover. You don’t have to, but I had something very specific in mind, and I wasn’t going to settle for what comes packaged with any design software. It was easy to do and only cost me about £25/$30. You can learn how to install fonts online.
So You’ve Got Your Cover. Now What?
Did you know that you don’t have to settle for the same, boring, flat book cover that everyone else has? With a little effort you can make your cover a bit more eye-catching, and hold people’s attention a little longer. And the longer you can hold their attention, the more likely they are to buy your book.
The two main things I did for mine were a 3D mock up that I could use in advertising, and getting an animation done.
I used a free website called DIY Book Design to do the design above. Pretty neat, huh? What’s great about it is that it gets across the fact that Dexter & Sinister is available as both an e-book and a hard copy without me having to say that, and, because you can also download a transparent version of the mock-up, I was able to use it in advertising as well.
NB: If you’re getting an illustration done for your book cover, make sure you get a clean version which you can use as a background in adverts and the like. It’s extremely useful. I was lucky in that Jasmin very generously provided me with a number of separate elements that I could use not only now, but in the future as reference for any future book designs (like a clean background plate for the title).
I also had an animation done, as I had seen a few of them on Twitter, and they are very eye-catching. Let’s be honest, a moving image will draw people’s attention more than a static one will.
This one was done by Morgan Wright, who was a pleasure to deal with and who is also very affordable indeed. I consider it money well spent. In fact, anything you can do that will allow you to tweet/ blog/talk about your book cover in a slightly different way, is money well spent in my book.
And there you have it. That’s how I went about getting my book cover designed.
It’s not the only way, and it’s not the easiest way, but I had the time, the money, and I wanted to publish Dexter & Sinister like it was the only book I ever will (you could get run over by a bus tomorrow) so I jumped in with both feet.
Don’t fear the process. It seems like a lot, but really it’s just a lot of little decisions that lead you from where you are to where you want to be. If you don’t know something research it, and if you need to ask, ask. No one expects you to know everything, and people are always willing to lend a hand and will give you the benefit of the doubt if your inquiry is humble and earnest.
There is a path to a great cover for everyone, regardless of budget, experience, or time restraints. It might take a little more work on your part, but I guarantee you will end up with something you’re happy with if you just put in the effort.
Dexter, the mechanical cat, peered over the edge of the sideboard at the mouse hole far below.
“Come on out you little sod you,” he whispered. “Uncle Dexter’s got a surprise for you.”
He flicked his tail over the book beside him, feeling how delicate the balance was. Half on and half off the wooden table, all it would take was a little nudge, and Dexter would be rid of his arch nemesis once and for all.
The cat grinned. It was the perfect plan. Mr Nibbles didn’t stand a chance.
Dexter may not have been a real cat – although you’d never know it to look at him – but he took his duties as a cat very seriously indeed. He set aside time each day to tangle himself up in people’s legs (he liked to get them when they were walking, for maximum effect), to stare at them until they became uncomfortable (preferably when they were on the toilet), and to scratch at things that really oughtn’t to be scratched at (with his metal claws, Dexter could make short work of even the strongest table leg), but the most important duty on his List Of Things That All Cats Do, the real numero uno as far as he was concerned, was keeping the manor’s mice at bay.
The thing is, catching mice did not come easily to Dexter. They were just so small, and so fast, always diving under furniture or disappearing into little holes. He could never get anywhere near them. No, for Dexter to become an effective mouser he realised early on that he would have to get creative.
He’d tried lying in wait, sitting very still somewhere hidden, hoping a mouse would come by. But somehow they always knew he was there. He’d see them appear and disappear on the other side of the room, close enough to taunt him, but never close enough for him to pounce.
Then he’d tried laying a trap, placing a piece of cheese in the middle of the floor hoping one of them would go for it. But all that had done was keep him busy whilst the mice raided the kitchen pantry, nicking all the biscuits, most of the cheese, and half a dozen saveloy that his master had been really looking forward to. That had been an especially tough day for Dexter.
In the end he’d had to stalk all over the house, watching where the mice went until he was able to find the place that they called home – under a drain in the corner of the basement. That was when things got really tricky.
He couldn’t just dive on in there, you see. The mice would simply run away, go find somewhere else to hide. Dexter needed a way to persuade them to leave and never come back, something so unpleasant that even the bravest of mice would think twice about making Chard Manor their home again. In the end he’d stolen one of the gardener’s manky old socks, the ones he never used to wash, filled it with a hefty dollop of horse dung – which isn’t fun to do when you don’t have hands, let me tell you – dipped that in some rotten eggs that he’d been fermenting in the airing cupboard for a month, and dropped the whole lot down the drain on top of them, covering the hole with a big sack of spuds so that they couldn’t get away.
Oh the noises they made! Mice must have pretty sensitive noses, because they yelped and squealed and scurried about, desperate to escape the foul stench that was suddenly all around them. Dexter almost felt bad for them then. Almost. But still, only when he thought they’d had enough, did he finally let them out.
The little blighters ran for the hills, never to be seen again. The whole thing couldn’t have gone any better. In one fell swoop the manor was mouse free. Or, at least, almost mouse free that is.
Dexter called him Mr Nibbles, because he liked to nibble on things – bread, cake, nasty old bits of cheese any self respecting person wouldn’t touch with a barge pole (which probably explained why Dexter’s stink bomb hadn’t worked on him.) No matter what Dexter did, Mr Nibbles would not be deterred. He had a good thing going at Chard Manor, and he clearly wasn’t about to let some cat with a stinky old sock get in his way. If Dexter was going to get rid of Mr Nibbles, he was going to have to come up with another plan.
He’d tried setting a trap, digging a hole in the cellar floor, covering it over with a sheet of newspaper, and placing a stinky bit of cheese on top. The idea was that Mr Nibbles would run onto the paper to get the cheese, fall in the hole, and that would be the end of that. But somehow Mr Nibbles found a way around that, stealing the cheese without springing the trap, so Dexter had been forced to quickly moved on to Plan B.
Plan B had been the classic ‘box and a stick’ scenario. You prop a box up at an angle with a stick, place a piece of cheese underneath, wait for your prey to run under the box, pull away the stick, et voila, mouse in a box. How could it go wrong?
Dexter sat for hours on the cellar floor with a piece of string in his mouth, waiting for that damn mouse to show up. But when Mr Nibbles finally did arrive, the trap had worked a treat. As soon as he went under the box to get the cheese Dexter had whipped away the stick, trapping Mr Nibbles underneath. It couldn’t have gone any better, right up until Dexter lifted the box to grab his prize and Mr Nibbles ran away, darting in between Dexter’s legs as fast as his little feet would carry him. That was when Dexter had decided enough was enough.
Dexter didn’t want to kill Mr Nibbles, not really. He wasn’t that kind of a cat. But he didn’t see that he had any choice. He hoped being squished by a large book would be quick and painless. He at least hoped it would be terminal. He didn’t fancy the idea of having to finish the job off himself. That sounded like the kind of thing that could get stuck in your teeth.
Down below, Dexter heard a faint squeak. A little pink nose appeared at the mouse hole and sniffed the air. It disappeared back inside. It appeared again and sniffed some more, Mr Nibbles sticking his head out of the hole to scan the room for danger.
Come on, thought Dexter. Just a little further.
Mr Nibbles crept out of the hole, sniffing all the while. He advanced towards the piece of cheese that sat suspiciously about a book’s length away from his hole. As his back end cleared the skirting board Dexter reached out and tapped the book next to him, sending it tipping over the edge.
The book tumbled through the air, silently rushing to deliver an untimely end to the unfortunate Mr Nibbles. But as its shadow fell across the poor, defenceless little mouse, Mr Nibbles grabbed the piece of cheese and shot back into the hole, his tail disappearing just as the book slammed into the ground with a loud, resounding, teeth-rattling thump.
Dexter couldn’t believe it. How did he know? How did he always know?
Mr Nibbles appeared at the mouse hole and sniffed the book (no doubt wondering whether he could eat it or not.) Then he looked up at Dexter and smiled – or at least that’s how it seemed to Dexter – offering up a cheeky wink before disappearing from view once and for all.
“Oh, it’s on now!” said Dexter, leaping to the ground. “Just you wait. Next time you won’t be so lucky.”
Taking the top of the book’s spine between his teeth, Dexter began the long journey across the floor, up the chair, through the potted plant, and up onto the sideboard, to reset his deadly trap.
He’d get him next time. Oh yes, next time he’d get him for sure!
“I feel like we’ve been over this. Yes, I’m a talking cat.”
“Yes, but… You can talk?”
The cat sighed. He walked forward a little. “Look, if it helps, I’m not a real cat.”
“You look real.”
“Well of course I look real. I’m meant to look real. And in the purely existential sense, I am real. I’m just not a real cat.”
“So what are you then?”
“I’m a self-regulating automaton running an experimental analysis engine. I’m capable of independent motion, independent thought, and I may well be the smartest creature in this house. At the very least I’m the smartest half of this conversation. Got it?”
John Sinister is not having a good week. Hired to look into some shady going on at the airship factory, his investigation has barely begun before people start dying. Pretty soon he finds himself on the wrong side of some fairly unpleasant people, and that’s before he meets the worlds one and only autonomous automaton, Dexter the cat. That’s when things get complicated.
Welcome to the world of Dexter & Sinister : Detecting Agents.
Dexter & Sinister is a steampunk murder mystery set in 1800s Hammersmyth, a city in the grip of the Great Steam Revolution. The first in a planned series of novels, it is what I like to call Emerging Steampunk, in that the world our main characters inhabit is not so different from how you might expect Victorian England to be. Yes, they have radiophones and transatlantic airships, but no mechanical horses (yet).
I wrote Dexter & Sinister to be accessible to all, from those familiar with the genre, to those who’ve never dipped their toe in the steampunk waters before. A light, enjoyable read, it steers clear of the whole dark dystopia thing, and instead concentrates on the fun and imaginative side of storytelling. As far as I’m concerned reading should be an escape, so wallowing in misery is just not my cup of tea.
I’ve always been a big fan of Terry Pratchett, and how he was able to tackle important topics whilst at the same time begin fun and entertaining to read. It’s something I have tried to emulate in my writing, and if I’ve been able to distill even an ounce of his genius into my work then as far as I’m concerned I’ll have done good job.
Being a murder mystery I can’t give too much away, it’s up to you to figure out whodunnit, but if all that sounds like your kind of thing you can buy Dexter & Sinister as either a paperback or e-book through Amazon.
And if you’re still not convinced then do have a read of the short story, Dexter vs Mr Nibbles, available now for free on this very website.