Almost 100 people entered the draw for The Stars in the Nightbook giveaway earlier this month. Awesome! It’s nice to be wanted.
I’m happy to tell you that a signed copy of the book, plus the little rosemary sprig badge, went to country Victoria and received a glowing welcome!
Here’s some ideas for anyone who missed out:
ask your local library to order a copy for you to read. Getting the book into more libraries means that it reaches more readers, which is wonderful. And a trickle of Public Lending Rights cents go to the author, which is a lovely thing … yes, if you see my book on the shelf, please borrow it 😉
keep an eye out for a special price on the eBook version coming next month – for most of December, The Stars in the Night will be on special
see if your book club would consider adding The Stars in the Night to their 2022 reading list. I guarantee that it would make fabulous reading for the month of April, when Anzac Day shines renewed interest on war service and its aftermath
Some reflections on social media for authors:
I decided that The Stars in the Nightbook giveaway would do two jobs: send my work to another reader, and give me feedback on my communication channels.
I’ve listed the effectiveness of each channel, in descending order:
Of course, this is my experience with one giveaway, and most of the numbers reflect my pattern of usage. I’m not on Twitter much (*someone did enter from Twitter, but ineligible as it was for Australia only), and rarely on Pinterest (though I have an absolutely AWESOME collection of pins related to my books).
I don’t send newsletters very regularly. The strong response surprised and gladdened me! With this mini-experiment, I have a new direction for communication in 2022.
Oh – and keep an eye out for my December newsletter. Coming soon!
In these days of lockdowns and revisiting old pastimes such as board games, knitting and baking, many of us* have been doing more reading. But are we enjoying our books?
*Well, not me, because I am a lifetime book addict and I can’t see how I could possibly do more reading. At least as long as eating and personal hygiene remain important.
How to be Happy with a Book PART ONE
I write books, and I love the fact that complete strangers read and review them – reviews are a kind of currency among authors. Most authors also read a lot, and a second aspect of my writing practice is book reviewing. To me, ‘book review’ = ‘book critique’ where ‘critique’ = ‘analysis and assessment of a book, including virtues and shortcomings’. In this series of posts, I want to talk more how to choose books better so that you spend more time reading books that suit you, and waste less time on the DNF* stories. This is about finding a book that makes YOU, dear reader, happy.
*DNF = Did Not Finish. A disappointment to the reader, and a cruel blow to any author…
As a reviewer, I see my task as working out which readers would like this book, and then telling them why. I don’t see the need to find fault, because I know that different readers like different things (gore, violence, swearing, romance, magic, philosophy, spirituality – you name it!). It’s a rare book, in my experience, that has nothing for anyone. I concentrate on finding out what’s good about this book, for which readers – hence the title of this series: how to be happy with a book.
As well as book reviews in print, there are also many online platforms to share our thoughts about books. Some readers check Goodreads reviews before they buy; others look at the Amazon scores. Authors sift through their reviews for good quotes to use on their book descriptions and some book bloggers check what everyone else thought about a particular book before they weigh in on one side or the other.
Reviews are not always positive, and authors are advised not to read reviews.* While it’s a fact that not every reader will love our books, we still like to see what others think.
*We do (read reviews of our books)
I read and review about 80 books a year. You might think that’s a lot, but it’s perhaps a quarter of the books I’d like to read each year. How do I choose the ones that will please me best?
Clare’s three criteria for being happy with a book:
Do I want to read this book? … cover, genre, look & feel, reputation
Is the book well written and appropriate to its genre? … writing quality, genre stylistics, expression, editing, production values
Was this book a success? … thoughts about plotline, characterisation, suspension of disbelief, resolution, afterglow
This post is Part One: choosing a book*
*I’m imagining that you have strolled into a bookshop or library, or you are scrolling online, just browsing for something to read. If you are looking for a specific author or title, you are way ahead.
First, look at the cover: The old adage that you can’t judge a book by its cover has lost most of its power now that book production is streamlined with access to high resolution images, huge banks of attractive fonts, and the growing language of cover art. You will know what kind of book it is by the look of the cover. For example, a cover that features the back view of a young woman walking away from us into a dark street will be a crime thriller. The cover with the hovering dragon will be a fantasy. The cover with the pretty blue and pink border around a scenic view will be a romance, and the cover with the little white cottage surrounded by a flower garden is probably a cosy mystery.
Add to this the helpful work of bookshop staff and librarians who shelve novels under genre categories*, and you should recognise immediately what kind of book you are looking at, even before you pick it up.
*Genres are often imposed by libraries and bookshops. Many authors, myself included, just write the next story that comes along. Then we have to propose that story to a publisher, who wants to know ‘what genre’? Good question!
You, dear reader, now have a decision to make. Do you like reading this genre? Perhaps you have never read anything in this genre and you’d like to try it. Are you going to pick up this book, turn it over and read the blurb? If the book looks promising so far, then onwards!
Next, read the blurb: The blurb is part of the cover. Often written by a marketing staffer, sometimes by a bemused author, the blurb conveys the essence of the book in a way meant to entice the reader. The relationship of the blurb to the contents is not fixed. The blurb is as accurate as the ad for your local pizza chain. Do they serve the best pizzas in your town? The answer will be different for each reader, or pizza eater as the case my be. The blurb is to ‘sell’ the book to you, not to summarise the story.
Then check out the inside: The look and feel of a book is important too, especially in physical books. The artwork, the paper weight, the font, the ink quality, the layout – all of these can have an effect on your reading experience. I find that the font and layout of e-books is important too, and the quality of the illustrations is paramount for graphic novels in electronic form. I would usually read the first paragraph too, to see if the style of writing is one I can easily engage with.
Reputation: Have you heard of this title? Heard of the author? Heard of the publisher? What about any recommendations printed on the cover or on the inside? What do these things tell you about this book – do you think you’re likely to agree with the puff statements? Maybe you’re looking for an Australian book, or a quick read, or an elevating challenge. You can usually discover quite a lot about a book without even reading its first page.
PART ONE SUMMARY:
So, we’ve had a look at the book and we should now be able to decide whether or not to give it a go. Remember, our goal is to have a happy reading experience. I don’t mind passing on a book that others rave about, if my reconnaissance tells me it’s not going to make me happy. After all, I can only do justice to 80 books a year!
Next time, I’ll look at Part Two: Is the book well written?
Rosalie Ham is an Australian author most famous for her debut novel The Dressmaker, a black satire about love, payback, and 1950s haute couture, which was made into a major motion picture starring Kate Winslet, Judy Davis, Liam Hemsworth, and Hugo Weaving in 2015.
Recently I was fortunate enough to meet Rosalie at an event where she explained how the movie was made, her part in it, and the challenges of shifting a story from prose to film. Rosalie was so inspiring that, grabbing my courage in both hands and telling myself that being scared every now and then is good for me, I introduced myself and asked if she would consider appearing on the Last Word of the Week blog. And here she is!
Thank you for joining me today, Rosalie. Can you tell us something about yourself that you think anyone who reads your book/s really ought to know?
Rosalie: I tend towards the ironic, and so some readers don’t ‘get’ that sort of tone or my black humour, but I get that not every book is for every reader.
That’s a great way to think about it, very wise. What is your favourite scene from your own writing? Why?
I have favourite scenes in all four novels, so I’ll pick a couple. In The Dressmaker it’s at the end when Sergeant Farrat is sitting on top of The Hill. Everything around him is razed, the landscape burned flat to the ground, smouldering and smoking, cinders floating. The District Inspector of Police arrives and asks, ‘What happened?’
The sergeant replies, ‘There’s been a fire.’
At the beginning of Summer at Mount Hope Phoeba, Lilith and Maude are sitting on the narrow bench of the family sulky which is stranded in the middle of a roadside dam. The three 19thcentury ladies are wearing their Sunday best, sheltering from the sun under their vast, ostrich plumed hats. Their skirts are bunched on their laps exposing the lacy trim on their bloomers, their boots are up on the dash, slimy green water swirls just below their bottoms and the tail of the horse supposedly conveying them to Church floats before them. In the quiet of the country lane, they hear a carriage approach. It is the grand Britzka containing the wealthy neighbours from the vast property to the west. Maude speculates, ‘They may not notice us.’
Oooh, yes, these are perfect. From what I have read, I understand that your characters are not completely imaginary, but based on real people. Has anyone recognised themselves in your books?
I suspect most writers create characters using elements of real people. Because characters, basically, carry a theme, creating a plausible vehicle is my main focus. The added personality traits are instilled to make them more memorable and hopefully readers might then find empathy with a character and his or her purpose. Some readers out there might just recognise why a character says and does certain things.
No, I’m not a character in any of my books. Generally, in order to create an effective character for a particular role that character needs to do what you want them to do. Their intention is their narrative drive, if you like, so their intention has to be quite separate to what I might say and do. It’s essential to strive to present a balanced argument, so you need to think about alternate arguments and create characters to present them so they all need to be other than the writer’s personal point of view. The story becomes about the argument rather than how I feel about the point I’m prosecuting.
That makes sense. Take yourself back ten years – what would that Rosalie like to tell you?
Trust your ability. Believe in yourself more, go for it, your stories will reach further than you imagine.
Amazing, yes. What’s next for you in the world of writing?
More writing. I’ve got a few more events to attend this year to promote my last novel, The Year of the Farmer, then there’s a rough first draft of my fifth book that I’m dying to get stuck into. As I see it, there are at least two more novels I could write. And I have a dream that one day I’ll adapt one of my novels to a stage play. And I need to do all of this while teaching part time.
What’s the single most important quality in a writer, in your opinion?
Talent. Some books are written through sheer determination and they’re good. Readers will get much from them, but some writers are different, their stories boil straight from the heart, they burn and shimmer, they’re well-structured and moving, revelatory, unique, life-changing, and above all, memorable. That sort of writing can’t be taught, it comes from the way writers look at the world and convey it to others.
And finally:Who would you be if you were a fictional character – one of yours, or someone else’s?
I’d be Phoeba Crupp from my second novel, Summer at Mount Hope. I’d grow my own grapes and produce fine wine, raise beautiful sheep with superior wool, cultivate exceptional grain crops and work hard with nature. Because I value friendship above romance, I’d carry sad matters of the heart in my back pocket like a spare hanky. When my father betrays me, I’ll turn that to my advantage and make my life a testament to female strength and the fighting rural spirit.
She sounds divine. Great choice.
Thank you so much for sharing with me today, Rosalie. I was indeed a pleasure and an inspiration to meet you.
If you’d like to book Rosalie to talk at your school, library or book club (or fundraiser, lunch, valedictory…) please get in touch with Booked Out Speakers, Melbourne on (03) 9824 0177. I can highly recommend her as a speaker!
Rosalie is represented by Jenny Darling and Associates (03) 9696 7750
Bone Lines, Stephanie Bretherton’s debut novel, considers what it is to be human by engaging us in the lives of two women, separated by millenia. Stephanie is a wonderful communicator who has a fascinating backstory of her own – Born in Hong Kong to a pair of Liverpudlians, she is now based in London, but manages her sanity by escaping to any kind of coast, particularly far west Cornwall.
LWOTW: Welcome, Stephanie, it’s lovely to meet you. Thanks for sharing this Q&A about writers and writing. Tell us about when you first realised that you are a writer.
Stephanie: Probably the first time I got an A for a school composition! Those kind of dopamine hits can become as addictive as sugar. Just as well, really, as I have struggled with ‘numbers’ all my life. Words, on the other hand, have been my friends. It’s amazing what you can do with them, from creating and escaping into your own imaginary worlds, to coming back out into the ‘real’ world and communicating ideas, forming friendships, entertaining people, making them feel good.
If I had lived in the times of the prehistoric character in my book, Bone Lines, I would have been a rubbish hunter but would probably have made myself useful as the storyteller of the tribe.
That’s a great thought. You are obviously good at imagining yourself into the texture of your stories. Do you rely more on dreams, imagination, and planning?
I use all three. A dream might inspire, or help solve a problem, but that’s more passive. Active imagination is the key driver. Planning tends to come retrospectively, if that makes sense. I reverse engineer the planning once I have a character, a world, a theme, an idea that has been allowed to run free and take its own shape.
I love that notion! Reverse engineering planning – brilliant strategy for the imaginative writer! What’s the highlight of your writing career so far?
I have always worked with words, communication or ‘storytelling’ in one form or another, and there have been quite a few thrills and spills along the way, from reading the weather report on Hong Kong television to building my successful ‘boutique’ communications agency. But creative writing fiction in particular has always been my first love and publishing a book was a lifelong goal. So undoubtedly bringing my debut novel Bone Lines out into the world last September, as exciting and terrifying as that journey has been, has to be the highpoint so far
I’m glad you mention the terror. It’s something writers don’t always expect, but it’s certainly there, hiding among the joys and delights. What are you most looking forward to at the moment?
Three weeks unbroken chill at my bolthole in Cornwall in the summer, to rest, write, walk and play. I am very blessed to have found a corner of the world that fills my soul. I’ve had a rather nomadic life since childhood (though I have always been drawn to a coast) and I while recent generations of my family are not from Cornwall (we are misplaced Scousers) and I’d never spent much time there before, I had the strangest sense of ‘coming home’ when I visited friends near Land’s End three years ago.
I had a small inheritance after my widowed mother had died, and I found a tiny place near the sea that weekend, put in an offer on the train back to London and knew it would gradually become ‘my soul’s landscape.’ I still have to spend a lot of time in London for work, but whenever I can get back to Cornwall, it’s just magic. The perfect place to write. (And I really need to crack on with book two.)
That sounds divine – but yes, we need Book Two. (I’ll put aside thoughts of Poldark for the moment…very distracting…) If you could say one thing to aspiring writers, what would it be?
If it’s what you want to do so badly that you are prepared to make sacrifices of your time, ego, cash flow, personal life, and sometimes what feels like your sanity, then just keep writing – whether you are ever published or not.
If you have something that has to be said, a story that has to told, a head full of characters demanding to written about, if you feel most ‘yourself’ (and at peace with yourself) when you are writing, then write, write, write. But there are no guarantees. Anything can happen and you can get lucky, but it’s a hard profession in which to make either headway or money. On the other hand it’s also a wonderful profession to be a part of. You can also self-publish – but do that as well as you can too. All readers deserve your best, most professional work.
Do the work, learn the craft, take advice from those whose track record speaks for itself. Work with a good editor. If you can, pick a genre. I haven’t really yet, so am no example, but it will help when it comes to selling to the industry and then marketing – and know that marketing is a huge part of being an author too, so start to learn those skills as well. Nothing will just come to you though. Take rejection on the chin. You are unique, but you are not ‘special’ (yet) – writing is graft, but worth every minute, at least it has been to me.
Wonderful advice, thank you! And finally: Who would you be if you were a fictional character?
Atticus Finch, and Scout. The father in The Road, and his kid. Cathy and Heathcliffe. Pip, Abel Magwitch, and Estella. Or Joe and Biddy. Luke, Han and Leia. And Chewie. My Dr Eloise and all her lost lovers, and John, the priest. My ‘Sarah’ and all her ‘children.’ Aren’t we all the characters we have ever loved, learned from, or imagined?
LWOTW: Indeed we are! Writers and readers are the most changeable, and perecptive, of humand. Thank you so much for speaking with me, Stephanie, it has been pure joy.
Today I am very happy to be interviewing Steven Neil, an English author who writes historical fiction with a twist of intrigue and mystery.
LWOTW: Welcome, Steven! Tell us, when did you write your first story?
I wrote my first story when I was seventeen. I thought I would study English Literature at university and become an author. In fact I studied Economics instead and didn’t write another story for thirty-five years. When I retired I studied English Literature at the Open University and my writing began again.
LWOTW: We’re very glad that you got back to it! What do you think of dreams, imagination, and planning?
Dreams and imagination are the creative spark for any writer but it is planning and the ability to implement a plan that takes a writer through to publication. I always thought I could only write short stories, but if you can write one 2000 word short story, you can probably write ten 2000 word short stories. Once you understand that, it is only a question of having the persistence to write, say, thirty-five linked 2000 word short stories and you have written a novel! That is the way I did it.
LWOTW: That’s an interesting way to go about it. Thanks for that. What’s the highlight of your writing career so far?
Writing and publishing my first historical fiction novel The Merest Lossin December 2017. In doing so, I achieved something I never thought I could do. It took three years of research, during which time I completed a Masters in Creative Writing.
The Merest Loss is a story of love and political intrigue, set against the backdrop of the English hunting shires and the streets of Victorian London and post-revolutionary Paris.
LWOTW: It sounds wonderful. Another one for the TBR pile. What are you most busy with at the moment?
In some ways writing a novel is the easy part! It doesn’t feel like it at the time but once you embark on the process of trying to market your book, you realise how difficult it is to achieve recognition in a very crowded marketplace. However good your novel is, and however many 5* reviews you garner, you need to work at it to make sales. I’m currently busy creating my social media profile, developing my network of independent booksellers and building a programme of speaking engagements. Books don’t sell themselves on their own when you are a first-time author!
LWOTW: With luck your background in Economics will help! If you could say one thing to aspiring writers, what would it be?
Never give up. If there is a book in you, it has to come out.
And the Last Word of The Week: What’s your favourite colour?
Here is Steven’s independent author network profile, containing twitter and facebook links and buy links:
This week we are being totally charmed by the gorgeous Felicity Banks, the Australian author who channels the Antipodean Queen (how cool is that?) among other things. Felicity is also published by the impressive Odyssey Books.
Last Word of the Week: Welcome, Felicity. Can you tell us when you wrote your first story?
Felicity: I can remember attempting my first novel when I was seven or so, during an idle afternoon at my grandparents’ house. It was about a family of cats, and the big drama was that Pamela (the mother) had gained weight. What unimaginable horror!
Then the amazing twist was that she wasn’t overweight after all. She was having kittens. There is no greater possible end to a story than brand new kittens.
LWOTW: A happy outcome indeed. What do you think of dreams, imagination, and planning?
It seems I was born to plan out my stories before I write them, given that I was outlining novels at age seven. Sometimes I write out pages and pages of character notes, maps, and so on. Most of the time I have about an A4 handwritten page of notes when I start writing a novel and if I’m having trouble with a scene I might write out another page of notes just for that scene. Sometimes things change dramatically partway through the story, and I’m fine with that. Once I had a weird dream and then woke up and started writing a novel that afternoon.
Imagining things is easy; real life is hard.
LWOTW: We’re with you there. What’s the highlight of your writing career so far?
It took me a long, long time to get published—fifteen years after finishing my first novel. At around the same time as my first novel was published, I discovered the world of interactive fiction (like “Choose Your Own Adventure” novels, but usually digital), and nowadays my writing is actually in demand. That is absolutely amazing, and I love it.
I really enjoy going to conferences and fairs, especially meeting people who’ve read my books and come back for more.
LWOTW: That must be very affirming. What are you most busy with at the moment?
Trying to actually do the writing I’m meant to be doing! Which is precisely why I’m here, doing other things.
LWOTW: Well, we’re glad you took the time out to talk with us. If you could say one thing to aspiring writers, what would it be?
Don’t! The average full-time writer in Australia earns only $12,000 per year.
But if you’re the type of person who thrives on being told not to do something, then the long years of rejection will be perfect for you. Or you can just write for fun (and if you get paid, great). That’s what I do.
And the Last Word of The Week: What’s your favourite colour?
Thanks for speaking with us!
You can find out more about Felicity’s steampunk fantasy books here.
Felicity’s interactive writing can be found under the name Felicity Banks at the site here – but beware, it’s addictive!
Felicity’s latest book is a middle grade novel called The Monster Apprentice and features monsters AND pirates. You can find Felicity’s various pirate tales (some for children, some not) here.
Scandinavian bookstores to be exact, some of which are worth the investment of several hours. Although all these shops have sections where English books are stacked and shelved in their dozens, I found myself drawn to the local language books. Here I confirmed that, for better or worse for us authors, potential readers DO judge a book by its cover.
The conventions of genre in imagery help us to distinguish crime from fantasy from romance from historical fiction from military memoirs from poetry, and so on. Classics with new, interesting covers (like those in the header image) live on the strength of their titles and authors. Newer fiction must usually play by the rules, although that doesn’t necessarily mean playing in the same well-worn rut.
For example, I like this new fantasy cover for the prolific (and wonderful) Brandon Sanderson‘s The Final Empire (first published 2006). This cover clearly references the genre but presents a more up to date, fresh, arty take on it. You could think that its first imprint was at least ten years later.
In a watercoloured, simplified way, all the genre markers appear. Fantasy city: check. Mysterious being: check. Spooky question to set up the fantasy premise: check. Weird misty atmosphere: check. Potential to adapt for the later books in the series: check. And is there a suspicion of snow on those towers … Jon Snow? GOT readers say: ‘my kind of book’, as do Harry Potter and LOTR folk. Probably, as do fantasy readers in general.
And here’s a novel clearly set in or around the time of the First World War. Clearly. It also features the poppy on the spine, so you know the genre even when it’s facing the wall.
It’s Ken Follett’s Fall of Giants in Norwegian. Even if we hadn’t noticed the guns and the sepia-tinted photo, that poppy gives it away. Are those soldier-photos and poppies clichéd? I guess yes, but they also act as immediate identifiers for readers who are eager to read something similar to books they have already enjoyed.
Now what about family sagas and romance? Evidently (from my observations), a reader wants to see a woman on the cover, most often with her back to us, contemplating her situation. Her attitude and costume communicate the historical period covered in the novel:
Many crime stories also feature women, usually with their backs turned to us, walking into danger. Women? Of course, I should say ‘girls’ for that genre 🙂
My own WWI novel will be published later this year, and I am agonising over what might make a good cover – to poppy, or not to poppy? – being the main question. Do I need a rising sun to mark it as Australian? And a woman in historical costume to signify that it is a family-based romance as well as a war story? My brains are on the rack.
If you have any brilliant ideas for what I could suggest to my publisher, please leave me a comment below!