READERS' COMMENTS - 4

"I enjoyed reading these chapters immensely. The story, right from the onset is gripping and very well written ... You've got a superb story here Mr Phillipps. The characters are well drawn, nicely varied and convincing. The Spanish Civil War introduction sets the scene perfectly for things to come. Art heists are a winner ... intrigue and eccentric interesting characters ... many finely phrased metaphors. The English art-historian being tailed on the train; Otto Krafft's will sending his granddaughter Sabine on the quest to Spain; Franz Kepple; the N-27 organization - all the makings of a superb thriller."

READERS' COMMENTS - 3

"This was an intriguing read from the very start, it kept my interest and I read it all in one go. Short parts of the story, like pieces of a jigsaw were quickly put into context and given ‘realism’ and depth. All linked to one central theme, the two works of art by Goya. The plot was developed by using the different characters to give different perspectives. There was a good balance between character development and setting the scene. These were only developed enough to whet your appetite and then moved on to the next. This gave the story a good pace.
The background/backdrop to the story seemed to be well researched and added ‘colour’ and realism to the setting for the story. I really do want to see how the ‘jigsaw pieces’ will fit together. I would buy this book to find out. Great!"

ART & ARTISTS

Not surprisingly there are a good few references to art and artists in After Goya.

Here's a list of artists you'll find referenced in the text:

• Hieronymous Bosch (1450-1516)
  

• Georges Braque (1882-1963)
  

• John Sell Cotman (1782-1842)
  

• John Robert Cozens (1752-1797)
  

• Giorgio de Chirico (1888-1978)
  

• El Greco (1541-1614)
  

• Thomas Girtin (1775-1802)
  

• John 'Mad' Martin (1789-1854)

• Fredric Marès (1893-1991)
  

• Joan Miró (1893-1983)
  

• Edvard Munch (1863-1944)
  

• Bartolomé Estebán Murillo (1617-1682)
  

• Pablo Picasso (1881-1973)
  

• Nicolas Poussin (1594-1665)
  

• Julio Romero de Torres (1874-1930)
  

• Joseph Mallard William Turner (1775-1851)

• Jan van Eyck (? 14th century)
  

• Diego Rodriguez de Silva Velázquez (1599-1660)
  

• Francisco de Zurburán (1598-1664)
  

Specific works referenced:

• Guernica – Picasso

• The Cudgel Fight – Goya

Art Movements referenced:

• Expressionism
• Futurism
• Constructivism
• Superrealism.
  

There are also hidden references, or more accurately, allusions, to artists and works inserted within various phrases throughout the text – but those are for me to know and for you to find.

READERS' COMMENTS - 2

"This is a strong thriller. It’s tautly written, has good pace, good dialogue and an intriguing plot. The prologue is gripping and hooks the reader into the story. From then on the narrative moves at a cracking pace. I like the way you regularly switch between scenes. It’s done smoothly and injects pace into the novel. Characters are all well drawn ... You write well — this is a smooth and easy read. Dialogue is consistently good. I couldn’t find any places where it seemed stilted. The dialogue helps to move the plot forward and injects pace. The basic plot seems a good and intriguing one. Settings are fine. The bombing at the start is atmospheric and the bit at the start of Chapter Four about Madrid adds to the novel’s Spanish feel."

The Colossus or The Panic

When writing the description of one of the two missing Goya miniatures (the Córdoba Goya), this is the image I had uppermost in mind, combined with a recollection of John 'Mad' Martin's The Destruction of Sodom and Gomorrah.

The untitled painting on the left, often referred to as The Colossus or The Panic, is now not thought to have been painted by Goya.
(If you click on the images you'll be able to see much more detail)

You can read the story behind the re-attribution at the Times Online here. There's also a follow up opinion piece here, and Ben Macintyre shares his take on the issue of authorship here. All interesting stuff.

I don't why the story took so long to appear in the UK, I recall reading about the re-attribution in the Spanish press in, I think, May 2008 -- a good six or seven months before mention in The Times.

I visited the Prado a few weeks after the announcement, in July 2008. The painting was still on view and still atrributed to Goya, but, as the attendant patiently explained, was in the process of being re-appraised.

And here's John 'Mad' Martin's The Destruction of Sodom and Gomorrah, which can be viewed at the Laing Art Gallery in Newcastle.

READERS' COMMENTS - 1

"An excellent piece of writing. I thoroughly enjoyed reading this extract. Your characters jumped out of the page at me and the plot pushed forward with perfect pace. Just enough information was delivered to pique my interest without labouring too much.
I definitely want to read more of this, wonderful page turning quality, and I'm intrigued at what will happen next and what happened in the past. I'm sorry this review doesn't have any constructive criticism for you; it simply doesn't need any. I felt like I had picked this off the shelf in a bookshop rather than reading unpublished work. Your are clearly very competent in this genre and I'm sure you'll achieve great things with this work."

ME & MY BIG MOUTH - A quick flick review

"An intelligent thriller based around the discovery of two lost Goya paintings, Haarlson Phillipps' After Goya is as good, if not better, than a lot of the so-called blockbusters I used to have to read at Waterstone's. It is, I think, self-published, or at least it will be soon, and it surprises me that it hasn't found a mainstream publisher."

So says Scott Pack over at Me and My Big Mouth.

Welcome if you've landed here via Scott's blog - you may want to check out the After Goya website here.

Well, what to say? Thanks to Scott for taking the time to read the novel and giving it such a positive plug. And thank you for taking the time to make your way here.

I'm obviously very pleased by Scott's plug. I check into his blog every day, and have done so for the past couple of years, so I'm aware his blog is widely followed and well regarded by readers, writers, book sellers and people in the book trade.

The Guardian once referred to Scott as "the most powerful man in UK publishing" when referring to his role as Head Buyer at Waterstone's. Scott is now a publishing director at The Friday Project, a HarperCollins imprint.

Self-published? Well, no, in fact, at the moment of writing, it is not published at all, and is still available to any mainstream publisher to pick up. All I have is an ARC (Advance Reader Copy) of a project I had planned to publish through YouWriteOn's botched POD (Print On Demand) scheme.

I forwarded a print-ready PDF and cover, prepared by professional book designer Xavier Peralta, to YouWriteOn in October last year. I deliberately elected to not opt for the so-called distribution deal with ISBN attached. The idea was to get a proof for limited private circulation to a few trusted readers to help identify typos and any potential structural problems and get feedback on the cover design.

Then the plan, step by careful, considered step, was to put the corrected book back into production, again without an ISBN, for circulation to other writers for endorsements, which could be featured on a re-designed cover; to bloggers and reviewers to build pre-publication awareness; and potential English language book distributors and retailers in Spain (I'm convinced there's a market for the book among English speaking expats in Spain). Then, and only then, all being well, would I then sign up for an ISBN and go at selling the book like crazy through UK and Spanish bookshops and online.

That was the plan. I spent many, many hours developing a marketing strategy in preparation for a proposed April launch. (To coincide with Sant Jordi - the national book day here in Catalunya). I even planned a reception-launch at the Ateneu in Barcelona, the prestigious intellectual gymnasium (and host to the largest school of creative writing in Europe).

That was the plan.

However, despite receiving notification that the book would be ready around about December 10th (I booked a flight to the UK ), I never heard anything again. Days, weeks, months passed with no word. It seemed there were quite a few pissed off writers in a similar position.

Then, in March-April, with no apology or explanation offered, I received an email telling me that Legend and YWO had formed a new imprint called New Generation. Thinking I could get the plan back on track I re-submitted the book. I received four copies in July.

Then Scott Pack, Me and My Big Mouth, put up a post about self-published covers and I sent him a jpeg of the cover for After Goya. He straightaway responded with a few incredibly useful suggestions, and in passing, offered to review the book. I sent him a copy.

Then I heard YWO and Legend had parted company, hardly encouraging, and I began thinking "here we go again". As a friend wisely advised, it is not a good idea to be in the middle of someone else's divorce. It seemed After Goya was doomed to be an orphan.

But then I received a few more very positive reports from readers of the typescript, including feedback from a reader for Spanish publishing giant Planeta, who is confident the book would sell well in Spanish translation. And work on a second novel, Heavensfield, was going well. This combined to encourage me to take one last spin on the UK agent/publisher merry-go-round.

So that's where I'm at now; I have a proof copy marked up with 290 minor corrections; a couple of positive quotes I can use for the cover; a website (still being developed); a UK agent looking at the full manuscript on an exclusive basis until November 6th; and a second novel well on its way to completion.

I very much want to see the book in Spanish translation, but without representation that seems impossible. I've yet to hook up with a Barcelona based literary agent, but I'll be on the case very soon.

So, if you're an editor looking to augment your list with a commercial "intelligent literary thriller" then please get in touch, and I'll put you in touch with the agent currently considering the full MS.

If you're a reader and would like to read a copy of After Goya then I'm sorry to disappoint you, but you can leave an email address on the website, or here in the comments, and I'll contact you when the book is finally available.

Thanks for your patience, and thanks to everyone who have freely given their support and encouragement thus far in this tortuously long journey to publication.