Mastodon The Writing Desk

31 July 2012

New eBook Launch: Personal Productivity For Busy Managers


Personal productivity is under scrutiny as never before. In every sector global recession means continued pressure to reduce costs and increase productivity. All organisations are now driven to shine a spotlight closely at the contribution from every manager. A brilliant track record is no longer any guarantee of future job security. What matters is how much value you are adding now. 

So how do we really do more with less? There are plenty of books with tips on how to manage your time - but although time management is likely to be part of the solution, it will not be enough on its own. The answer is to take control of your own productivity and lead by example, drawing on practical experience and develop innovative approaches that will really make a difference.


Keynote speaker and productivity specialist Neen James says, “In today’s hectic workplace, it’s not just time management that you have to master, it’s super-productivity that gets the results. The secrets of super-productivity are not about working more; they’re about focusing your time, effort and energy on the things that will deliver the best results for you. It doesn’t mean ‘work longer’, ‘invest more money’, ‘create more lists or put your lists in a certain order’. It means: do less of the things that have no significance and more of the things that create an impact.”




You may be a top executive in an international corporation or responsible only for yourself. There are one hundred tips here, based on the experience of many managers in every type of organisation - so the challenge is to pick just ten that seem to fit with how YOU would like to work and see what you can do to increase your personal productivity.



Preview Personal Productivity For Busy Managers 

30 July 2012

Guest Post: Matthew Wright - Convicting New Zealand’s past



It is a couple of years now since Penguin New Zealand’s former managing editor, Geoff Walker, approached me with a request. I’d just finished my history of the ‘musket wars’ for them – ‘Guns and Utu’ – which covered the Maori side of New Zealand’s past from around 1810 to 1845.
Now it was time to do the British side of the same time and place. Specifically,  the story of the convicts who leaked out of Australia from 1788. 

Of course I thought that was a good idea, too. The thing about New Zealand’s past is that we popularly think it began in 1840 when the Treaty of Waitangi was signed – and Crown government began. But of course Maori had been in the place since the 1280s (by the latest estimates), and by

1840 the British and Americans had been around for half a century or more, too.

Most of the Europeans didn’t behave too well. It was a classic example of what Niall Fergusson has called lawlessness leaking from the periphery of Empire. Isolation and the fact that they were literally outside the long arm of British law gave license, it seemed, for would-be traders and sea captains to behave badly.

In New Zealand’s case, they were joined by actual criminals – convicts and former convicts who had been transported from Britain’s over-packed prison hulks to Botany Bay and the other prison colonies in Australia. Most of them were not particularly hardened criminals; back in the 1780s it was possible to be transported for stealing a coin or two. Or filching coats from corridors on Sundays. Or stealing panes of glass from butchers’ windows (I am not joking).

But although these transported folk had not done much, the world they found was leveller – and it hardened them.  It was also possible to walk out of it. The walls of Botany Bay were not stone; they were distance. And none of the prisoners knew exactly how much distance.

The escapes began even as the First Fleet arrived from Britain – and a good chunk of them ended up in New Zealand. It wasn’t too surprising. None of the convicts knew exactly wher they were. Some thought China was just over the horizon to the west. Others hoped that by stowing away on one of the ships leaving Sydney, they might be carried off to some magical tropical island, usually Tahiti.

In fact, most of them ended up in New Zealand, including a woman named Charlotte Badger who is often considered New Zealand’s first pakeha (white) settler.

Some of them – foolishly - thought that Maori would be so over-awed by white skin as to treat them like lords. Naturally Maori were not going to tolerate any of that nonsense. They were not impressed by convict behaviour in the slightest – and the convicts had to work, or they didn’t eat. Quite a few threw themselves on the mercy of passing British ships, trying to get away.

As time went on other convicts arrived legally. By the 1820s many of the former prisoners were being freed – they had done their time and could rejoin society. Not that they had any way of getting back to Britain. But New Zealand beckoned, and as the whaling industry began expanding it attracted a good selection of former convicts to work on it.

All of this contributed to the notion that Europeans in New Zealand were a lawless bunch. When the Treaty of Waitangi established Crown government and the first large-scale settlements appeared, all in a rush around 1840, there was a good deal of back-pedalling. Upright middle-class settlers drew a line in the sand – hoping to distance themselves from the moral stain they imagined had coloured their immediate past.

New Zealand’s convict past was ruled out of history. It was never secret – and historians, later, wrote down some of the more lurid adventures. But it was conveniently hidden from easy view.


Convicts: New Zealand’s hidden criminal past is by Matthew Wright and published by Penguin

 You can get ‘Convicts – New Zealand’s Hidden Criminal Past’ here



Matthew Wright blogs at: http://mjwrightnz.wordpress.com    He is one of New Zealand’s most published historians, and is a Fellow of the Royal Historical Society at University College, London.

21 July 2012

Antofagasta - A Novel by Alex Barr


Although he was British my father-in-law was brought up in Peru. My wife Rosemarie had always wanted to see the house in the Lima suburb of Miraflores where he lived. Years after he died she asked her aunt to remember the address. Fackary? What kind of street name was that? But there was a Figari, and there it was, the house he was once photographed outside—now a pizzeria.
We went to Peru via Chile, which in 1990 was just emerging from the nightmare of the Pinochet era. People were beginning to speak freely again. This is the setting for my novel Antofagasta. As my favourite author Borges is South American, it seems appropriate. (We were told Chileans regard Argentinians as a bit too full of themselves.) We found Chileans charming and pleased that we visited their country. So although the villain of the novel is Chilean, it should be obvious that he is very much the exception.
I’ve always loved road movies and detective stories, and Antofagasta has elements of both. Shakespeare fans may detect signs of larceny from the works of the bard. I’ve done a lot of amateur acting. My last appearance was as a headless ghost at the opening of Fishguard Arts Society’s latest exhibition. Places and travel are important to me and have inspired a lot of the short stories I’ve written. Sadly, my travel these days is restricted, having taken to heart the words of George Monbiot on climate change, ‘If you fly, you destroy other people’s lives.’
At the moment I’m branching out—to my surprise—into illustration, which I haven’t done since I drew political cartoons for The Wichita Beacon. (Jo Ellen in the novel worked for the sister paper, the Eagle, but as she’s fictitious I never met her.) I’m collaborating with Peter Oram of Starborn Books on a very unusual series of books for children. More anon when I get my blog going . . . meanwhile thanks to Tony for hosting me on his.

Alex Barr

Preview Antofagasta - A Novel

17 July 2012

Special Guest Post: Monica La Porta, author of 'The Priest' (The Ginecean Chronicles)

Va dove ti porta il cuore...

Follow your heart...

I’m visiting my parents in Umbria. Sitting under the shade of the porch, I look at the terracotta roofs ahead and my mind wanders. I close my eyes and breathe in the gentle breeze traveling from the Mediterranean Sea. I can hear the leaves of the two majestic mulberry trees swaying like waves crashing against the pebbled shores. I think about life and the twists and turns that sometimes take you faraway from where you started. Twelve years ago, I left Italy and moved to the USA with my barely intelligible British English and no idea of what I was going to find. Twelve years later, my accent is still thick and I have published two books in a language that is not my own. Maybe it’s because a teacher once told me that learning languages wasn’t my forte, maybe it’s just because I like challenges, but every single time I finish writing my daily quota of words I smile. I’m smiling right now. The peaceful, agrestic landscape of the Umbria’s rolling hills helps, of course. But I would be smiling in the midst of torrential rains. I would be smiling anywhere. I write, therefore I’m happy.
  Three full years ago, after the rather cliché enlightenment that life can be short, I decided I was old enough to find what gave meaning to my days. I’ve been voraciously reading since I was six, my genre of choice science fiction in every form and shape. I love any read that transports me into distant universes and other dimensions. I’ve been soiling the usual amount of paper napkins and loose blank pages with my thoughts ever since. Despite the truth was right before my eyes, it still took me several years before I realized typing words on a keyboard was my call. Since I started, a fatidic morning of 2009, I’ve never let a day pass without writing.
  Back at the university, I realized only too late I liked sociology and anthropology better than the classes I had chosen; in my twenties, I remember reading a book about a forgotten marine tribe with the same enthusiasm I had devoured Martian Chronicles by R. Bradbury at the tender age of ten; for me they were equally entertaining and exotic. I live in a reality I know all too well and that I often dislike, escaping it is all I ask to my reading material. As a natural progression, I love writing what if-stories, where starting from society as we know it I twist one or more established aspect and present it back from a different angle to ponder about. Building mirror-image worlds gives me great joy.
  My Ginecean Chronicles are set in an alternate Earth, a planet called Ginecea, where society has evolved in a different way from ours. Women rule over enslaved men and heterosexual love is taboo. My current work in progress is about a world where people live inside a cave in a state of perennial darkness and are scared of light. I like to play with reality, change one or two fundamental aspects and see what happens when right is left and up is down.
  A stronger gust of playful wind closes a window with a noisy thump. I open my eyes and I’m back to now, in Umbria. The sun is lower on the horizon, disappearing behind the roofs. My life too was thrown upside down twelve years ago, but I’ve travelled far from the person I was and I’m glad I challenged myself time and again. I’ve found a strength I didn’t think I had and with that a sense of accomplishment that makes me go to bed every night happy. It’s never too late to find your true call. Sometimes, you must wait for years and cross oceans to find it, but, if you look hard you’ll discover it was always there, in your heart.
  Thank you, Tony, for having me on your blog.


  If you’d like to know more about me, please visit my blog where I normally talk about my beagle, painting, sculpting, and sometimes even writing: http://monicalaporta.com/
  If you’d like to take a look at my books’ covers and read an excerpt from them, please visit their Amazon pages:
Finally, this is the link to The Ginecean Chronicles’ Facebook page: http://www.facebook.com/#%21/ginecea

15 July 2012

Book Launch: Terra Nova - Antarctic Voyager


Foreword by Dafila Scott, granddaughter of Captain Robert Falcon Scott: 


A hundred years after my grandfather Captain Scott’s last expedition to the Antarctic, it is now possible to assess not only the tragedy of the deaths of the polar party but also the scientific legacy of the expedition, which was considerable. In this book, Tony Riches gives an account of the expedition and its scientific legacy but focuses first on the interesting history of the Terra Nova, the expedition ship, which proved suitable if leaky for its purpose in the Southern Ocean. He also draws attention to letters written by one of the crew members, Captain Scott’s brother-in-law, Wilfred Bruce, which give a first hand account of life on the Terra Nova and include vivid descriptions of different periods during the expedition. These help one to imagine what it was like to be there.

Dafila Scott July 2012




  Preview Terra Nova now on Amazon UK or Amazon US

8 July 2012

Guest Post by Sadie Forsythe - The Problem With Genres


Genre or Popular Fiction is fiction that fits nicely into a predefined literary genre. I imagine we all recognize Action Adventure, Crime, Detective, Fantasy, Horror, Mystery, Romance, Sci-Fi, Western, and Inspirational, etcetera. Fitting a short piece firmly into its genre is a fairly undaunting task. A full-length novel, however, can pose problems. There are simply so many pages in which the plot could veer off course. 

The introduction of ereaders and virtual bookshelves is changing the way we choose, and possibly even think about, books. It has enabled booksellers to cross-pollinate genres, placing the same book in multiple genres simultaneously and introducing readers to authors and peripheral genre books they may not have sought access to traditionally. This appears to be something readers appreciate, or at least don’t mind.

The modern publishing industry, however, is feeling the financial crunch just like the rest of us and is becoming increasingly dependent on books fitting snuggly into their genre to ensure salability. But the more tightly a book fits in a genre the higher the likelihood it follows a comfortably familiar plot development and conclusion. It seems to me that the more often books are forced (by virtue of only be picked up by publishers if they do) to fit this flow, the closer the classification of Genre Fiction is to slipping over into Formula Fiction, with its recycled predictable plots.

There is, admittedly, only a thin grey line between the two to begin with and Formula Fiction isn’t without its own moderate appeal. With much of the setup and expectations already established by virtue of the genre conventions there isn’t a need to explain them again and a story can be leapt right into—great for an airport read. Or the daring author might even use that same predictability to subvert expectations and play with the reader’s preconceptions.

One way or the other though, long established genre classifications are changing and new ones seem to pop up regularly. So while the field is becoming more cluttered with choice, the question one has to ask themselves is how different are these new genre? I might, for example, argue that much of (not all obviously) Paranormal Romance is simply formulaic fiction with a paranormal plot. The same has always been true of Romantic Comedies.

I consider this dangerous. It creates an illusion of variety in the market that isn’t real. Readers are offered a plethora of almost identical books under different headings and told they’ve never had more choice. This latter statement isn’t all together untrue, but that choice isn’t coming out of the big six as far as I can see. It’s coming from the small presses, indies, and self-published authors who couldn’t find a home in the slim generic genre options available to them.

As the traditional publishing industry increasingly becomes the purview of safe, predictable fiction many authors seeking a more adventurous audience are pursuing other publication paths, indie or self-published. These publishing types are growing almost exponentially and, again, readers don’t seem to mind on the whole. Whether this is a permanent change or a mere trend until the traditional publishing industry finds a way to stabilize profitability in the new market is still to be seen.

In the mean time for those who like to know what they’re getting it’s a great time to be a reader, for the rest of us it is becoming more challenging to find original genre fiction. It’s there. I’m not claiming there isn’t any. It’s just becoming harder to find. If asked for my own, usually optimistic opinion, I think the situation will pass and eventually publishers will find a way to support themselves and provide both quality and variety again. But for the moment they can only afford to take so many risks and it makes for rather stale offerings.

...But for the moment they can only afford to take so many risks and it makes for rather stale offerings. What do you think? Is anyone less optimistic than me or see it from a different perspective?



Sadie Forsythe hails from the South Eastern United States, lives in North Western England, and is a fan of all things Japanese. She holds degrees in Anthropology/Comparative Religion, International Criminology, and Social Change. She loves local coffee shops, geek culture, everything bookish, & tea (steaming with milk & sweet iced). She is married with two daughters and an imaginary dog. 

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