STOP PRESS: space in your suitcase?

Get #UntilOurBloodisDry in Kindle summer sale for less than a quid!


Pitstop: Settling Scores writer Nick Jones

 

Remembering the miners’ strike:

 

165,000 people on strike

11,313 arrested

7,000 injured

5,653 tried in court

960 sacked

200 imprisoned

11 people killed

 

Source: Orgreave Truth and Justice Campaign, 2014

 

 

June 18th marks the 30th anniversary of the Battle of Orgreave, the most infamous moment of the year-long miners’ strike. Thirty years on, the Orgreave Truth and Justice Campaign is pressing for a public enquiry into the events of that day, looking in particular at how the authorities policed the mass picket.

 

“National Coal Board chairman Ian MacGregor planned to close 75 pits — closing two-thirds of the pits in South Wales — six months before the start of the dispute!”

 

 

settlingscores

 

 

This blog marks the 30th anniversary of the Battle of Orgreave by interviewing Nick Jones, a journalist who covered the dispute for the BBC.

Nick is a contributor to Settling Scores: the Media, the Police and the Miners’ Strike, published by the Campaign for Press and Broadcasting Freedom. The Cabinet Papers: Thatcher and the police uses newly declassified documents to explore how the prime minister took a hands-on approach to the dispute.

 

 

How did Settling Scores come to pass, and what questions does the book cover?

 

Settling Scores is a follow up to Shafted!, which was published to mark the 25th anniversary of the dispute. The aim of both books was to explore many of the hidden issues, such as the extent of government involvement and in my particular case manipulation of the news media.
 
 

Why was it important to you and the other contributors to look back at the miners’ strike? 
 
Journalists played a significant part in the final outcome of the strike because once the industrial strength of the National Union of Miners had been contained by the police, the offensive moved to the media frontline and the campaign to persuade men to break the strike.

When half were back at work Mrs Thatcher could claim victory, which is what she did.

I think broadcasters got swept along by this narrative and in part became cheerleaders for the return to work, hence my soul searching, which I described in Shafted!
 
 
You sifted through cabinet papers to examine the government handling of the dispute; what were of your key findings?

 

For me the key findings were that six months before the start of the strike the Coal Board chairman Ian MacGregor informed Peter Walker — and Mrs Thatcher was told — that his intention was to close up to 75 pits, and that — just days into the strike — Mrs Thatcher issued a secret instruction to chief constables to “stiffen their resolve” to replace the rule of the mob with the rule of law.

MacGregor’s secret warning about the extent of pit closures was kept top secret and “solemnly” declared that he had never mentioned the 70 pit closure hit list that Arthur Scargill said existed. Thatcher, MacGregor and the NCB always insisted the NCB wanted to close only 20 pits.

Mrs Thatcher’s intervention led to the creation of what amounted to a national police force. Within days pickets heading south were being stopped on the motorways, and those from Kent at the Dartford Tunnel.

 

 

What is the most surprising or striking thing that you discovered from the papers?

 

I think the most striking revelation was the extent to which Mrs Thatcher was micromanaging the government’s response to the strike.

The cabinet papers are often underlined by her; there are hand-written notes in the margins.

She agreed no further mention should be made of MacGregor’s aim to close 75 pits, which he had said would mean closing two-thirds of the pits in South Wales — and this was six months before the start of the dispute!
 
 
 
What other questions do your co-writers explore in Settling Scores?

 

One chapter deals with the question of the reporting of the Orgreave confrontations and whether the BBC’s coverage was biased against the pickets.
The NUM distrusted journalists, especially those from television and radio who were considered part of the establishment. Much of the filming was as a result done from behind police lines.
 
 
Nick Jones and Settling Scores! editor Granville Williams will discuss the book, the media and the miners’ strike at the South Yorkshire Festival at Wortley Hall, Sheffield on August 16. Visit the Campaign for Press and Broadcasting Freedom website for more information about the book. You can also find out more about Settling Scores! on Facebook.

 

 

STOP PRESS: The Feminist Library is holding a day-long event from 12-8pm on Saturday 21 June, looking at Women of the Miners’ Strike, with readings, film screenings and debates. I will read from Until Our Blood is Dry during the evening session at the event in Lambeth.

 


my work in progress, Owen Gower, (Still) the Enemy Within

stewcover

June marks the 30th anniversary of the Battle of Orgreave, a defining point in the year-long miners’ strike of 1984-1985. To mark the event, this week’s Pitstop interview features Owen Gower, director of the new documentary film, (Still) the Enemy Within, which talks to former miners about the dispute and its aftermath. The film makes its premiere in Sheffield this week.

 

“Thirty years ago, Thatcher went to war.
These are the miners who fought back.”

 

Please introduce (Still) The Enemy Within
The film is a feature documentary that tells the story of the 1984-1985 miners’ strike from the point of view of the miners and supporters who fought on the front line.
These were the people prime minister Margaret Thatcher labelled “The Enemy Within”. They faced an onslaught by the government, the police and the media as they fought for a year to defend their jobs and communities but many have never spoken on camera before.

So why the miners’ strike?
The miners’ strike is something that remains incredibly relevant today. It was a huge confrontation that shaped the world we live in today and is filled with amazing stories and events. Yet much of this history has remained hidden.
Instead of the mainstream perspective that’s been given to us, we wanted to bring to light what it was really like for those fighting on the frontline, as well as introducing it to a whole new layer of young people coming to it for the first time.

How did you set about planning and researching (S)TEW?
One of our executive producers Mike Simons, who brought the project together, was a journalist throughout the strike and is the author of two books on it. He has kept in contact with many of the miners and strike photographers for the last 30 years.
This was incredibly valuable as not only did he have access to an incredible group of characters and amazing images, the miners were also willing to open up on camera to us in a way that they simply wouldn’t have with anyone else.
The film is really a culmination of 30 years’ work that Mike has been laying the groundwork for.

What is the most surprising thing you discovered along the way?
By far and away the biggest surprise for me was the humour. The miners were filled with hilarious stories, often in the middle of mayhem, whether pretending to be joggers to get past police road blocks or accidentally setting fire to their own leg right in the middle of the Battle of Orgreave.
They had us in stitches the whole time. It’s something you rarely hear about with the strike but, despite the difficulties and the hardship, for many of the people in our film it was the best year of their lives.

If you could have done one thing differently, what would that be?
The truth is that with the strike being a huge event over such a long time, there were so many amazing stories we just couldn’t fit into the film. By the end of the production, it felt like we could have made a hundred films and still never capture all the incredible experiences of the people involved.
Ultimately I am happy that we’ve made the best film we can and that it remains true to the experiences of the miners and supporters in the film.

What are you working on next?
I really believe in telling the stories of people that the mainstream media has ignored or kept hidden. We have a number of projects in development, but sadly they’ll have to remain top secret for now.

What do you hope your audience will take away from seeing the film?
I think many young people who come to this subject for the first time will be shocked about what the miners went through in their fight for British industry.
But I also hope audiences will also be inspired by the incredible solidarity that took place.
The strike transformed the lives of those involved and gave a glimpse of just how incredible it can be when people stand together.

(Still) the Enemy Within has its debut screening at 1345 at Showroom 4 Cinema in Sheffield on June 7.  STOP PRESS: Owen and the team from production company Bad Bonobo will host a Q&A session after Saturday’s screening.


stop press — finchley literary festival

BloodDry_cover_hires

 

I’ll be reading from Until Our Blood is Dry at the Spoken Word Showcase, part of Finchley Literary Festival at Friern Barnet Community Library on Friday night.

Greenacre Writers promise a night of poetry, fiction and non-fiction prose, featuring Amy Bird, Andrea Michael, Bill Todd and surprise guests. Compere, Allen Ashley.

All welcome, 1900-2200 hrs, Friday May 30.

Contact greenacrewriters@gmail.com for information.

Until Our Blood is Dry, Parthian Books 2014, is serialised in the Western Mail to mark the 30th anniversary of the miners’ strike and is the Welsh Books Council’s book of the month for May.

 


my work in progress, Debz Hobbs-Wyatt

Debz_and_Rosie

 

My Parthian Books stablemate Debz Hobbs-Wyatt talks about her debut novel While No One Was Watching, a taut thriller set against the backdrop of the killing of JFK…

 

 

Please introduce yourself and While No One Was Watching

Hi I’m Debz and I work as a professional editor and critiquer as well as a small publisher, to pay my way but my real job is an author.
I gave up my day job five years ago to live the dream and have since had close to 20 short stories published, was shortlisted in the Commonwealth Short Story Prize last year and won the Bath Short Story Award last year too! And to add to a year of lovely successes that you never think will happen to you, Parthian Books published my debut novel While No One Was Watching.
The premise of the novel is what happens when you turn your back and is about a little girl who disappeared from the grassy knoll at the exact moment Kennedy was assassinated and is still missing 50 years on.
 
So why a novel set against the backdrop of the Kennedy assassination?
Well why not? No actually, she says — waving the banner for the short story — I really learned my craft writing short stories and this idea came during that phase and started life as a short story.
I liked the idea of a psychic holding a child’s silver locket and saying to a reporter that it belonged to a little girl who disappeared the day Kennedy was shot and is still missing. And I loved the idea of taking an iconic moment in history and looking at what happened at the same time; something overshadowed and yet for one young mother, a moment that changed everything.
It’s a moment in time so many remember, even though I wasn’t born, but it’s a significant historical moment and one I know continues to fascinate. Although it is a catalyst for the story and is very significant — the story is actually set now and has many layers.
How did you plan and research the book?
I never overplan with a first draft as I like the magical things that happen when you don’t, but I did a lot of reading for this, as you might imagine. While the Kennedy assassination is significant and needs to be represented accurately, at the same time I would never overload with facts. It adds authenticity though so you need to research.
The short story was a good blueprint to work from when adapting into the novel. I used the same characters, same voices but got to know them a lot better!
What is the most surprising thing you discovered along the way?
That sometimes you think it’s you creating a character when really they’re writing themselves. Lydia Collins my African-American psychic just talked to me and showed me her story! Being a writer is a creative licence to give in to the inner voices!
If you could have done one thing differently, what would that be?
I wish I knew what to say! I always felt the original ending wasn’t filmic enough and I talked to my lovely editor Cerys about this as she said the same. I was really happy with the final reworked ending, so would I have done anything different? I don’t think I would.
What do you hope your reader will take away from the book?
I hope they will see an old story from a new angle. I hope they learn something new, not necessarily about Kennedy but about being human, about love, loss and how everything can change in a single moment.
Follow Debz on Facebook and on Twitter or visit her blog. And buy her book from Amazon here!
WNOWW

STOP PRESS: in Newport on Sat May 24?

BloodDry_cover_hires

…. if you are, please stop by Waterstones to say hi. http://ow.ly/wYj2F

Book signing for Until Our Blood is Dry from 1230-1330 thanks to Parthian Books.

Hear an extract from the book, share your miners strike memories, have a chat about independent publishing or writing in general.

Look forward to seeing you!


Our work in progress, Triskele Books collective

 

From Left:  Liza Perrat, Gillian Hamer, JD Smith, Catriona Troth, JJ Marsh

Catriona Troth, author of Ghost Town and Gift of the Raven, talks to Kit Habianic about author collective Triskele Books.

Please introduce yourselves and Triskele Books

Triskele Books is a European author collective, spanning the UK, France and Switzerland. Our five core members are crime writers JJ Marsh and Gillian Hamer, historical novelists Liza Perrat and JD Smith, and Catriona Troth, writer of radical fiction. What our – often very different – books have in common is a strong sense of Time and Place.

So why an author collective?

Self-publishing is perhaps one of the great misnomers of modern times. Indie authors have to operate like the creative directors of a small business. They need to work with editors, cover designers, ebook distributors, print-on-demand suppliers etc – as well as planning and managing their own marketing campaigns.

Once you realise all that, it doesn’t take much to work out that it’s a whole lot easier to share resources, ideas and experience with other authors. Being part of a collective means that, rather than reinventing the wheel, you learn from one another. And when it comes to marketing, you can take turns being the one who’s up there spreading the word. You share contacts and brainstorm ideas about what to say and how to say it. And hopefully you avoid becoming one of those awful people on social media who just keep bleating, ‘buy my book, buy my book!’

How did you plan and launch Triskele Books?


Several years ago, I was reading about the first author collectives starting up in the US and began telling anyone who would listen that this had to be the way forward. Someone must have been paying attention, because about three years ago, after a series of online conversations, the three original members of Triskele met up at a London hotel to decide if the idea had legs.

Their determination was that, if we were going to go ahead and publish our own work, it would have to be done to a high standard – in the writing, in the editing, in the look and feel of the books themselves – and that was something we could achieve together, much more easily than alone.

Triskele Books is similar, in some ways, to a small press. Legally, however, we wanted to retain our own rights, so we chose not to create a publishing house. Instead, we just act like one. We’re a group of people who can edit, proof, consult, advise, co-promote and market on a shared platform. Each of us works as an independent entity but we all benefit from mutual support. Financially, we contribute equally to any costs incurred, such as webhosting, print materials, etc, but each of us keeps the profits from her own books.

The key element for the success of the whole thing is trust. We have to be able to trust that each of us will pull our weight and not leave work to be done by others. And we also need to trust one another’s judgement. No book gets published under the Triskele ‘marque’ unless we all agree it meets our original standards.

What is the most surprising thing you discovered along the way?

The utter generosity of the writing community. If you were to believe some of the stories you read, you’d think authors were stewing mass of jealousy, secretly planning spoiler reviews of each other’s work. Our experience – whether through the Alliance of Independent Authors, or the online critique sites where we all met – couldn’t be more different. Whether it’s providing manuscript critiques, recommending a publishing service, solving some knotty programme about US tax exemption and just providing a shoulder to cry on when things get tough, our fellow authors have been unfailingly helpful and supportive.

If you could have done one thing differently, what would that be?

We’ve made a lot of small mistakes along the way (as you can read in The Triskele Trail) but thankfully not too many major ones. We got a lot of our basic ideas right at the start – like having a website that did more than just sell our books. But some of the detail – like the format of our monthly Book Club, and way we handled our associate scheme – we rushed into a bit too quickly and had to rework as time went on.
 What do you hope Triskele will achieve?

To become known as a mark of quality – in our writing as well as in our production standards. And to provide support for other writers whose work we believe in. Jeff Norton dubbed us the Wu Tang Clan of indie publishing, which is a badge we are happy to wear with pride.

What are you working on next?

Three of our core members – JJ Marsh, Gillian Hamer and JD Smith – have books out in 2014. Plus, we have a new associate, Barbara Scott Emmett. Under the Triskele umbrella, Barbara is publishing her literary thriller – Delirium: The Rimbaud Delusion. It’s the story of a lost poem by Rimbaud that weaves together a modern-day mystery with a trail of ‘documents’ that give the manuscript its provenance.

We also have an updated version of The Triskele Trail coming out soon, including a print edition. And we are sponsoring an Indie Author Fair with Alliance of Independent Authors at the Chorleywood Literary Festival. On Sunday 16th November, Indie Authors will be able to book a table, chat to readers, sell their books and (if they wish) run ‘Human Library’ style one-to-one sessions on any aspect of writing and publishing.

You can find out more about Triskele Books at www.triskelebooks.co.uk.  You can follow them on Facebook at https://www.facebook.com/triskelebooks,
and on Twitter at https://twitter.com/TriskeleBooks.
Their blog, including their monthly Book Club and the Triskele Toolbox, can be
found at http://triskelebooks.blogspot.co.uk/

 


Follow

Get every new post delivered to your Inbox.

Join 144 other followers