Thursday 29 August 2024

"A Collaborative Failure" by Russell Payne and J.G.Watson. Out now in paperback!

Writing a book with someone is in many ways like a marriage. It takes commitment, compromise, patience, and it helps if one of you is rich. Like many marriages, these relationships often break down, anyone who successfully completes a creative collaboration should be greatly admired because it's certain the journey was not without it's challenges. 

Back in May 2016,
I wrote a blog post about how I had “nearly finished writing the first in a series of novels, co-authored with John Watson”. This was an exaggeration of epic proportions, even by my standards. It wasn't nearly finished, in fact it never did get finished. My writing marriage had a difficult honeymoon, then several years of throwing accusations and crockery at each other before we both moved out, and burned the house down. The kids though, the characters we created, they were the real victims, left homeless and unloved, crying in the gutters of our imagination. Watson went on to write the first two books in "The Generation" series incorporating some bits of the failed book, I concentrated mostly on eating biscuits and staring out of the window.

Looking back, I didn't find the process of collaborating easy. There were a few things I really enjoyed about working with John on the book, enough things to fill a small box, maybe a matchbox, or even a shoebox. There were many, many more things about trying to write a book with Watson that I did not enjoy, cities of things, enough things to fill a planet, one of the bigger ones, like the entire surface area of Jupiter. Collaborating with Watson was genuinely one of the worst and most painful working experiences of my life, and I spent time stacking shelves at B&M Bargains in Cleveleys. We remain friends though, the scars left by trying to write a book together have healed over, leaving just some residual trauma and the occasional bitter comment about historical accuracy.

Despite this, and against my better judgement, and at Watson's suggestion, we have now actually written a book together... about how we failed to write a book together. It includes the first and last drafts of some of our chapters, and the back and forth comments (bickering) between us as it descends into an unworkable relationship, including unedited original notes and equally bitter retrospective comments we've written this year. So it's a sort of a “how not to write a book together” book, an insight into our writing process, or lack of it, and the dynamic between two writers with completely different working practices, one of whom is brilliant, one of whom is an absolute freaking nightmare. I'm not saying which is which, read the book and decide for yourself. 

The new book is called “A Collaborative Failure” and I'll be taking a big box of them to the To Be Continued convention in Bedford for an exclusive book launch in a couple of weeks, where John Watson and I will be signing, sketching and bickering live. 

We may have a protective screen between us.






Here are just some of the designs I went over trying to get Watson to approve a book cover... 



















You can read some of Watson's less than complimentary comments on my cover designs on the back of the actual book. Please don't buy the book though, if it sells well he might want to do a volume 2.



5 comments:

  1. I enjoyed writing this book with you and I'm glad we did it. The stubborn insistence on everything you wrote for the Generation book being brilliant, the recycled passages, the inane inner monologues, the bizarre use of commas, all the other things you did that made the process difficult, none of it bothered me, because it's all out on the open now. People can decide who was the irksome megalomaniac and who was the hard-working victim by reading this new book. Or maybe the truth is that we're both difficult?

    Also, I can't not mention this...look at the previous cover designs...I mean come on, man. Most of them are over-designed in the 'let's fill every area on the cover with something' way that amateurs with access to Photoshop often do. My question is, 'why?' Let the design breathe. The need to include images that are, at best, clip art, is disastrous and make it look like something a teenager knocked up on their Ipad. I think your approach to design can be summed up by looking at the cover where you decided to use the Carousel font. Not only was your thinking behind using it for the word 'failure' flawed (You wanted the word failure to appear less serious. What? That's ridiculous) but you complained when I pointed out that it was incongruous with every other element on the cover and was, factually, terrible, by saying that you spent ages colouring the font. So? No-one asked you to. You went off track and decided it was a good idea, deviating from the brief to explore some random idea from the deep, disturbing crevices of your mind. I could write a book on the failure of each of those covers you've included her.

    This book makes me laugh. I'd disagree with Russ' last statement and suggest people buy it. If only to sympathise with me.

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  2. There was nothing wrong with the first cover I did. Perfectly solid design, eye catching, and funny. A normal person would have said- "Thanks Russ for all your hard work and attention to detail, that's brilliant. Did I say thank you? I just wanted to emphasise the thank you part because of all the free work you put in."

    Instead I got 250 Whatsapp messages complaining about it.

    And that Carousel font is a classic.

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  3. There was a lot wrong with the first cover. A few questions normal folk would ask; 'Why is there a moon on the cover with rays coming out of it? Why is the 'A' from the Approved by the Comics Code stamp that used to be on all comic book covers sitting on the top of the word Collaborative for no apparent reason? Why are there two blacked out figures inside the moon? Why are there sconces placed seemingly at random on the cover? Why are there digital clouds in the background? There are more questions to consider, but you get the point.

    My main question was, 'Why did you deviate so much from the brief we decided on and spend ages (apparently) doing random things to fill space on the cover? We've talked about detail that enhances and detail that's superfluous many times. It's not sunk in yet.

    The Carousel font in a classic if used for carousels or circuses. Outside of that it shouldn't be considered for use.

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    Replies
    1. Good questions. I shall address them.

      Why is there a moon on the cover with rays coming out of it?
      The moon is a reference to the parts of the book where I point out moon related accuracy issues with your Tudor chapters.

      Why is the 'A' from the Approved by the Comics Code stamp that used to be on all comic book covers sitting on the top of the word Collaborative for no apparent reason?
      It's a nod to your work as a comic artist, anyone buying the book who knows your Marvel and DC work could recognise it with fondness.

      Why are there two blacked out figures inside the moon?
      That's us. We wrote the book.

      Why are there sconces placed seemingly at random on the cover?
      The sconces are a reference to the parts of the book where I point out just how many times you use the word "sconce". It's a lot.

      Why are there digital clouds in the background?
      They are a portent of doom.

      My main question was, 'Why did you deviate so much from the brief we decided on and spend ages (apparently) doing random things to fill space on the cover?
      Mainly to irritate you.

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    2. So, you reference an issue you had with a sentence I wrote in the book and use it as a major design element on the cover? It's addition to the cover elements is irrelevant.

      Using the Comic Code 'A' as a nod to my DC and Marvel art? Obscure enough to be irrelevant and something no-one would understand or get. Pointless.

      So you put images of us inside the moon because it was us. But we're lready on the cover. Doubling up simply because you don't understand that flat space is an important part of design.

      Sconces...again, referencing a beef you had with an era appropriate word I used in the book. Pointless to someone looking at the cover who has no idea that you kick off about sconces inside the book. And it looks like clip art.

      The clouds are a portent of doom. That's the kind of thing a 13 year old doing an art project at school would do.

      And there we have it; Most of the cover elements were there to irritate me. I think that's partially true. I also thing you're a lover of superfluous detail.

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