At the beginning of 2016 I gave myself a target to read 75 books by the end of the year.

I managed to surpass that and read 85, although that included a few novellas and short story collections too.

Below is a list of my favourite 25 books from this year (in no particular order):

imgresThe Killing Room by Richard Montanari

Homicide Detectives Kevin Byrne and Jessica Balzano are back for their seventh inning of the series, and this time they’re investigating a series of brutal murders in churches around the city.

If you like smart and creepy serial killer novels, this is one to check out. Its style is reminiscent of the film Se7en. And even though it’s midway through the series, you don’t need to have read the others to appreciate it (although I recommend the others too).


imgres-2Impact by Rob Boffard

Impact is the last in the Outer Earth trilogy and my personal favourite of the three. The first book opens on a huge but claustrophobic space station that orbits earth and carries the last of humanity. A group of Tracers (couriers who deliver packages around the station) stumble across the plot of a madman intent on destroying the space station, and our hero Riley and her team do their best to foil the plans and protect everyone on board.

But with each entry in the series, their problems get bigger and darker and seemingly more insurmountable. And Impact ties it all together with the best and most explosive in the series. And on top of all the action, the books are filled with humour to cut the tension every now and then.

Check out my interview with Rob for more information: click here


imgres-3Riding in Cars with Boys: Confessions of a Bad Girl Who Makes Good by Beverly Donofrio

This is a true and heartwarming coming-of-age story about an intelligent but occasionally self-destructive teenaged mother and her attempts to find direction and meaning in her otherwise chaotic life.

I’m not usually into memoirs (or any type of autobiographical work), but this one is well written, relatable and at times hilarious.


imgres-4Gone Girl by Gillian Flynn

Nick Dunne’s wife disappears on the morning of their fifth wedding anniversary and no one can find her. She might be dead. In fact, most people think she is dead and that Nick killed her. The police think it too, and before long everyone else in town seems to think it.

But did he kill her or not? And if he did, how and why did he do it?

Gone Girl is a twisty psychological crime thriller with literary ambitions. It starts off slow, but after the first couple chapters it kicks in to high gear and the mystery holds you through until the end.


imgres-5The Martian by Andy Weir

Mark Watney is stranded on Mars with no way to communicate with NASA (who think he’s dead), and he’s living in a hub designed to last a month with about half a year’s worth of food to sustain him. That doesn’t seem too bad except the next scheduled visit to Mars is years away, so unless Watney can figure out how to create his own food, protect his shelter, and contact earth, he’s going to die on Mars, all alone, in the freezing cold.

Written for the most part as a series of diary entries from Mars, the genius in this book lies in its premise and our hero’s constant feeling of peril. For everything Watney does right, something else goes wrong and another problem arises, and the novel carries on like that the whole way through, with Watney having to put out fire after fire after fire, both figuratively and literally. It’s the kind of book that doesn’t allow you to put it down because you want to know how he’ll escape.

Or if he’ll escape.


imgres-6Strings by Allison M. Dickson

Technically I read this at the end of 2015 but I thought I’d sneak it in anyway.

Strings is the story of Nina, a hooker at a mob-run brothel who has one final trick to turn before her Madam will set her free and allow her to return to a quiet life in Iowa. But her final customer is not the usual; there’s something disturbing with him (or it?) and she just wants to get out of there. Unfortunately, it doesn’t take long before she’s tied to the bed and looking death in the face. But can she survive through the torture and find a way to escape? That’s the main gist, although there’s some interesting subplots going on too with the Madam of Nina’s brothel and a driver, Ramon, who’s trying to run off with a suitcase of Mafia money.

Overall it’s a gruesome and disturbing horror with enough to satisfy the most depraved fans of the genre.

If you’re easily offended or squeamish, don’t waste your time.

On a side note, it’s not available to buy on Kindle at the moment but the author has assured me it will be back later in 2017, so mark it on your Amazon wish list and check back in a few months . . .

(You can read my interview with author Allison M. Dickson here.) 


imgres-7The Grid by Philip Kerr

First published in 1995 before iPhones were invented, this techno thriller is about a “smart” building run by computers.

But when a virus compromises the main system just before the building’s grand opening, the computer locks a group of people inside and begins killing the characters one by one in a series of inventive and gruesome ways.

It’s kind of like Die Hard mixed with The Towering Inferno. Fun, dumb and fast.


imgres-8The Crime of our Lives by Lawrence Block

The Crime of our Lives is a collection of Lawrence Block’s best non-fiction work.

It includes: introductions he’s written for other books, published essays, tributes to some of the best-loved crime authors from the last few decades, anecdotes from his career, insights into his journey as a writer, and much more. And as always with Block, every piece of writing sounds like your best friend telling you a story you never want to end.

Worth checking out if you’re a fan of Block or crime books in general.


blinkBlink by Malcolm Gladwell

Blink is a psychology book about intuition: about how we make snap judgements and why a lot of the time it’s more effective than taking time to reach an informed decision.

As with all of Gladwell’s books, he takes us through an interesting subject without getting too complex with the information. This can sometimes be his downfall — he tends to skate over the surface of his theories and present them as unbreakable truths rather than delving too deeply into the alternatives that could show his ideas in a different light. But in spite of that, I always enjoy reading his work and I usually learn something along the way.

Just make sure, after you’re done, you do some independent research and come to your own conclusions.


imgresThe Psychopath Test & So You’ve Been Publically Shamed by Jon Ronson

I’ve lumped these two in together because I read them back-to-back and they’re by the same author — Jon Ronson — a journalist with an eye for the absurd.

The first book, The Psychopath Test, sees Ronson go on a journey to discover the roots of psychopathy, which, although a dark subject matter, is treated in Ronson’s typically light and humorous way, even as he’s face to face with genuine psychopaths (both the murderous and non-violent kind) and as he ambles his way through the world of psychopathology. And not only does he talk to prominent psychologists to get a better idea about the mindset of a psychopath, he also tracks down the man who created the original Psychopath Test — a list of indicators to help anyone spot a psychopath in your midst.

Overall it’s a quick read, full of comedic and dark insight, and offers a brief but interesting psychology course to its readers without the complexity of the issue bogging it down.


imgres-1The second book, So You’ve Been Publically Shamed is more of the same.

Ronson, after realising a Twitter bot is using his identity, is soon sucked into the world of public shaming, in which he interviews people who’ve had their lives ruined after posting offensive, insensitive or just plain stupid tweets or Facebook statuses. He examines the social media world of wolves and discusses the cycle of online outrage and “white-knighting” from certain sections of the internet. He manages to treat his subjects like three-dimensional people — broken, sad, apologetic — whilst never quite excusing their dumb actions either.

If you like Malcolm Gladwell, Ronson’s similar but with more of a comical edge.


imgres-2The Truth: An Uncomfortable Book About Relationships by Neil Strauss

Neil Strauss is the infamous author of The Game, a book that lifted the lid on the pick-up artist community and helped teach millions of horny men about “negging” and “peacocking”. Since then, Strauss has picked up a sex addiction and admits at the beginning of this book that he finds it impossible (and almost illogical) to stay faithful to the love of his life, which leads him down a path of salvation through rehab, denial, and eventually plenty of orgies, porn star parties and a brief stint living as a polyamorous bachelor.

But when you look beyond the salacious and the provocative angle of the book, Strauss has a lot to say here about relationships and sexual dysfunction. I wouldn’t say I agree with everything, but a few sections gave me pause and had me re-evaluating the kind of husband and father I am, and if I could be doing better. It’s by no means groundbreaking, yet Strauss writes in such an engaging and honest way, that you’re sure to get something out of this book, even if it’s just entertainment or an inside look into a different, darker and more depraved world than you’re used to.


41+UM1gCZ7L._AC_UL320_SR226,320_The Writers and Artists Guide to How to Write by Harry Bingham

As someone who reads a lot of writing manuals, I feel this has way more in the tank than the usual. Harry Bingham runs through every major facet of writing and manages to offer enough advice and insight to please and teach both the laymen and the experts. I rarely find advice I haven’t read before. However, Bingham, who’s not only an author himself but also the owner of a writing consultancy firm, does well to offer up plenty of well-known and often-touted advice (such as Write what you know) but with extra depth than the usual.

Anyone looking to make it in this deadly publishing game should check this out and heed the advice given.


9781408128954The Writers’ and Artists’ Yearbook Guide to Getting Published by Harry Bingham

This book is a companion to the one above.

If that one helps you master your craft, this one helps you learn about the publishing industry as a whole and how to sell your novel. Not only does Bingham go through the process from start to finish, he also pulls back the curtain on the behind-the-scenes stuff and, in an unbiased way, reviews both the negatives and positives of mainstream publishing and the possible pitfalls that can flatline a career before it takes off.

If you’re searching for an agent or publisher, this is has enough advice to help level the playing field when you finally get into a position to negotiate with the higher-ups about your career and future income.


imgres-3Resume Speed by Lawrence Block

Resume Speed is a quick-paced novella about a man who, whilst on the run from something (or someone), drifts into a new town and restarts his life as a short-order cook.

This is straightforward enough, except Block weaves the paranoia and tension throughout, leaving the audience to ask what exactly our hero has done, and, more importantly: will it catch up with him? And the way Block writes his main character, you don’t want it to; you want everyone to leave this man alone to live his life, and that’s down to Block’s genius. He does a beautiful job of showing our hero integrating into a new town and improving the lives and love of those around him, with the slow-boil tension of who-knows-what creeping along under the surface; a deadly promise of things to come.

The ending, in some ways, lets it down; it’s a little abrupt, especially as I didn’t want to leave the characters just yet. I happily would have read another four-hundred-plus pages. But it’s the type of ending that makes you think, too, and long after the book’s closed.


91nYoKiAndLMy Sunshine Away by M.O. Walsh

My Sunshine Away is a disturbing coming-of-age love story mixed in with a rape mystery, which the narrator (unreliable and suspicious as he is) decides he’s going to solve on behalf of the victim. That’s if he didn’t do it himself.

He was clearly in love with the victim and had the opportunity and motive, along with sexualised pictures he’d drawn of her, and many of the people in town think he’s guilty. But he’s adamant he didn’t do it.

And that sense of uncertainty around the narrator carries the mystery for most of the book — more so, in fact, than his half-hearted investigation — but underneath all of that, there’s a lot more going on than just a horrifying rape story: there’s drama and love and teenage confusion and the characters are fully-formed people you could imagine knowing in real life, all written in a forthright and yet at times lyrical prose that takes this a step above your usual mystery. It’s more of a literary exploration of teenage despair, unrequited love, and the darkness that resides in us all. 

Either way, it’s worth reading: not so much for the mystery, but for the writing itself.


109494The Long Hard Road Out Of Hell by Neil Strauss and Marilyn Manson

This is a well-written and informative memoir, even for someone who’s not a fan of Marilyn Manson’s music. As I mentioned earlier, I’m not really into memoirs; also, I’ve probably only heard one or two of Marilyn Manson’s songs before and know him more based on how he looks than his musical genius. But I still found the book interesting and read it in a day or two.

It chronicles Manson’s uprising to stardom and shows his rock-and-roll/punk-anarchist lifestyle in vivid detail, without censoring the disgusting parts. And although some of it feels a little repetitive at times (alcohol, drugs, fights and copious unprotected sex), Strauss does a good job of balancing it out with incisive details and a narrative that feels, at times, as if it’s a novel; a portrait of a character heading towards destruction.


41cY4UXisyL._SX331_BO1,204,203,200_Mini Habits: Smaller Habits, Bigger Results by Stephen Guise

If you’re trying to build better habits in your life — such as writing more often, or going to the gym, or smoking less — this book has an easy way to make it happen.

The premise is simple: start your habits stupidly small, like doing one press-up a day, and gradually build from there over the weeks and months until the habit is fully solidified in your brain. After all, it’s more beneficial to do three sit-ups a day, every day, for an entire year, than it is to do 50 sit-ups every now and then, at random moments throughout each month. And that’s the beauty of mini-habits: they work to make the habit permanent, so that the act of doing a sit-up (regardless of how many) is ingrained in you.

Once you go beyond that, you’re able to do 50 or 60 sit-ups a day, if that’s the goal, and you won’t feel any different than when you only did one or two a day.

Anyway, the book is only a short one but Guise goes into detail about his mini-habit theory and explains how and why it works, and the many aspects of daily life it can be applied to. I’ve used mini-habits for a long time now and it’s helped me integrate so many new positive habits into my life. 

So check out the book and start building better habits immediately.


imgresMe and Hitch by Evan Hunter

This is a short book (about 70 pages or so) in which author Evan Hunter (also known as Ed McBain, writer of the infamous 87th Precinct series) recounts his time working under Alfred Hitchcock and penning the film The Birds.

It’s written in Hunter’s typically honest and humorous way, and whether or not you’re a fan of Hitchcock is irrelevant. Hunter manages to keep you interested with funny anecdotes, and also offers plenty of commentary into the process of making a film, especially explaining the mutual respect as well as the constant battles on set between screenwriter and director.

I’m sure many of you have seen a film before and thought, What was the writer thinking? not realising, as in Hunter’s case with The Birds, that the writer had a completely different idea how to end the film, or open it, or work in the twist, but the director, who, as we know, is the main man in charge, took it upon himself to change everything, even to the detriment of the film; even if it meant carving out a large portion of logic and leaving loopholes everywhere. In Hunter’s experience with Hitchcock, a lot of the issues with the final version of The Birds came down to the director’s choices, and yet ultimately, as the writer, he’s the one who got all the blame for the stupid stuff.

Anyway, it’s a quick read and worth checking if you’re interested in films.


imgresMe & Earl & The Dying Girl by Jesse Andrews

A humorous “teen” comedy about two best friends and a girl dying of cancer. It’s not as bleak as the title might suggest — nor is it a clichéd romcom that ends with Happily Ever After. If anything, the story is about friendship and love on a platonic level.

It isn’t your traditional YA, but it has plenty of laughs scattered throughout and enough edge and cleverness to appeal to both teenagers and adults alike.


imgres-1How NOT To Write a Novel: 200 Classic Mistakes and How to Avoid Them — A Misstep-by-Misstep Guide by Howard Mittelmark and Sandra Newman

There are plenty (nigh: infinite) manuals on how to write well. Or, at the very least, how to write competently. But most of these follow a similar pattern. They repeat a lot of the same information from book to book with just a tweak here and there.

This manual, however, has a slight twist. Instead of lecturing for pages about writing description, or about how to construct a great sentence or how to properly evoke emotion and fill in the landscape through colourful descriptions, it shows what you shouldn’t do. But not just that: the authors have written in a bunch of deliberately terrible scenes as a way to illustrate their points, and although it’s over the top at times, the authors do a good job of portraying the mistakes that a lot of amateur and even seasoned novelists make. It’s easy for other books to say Don’t overuse description, but that means little to the person reading it if they don’t know how much is too much. One man’s too much is five pages; another man’s is five sentences. Whereas, in this book, the authors start with the rule, then follow it up with a badly written piece of overdone description to drive home their point.

It’s a must-read for writers of all talents and abilities.


imgres-2The Great Train Robbery by Michael Crichton

This suspense thriller is what you might call faction.

Based on a true-life train robbery committed in 19th century England, Crichton has taken the facts of that case and occasionally weaved them into the story — and at times outright thrown them away — in order to craft a taut, tense and plausible thriller centred around a train heist.

If you’re looking for historical accuracy, you’ll be disappointed. But as a thriller, it hits all the right notes. It’s the type of quick-paced book you can finish in one sitting.


imgres-4The Last Days of Jack Sparks by Jason Arnopp

Jack Sparks, an egotistical former drug-addict and much-loathed journalist, is dead.

That’s not a spoiler. He’s dead from the start, and The Last Days of Jack Sparks is “found material” showing what happened leading up to his death, ostensibly taken from a book Jack Sparks was writing about the supernatural: most notably, whether or not ghosts exist, which is what sends him down a disturbing and horrifying path towards his death.

I’m not usually into ghost stories, but the central mystery (whether or not a chilling YouTube clip is real or not) drew me in, and the rest of the spooky supernatural stuff is portrayed in a plausible way, without attempting to scare with shock tactics or cheap thrills. There’s a genuine sense of uneasiness which creeps through the pages and gets more ominous as the story progresses.

There are some who’ll find Jack Sparks truly unlikeable (and in places that seems to be the point), but if you can get past Sparks’ arrogance and apparent lack of care for anyone but himself, you’ll be rewarded with a humorous and clever book that alternates between mocking the self-indulgence of celebrities, and scaring the shit out of the readers.


imgres-5Into The Wild by Jon Krakauer

Into The Wild is the true story of Chris McCandless, a young man with a seemingly comfortable and content life, who decided one day to get rid of his possessions and live off the land, which meant camping out in sub-zero temperatures and hunting for food. McCandless wasn’t scared to embrace the harsh environmental realities of a nomad.

Unfortunately, McCandless was soon found dead in the Alaskan wilderness, apparently too weak to summon help or catch any prey to keep him going, and with just an SOS note left behind to explain his situation. However, after conducting a series of interviews and compiling evidence through McCandless’s diary entries and other clippings, author Jon Krakauer has been able to authentically recreate the journey of McCandless from start to finish, along with showing a deep understanding into his mindset and what might cause someone to go off-grid like that.

It’s a tragic story, but an interesting one too. I’m sure plenty of people have considered just packing it all in and wandering off to a life of peace, but few have dared to try it.

This book will either frustrate you (when you consider McCandless’ naivety), or it will inspire you to make a change in your life. Either way, you should give it a shot.


imgres-6The Fireman by Joe Hill

The Fireman is the story of pregnant school nurse Harper Grayson, and her attempts to survive a virus called Dragonscale in the midst of an apocalypse. People are spontaneously combusting everywhere, and the ones who don’t go into flames are shot dead by the roving murderous street crews.

So when Harper contracts the deadly virus, she knows she doesn’t have long left. But, with the help of a man known as The Fireman, she’s soon swept up into a secret society of the infected that have learned how to channel their Dragonscale through prayer and singing, thereby stopping the suicidal fireball effects. The group are holed up in an abandoned summer camp, but with Harper new on the scene it’s not long before the relationship dynamics are tested and the outside world tracks them down to their spot, and that’s when sparks fly and no one’s safe from death. It’s coming after them all.

The book, for a start, is gargantuan. In scope and size, it’s along the lines of Stephen King’s novel, The Stand. And just like that book, there are moments where it drags, or parts that slow down the read, but overall it’s worth the slog. The characters are all likeable and well rounded, and the concept behind the virus is fleshed out in a believable and interesting manner.

Anyway, put aside a few weeks for this one and push your way through it.

No doubt it will be a major Hollywood movie in years to come.


imgres-7The Lock Artist by Steve Hamilton

Earlier in the year, after seeing Don Winslow tweet on numerous occasions about The Second Life of Nick Manson, I took the plunge and bought it. It didn’t blow me away but I enjoyed it enough to check out more of Hamilton’s work, and I’m glad I did. The Lock Artist was in my top 5 reads of 2016.

It’s the story of Michael, the Miracle Boy, who suffers through a tragic series of events, which culminates in him never speaking again. He’s a mute with a dark past. But one day he learns how to crack locks and soon masters it, practicing his newfound skill on every lock he can find, until, through a chance connection, he becomes embroiled in the world of crime as a safecracker. He becomes one of the best in the business. He just doesn’t talk.

The story alternates between a present-day heist and the past that led up to his current situation. It’s essentially a coming-of-age love story wrapped in a heist novel. It’s full of heart and scope and drama, but with enough thriller elements to please the most ardent crime fan.

In short: check this one out. It’s up there with some of my favourites.


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Rob Boffard: Part II

imgresIn PART I, Rob Boffard spoke about his debut novel, Tracer, which is due for release on July 2nd 2015. He also gave advice on how to approach an agent and some insight into the publishing world. Check it out here

In PART II, I delve a little deeper into his writing habits. 

GK: You have a strong journalistic background. Was the plan always to transition into a novelist?  

RB: I never planned transitioning into being a novelist. It just sort of happened! I’ve always enjoyed writing, and I was a journalist because to my mind that seemed like a career where I’d be able to do it regularly (plus, I love journalism anyway). I discovered over the years that while I was perfectly capable of being a journalist, the part I enjoyed most was actually putting pen to paper and writing the stories. It felt like a natural progression.

GK: How have your years of journalism informed and/or improved the way you approached the writing business?

RB: The advantage of being a journalist was that it gave me the opportunity and impetus to write regularly. I excised a lot of bad writing, because if I didn’t then my editors wouldn’t accept it. Being freelance has also taught me a great deal about managing money and selling my stories. It also helps me deal with rejection, because even now I still get my story ideas rejected on an almost weekly basis — sometimes daily. I’ve learned to move on very quickly.

GK: What would you say is the main difference between being a journalist and a novelist? In a sense you were creating stories and shaping narratives before, and now you’re doing the same but they’re all fictional.

RB: Absolutely. In many cases, it is actually quite rare for an editor to let me see their changes to a particular article before it is published, simply because of the nature of journalism and daily deadlines. Obviously I love it when that happens because it gives me a chance to make the story a lot better, but I don’t get too fussed when it doesn’t. When we first began editing Tracer, I told my editor that I would happily make any change she suggested as long as there was a good and logical reason behind it. So far it’s an approach that has paid off, because every change she has suggested has made the story better. I can only think of one change that I actually vetoed, although I’m going to keep that one under wraps.

GK: Many first time authors can be precious about their work — not wanting to change or rewrite certain things. You said earlier (in PART I) that “endlessly tinkering” with your book was a difficult process but essential. How important do you think it is to rewrite? And what advice would you give to the stubborn writers who refuse to change their work?

RB: You can’t publish a story without rewriting it, even if the rewrite isn’t extensive. No one’s first draft is ever quite good enough. If you think yours is, then you’re wrong. It’s that simple. The only time that isn’t the case is if you’re some kind of insane genius, and since those come along about once every hundred years, I’m going to assume that’s not the case.

GK: What’s your writing process? Do you try to hit a certain word count a day? Only have banana and eggs for breakfast? Wear your lucky pants and socks combo every morning before you start typing? Or do you just make it up as you go along?

RB: Pretty boring answer I’m afraid! I aim for around 1500 words a day, and often end up getting closer to 2000. I write in the morning after my fiancée leaves for work. I do a bit of a work out, listen to some loud and aggressive hip-hop, have a shower, blend up a smoothie so I can get my fruit fix, then all I have to do is tear myself away from the Internet and actually sit down and write. But it’s a rare day that I don’t hit my word count.

GK: I won’t ask where you get your ideas — I hate being asked that question myself — but how do you cultivate your ideas? If you get a flash of something, do you write it down that day and get to work on it? Do you let it simmer? What’s your process for nurturing an idea into something deeper and more satisfying?

RB: Interesting question. My ideas tend to come in bright flashes at the most unexpected times. I don’t usually write them down as they are pretty clear in my head, but sometimes I might make a few notes if the idea is particularly complex or is an intricate solution to a problem I’ve been having. After that, it’s just a case of interrogating the idea for weak spots. Once I start writing it down, I usually know pretty fast if it’s a keeper or not. 

GK: Are you the type to plan out your book in advance, or write as you go along? And if you’ve done both, which have you found to be more useful?

RB: Tracer was the first novel I’d ever written and I had no idea how to do it, so I did an outline more or less on reflex. It worked well, so I did it for the second one too. I also found that in both cases I went quite a bit off the original plan, and was more than happy to do so. After the second book was done, I launched straight into a completely different novel which I didn’t plan at all, and I found that to be quite a stressful experience. With an outline, even a very rough one, I feel like I’ve got something to help me find my way.

GK: Seeing as you began writing the sequels to Tracer whilst in the middle of going back and forth on the first one with your editor, did anything from that experience shape or change how you approached the writing of your sequels? Did you learn about a particular writing flaw of yours — maybe a propensity to overuse certain words/phrases, perhaps? Or did you just steam ahead with it knowing you’d deal with it in the rewrite stage?

RB: Yes, absolutely. I learned that there are certain things that I forget to do (like include physical descriptions of the characters, which is pretty important!). But I also don’t believe in waiting for things to be perfect before I start a project. I decided that I was capable of editing and writing at the same time, and changing things on the fly if I needed to.

GK: Any advice you could pass on to the aspiring authors out there reading this?

RB: None whatsoever. Almost all writing advice is snake-oil. The only thing that’s ever worked in all circumstances is: read lots, write lots.

GK: Great, I think that’s everything. Thanks for your time. Is there anything else you wanted to add?

RB: Thanks for the interview, and check out Tracer this July. It’s bad-ass. 

If you enjoyed the interview, please share/tweet/Facebook/ignore everything I just said, and also check out Rob’s website. He updates it regularly and there’s plenty more information on Tracer along with some cool artwork of his characters. And if you end up buying Tracer (which you can pre-order here), make sure to email me/comment below and let me know what you think. I’ve read it and it’s a fantastic novel. 

I’ve got a feeling the name Rob Boffard will be making some waves over the next few years.


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Rob Boffard: Part I

imgresI first heard of Rob Boffard when he wrote a long piece for Huck about the world of battle rap (read it here). As a freelance journalist, fresh from his hometown in Johannesburg, South Africa, Rob had been writing and selling his articles to publications for years: from Music Tech to Wired to The Guardian. On this occasion he’d covered a Don’t Flop tryout event that I’d participated in, and had nothing but complimentary things to say about me. After reading it online, my fiancée hunted down a physical copy of the magazine for my birthday, and then I searched for Rob on Facebook to applaud him on his writing. Not only because he’d written such nice (and obviously true) things about me, but also because I genuinely enjoyed his work. I could tell this guy had a real spark with words. I suggested we meet up for drinks. 

Over time we built up a friendship based on our mutual passion: writing fiction. We began to correspond regularly, sending short stories and novels back and forth, offering advice and criticism, and sometimes meeting up for more drinks so we could drunkenly rant at each other about the torment of novel writing. Eventually Rob snagged an agent, and a short while later a three-book deal for his Outer Earth trilogy with the Science Fiction publishing house Orbit

Since then he’s moved to Canada with his fiancée, and been chasing deadlines.

He kindly took time from his busy schedule to talk with me.

We not only discussed his new book, but Rob also gave an insight into his writing process and offered some valuable tips for any aspiring authors out there.

Check out PART I below:

GK: Firstly, let’s talk about your debut novel Tracer. It’s set for release on July 2nd 2015. Can you tell us what it’s about?

RB: Sure. It’s set on a space station, Outer Earth, which holds the last of humanity. Outer Earth is old: broken down, rusted, falling to pieces. There are couriers, called tracers, who take packages and messages across the station. One of the couriers, Riley, discovers she’s been transporting something pretty gruesome, and uncovers a conspiracy that could destroy Outer Earth . . .

GK: It’s the first in a trilogy. When you originally wrote Tracer, did you envision it as more than one book? Or was that the publisher’s decision?

RB: I didn’t know what Tracer was going to be! I just wrote it. Only when I got to the end did I realise that I wasn’t done telling the story. Orbit liked that, and bought the books as a trilogy before I’d even finished writing them.

GK: And are they all finished now? 

RB: I’m editing book two at the moment, and the first draft of book three is about two weeks away from completion. Crunch time!

GK: And then how long do we have to wait before we can read them?

RB: Book 2 is out in February 2016, and Book 3 in July 2016.

GK: Moving on to the book itself: as someone who’s been privileged to have read Tracer before it hits shops, one of the refreshing things I noticed when reading your novel is that you have a diverse cast of characters (a compelling mix of races, creeds, and sexes) without it seeming forced or done for the sake of filling a quota. Was it a conscious decision to have so many different — and many would say “marginalised” — voices in your novel? And do you think it’s important to provide a platform of characters that represents the true diversity of real life?

RB: I need to be very careful with this answer, because I know that it’s a tricky topic, particularly in the sci-fi community. We absolutely do need more diversity in fiction, including more protagonists who come from marginalised groups. That’s a no-brainer. That being said, the diversity in Tracer wasn’t a conscious choice, mostly because I was doing my very best to not write a crap story, and that was taking up most of my conscious brainpower! But I knew very early on that Outer Earth was likely to be a melange of different cultures, races, genders, religions. That’s just how, logically, a place like that would turn out. I let that guide me. I didn’t consciously try and make my characters diverse, but subconsciously that’s obviously what happened, and I’m delighted that it did.

GK: Your main hero Riley is a great character: a smart, witty, determined woman who manages to be both vulnerable and made of steel. What was it like writing from a female perspective? Did you find it any more challenging than writing the male characters? And did you get any input or feedback about Riley from the women in your life?

RB: I didn’t think too hard about the female perspective. I knew it was important, but I figured that if I concentrated on writing a believable character, that would come through. From the reactions I’ve got so far I think it came out okay. That’s not to say I have it perfect, or don’t have more work to do in future books. For someone like me — male — it’s an ongoing education.

GK: One thing that struck me about the world you created (Outer Earth) is how legitimate and realistic it seems. Did you do any research into how a space station would work before you started writing? Or did you just make it up as you went along?

RB: I did a huge amount of research on orbital physics, and what the station would be like. This was not something I was willing to make up on-the-fly. I went down and spoke to a genuine rocket scientist at Kingston University, and he helped me put together a station that worked. I also spoke to an expert on fusion energy, an entomologist, and a few other scientists as well. I was quite content to make up the actual story, but I wanted my physics to be straight.

GK: I can definitely see Tracer hitting the big screen one day. If that happens, do you have any ideas about who you’d like to play Riley (and any other cast members) in a film version?

RB: So many ideas. I would love this to be made into a movie, although of course that is a very long way off. There’s a New Zealand actress called Shavaughn Ruakere who I think would make a killer Riley. Either her, or Olivia Thirlby from Dredd. Michael B. Jordan would make an amazing Carver; or a young Ryan Reynolds, circa Blade 3 (not possible now, obviously). Man, so many other names . . . A young Zhang Ziyi as Yao, Sam Worthington as Kevin, Dev Patel as Prakesh. Jada Pinkett Smith would be the PERFECT Okwembu. Darnell, I don’t know . . . someone fucking huge. Basically what I’m saying is, if this ever gets made into a movie I am writing it into the contract that I have casting power. 

GK: Many aspiring authors don’t understand just how long the process is from the sale of a book up until publication. Could you give us a little insight into what goes on behind the scenes once a book’s been accepted? And how have you found that process? 

RB: After the hangover from celebratory drinks has faded away, it’s all about getting the book ready for publication. You work pretty closely with your editor on every stage of the book, making sure it’s as good as it can be. For me, this felt like lying under a car with my arms deep in the guts of the engine, endlessly tinkering. It’s a very difficult process, but absolutely essential. In the background, the publisher is busy with cover design, blurb copy, working on a marketing campaign . . . at this stage, that’s all still going on, as we’re a few months from publication. 

GK: Any positive/negatives you’ve noticed since being part of that world that you were previously unaware of? Any pitfalls that you could advise others to watch out for?

RB: Good question. I think you have to be prepared for the amount of work needed to actually get a manuscript to a point where it can be published. To my mind, it actually felt like more work than writing the book in the first place. But I have to stress that it’s an enormously positive process. You come out of it feeling like you really accomplished something.

GK: There’s a common belief amongst many unpublished authors that finding an agent to represent their work is more about luck than talent: you either hit the lottery or you don’t. Could you tell us how you found your agent? What did you do — hockey mask and gun to the face? Fireworks through the letterbox? Or something more traditional?

RB: I’m a big believer in tradition, which for me meant duct tape and bolt cutters. No, I think you need a bit of both — luck and talent, that is, not assorted weapons. You not only have to have the drive and talent to get your manuscript to a semi-readable state, but you do need a tiny bit of luck in finding the right agent for it. Simply because an agent rejects you doesn’t mean that your manuscript is bad; it just means that they may not be the right agent for it. I got about eighteen rejections before I found my guy, and that came simply through the process of cold submitting. No shortcuts, no magic button. I just kept at it.

GK: Any advice you could give authors on how they should approach an agent?

RB: Be polite, accept a no and move on, and don’t think that submitting anything other than a standard cover letter and the first bit of your manuscript will work. Agents have seen every “clever” submission under the sun, and they’re far more likely to respond to you if you work within their parameters.

GK: When you signed with your agent, what was your initial reaction? And then, later, how did you feel when you found out you were finally going to be published?

RB: Both of them are among the best feelings in the world. It’s not just that someone has expressed interest in your work, it’s that they’re prepared to then work hard on your behalf (initially without compensation, in the case of the agent) to make sure that it gets out into the world. When I found out that Orbit had made an offer, I was sitting in bed in Vancouver on a Saturday morning. It was a bit early for whiskey, but we had the mother of all fry-ups . . .

That’s it for PART I. In the meantime, check out Rob’s website here for more information. 

In PART II, we discuss Rob’s background in journalism, his writing routines, and the importance of rewriting your work before sending it off. Make sure you check it out here.


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