“BACK TO THE BLACK” NOW AVAILABLE

My book, “Back to the Black: how to become debt-free and stay that way”, is now available as an eBook on the “Smashwords” site.

Ten years ago I ran up heavy debts when my business collapsed. I had started a training business seven years before, after a long career in the chemical industry. When my enterprise ran into difficulties, credit was easy, so I could fund it with loans and credit cards. In the short term this plugged the gap; I thought things would improve. They didn’t.

So I closed the business down, looked for a job, and tried to work out how to solve my debt problem. My first intention was to pay off everything I owed but I knew it would take time. I didn’t think I could get the debts down to a manageable level in less than five to ten years; my creditors would not give me that kind of time.

My financial adviser recommended bankruptcy. I had by then sunk all my assets into the business, so he said that there could never be a better time for me to go bankrupt. For many reasons I didn’t want to do that although after a fairly short period, I would have been debt-free. The advantages and disadvantages of bankruptcy – and its modern alternative, the IVA (Individual Voluntary Arrangement) – are set out in detail in the book; recent developments have taken away some of the former stigma and the practical disadvantages of these solutions.

However, I decided instead that I would negotiate a deal with my creditors myself. This approach I call “Plan C – negotiate a deal” – and you’ll find it in Chapter 10 of the book. I made an offer to all my creditors for full and final settlement. Eventually all of them, apart from the taxman, agreed to the deal.

At the time, I thought my debt problem was insurmountable. It was a very stressful period. However, I was lucky to have the support of a debt advice agency and other professionals and friends.

I came through the experience; I learned a lot.

I was not, and am not, happy with the fact that I was unable to pay my debts in full. After the event, however, I decided to write up what had happened, partly for my own benefit. I even thought that maybe it would make a couple of newspaper articles. If other people with debt problems could benefit from reading about my mistakes and what I’d learned, then something good would have come out of it all.

Those articles eventually grew into a book – “Back to the Black” – which sets out what I call the three main strategies for dealing with debt. It also contains lots of advice for dealing with debt-related stress and with the demands of creditors.

In summary, my book is based not on a theoretical approach to debt, but on painful experience. I hope that you can benefit from reading about that experience. If you have debts, whether they are consumer debts or business debts or both, the principles for dealing with them are the same. The experiences you are going through, though unique to your situation, will have much in common with mine.

Go to www.smashwords.com/books/view/22886 if you’d like to know more.

PAXO, PAVO AND PLAID

A TV documentary a couple of weeks back during BBC4’s “Italian Opera” series, taken together with a TV interview during this year’s election campaign, reminded me of the importance of the principle of “noblesse oblige”, even when applied to the aristocracy of the media world.

The recent documentary was about Luciano Pavarotti. I will declare an interest in that I once saw him live, nearly 20 years ago at Covent Garden. True, he was said to be past his electrifying best even then. True, he was in “Un Ballo in Maschera” (my favourite opera ever since), where the standout male aria is given to the baritone rather than the tenor. True, his handlers spirited him out of a back door to avoid us autograph-hunters on a cold February evening. Despite all that, we all knew that we were in the presence of greatness. Anyway, back to the TV documentary. (Not before time, I hear you cry).

A procession of notables from the musical world had extolled Pavarotti’s virtues, not only as one of the pre-eminentvoices of his or any other generation but also as probably the most successful populariser of opera. Then up came the face of Jeremy Paxman with a recording of an interview he’d done with the larger-than-life tenor, only a few years before the latter’s death. In answer to a question about when he’d retire, Pavo said that he’d sing for as long as his voice held out. He clearly didn’t believe in retirement, for which I applaud him. Then Paxman, with his trademark sneer, said, “Some people think you should have given up years ago.” To which Pavarotti, with more grace than his interviewer, replied, “Some people are probably right.” A smack in the mouth would have been an alternative response and could have been forgiven.

Journalists are paid to expose the truth from dissembling politicians and, less usefully, to puncture pomposity in celebs of all kinds. Pomposity that I hadn’t observed on the part of this rightfully celebrated guest, by the way. If the public still wanted to hear that voice, even past its best, and the singer wanted to oblige, then who was Paxo to imply that both parties should be denied their respective pleasures? This short but unpleasant interlude reminded me that it’s possible to behave like an ignorant lout, despite having the benefits of a fine mind and fine education; possible but unforgivable.

All of which led to an unconnected but satisfying episode during the election campaign. Paxman on that occasion introduced his guest as follows: “Eurfyl ap Gwilym is Chief Executive of the Principality Building Society. In that exalted position (did I detect more of the trademark Paxo sneer at this point?) he is Plaid Cymru’s economics adviser.” What followed was a delight, as the said adviser reduced Paxman to a splutter. He had contested one of Paxo’s assertions with some data, to which the interviewer responded, “I don’t have those figures in my head”.

“Well, you should have. Do your homework; you have the report there; look up the data.” Or words to that effect. At that point, to my surprise, (and maybe to his credit) Paxman did indeed start to shuffle through his papers, considerably discomfited. That discomfiture was not lost on the audience: the YouTube clip of the interview was apparently one of the most popular of the election campaign. Not the most important episode of that campaign, I know, but … hubris? Pride comes before etc? Both of the above.

ACTING CHALLENGES



An afterthought about that showing of “Old Age Pillagers” that I went to.

I’ve been discovering over the past couple of months that when acting for the camera, rather than on the stage, less is more. With “OAP” I had the extra challenge that, although my character was fairly central, he didn’t say much. I’m not used to that, so I found it hard. Luckily I got lots of tips from the director (Violet Ryder; watch out for her) and from the guy I was playing against, Barrie Palmer. Barrie is a vastly more experienced actor than I; he passed on a tip from Anthony Hopkins, one of my favourite actors. If I remember it correctly, the advice was something like: “don’t act, just be, just think; the audience will see it in your eyes.” Nice work if you can do it; I’ve discovered it’s not as easy as he makes out. I’m studying Hopkins.

“Old Age Pillagers” is a 10-minute short: see http://www.oldagepillagers.webs.com

PORTFOLIO PEOPLE

I love that term, “portfolio working”, which is described as “a lifestyle in which the individual holds a number of jobs, clients and types of work”, all at the same time. For examples, look no further then the originator of the term, Charles Handy himself. The Irish economist and best-selling author began his career with Shell Petroleum (a background he shares with Vince Cable, though the latter spent rather more time there) and then the engineering group Charter Consolidated (now Charter International) before diversifying his activities and living the freelance life. He was subsequently co-founder and Professor of the London Business School but I feel sure those were for him part-time jobs.

He is quoted (www.scribd.com ) as saying, “I told my children when they were leaving education that they would be well advised to look for customers, not bosses.”

To gauge Handy’s style these days, as a portfolio person, read the first few lines of his autobiography: “Some years ago I was helping my wife arrange an exhibit of her photographs when I was approached by a man who had been looking at the pictures. ‘I hear that Charles Handy is here,’ he said. ‘Indeed he is,’ I replied, ‘and I am he.’ He looked at me rather dubiously for a moment, and then said, ‘Are you sure?’ It was, I told him, a good question because over time there had been many versions of Charles Handy.” He then adds, “… not all of which I was particularly proud”. That remark seems typical of the self-effacing nature of the man because, if there is such a thing as a philosopher of management and organisational behaviour, then it is he. Handy has been rated among ‘the Thinkers 50’, a list of the most influential living management thinkers in the world; in 2001 he was second on that list.

I myself discovered portfolio working relatively late. For most of my career I drew a salary working for organisations, ending up as MD of a chemical sales and marketing company which was a subsidiary of a large multinational group. Later I started a training business (but I’ll draw a veil over that for now, as its eventual failure led me into debt) and have since had a mix of mostly part-time jobs and freelance work. Nowadays, if people ask me what I do (the standard opening when meeting a stranger, at least in our British culture), I could reply, as Handy himself would recommend: “Well, that depends. I have a variety of activities. Would you like to hear about my writing? My acting and voiceover work? My radio presenting and after-dinner speaking?” Of course I don’t say that – it would be thought unforgivably “naff” here in Britain – but it would be a good conversation-stopper, if needed.

I wish I had discovered the portfolio way before. People have always been doing this – in fact many women who want or need to combine paid work and family have no choice but to do so at certain times in their lives – but the name, at least, is new.

More celebrated examples of portfolio people can be found, including Anthony Charles Lynton (aka Tony) Blair. Not so long ago he had what I think can accurately be described a “full-time job in an organisation”. To be precise, he was running a country with what was at the time the sixth-largest economy in the world. He decided a change would be good – it was about the time we were overtaken by Italy to become the seventh-largest economy but I am sure that was coincidental – and now he is doing so many different things I hesitate to list them for fear of being out of date. He looks as if he is enjoying the portfolio life too.

There’s another word for portfolio people nowadays: “scanners”. The man who is most associated with this term in the UK is John Williams, a classic example of someone who has gone from the corporate world to being a portfolio person. He used to be a senior consultant at the major accounting and consulting firm Deloittes but he now says that he focuses his time on “helping creative people figure out what they’d like to do with their life, how to make good money out of it and how to have some fun at the same time.”

Williams says of his life since making the switch that he has been “fortunate to achieve some remarkable things for someone so unfocussed and naturally lazy”. A nice mix of pride and self-deprecation.

He quit that job at Deloitte and has since “consulted independently for blue-chip organisations such as the BBC; turned a full-time job offer into a 3-day a week freelance gig that paid me the same income; cold-called The Guardian to win my first piece of paid writing, with no prior experience; and, over the past three years, have developed a meeting of a handful of people in a bar into the successful ‘Scanners Night’ event with up to 70 paid attendees. (www.scannercentral.co.uk )

A recent two-page spread in The Times (http://www.thetimes.co.uk/tto/public/sitesearch.do?querystring=john+williams+scanner&sectionId=342&p=tto&pf=all ) enthuses about him: “John Williams … aims to revolutionise the way we think about work. He says: ‘The rules are changing. My mum’s belief was that work was to be endured, not enjoyed, and her generation didn’t really have a choice.

‘There’s never been a better time — all the tools are there on the internet for you to get paid for what you enjoy. Previously, setting up a business needed premises, funding — but today you could set up your own eBay shop in an afternoon. You need to find the sweet spot between the things you love to do and doing them in a way that solves people’s problems for them — and there is your means of earning a living.’”

Williams concluded, according to The Times: “Now I have a portfolio career consisting of mentoring, corporate creativity workshops, copywriting, blogging … I set my own hours, choose my own co-workers and alternate my place of work between my home, my garden and the local café.”

I got the impression that he prefers his new life to the corporate rat-race.

MORE THESPIAN INTERLUDES

That student film “Old Age Pillagers” has now been finished and a week ago I went to a screening of all the graduate films of International Film School Wales. It was pretty scary seeing oneself on the big screen (in HD too) at Cineworld in Newport, but I thought that the team had put together a rather professional production.

Since then I’ve done another student film for a UWE project. Tomorrow I’ll be having my first viewing of the finished product “Warm fuzzies, cold pricklies”, which is being shown as an installation; also “One More Kiss Darling”, which we shot in March: both as part of graduate week of the film studies department, at the Bower Ashton campus of UWE.

OLD AGE PILLAGERS

That’s the name of the student film I’ve been cast in. It was inspired by the real-life story of two Scottish pensioners who entered into a life of petty crime, apparently just for fun. Move the action to Porthcawl on the Welsh coast and the result will be a 10-minute short, which is a final-year project for students at the International Film School Wales, part of the University of Wales. We started rehearsals last Friday and shooting begins on 22 March. I have been impressed with the professionalism of the production; the whole project has already been running for several months. Details in www.oldagepillagers.webs.com

THESPIAN INTERLUDE

Having taken part in the world-famous – well, Bristol-famous – Hotwells Panto in March last year has reawakened an interest in acting. Thanks to that entirely positive experience, I was inspired to audition for, and was lucky to get a part in, Theatre Raconteurs’ production of Richard III just before Xmas. Directed by the visionary Tristan Darby – watch out for the name, folks – that was the most professional production I’ve ever been involved in, by a country mile. Meeting and working with so many really talented and in most cases very experienced actors could not fail to be a learning experience, so I decided to audition for a couple of short (10-minute) student films. I’ve been lucky enough to be cast in both of them, moreover. “One More Kiss, Darling” is being shot in Bristol in mid-March; the title comes from a Van Halen record in the 70s, used in the soundtrack of a famous film whose identity I have forgotten. And “Old Age Pillagers” is being shot just afterwards, in Porthcawl on the Welsh coast.

MR MICAWBER LIVES!

Yesterday I was spending an evening with friends when one of them said he’d just started to read the free edition of “Back To The Black”. I asked what he thought of it so far and he said what friends do, that he liked it. However, he said, there was one thing missing. Naturally, I wanted to know what was missing.

The bit where you advise people to work out how much they can afford to spend … and then spend a little less.”

Barry was right; I hadn’t specifically advised people to do that. However, I had instead quoted the dictum of Mr Micawber. In case you’re not a fan of Dickens, Mr Micawber was a character from “David Copperfield”, who famously said, “Annual income twenty pounds, annual expenditure nineteen pounds nineteen shillings and sixpence, result happiness. Annual income twenty pounds, annual expenditure twenty pounds, ought and six, result misery.”


My friend is a very well-read guy but the message was that I should perhaps have been a little more direct with the advice.

GIGS AND CLOAKS

Last night to the Metropolis in Bristol (UK), a beautifully restored former cinema that is home to Jesters Comedy Club. Last night, though, was a special treat for fans of Steely Dan. The performance by their UK-based tribute band Nearly Dan was great, though the sound was nothing like as good as it had been at their previous Bristol venue, the rather scruffier but atmospheric Fleece.

My only other gripe about last night: on a cold night in January, everyone arrived well wrapped up. Those of us who’d arrived early enough to get a seat at the small number of tables were OK; they could drape their jackets, coats etc over the backs of their chairs. For the majority, who had to stand, no such luck. They had to dump their coats on the floor, keep them on, or pile them on one of the few empty chairs.

That prompted a thought; is it only in the UK that we seem to forget that in winter the weather can get cold? Is it only in the UK that venues will welcome punters and the money they’ve paid for admission and will spend over the bar, but provide nowhere for them to put their coats? Theatres generally have a cloakroom but cinemas don’t. As for pubs, I know a few (old-fashioned) pubs where there are jacket-hooks and coat- hooks on walls and under the bar, but they are an exception.

End of moan. It was indeed a great evening. Highpoint, for me and many others, was a superb trumpet solo in an extended version of “Hey Nineteen”. I was keen to find out the name of the player; the band’s website indicates it could have been either Phil Nicholas or Steve Parry. Sadly, due to the imperfections of the venue’s sound quality and / or my hearing, I couldn’t make out the name when he was credited by the leader. Memo to self; must get my hearing checked out again.

DEBT ADVICE BACKLOGS IN THE UK


When I was doing that second radio interview with Heart FM earlier this week, an instructive fact about the state of our economy cropped up.

I was talking to Heart’s Rob Mayor about the necessity for Brits with debt problems to get tailored and impartial advice, preferably from one of our excellent independent advice organisations within the charity / voluntary sector. The best-known examples at the national level are probably CAB (Citizens Advice), CCCS (Consumer Credit Counselling Service) and National Debtline. I also said that a face-to-face interview was better than a phone helpline, especially for anyone starting to get to grips with the problem for the first time.

However, just before we started to record the interview, I had a call from Citizens Advice in response to an earlier enquiry of mine. As Rob and I had just been talking about the recession, I asked my CAB contact what was their current waiting time for a face-to-face debt advice interview. The answer was 3 – 4 weeks; longer than usual and a sign that the effects of the recession will be with us for quite a while yet. Phone help is, of course, available a lot more quickly.