Resurrection Engines – Fifteen Extraordinary Tales of Scientific Romance

Resurrection Engines - a steampunk anthology with a twist

This comes out next month and I’ve written one of the stories. I enjoy writing short fiction, especially when it takes me away from my usual writing and when it takes me back to something significant in my own reading life. This anthology does both since we were invited to take on a classic of Victorian literature and find some new and specifically steampunk twist.

I chose H Rider Haggard as I recall reading his books avidly in my early teens, along with Edgar Rice Burroughs, H G Wells and other such classics found in a traditional girls’ grammar school library. I have always believed that our current speculative fiction tradition is firmly rooted in these first mass-market, popular novels of the late Victorian and Edwardian era, written before genre boundaries and definitions became established, arguably unhelpfully, thanks to the likes of FR Leavis. I was therefore delighted a few years ago to discover correspondence between Leavis and CS Lewis wherein Lewis argues passionately for popular literature as worthy of inclusion in university English studies. But I digress.

In this instance, my first task was to re-read H Rider Haggard’s ‘She’. Naturally I was expecting to find outdated Empire attitudes to race and gender and the influence of Victorian ‘Great Man’ theories of history and society. Yes, indeed, I found them, sometimes to a startling extent. I didn’t really recall such things striking me so forcefully thirty-odd years ago. In some ways, that’s reassuring. My world view doesn’t seem to have been warped as a result of such reading. On the other hand, this really does show up the dangers of looking at the roots of our genre and uncritically adopting such books as a template, unchanged in such fundamental respects.

More than that, there is no excuse for parroting such historical bias and ignorance these days. As the past decades of historical studies have moved on from the Great Deeds of Great (White) Men, there’s a wealth of material available about changing ideas, radical thought and the impetus for reform growing in the 19th Century, driven forward by men and women alike. Thus my story She Who Thinks For Herself is firmly rooted in historically accurate writings and societal and technological change of the time.

I had tremendous fun writing it and I really look forward to reading the other contributors’ stories. The full roster is as follows:

The Soul-Eaters of Raveloe by Alison Littlewood
A Journey To The Centre Of The Moon by Alan K. Baker
She-Who-Thinks-For-Herself by Juliet E. McKenna
The Great Steam Time Machine by Brian Herbert & Bruce Taylor
Silver Selene by Philip Palmer
White Fangoria by Roland Moore
The God Of All Machines by Scott Harrison
The Crime Of The Ancient Mariner by Adam Roberts
There Leviathan by Jonathan Green
The Island Of Peter Pandora by Kim Lakin-Smith
The Ghost Of Christmas Sideways by Simon Bucher-Jones
Talented Witches by Paul Magrs
Fairest Of Them All by Cavan Scott
Tidewrack Medusa by Rachel E. Pollock
Robin Hood And The Eater Of Worlds by Jim Mortimore

Hopefully you will enjoy the book too.

Resurrection Engines - List of contributors and their sources

Amazon UK ‘glitch’ with Defiant Peaks/Hadrumal Crisis Book 3; calculated or incompetent?

I’ve had some email over the weekend from confused fans who’ve advance-ordered Defiant Peaks through Amazon UK and have now been told the book will not now be available. Understandably they’re concerned/disappointed – and I’m extremely cross.

This is because Amazon UK was offering both the UK and US editions of the book on their UK site. This is in clear breach of all relevant publishing agreements on territories – and whatever can be said about the growing irrelevance of old-style territoriality in publishing in this digital age, the fact remains that those legally binding contracts remain in force for paper books. As Amazon UK have been reminded repeatedly ,since they keep on doing this with books like mine which are published pretty much simultaneously in the UK and US, by my own publisher and others.

Are they doing it deliberately? I don’t know how that might be proved and in general, I don’t believe in conspiracy theories, but this pattern of behaviour is starting to strain credibility for a cock-up…

Not that I expect readers to necessarily know all the ins and outs of this book trade stuff. They’ll just see this listing –

– and they’ll click through to the significantly cheaper ‘mass market paperback’ and think, hurrah, I can get the book a week sooner and for less. You’d be a fool not to choose it, let’s be honest.

Why does this matter? Because it significantly screws with sales figures if what should be UK sales end up listed as US sales. This distorts the picture when assessing a writer’s appeal in different markets and that directly influences important decisions on promotion, advances and ultimately, an author being offered future contracts. Yes, really, it does and not just for me.

But now all those readers are seeing is the price they were being asked to pay for Defiant Peaks has effectively gone up by £1.57. Are Amazon going to explain this was their screw-up? Not a bit of it. Are some of those readers going to think it’s down to the ‘greedy’ publisher? I wouldn’t be surprised. Am I going to lose sales over this? Are disgruntled readers going to find a pirate ebook instead ‘to stick it to The Man’? Let’s hope not…

If I do lose sales, Amazon won’t care in the least. Amazon are not interested in writers or books. They’re not interested in readers. First and last, they’re interested in Amazon selling more stuff to more people at maximum profit (exploiting every tax loophole they can) and ideally buying up or crippling any potential competition. This is unfettered capitalism at work.

I’m not saying boycott Amazon. I use their services myself – for things I cannot get elsewhere or where the mark up in the shops is truly ludicrous – the wall bracket for a flatscreen TV which B&Q offered for £120 and could be sourced direct from the manufacturer via Amazon for £20 leaps to mind there. The ability to shop online and get Christmas stuff delivered direct to far-flung friends and family is a boon. But I also shop elsewhere online as well. I support my local bricks & mortar stores. Because monopolies distort market forces to the consumer’s ultimate disadvantage.

The Romans had a phrase which still holds true today. Caveat Emptor. Buyer Beware.

Bristolcon (and other news)

I had an excellent time at Bristolcon on Saturday, first and foremost because I got to ask Guest of Honour John Meaney all sorts of questions about how he first encountered Science Fiction, where and when the impulse to write first got its claws into him, about the ways his own writing and career have developed, so on and so forth. We could have gone on for twice the time allowed – revisiting John’s work, and reading a couple of things for the first time, by way of preparation has been a real treat. If you’re not familiar with his writing, I recommend it highly, and of course, John is the SF Guest of Honour at the 2014 Eastercon, Satellite 4, in Glasgow. (Alongside me which will be added fun).

Anne Sudworth was the Artist Guest of Honour, ably interviewed by Ian Whates. That not only made for enthralling listening but sent me to the art room (truly excellent displays from a range of talented artists this year) to look at her work with fresh eyes and new ideas. I’m looking forward to her GoH illustrated talk at EightSquared with ever more eager anticipation.

After lunch I sat in on the Women in Sensible Armour panel which managed to be both light-hearted, good humoured and address serious issues about representation of women in speculative fiction. Then I chaired what proved to be a very interesting debate on Apocalypses (Why?) in SF, with panellists John Meaney, Janet Edwards, Tim Maughan and Michael Dollin. The panel and audience touched on all sorts of interesting ideas, even managing to show me there can be some point to zombies.

However, at that point, I decided to call it a day and head home. I was struck down by a particularly unpleasant gastro-intestinal bug last week and was still feeling pretty rough on Saturday. Also, while I knew I was past the crucial quarantine period for not putting other people at risk – and was equipped with hand sanitizer regardless – I still felt inclined to hold back from socialising, really not wanting to risk the remotest possibility of being patient zero for an outbreak of concrud. So if you were there and thinking I seemed less cheery/sociable than usual, that’s the explanation. And given how exhausted I felt on Sunday regardless, going home early was clearly the right decision.

In other news, the Fabulous Busking Boys (my Junior Son and his mate, no that’s not really what they call themselves) have won a local talent competition. As well as adding a hundred quid to their steadily impressive weekly earnings in Oxford, they were awarded an eighteen inch tall bronze eagle statue. Yes, really. It’s astonishing. We have no idea where the organisers got it or where it was made. But it’s already proved useful. I have an invitation to submit a story for an epic, heroic anthology (details to follow in due course) and yes, a brass eagle will now feature centrally in that. (Answer Umptyhundred-and-whatever to ‘Where do you get your ideas from?’)

If anyone can identify its likely origins, we’d be fascinated to know.

The Thief’s Gamble is now an ebook!

You can find it at The Wizard’s Tower Bookstore in mobi and epub formats, as you prefer. We’ll be rolling it out to Amazon, Barnes & Noble, Kobo etc, next week. The prices will be the same but buying from Wizard’s Tower puts more pennies in my pocket, just so you know.

There’s a brief intro to the book there and a link to the first chapter for you to read by way of a taster. You can also find out a lot more about the book and this series by clicking through on The Tales of Einarinn link in the right-hand column here.

For all those of you who’ve been waiting so patiently, thank you for your, er, patience. For those of you curious as to why it’s taken so long, the first blog of a three-part explanation of the complexities of ebooking a backlist can be found here. One final delaying factor has been preparing my latest book, Defiant Peaks, to go to print, so I’ve been head down and concentrating on copyediting and proofreading over the past few weeks.

This means that my first book, written in 1997, and my fifteenth written in 2012, are going to be available as ebooks within a month or so of each other. I have an interesting sense of things coming full circle since key elements of The Hadrumal Crisis trilogy’s storylines go all the way back to The Thief’s Gamble. Most notably, that was where I first explained why wizards don’t get involved in warfare. Back then, that was simply to draw a line under one possible ‘but why don’t they…?’ question from test readers. Through the intervening books, I’ve explored more reasons why that principle is so solidly enshrined in Einarinn’s wizardly edicts. I certainly didn’t expect to find it… what’s the right phrase here? Being tested to destruction? Proving the rule? I’m not sure. You’ll have to read Defiant Peaks and make up your own minds. Either way, this is a prime example of the way casual elements of world-building continue to inspire fantasy writers long after the immediate need for something in a particular story.

I’ve found myself revisiting characters from that very first book in this latest one, particularly Archmage Planir and other senior mages, like Kalion and Troanna, in the wizard city. As I wrote The Thief’s Gamble, like most debut novelists, I didn’t really think much beyond that first story. Getting one novel published was the summit of my ambition a decade and a half ago. As a consequence, while writing that first book’s climax, I committed myself and these wizards to some awesome demonstrations of magic. So I’ve just spent the last couple of years working through all the implications of precisely how and why wizards might do such things and what everyone else outside Hadrumal is going to think. I don’t think it’s a spoiler to say that if you’re actually living in a world where magic of that magnitude is possible, rather than just reading about it, your first reaction really isn’t going to be ‘whoa, cool!’

Alas, some characters from The Thief’s Gamble and the other Tales of Einarinn are only getting a brief mention in Defiant Peaks, even though I’ve worked out where they are now and what they’re doing, while thinking through where those who have come back are now and what’s happened in the intervening years. I would have dearly loved to go off on a few tangents to tell those particular stories. Unfortunately, their points of view would have been all wrong and those digressions would have badly slowed and disrupted the narrative flow in The Hadrumal Crisis. Very frustrating.

So now I’m looking forward at the 2013 calendar and trying to find some time where I could write up those episodes as short stories, for an ebook supplementary anthology for Defiant Peaks. NO PROMISES. More immediately to the point, looking back, I didn’t have the least idea that the people I was creating for The Thief’s Gamble would take on such depth and substance that I’d be so eager to be writing about them again, fifteen years on. Perhaps that was a bit dumb of me. Part of epic fantasy’s appeal for me is the on-going relationship I develop with characters as a reader. I should have realised the same would be true for me as a writer.

Characters from intervening books have also re-appeared as I’ve considered who the Archmage might call on as he needs something in particular doing or seeks out information from somewhere problematic like the Aldabreshin Archipelago. This has presented some interesting writing challenges. For the purposes of The Hadrumal Crisis trilogy, these are new characters and their previous exploits are simply back story, in the same way that Livak’s early life was back story in The Thief’s Gamble. But referring back to Livak’s previous adventures didn’t risk spoilers for other books. I’ve worked hard to make sure that all four of my series can be read independently of each other, regardless of the ongoing timeline. So working out how people might mention significant events in The Thief’s Gamble or Southern Fire without giving away something crucial has been tricky as well as fun.

Because it’s been an eventful decade in Einarinn. Although I’ve been writing these books for fifteen years, I didn’t realise until I was checking some timeline issues, a full ten years have passed for these characters from The Thief’s Gamble. So I’ve been thinking how I pictured them while writing that first book and how I picture them now. As a rule I’ve always been content to admire the artists like Geoff Taylor who’ve done such wonderful covers for me over the years, without envying their skills, each to their own etc. Just at the moment though, I would dearly love to be able to sketch these characters as I see them in my mind’s eye, then and now.

So these are a few thoughts as I consider what this ebook release means to me. What it means to you will depend on what else you’ve read of my writing. If you picked up Southern Fire or Irons in the Fire or Dangerous Waters, here’s your chance to go back and see where it all began. If this offers you an affordable and convenient opportunity to revisit Livak and her adventures, enjoy! Meantime, together with my invaluable partners, Wizards’ Tower Books and Antimatter ePress, we’ll press on with preparing the ebook of The Swordsman’s Oath.

The Thief’s Gamble – ebook edition – artist Geoff Taylor

What? No deadline? Ah, but what about this inbox…?

Good Monday morning. The sun is shining and we’re back from a much needed family holiday – our first break of the year thanks to inconvenient overlaps of my work, husband’s work and sons’ school/college timetables making any kind of getaway before now impossible. It was a good holiday – of which more later. First I really had better tackle the email and post that’s arrived in our absence.

Happily I can take my own time doing that. I delivered the final draft of Defiant Peaks, aka The Hadrumal Crisis Book 3, to my editor at Solaris the day before we went away. I await his verdict with interest. Meantime I have some short story commissions to drag forward from the back burner where they’ve been simmering for the last few months. One SF, one fantasy and one… somewhere in between.

I am also idly contemplating a few Einarinn short stories – specifically detailing events/episodes which I refer to in Defiant Peaks but where I had to resist the temptation to include them in full. Doing so would have significantly delayed and/or distracted from the main narrative thread and besides the points of view would have been all wrong. We’ll see – maybe early next year, if I can work out how to write them without being too spoilery for the novel itself.

One other thing I did just before we went away was have a chat with Sandy Auden about Defiant Peaks and that’s the basis of this interview with SFX which will hopefully whet appetites from Defiant Peaks.

Next novel project? Nothing to announce as yet – I’m having a few conversations with a few people and we shall see what we shall see.

Right, I had better get on with that email and post then.

Tales of the Emerald Serpent – reviewed by Lou Anders

In haste and in passing – but I want to flag up this particular review of Tales of the Emerald Serpent – among the good many favourable notices the book has been getting.

Lou Anders likes it and says why and pretty much sums up why I am so proud to be part of this project.

And y’know, we all had such good fun that we are chatting idly about the possibility of a second volume…

Mind you, I have some embroidery to finish first.

“All Sorts of Freedom” Childhood in the Library

Life continues busy… Congenial in Cambridge was indeed splendid fun and this weekend I am off to the annual St Hilda’s Crime & Mystery Weekend in Oxford, to enjoy erudite papers and genial discussion, this year considering humour in crime fiction. And yes, obviously, when I put these things in the diary, the firm intention was to have delivered Defiant Peaks before now. Ho hum. Last lap starts Monday and at least I’m on track to deliver it without pulling any all-nighters. A few late nights, perhaps, but it’s been that sort of year.

Meantime, you may be interested in a piece I wrote for Erin Pringle, an American writer I met at the Phoenix Convention in Dublin the year before last. A very nice lady and a very talented and interesting writer as you will discover at her website/

She’s hosting a summer series of articles where various writers from the US and the British Isles are reflecting on our relationships with libraries. They make fascinating reading and my piece is now live, something of a memoir about my local branch library when I was a kid in Poole, Dorset.

Enjoy!

Brief update and how a picture of a cat can win you books!

I am currently extremely busy, but I imagine you’ve guessed that from the lack of updates. I’m currently finishing up Defiant Peaks, the third and concluding Hadrumal Crisis book – and that’s taking up most of my time and mental energy.

What’s over is being devoted to my Chair of EightSquaredCon (Eastercon 2013) duties, where I am pleased to say plans and arrangements are progressing very satisfactorily indeed. We’ve just spent the weekend on a site visit for recce and meetings with hotels purposes – which is why I wasn’t at Edge-Lit in Derby by the way.

I will be at Congenial in Cambridge, August 10th-12th by the way and that’s going to be a splendid weekend. If you can make it, do!

I have a busy diary from September onwards so I’m also trying to get ahead with a few other things, reviews, articles and such. And of course, it won’t be long before the next slew of Arthur C Clarke Award reading starts hitting the doormat…

And then there’s been more than the usual family and household stuff with both teenage sons at crucial points in their education/exam schedules over these past few months.

Like I said, busy, busy, busy. So while I haven’t forgotten about blogging, all too often when I think about a post, all I can come up with is … um, well this list of things keeping me busy.

Fortunately, there are other folk out there doing more interesting things. One of whom is the ever-charming and talented Kari Sperring (author of the highly recommended Living with Ghosts). Slide on over to her LiveJournal and see her adorable cat Ish. Offer up the best caption and you can win copies of Dangerous Waters and Darkening Skies, Books 1 and 2 of the Hadrumal Crisis

And while you’re doing that, I’ll get back to writing Book 3.

So what’s it worth to you? What’s it worth to me? Some thoughts on the ebook price debate.

Price is the final debate to be had over ebooks. I really do have a great deal of sympathy with those readers who resent the notion of having to pay a second time for an electronic version of a book which they’ve already bought in hard copy. I wouldn’t want to do that myself, no matter how much I might prefer the convenience of having all my favourite titles to hand on an ereader when I’m travelling. The sooner the publishing industry takes heed from recent initiatives in music and video products and starts bundling electronic versions or a licence to get one with the physical product, the better.

Where I don’t have much sympathy is when I’ve heard people muttering that it’s somehow reprehensible/selfish/greedy for authors to profit putting from their backlist into ebook when they’ve already been paid for the original publication and hey, the books are still in the shops, so they’re still earning their cut that way. Why aren’t the ebooks free? Since they should be, why not find a free download?

As with so much in life, I think you’ll find it’s a bit more complicated than that.

Personally, one reason I’m epublishing my backlist is to try and recover some of the losses I’ve sustained over the past five years as hard copy sales of my early series have fallen off a cliff. Not only for me and not because people have stopped enjoying our books. Because these days, backlist titles by the majority of authors are simply not in the shops for a browsing reader to find and buy.

That was always a crucial element of the traditional publishing model; the way in which writers acquire new readers and any writer constantly needs to attract new readers because no series of books keeps all the people happy all of the time. Online retailing is simply not the same; it’s great when you know what you’re looking for but no amount of ‘other customers also bought’ and ‘look inside’ features replicate that browsing experience.

But some years ago, publishers stopped sending backlist books to shops on a sale or return basis, hoping to reduce both their costs and losses in an increasingly hostile economy. Booksellers responded by no longer stocking backlists, using their shelf space and promotions tables instead for the frontlist and best-seller titles, piling them high and selling them at a punishing discount for all concerned, hoping to retain some of the market share which the supermarkets were taking away.

And of course, there are far fewer bookshops for people actually go and browse in, especially after the demise of Borders. The cumulative effect of this for me and many other writers has been a significant loss of income. The past few years of financial turmoil have also had a significant impact on the foreign rights markets, where translation deals for midlist books are now increasingly hard to come by, once more reducing authorial incomes by noteworthy amounts.

Don’t mistake me. This isn’t whining or special pleading. The world doesn’t owe me or any other writer a living. This is just the way things are now. So if writers are to be able to afford to continue writing, we need to adapt. One such strategy is making money through epublishing backlist titles. That means not selling our titles for stupidly low prices, purely for the egoboost of being ‘An Amazon Top-100 Seller!’. At 99 cents a copy, that’s not such a big deal. Remember what I said about 100% of not-very-much still being not-very-much.

It’s also not in anyone’s interests to see the ebook price become fixed at an unsustainably low level. Apart from those shareholders in Amazon who don’t actually care about books or indeed any of their other product lines but who are only interested in gaining market share through predatory pricing, looking to cash out and retire with no great concern about the decline of a healthy market economy.

But I’m not interested in those people. I’m concerned about books and readers’ interests, since I was a reader before I was ever a writer and I’ll continue being a reader whatever the ups and downs of my writing career.

We’re in a period of transition and just at the moment, yes, it can reasonably be said that most of the income is profit for a publisher putting out an ebook for a backlist title that has long since earned out its advance. All the up-front costs, the author’s initial advance, the editing, copy-editing, proofing and production have been covered. Well, yes, and that would be the same for paper editions of that book, less the ongoing expense of printing and shipping the physical books. This is how publishing has always worked, with the publisher bearing those initial costs and hoping that enough of their titles earn out that advance payment and head into significant profit to cover those titles which don’t.

Bear in mind that most books take years to turn a profit, including in all likelihood titles here and there by a good many of your favourite authors, especially if your tastes are for writing somewhere off to either side of the mainstream bell curve. It’s the mega-sellers at the central peak of that bell curve which bring in the bulk of the revenue which gives the publishers the leeway to allow their editors to cut a writer some slack if a particular title hits the market at a really bad time or some other factor entirely beyond their control affects sales.

Why is this relevant to ebook pricing? Because books are books are books, whether you’re reading them by way of pixels, paperbacks or hand-illuminated parchment. There are up-front costs in producing them. Beyond the core of established best-sellers, there are no guarantees that the publishers will make their money back. If you as a reader want to continue to see a broad range of books for all tastes, well-edited, accurately proof-read and competently produced for ereaders and other platforms, the ebook price needs to become fixed at a point where doing all those things remains economically viable for publishers. Then publishers can support a broad midlist, where those writers who will emerge as future best-sellers learn their craft and build their readership through word of mouth recommendation, in person and online.

Ah but, I’ve heard it said, market forces will see best-sellers naturally emerge from the brave new world of independent epublishing, free of the dead hand of the past. Really? Like the Fifty Shades of Grey books? I have no opinion on the literary merits or otherwise of those particular titles because I have no intention of reading them, having no interest in that particular genre. I have no interest in quite a few things that are tremendously popular. I have never watched any of the X-Factor type talent shows or ‘reality’ TV (beyond a very few historical re-enactment things). Cookery, home-makeover or real-life-struggle programmes bore me rigid. I’d rather read a good book.

I have friends and family who love some or all of the above TV shows and that’s fine; I don’t pass any moral judgement on them, any more than they do on me for watching the SF and crime series which they would loathe. Fortunately there is still a sufficiently broad range of viewing for us all to enjoy the telly. As a reader I want to live in a world with a similarly broad choice of reading, where publishing professionals can offer me books to my taste, rather than being faced with a narrowing selection of titles determined by mob rule.

This is not to say that things should just stay the same, with ebooks simply priced like paperbacks. Not when the publisher is most definitely making a saving on warehousing, transportation and the other costs associated with physical books. The reader should see that reflected in the new economic model – and speaking personally, I’d like to see the authors’ share of revenues adjusted upwards as well.

Ebooks also offer publishers potential for using pricing intelligently to everyone’s advantage, their own as well as the readers’, with special offers, introductory discounts and so on. Although as some independent authors have already discovered, the dumb automated price-matching algorithms used by the likes of Amazon can cost them dearly, literally. An author offering an ebook directly at a lower cost, even temporarily, will see their Amazon prices cut, sometimes to zero, and it can take a long time for Amazon to put that price back up, if they ever do. As I said, Amazon are not interested in books. They’re interested in market share.

Then there is the problem of pricing for different markets where purchasing power is very different. Let’s not forget that half the world lives on less than $2.50 a day. That makes even a 99-cent ebook a non-trivial purchase. Especially if Amazon adds a surcharge for buying some ebooks depending on where the purchaser’s credit card is registered – or simply refuses to sell the ebook to that particular customer in the first place. For more on this, do read Charles Tan’s highly informative blog post

This used to be covered by the different rights and territories granted in publishing contracts, ensuring that publishers could set prices suited to local conditions and no one else could come in and undercut them. That worked reasonably well, at least from a First World Publisher point of view, when books were physical objects, and is still one of the arguments advanced for Digital Rights Management. Alas, that particular argument, and indeed that particular traditional publishing model, now only stands for as long as it takes for someone to crack a book’s DRM and these days, that’s measured in hours.

On the wider issues of DRM, incidentally, you cannot do better than read this post by Charles Stross (and the earlier post on Amazon which he references is well worth a read as well).

To return to the question of price, this becomes an area where questions of piracy definitely become complicated. I remain vehemently opposed to elooters – the likes of Pirate Bay who steal other people’s intellectual property and offer it up solely to enrich themselves.

But what about people in the 3rd World for whom ebooks could be a game-changer in terms of the education and access to information that they so urgently need to improve their own conditions? I’m not talking about access to the latest crime or SF best-sellers. I’m talking about textbooks and academic papers and journals and the like. Isn’t insisting that they pay American or Western European prices as morally indefensible as insisting they buy life-saving medicines at similarly unrealistic prices for local purchasing power? But a realistic price for a text book in West Africa or Indonesia would be an economically unsustainable price for that same product in the US or UK, if author and/or publisher are to stay in business.

As I say, it’s complicated. I don’t know what the answers are but answers need to be found, in everyone’s interests, readers, writers and publishers alike – and a free-for-all is not the solution.

For the moment, thankfully, finding those answers is not down to me. What I need to decide is a realistic price for my own ebooks, to see me and my business partners rewarded for our work without gouging readers. Then it’s up to the reader to choose whether or not to buy. In that sense, the unspoken contract between story teller and audience remains the same as it has always been.