So pleased that after a fairly horrendous experience with a company putting my memoir Woman in a White Coat on Amazon, my memoir is available for pre-order at £9.99 from Amazon or from your local bookstore. Had a wonderful trio of professionals – Nathan Burton Cover designer, M Rules Typesetters and Clays the Printers.
The cover designer, Nathan Burton, produced lots of possible designs for the cover. I could have chosen any one – they were so great. I chose the blue and turquoise version of this design but nearly picked this one instead.
it’s bright and cheerful but I felt the colourway I chose had more gravitas!!
This was the most striking design but I didn’t want to use a picture of me. I chose to write my memoir under the pseudonym of Dr Abby J Waterman and so I didn’t pick this one.
The original photograph is of me with a ‘phantom head’ – a metal skull into which plaster casts are fixed bearing real teeth that have ben extracted for reasons such as periodontal disease.
We practiced cutting cavities and inserting fillings and crowns on them. We gave them names and got quite fond of them!!
What a great experience!! As I am now an 86-year-old, I expected some difficulty, but it couldn’t have been easier. And they were fantastic at answering my queries by email.
I didn’t use them for Amazon because while they offer 70% royalties to US authors they only offer 41% to those in the UK. If I write another book, I might consider using them for Amazon too – though as I pointed out to Pronoun, it seems most unfair that authors on this side of the pond will earn so much less!!
I emailed all my friends with the good news that my memoir Woman in a White Coat was finally on Kindle and the response has been amazing. Thank you all. I was expecting you to just use the ‘Look Inside’ feature or get a free sample, but you’ve been buying it. I might yet get to be a millionaire!!
Thank you all especially the first and the last of my Writing Circles, all the Creative Writing tutors at the Mary Ward Centre, Morley College and CityLit, the literary agents who wrote encouragingly but didn’t take me on because I’m not a celebrity, my various mentors except the one that discouraged me so much I stopped writing for a year and everyone else who ploughed their way through my many drafts.
Meet 85-year old Dr Abby Waterman, the unwelcome third daughter of Orthodox Jews who desperately wanted a son. She survives rat-infested cold-water tenements in London’s East End, the Great Depression, WW2 and the Blitz. Despite poverty, sexual harassment and discrimination, she becomes in turn a Harley Street dentist, a doctor, an entrepreneur, a consultant pathologist and director of a cancer research laboratory, as well as the mother of four.
Behind the scenes in a busy NHS hospital, you witness the tears doctors shed that patients never see. Step into Abby’s shoes as an 18-year-old dissecting her first body and later, as a mother of young children, carrying out an autopsy on a four-year-old. Discover why Abby ventures into the business world and why she leaves it. She undergoes surgery and radiotherapy for breast cancer, only to be told her cancer has recurred and spread to her spine. She describes her weird hallucinations while on a ventilator following a heart attack and learns that Do Not Resuscitate is written into her notes.
Dr Abby J Waterman is a pseudonym. The names of friends, family, colleagues and patients have been changed as have the names of places and hospitals, although all the events in this memoir are true to reality.
I hope you enjoy it.
Did you grow up in a disadvantaged situation and make good? I’d love to hear from you here or at email@example.com
I know I’d like to have a white shiny cover and I’ve seen quite a few that I like, but unfortunately mainstream publishers rarely include the name of the cover designer.
Herewith a taster – the beginning of Chapter 3 of Woman in a White Coat
A Country at War
We were tired and hungry, my sister Hannah and I, as we stood waiting in Littleport Village Hall, waiting to be chosen by someone, anyone.
‘Don’t snivel,’ Hannah said. ‘No-one will take us in if they see you crying.’
She pushed my hand away.
‘You’re too old to hold hands Abby, and anyhow your hands are always wet and sticky.’
‘Operation Pied Piper’, the plan for the evacuation of children from areas likely to be bombed, was in place long before World War 2 was declared. People in safe areas with spare bedrooms were urged to take in evacuees. They would be paid 10/6d a week for the first child and 8/6d for each subsequent child. Nearly a million children were evacuated on Friday September 1st, 1939. London railway stations were packed with children and whole trains were commandeered.
Parents had been given a list of clothing to pack. Girls needed 1 spare vest, 1 pair of knickers, 1 petticoat, 1 slip, 1 blouse, 1 cardigan, a coat or Mackintosh, nightwear, a comb, towel, soap, face-cloth, boots or shoes and plimsolls.
My memoir Woman in a White Coat starts 85 years ago in October 1931, two years before this studio portrait was taken.
Who would have thought this serious little girl would qualify in dentistry and medicine, become an entrepreneur and end up as a consultant pathologist in a major London teaching hospital.
I was born at a time when a girl’s only future was marriage and children – though I managed those too – married to the same loving husband for 60 years with four wonderful children and four equally wonderful grandchildren.
There are 30 days in April and my memoir presently has 29 chapters so if I edit one chapter a day my memoir will be ready to be uploaded as an e-book by the end of the month. That is my April Fool’s Day resolution.
If you email me at firstname.lastname@example.org I will send you the first chapter and if you comment I will send you another. Hope to hear from you.
Everyone has been raving about the huge Vogue100 exhibition – a pictorial history of Vogue magazine since its birth in 1916. Several of my friends have been twice.
Yes, there are loads of fantastic portraits. though I liked best the long tables of black and white photographs. I particularly liked the hand-drawn and painted covers of the early years.
But the National Portrait Gallery curators elected to do something I really hate – group the captions to one side of the exhibits so that at times it was hard to tell which description went with which photo. The detailed descriptions were in a small thin font, difficult to read especially in the rooms where the light had been dimmed. My view is that the title of any artefact is important, especially if given by the author of the piece, and should be easy to find and read, even if the artist has elected to call the work Untitled .
A quotation from the Vogue of 1938 Primer of Art made my hackles rise:
‘A lady of quality should be able to walk into any drawing room, to look at the picture over the mantelpiece and to exclaim: “Oh what a charming Picasso of the early Blue Period”, or “I like your new Follower of Masaccio (circa 1420) immensely.” If she guesses right she is a gentleman and a scholar.” The cheek!!
I loved the Russia and the Arts exhibition – and not only because the titles were underneath each portrait!! Included were portraits of some of my best-loved Russian authors whose books I’d first pored over in my teenage years – Chekhov, Turgenev, Tolstoy and Dostoevsky – as well as musicians like Tchaikovsky and Mussorgsky, painters (mainly unfamiliar to me) and patrons – from the years 1867-1914.
My mother and grandmother were Russian so there was probably a bond there. Memoir extract from The Girl with a Threepenny Birth Certificate
David Headley, who heads DHH Literary Agency and with Daniel Gedeon owns Goldsboro books, together with Clays, who print both self-published books and books from mainstream publishers, last week hosted a most informative evening, Indie Insights, about self-publishing at the Goldsboro Bookshop in Cecil street.
Andrew Lowe from Andrew Lowe Editorial gave a talk about the need for meticulous editing; Mark Ecob from MECOB design spoke about cover design – and later sent me copies of some of his fabulous covers, James Bond from Whitefox emphasized the need for a concerted publicity campaign, while David Headley finished with a talk about the advantages of being published in the more traditional way.
For me the take home messages were that self-published books need to be as professionally produced as those put out by the main publishing houses, that self-publishing requires a lot of effort and a not inconsiderable amount of money if the result is to be first class but that it can be extremely rewarding for the author who has so much more control over the finished product. Self-published books really start to make money with the first reprint since the origination costs have now been covered.