Star Trek – Sad Opportunity

Finally, finally got around to watching Star Trek Beyond, on the whole Meh. Still I was left thinking that with the sad death of Anton Yelchin, the Chekov character has to be either written out or re-cast. No matter what they choose there will be people shouting that they were wrong so with that in mind what about going forwards with confidence and putting in a new (ish) character? Say Sofia Boutella’s Jaylah from Beyond – if she’s willing – who would also increase the female main character count by 100%.

Either that or take New Trek out back and like Old Yeller, put it out of its misery.

Leave a comment

Filed under Random Rants, science fiction, Uncategorized

Working Disabled Characters Into Fiction

First off I am not disabled. The closest I get to disabled is mild short sightedness, without glasses I wouldn’t be safe behind the wheel of a car but that’s about it, so this entry comes from that stand point.
Over the weekend I was attending the Irish Science Fiction Convention – Octocon and one of the topics was ‘A Future Without The Disabled – Our panellists discuss future and fantasy worlds in which science or magic is believed by some to make the existence of disabled people “illogical”. From the eugenicists to the Star Trek movies, what does it say about us that we can’t imagine a future with disabled people? ‘

Now oddly enough I would say that SF actually has at least some track record for attempting to include disabled, for a start we have this guy:


Now for any non-science fiction types this is the character Geordi LaForge from Star Trek, who was born blind, the gadget across  his eyes allows him to see, although not necessarily in the same way as the Mk I eyeball.

disAnother couple of examples are on the left Gary from the short lived TV series Alphas, who was autistic and Nick Fury from the Marvel cinematic universe, who is quite obviously minus an eye. However inclusion of a disabled character isn’t necessarily always successful. Of the three above Gary was arguably the most successful despite autism being one of the most difficult to do properly, while Fury is markedly the weakest because despite being down to  50% eyeballs, he doesn’t appear to suffer any problems with depth perception or peripheral vision, mostly it just makes him look cool.

Handling Disability with Fictional Characters

So broadly speaking I think we can think fictional disabled characters can be broken down into a number of categories with different treatment for each.

  1. Disablement from injury
  2. Disablement from illness
  3. Disablement from birth

With two sub categories within each for of mental disability and physical disability.

Frankly I think physical problems are generally a good deal less intimidating to approach, particularly for a main character but there are things we have to careful of. A disability that doesn’t in any way inconvenience the individual – see Nick Fury – is not really a disability. Autism is another one that is often badly handled, with it portrayed as some kind of super power*. At the same time a disabled person is still first and foremost a person. People with disabilities will attempt to live lives, they will attempt to find work rounds for their problems, they will likely aspire to things that are beyond their abilities. The novella Flowers for Algernon is a superb example of a story being told from the stand point of an intellectually disabled person.

No matter what you choose the next step is going to be research; if a character is being described as having a particular problem, you need to get the details right. Without that the writer runs the risk of coming off as condescending, pitying or just ignorant, none of which are helpful.

One other issue is cures. Out in the real world, over the last hundred years medical science has developed by leaps and bounds. Some conditions that were death sentences are now inconveniences. In science fiction, even when set in the near future, there can be a temptation to assume a easy cures, ones that don’t require rehabilitationsimply a blast of something from a syringe or something equally fast. The closer to reality the setting is, the more unrealistic this is. Illness and injury come with recovery times – I managed to get myself knocked down by a car in my twenties, even though my injuries were fairly minor I was still in plaster for three months.  Unless the work is set in some magic level technology setting, not all injuries can be entirely recovered from. Even when they can PTSD – post traumatic stress disorder – can be an issue that remain with someone for the rest of their lives. Certainly if you intend to write in my own area – military science fiction – then PTSD is a possible consequence that you should consider for your characters or someone they know. Even beyond the military SF sphere it is worth considering the mental effects of injury or birth defect, scarring or birth marks may not physically impair in the slightest but could have grave effects on the character, especially when somewhere obvious like the face.

Why Not Opt Out?

So it is complicated. If you get it wrong you may alienate readers. So easy solution don’t have disabled characters.


Well since we’re doing that let’s skip women? Homosexuals? People of colour?

Do I stick to writing character that are what I am and only what I am?


Realistically unless your setting has no conceivable disabled, then they probably have to be there in some shape or form. In my own work I’ve thus far I’ve had two characters with physical impairments and one who arguably has PTSD (this is from the outset, I’m not including the ones I maimed during the course of books) although I must admit when writing them, disabled wasn’t a label I would have attached any of them – it was simply a part of their backgrounds.

Inclusive Language

Now as I was writing this entry the thought cross my mind am I using the right terms? Terminology changes and what was acceptable yesterday isn’t necessarily today. The following I found  HERE which come from the UK.Gov advice website.

termsSo there we have it, my brief thoughts on the matter, as ever any thoughts comments or observations are welcome.

* If that was in fact the case the whole Vaxer movement would have a very different complexion.

* Batman seems to be particularly good at getting these because apparently recovering from a broken spine is no big deal.

Leave a comment

Filed under Random Rants, Writing

Warships – Classes and Categories PART TWO

Welcome back, we left off with cruiser so it is time to move onto the big stuff!


The term battlecruiser (or battle cruiser) is one the turns up a lot and there is no doubt that it is one that still carries a certain glamour. Historically the battlecruiser is a type that first appeared at the start of the twentieth century having evolved from an earlier category ship called the armoured cruiser. The armoured cruiser was a vessel as large as a contemporary battleship, while having smaller guns, thinner armour but longer range and greater speed. As combatants they were considered second only to the battleships and would often serve as flagships on more distant postings. The battlecruiser was envisioned as a vessel carrying battleship sized guns with the then new steam turbine engines, giving them a marked advantage in both speed and firepower over their predecessors.

HMS Invincible, the first battlecruiser, although for the first few years of her existence she was referred to as a Large Armoured Cruiser.

HMS Invincible, the first battlecruiser, although for the first few years of her existence she was referred to as a Large Armoured Cruiser.

So marked that in fact that when during World War One battlecruisers came up against contemporary armoured cruisers, the result was utterly one sided. In the run up to the Great War, with the expectation of mass fleet actions, the battlecruiser was envisioned as a kind of heavy scout, one that would brush aside the enemy’s forward screen and identify the location of the main force. With their lighter armour they were not expected to engage comparably armed ships. Unfortunately in practice commanders couldn’t resist the opportunity to add extra heavy guns to the main battle line. The battle cruisers’ reputation never entirely recovered from the loss of four battlecruisers at the Battle of Jutland in 1916 (while only one elderly battleship was sunk) and in certain academic quarters it is questioned whether as an idea the battlecruiser was bad one from the outset. Between the two World Wars the largest warship afloat was in fact a battlecruiser – HMS Hood. The type ultimately was superseded by the last generation of battleships which could match their speed with compromising protection, I’ll cover that later.

In science fiction portrayals of the type vary mostly in terms of where it stands in the overall hierarchy. Star Trek – with the odd exception – has mostly chosen to use the term battlecruiser for the peak combatants of the Federation and other major races. Given that within the Star Trek setting speed expressed as a high warp figure is usually the measure of a vessels’ power, combined with long range these ships seem to have, the term is fairly appropriate.

A Romulan D'deridex class Warbird or battlecruiser

A Romulan D’deridex class Warbird or battlecruiser, fast, powerful and apparently the most powerful Romulan warship until the film Nemesis.

In other setting the battlecruiser is very much more of an intermediate step between cruiser and battleship.

From the board game Battlefleet Gothic

The Mar Class from the board game Battlefleet Gothic is a good example of this type.

Which in a lot of setting seems to leave the type without a clear role; is it a big cruiser or a small fast battleship? A question that mirrors the problems that bedeviled the real battlecruiser. Personally I’ve made only limited use of the term but it is one that is useful for science fiction writers giving as it does a sense of a vessel with both enhanced fighting ability but sufficient mobility for all sorts of other roles, including that of a flagship for postings further from home.


Of all the naval terms used by SF battleship is probably the best known. Historically the battleship began in the age of sail as ‘The Line of Battle Ship’; equipped with cannons firing out of the sides of the hull. Also known as ships of the line this arrangement meant that logically squadrons and fleets of these ships fought in long lines, where each ship could bring its guns to bear unhampered by friendly ships. Ships of the Line are generally classes according to the number of guns they carried, HMS Victory in Portsmouth, with her hundred plus guns is an example of a First Rate, the most powerful ships of the age. During the 19th century The Line of Battle Ship changed from wooden walls and black powder cannons to steel hulls and steam power. The fleet with the most battleships (The United Kingdom for really all of the century) was the one that ruled the waves.

Nelson's former flagship, by curious coincidence Victory was laid down the same year Nelson was born.

Nelson’s former flagship, by curious coincidence Victory was laid down the same year Nelson was born.

One thing that does tend to be overlooked in regards to the battleship is its symbolic status. During the nineteen and early twentieth century, a battleship – for those that could afford them – was symbol of a countries economic prowess. While for those nations that could actually build them, they were a very tangible demonstration of that nation’s technological abilities. When in the eighteen nineties the USA made the decision to rebuild its navy – which by that stage was little more than a collection of antiques left over from the civil war – a very deliberate decision was made to have them designed and built in America, thereby demonstrating the USA’s arrival as a major power. The battleship’s usefulness in combat came from the fact that it was bigger, better armed and better protected than anything else bar another battleship. In theory anyway. Between the end of the Napoleonic Wars and World War One, a period when ship design radically changed, there was only one serious battleship clash –  Battle of Tsushima in 1905. It was also until the coming of the aircraft carrier the most expensive thing afloat. This years we saw the centenary of the Battle of Jutland, the largest battleship battle ever fought and one that ended inconclusively because battleships, with their vast price tag and build time of years, were too precious to be idly risked. Ultimately the battleship was replaced as the main combat unit by the aircraft carrier. A lot of sources will say that this was due to the destruction of the American battleships at Pearl Harbour but in fact it was the sinking of the British battleship Prince of Wales and the battlecruiser Repulse off Singapore a few days latter that confirmed that power had shifted. Still the battleship remained useful until beyond the end of World War Two, not least because once equipped with suitable anti aircraft guns they were capable of shielding other ships are part of a layered defence from enemy aircraft. The last generation of battleships are often referred to as fast battleships as these vessels were as fast as the earlier battlecruisers, but without the weaker protection.

In SF probably the best example of a space battleship (in the West anyway) comes from New Battlestar Galatica, a vessel a vessel that this really more of a battlecarrier than a pure battleship but during the course of the series it was shown that a battlestar was a very capable combatant even without its fighters being able to hand out a beating.


As well as take one.

Taking fireThe battlecarrier idea with a vessel capable of directly engaging a target but also to launch fighters. In reality the battlecarrier idea never gained much traction mainly because the flight deck large turrets both needed to occupy the same space and if aircraft were to be able to operate, they needed to be kept well clear of the water, which would make the battlecarrier a large target in a gun battle.

Which didn't stop people from dreaming.

Which didn’t stop people from dreaming.


This one really isn’t a true warship class and within SF something of a personal hate. In 1906 Great Britain launched the first of a new series of battleship – HMS Dreadnought. Up to that battleships had been powered by machinery called reciprocating engines,  while their armament was a small number of large guns and larger number of smaller pieces. Dreadnought was equipped with steam turbine engines, which allowed her to go faster for longer and dispensed with the smaller guns in favour of a larger number of heavy guns. Dreadnought set the pattern that would be followed up to the end of the battleship age but up to the end of World War One a substantial number of the older type remained in service. To distinguish between the new and the old, the term dreadnought and pre-dreadnought came into use. The terms dropped out of use once the pre-dreadnoughts were retired but the term dreadnought has remained to be used in SF as a gunship even larger than a battleship.

Aircraft Carriers

The aircraft carrier is probably the most self explanatory warship class and recognizable type of warship, with its long clear fight deck and offset bridge structure, a vessel that carries a substantial number of aircraft which represent its main offensive capacity. Armament of the carrier itself is limited to self defence. The early carriers were usually conversions of battleships or battlecruisers, with the full length deck and offset bridge structure (usually called the island) developed through trial and quite a lot of error. The main advantage of a carrier is the aircraft that represented its teeth could be changed or replaced comparatively easily. A battleship with three quarters of its guns shot away is going to have to head home for repairs, a carrier that’s lost three quarters of its planes could fly on replacements within hours.

Dauntless in her post war colour scheme.

Yes, one of my own

In SF the pure aircraft or fighter carrier seems to be something of a rarity with the battlecarrier a more popular choice, likely because from a storytelling point of view a vessel that has to keep well clear of enemy ships is less exciting than one that gets in close. To a certain extent this makes some sense as a lot of setting with space fighters don’t give these craft any faster than light capability, meaning the carrier has to get into harms way to deliver its fighters. There are also possible variants to the concept, carriers for landing troops or depending on the technology level of the setting, fighters for fighting in an planet’s atmosphere is ground bases haven’t been established ( for such ships I used the term drop fighter carrier )

Other Misc terms


A term originating from the American Civil War, this type was low freeboard vessel (not much hull above the waterline) with turret mounted armament. During World War One the term changed to refer to a shallow draft vessel ( not much hull below the waterline ) designed for shore bombardment.

Landing craft

Ranging from small boats to medium sized ships, these vessels are designed to deliver troops and materials without needing a proper dock.


Now this is an odd but fun one. By World War One sonar had not been invented, making the detection and hunting of submarines difficult. One of less crazy idea (and by god there were some crazy ones) was the Q-Ship, a converted civilian ship – usually a small tramp steamer – with its cargo holds often filled with barrels for added buoyancy and a few guns carefully concealed. This allowed it to continue to masquerade as a transport, one large enough to be worth destroying but small enough not to be worth a torpedo. When encountered, the sub would hopefully surface to attack with its deck gun at which point the Q-ship would drop its disguise and open fire. The actual history of the Q-ships includes some anecdotes which even fiction writers would struggle to make up.



So there we have it, a basic guide  to ship classifications but as I said on this topic where there is no such thing as one single right answer. As ever thoughts and comments welcome.



Filed under science fiction, Ship design, Uncategorized

Warships – Classes and Categories PART ONE

It’s no secret that science fiction tends to borrow pretty vigorously from history, this goes double for any SF that makes even the most casual contact with military affairs. Battleships, battlecruisers, frigates, destroyers, all of these terms are merrily thrown around but to what do most of them refer? Well I thought I might instead take more of an overview examination of some of the terms I’ve been throwing around in my Ships of the Fleet series and provide something of a quick primer for anyone considering writing science fiction.

First off to what is meant by the term ‘Class’? Quite simply this refers a number of ships built to the same or very similar design, the name of a class is usually either the name of the first to be built or the theme along which they have been named – an example of this being the British C Class light cruisers where the names of individual ships as might be expected all started with the letter C.

Yes I took this photograph in Ireland, no I did not photoshop the sky.

The Battle of Jutland veteran HMS Caroline, yes I took this photograph in Ireland, no I did not photoshop the sky.

Classes of ships that have been built in large number may be broken down into sub-classes as experience with the earlier ships or improvement in technology results in changes to the design. As ships get further into their service career then individual ships of a class will often begin to diverge, as some receive upgrades or are re-purposed for different roles. An example of this in science fiction can be found in David Webers On Basilisk Station with the hero commanding a ship with non-standard and experimental armament. On a final note often a class could receive a overall nickname, there was a class of British battleships that went by the nickname The Wobbly Eight due to their slightly questionable ability to sail in a straight line!

Now moving onto categories, my own area of interest is military vessels from about the mid eighteen hundreds to the mid nineteen hundreds and in my own work, it’s from this period I took inspiration. The first thing to realise it that there is no right or wrong answer, historically categories have been decidedly fluid. Terms have come and gone, with ships re-catagorized. Some category names were chosen because they sounds impressive, while other to sound cheaper to a fleet’s political master. The running order is going to be roughly smallest to largest with some historical and science fiction examples followed by thoughts on how it might be used in a science fiction.


The first and smallest of types I intend to cover, during the age of sail the corvette was the smallest type of regular warship. Used for inshore work (meaning close to the coast) and general patrolling. During the late nineteenth century the term dropped out of use to be revived during World War Two and applied to small, easy to build patrol ships that could be produced in large numbers. The armament of these vessels was extremely limited – usually whatever was available – and in practical terms the only opponents against which they stood a fair chance were submarines or single aircraft. Certainly these were far from ideal vessels but were a demonstration that in the real world a balance has to be sought between quantity and quality or to put it another way – quantity is a quality all of its own. These vessels had no place in fleet actions and instead were used as convoy escorts. Often only marginally faster than the ships they escorted, this was their main flaw as surfaced submarines could often outrun them. Post war the corvette has mostly remained a inshore vessel although some are used as a fast attack type.

The science fiction view of the corvette has retained the idea of it being a small ship but often as a more front line combatant. That said the most famous corvette in SF-


The CR90 corvette or possibly questionably named ‘blockade runner’

ended up demonstrating the inherent limitation of the corvette concept as it was chased down and crippled with relative ease by a more combat focused vessel. The Homeworld video game series presented the corvette as a small strike vessel – a missing link – larger than one man fighters but smaller than capital ships and unable to travel faster than light on their own. While in literature some books of David Drake’s RCN series were based upon a corvette class ship and for the would be writer this last point is worth considering. If you are planning story which will see a young officer gain their first command, it is worth remembering most fleets tend to start people off with something small and cheap like a corvette, in case they bend it. Command of something big and expensive is definitely not given to someone because they made the previous captain loose their sh*t – yes JJ Abrams Trek, I am looking at you. In a science fiction setting a corvette type ship could be presented at something used primarily within a single system, not really capable of deep space work but useful for various internal security duties.


The term frigate in the age of sail was a fast maneuverable vessel that could serve with the main fleet, acting as its eyes and ears. Away from the fleet frigates performed long distance patrolling, escorts and raiding. to use later terminology the frigate might be thought of as a cruiser, although at that point in time the term was applied to any warship that was operating on its own. The armament was carried on a single deck and at least during the Napoleonic Wars there was something of a convention that ships of the line didn’t shoot at frigates unless provoked. Arguably during the late nineteenth century the frigate  evolved into the battleship

The ironclad HMS Warrior 1860, officially classed as a frigate because of her single gundeck but in practice probably capable of slugging it out with anything else afloat.

The ironclad HMS Warrior 1860, officially classed as a frigate because of her single gundeck but in practice probably capable of slugging it out with anything else afloat.

The term had dropped out of use by the start of the twentieth century but during World War Two it would be revived and applied to a category of vessel that could loosely be described as a larger, faster, more deep water capable version of the corvette. While more combat capable than corvettes these were still primarily patrol and convoy escort vessels, not really fast enough for fleet deployments nor armed for such work. The recognition of this limitation resulted in later frigates being designed for greater speed, sufficient to keep up with the fleet, while their role remain the defence of other ships.

In science fiction once again the video game Homeworld has made use of the term as the smallest capital ship with a number of specialist designs.

The always fun multibeam frigate and embodiment of 'if you're going to do it you may as well over do it'

The always fun multibeam frigate, the embodiment of ‘if you’re going to do it you may as well over do it’

While the Mass Effect prefers to present the type as a fast moving and maneuverable strike vessel able to redeploy quickly around the battlefield


and look good while doing it

In literature David Weber’s Honorverse setting which borrows heavily from the Napoleonic Wars period but only briefly mentions as a type being phased out of service. For would be science fiction writers the frigate is possibly another type with which to start of their wet behind the ears hero. Capable of more deep space operations, with a frigate the hero can boldly go that bit further.


The first main fleet type we’ve examined so far, unlike the corvette and frigate the destroyer’s genesis is a good deal more recent. In the late nineteenth century the first self propelled torpedoes were invented (prior to this any weapon designed to strike underwater was called a torpedo) which was a potential game changer in naval warfare. A very small vessel equipped with torpedoes could in theory sink even the biggest warship; the French in particular seized upon this much to the concern of Britain – the leading owner of big warships. In theory large expensive battleships could be swarmed under by large numbers of small, fast, inexpensive torpedo boats. In practice these small torpedo boats never really lived up to the billing but their existence demanded a remedy. The solution to and ultimately replacement for the torpedo boat was the torpedo boat destroyer, later shortened to the destroyer. Unlike the frigate and corvette, the destroyer was always intended as a fleet vessel, with the pace to keep up with the main battle fleet. Although not much larger than contemporary frigates, destroyers usually had much shorter range as much internal space was given over to engines and armament rather than fuel supply. The early destroyers were still pretty small, boats rather than ships, so operated in groups often lead by a small cruiser. By World War Two destroyers had grown large enough to dispense with the cruiser but still operated in groups. Their role was generally to mount torpedo attacks against larger enemy ships while at the same time screening against enemy destroyers and later submarines. The other rather brutal truth about destroyers of the world wars, is that they were still small and quick enough to build that they could be viewed by commanders as somewhat expendable, if in the course of being expended they absorbed a hit intended for something more expensive.  The modern destroyer is really the primary surface combatant and unlike their predecessors really too expensive and large to be fielded in groups.

The term destroyer is probably where science fiction most drastically diverges from the historical use of the term.

You're hearing the Imperial March aren't you?

You’re hearing the Imperial March aren’t you?

Speak softly and carry a big stick.

Speak softly and carry a big stick.

In practical terms the Star Destroyer and the Omega class destroyer seem to operate very much more like battleships or battlecruisers. In my experience literature tends to stick closer to the idea of the destroyer as a smaller vessel that serves in groups. This can be viewed as either TV and film getting it ‘wrong’ or possibly an indication that while authors are more versed in the historical use of the term, those making film and television are more familiar with the modern reality. Which can also be taken as an example that ship classifications are not set in stone.


As previously mentioned the term cruiser originally referred to role rather than an actual ship type, this was to change during the nineteenth century with the coming of steam. The problem with the early steam engines was that their fuel efficiency was pretty dire and the infrastructure for fueling stations hadn’t been developed. So if you wanted to have a warship that could go anywhere you needed it, then you had to keep the masts and sails. Unfortunately those same masts and sails were heavy, required large crews and took up a lot of space. Long story short, a ship could have first class fighting ability or first class cruising ability, but not both. By World War One the cruiser had stabilized into a swift, mid-sized armoured vessel, that’s primary firepower came from guns larger than those carried on destroyers but smaller than battleship’s and yet still small enough to be built in numbers. There were exceptions to this mostly in the form of specialist designs like minelayers and anti-aircraft designs, as well as a few large and ultimately unaffordable monsters. They were used for various roles like raiding against enemy merchant ships, defending against raiders, scouting, long distance patrolling and leading smaller vessels like destroyers. By World War Two with battleships thinner on the ground, cruisers were often the major surface combatants, with the Mediterranean and the Fast East seeing a number of cruiser vs cruiser encounters. One final note is the distinction between Heavy and Light cruisers. Between the two world wars a number of arms limitation treaties defined a heavy cruiser as a vessel of up to ten thousand tons displacement with eight inch guns, while a light cruiser was a vessel of up to ten thousand tons displacement with six inch guns. Which resulted in situations even within the same navy of there being light cruisers that were heavier than some heavy cruisers!

Obviously when it come cruisers in science fiction the big name is Star Trek, with the original Enterprise usually described as a cruiser or heavy cruiser. In the rest of science fiction then depending on the setting the cruiser as either presented as the peak combatant or as something a good deal more cannon fodder-sh

I'm sure that will polish out

I’m sure that will polish out

As reader of my Nameless War series will know I use cruisers a lot, personally I find it a useful size category, big enough to be presented as a major combatant, while still small enough to be risked. It depends on the setting  but in one where resources are finite, getting from A to B takes time and your fleet needs to have ships in several places at once, then in my opinion a cruiser fits the bill. It is also possible for cruiser within your setting to be optimised for a number of specialist roles.

That’s enough for now, next time I’ll be moving onto the big stuff.

1 Comment

Filed under science fiction, Ship design, Ships of the Fleet, starship, Writing

Problems of Self Publishing – Currency Exchange

At the start of this year I had hoped would putting out by now my next book; due to various changes in personal circumstances that basically isn’t going to happen. The amount of time I got to commit to all thing writing related took a hit and I decided to concentrate what little I got on the writing part of writing as opposed to the business part of writing, however with the benefit of hindsight that might have been for the best. As followers of this blog are no doubt aware I live in Dublin, Ireland, which is part of the Eurozone. What you might be less aware of, is that over half my book sales to date have been through Amazon.UK, which is priced and pays me in sterling. At the moment that’s not such a good thing.


On the 23rd of June of this year Britain voted to leave the European Union, since then the Pound exchange rate against the Euro has done this:


And in October it has got especially exciting:


The source for these can be found HERE

At time of writing (morning of 12th October 2016) one pound sterling is worth one euro and eleven cents – less exchange costs. So let us crunch some very basic numbers.

My first book – The Nameless War – is currently for sale on Amazon.UK for £2.90 for the ebook version, so the breakdown is as follows:

£2.90 selling price, 30% of which goes to Amazon, leaving £2.03. Multiply this by 1.42 (£ to € rate on 19th Nov 2015) equals €2.88.

Do the same calculation again at today’s rate and:

£2.90 selling price, 30% of which goes to Amazon, leaving £2.03. Multiply this by today’s rate of 1.11 equals €2.25.

This is a drop of €0.63 or nearly 22%.

Now obviously this is a little bit artificial, it doesn’t include various fees, like bank fees and I don’t get to chose which day Amazon send payment for the month, so the arrival of funds in my account will probably not coincide with the absolute peak or trough of exchange movements. Also to complicate matters Amazon pays two months in arrears, I won’t see the money from a book sale today until the tail end of December but this example nonetheless gives a sense of the issue.

At the moment I personally can take a relatively calm view of this. My last book was published two years ago and while I am still getting sales in the UK, they are at a fairly low level so the reduction in the value of those sales is fairly modest. That however is for books that were released two and five years ago. In my experience the bulk of a new book’s sales are made in the first couple months, with an accompanying knock on to my other books. This means that payment comes in a few large lumps, rather than spread evenly over the course of the year. So while the reduction on say ten sales is only €6.3, on a thousand it is more than €600, which becomes harder to swallow. So if after months or years of writing those big paydays coincide with a slump in the source currencies value, then you are left to take the hit.

So what can I do?

The answer isn’t quite nothing but where I’m standing, the options are limited and all carry at least some downsides.

1. Sit on any planned new releases.

This is probably the simplest option. Keep your powder dry, wait out the fluctuation until at the very least things have stabilized. The downside of this is that your work isn’t earning if it is stuck in your desk draw. If you are with a publisher, contractually it might not even possible. If you are writing a series readers will not wait forever, they’ll either forget about you or get irritated, either way hard earned goodwill starts to drain away and with it your potential sales.

2. Peg the book’s price against a currency that is stable relative to your own.

This one is tricky and very dependent on the system you’re using. With Amazon self publishing it is possible to peg the price of book in other regions against the US$. Now Sterling is currently on the slide against the US$ so the very obvious downside of this is that the book’s price is going to start rising. In all likelihood some of the writers I would be competing with for sales are based in the UK, their price could remain static while mine rose. Their prices in other areas could fall or remain as is and they would receive more per sale when it got converted to their home currency – the upside of currency fluctuation. Either way the risk would be that you could be priced out.

3. Park the foreign currency.

While this one is even trickier. That means parking the foreign currency within that territory or in a foreign denominated account. Depending on regulations or cost this might be unworkable, either way this is delaying the inevitable, at some point you have to change it into the currency of the country you are in, especially if your writing income is you main income.

There are also other financial instruments for mitigating against foreign currency movements, but I don’t know enough about these to speak about and I suspect that many may not be suitable for relatively small amounts. The other thing I don’t claim knowledge or is what things were like back in the days before electronic self publishing, the answer probably depended on the contract between writer and publisher. Also in the old days books were not generally subject to global release. In the age of Amazon, a book can be available to anywhere on planet Earth with an internet connection and with that availability comes exposure to currency movements. If you are based inside the country where you make you main sales, then it is less of an issue but it is something that the modern writer needs to be aware or and ready for.

So any thoughts, comments or observations?

CORRECTION: A commenter points out I have failed to account for vat – value added tax – so my back of the envelope calculations in fact lean towards optimistic. Thank you and I will make the correction when I can – currently attending Octocon in Dublin.


Filed under Self Publishing, Writing

Octocon – where you can find me

It’s Octocon time again folks and once again I’m going to among the speakers, this is my breakdown for the con.

Naval & Piratical Traditions in SF&F

Saturday 10:00 – 11:00, E. Wexford (Camden Court Hotel)

In space, no one can hear you shanty. Do you know your capstan from your yard arm? Why are the traditions of the beautiful briny sea so attractive that we are keeping them alive long after they have left common parlance?


Late Night Panel: Getting You Off (World)

Saturday 18:00 – 19:00, C. Gaiety (Camden Court Hotel)

Sex in zero gravity and other ways we can dissapoint each other in the future. We live in a world where virtual reality sex suits not only exist but are moving to mass production. Sex bots are currently only a hobby build but for how long? How soon till we’re cloning our preferred partners? Is tech going to end good old fashioned romps? Is it going to cause more problems than it solves?


Cover Story

Sunday 12:00 – 13:00, E. Wexford (Camden Court Hotel)

Books aren’t judged by their covers but they are often the first interaction a reader will have with a book. We talk about what makes good cover, how often writers get to have a say in their own covers and how important is the first and least accurate judgement of a reader.


Star Trek at 50

Sunday 14:00 – 15:00, A. Tivoli/Yeats (Camden Court Hotel)

It’s the best of humanity. It’s a moral compass. It’s a safe space. It’s a show with ray guns, It’s a show with talking. It’s that thing that’s always on. It’s that one with the hot person in the revealing outfit that makes you feel funny. It’s a common cultural currency for so many people, giving inspiration for artists and engineers alike to bring forth our modern world of touch screens and instant communication. Star Trek is one of our favorite corners of the landscape of fiction. Come celebrate it.


Space Opera!

Sunday 16:00 – 17:00, E. Wexford (Camden Court Hotel)

From an insult aimed at “hacky, grinding, stinking, outworn, spaceship yarns” to a widely-beloved science fiction subgenre, space operas have been on a heck of a ride. We discuss what makes this genre the staple of SF that it is.



Leave a comment

Filed under science fiction, Writing

Frustrations of the non-famous writer

Very definitely not mine but it gave me a (semi) bitter laugh.



Leave a comment

Filed under Random Rants, Writing