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Posts tagged ‘writers’

Safe and Sound: Philippa East and the psychology of suspense

Philippa East is a fiction writer with HQ/HarperCollins and she also works as a clinical psychologist, which I guess can come in pretty handy for writing thrillers.

Author Philippa East

Author Philippa East

Philippa grew up in Scotland before moving to Oxford and then London to complete her clinical training. A few years ago, she left the NHS to set up her own part-time practice and dedicate more hours to writing. The result was her debut novel LITTLE WHITE LIES, which was long-listed for The Guardian’s Not-The-Booker Prize and shortlisted for the CWA “New Blood” Award 2020.

Little White Lies by Philippa East

Little White Lies by Philippa East

Philippa’s next book SAFE AND SOUND is another twisty and compelling tale. For a fun preview, check out the video trailer on Philippa’s Amazon Author page (best with sound on!).

Philippa now lives in the beautiful Lincolnshire countryside with her husband and cat. She loves reading (of course!) and long country walks, and she also performs in a local folk duo called The Miracle Cure. Alongside her writing, Philippa continues to work as a psychologist and therapist.

I’m excited to have Philippa as my guest today, as she tells us about what inspires her. Philippa also shares an extract from SAFE AND SOUND, which you’ll find below.

 

Inspirations

Phillippa: It’s a funny question, isn’t it? ‘Where do your ideas come from?’

For me, a book often comes alive when two (or even better, three) different ideas come together in my head. That’s generally how I know I might have enough material for a whole 90,000-word novel!

I write in the psychological suspense genre, and actually get a lot of my ideas – full disclosure! – from watching true-crime documentaries on TV. At heart, I’m fascinated by what people are capable of and why they do the things they do. This also overlaps with my day job as a clinical psychologist.

More specifically, individual plot ideas, character motivations or story twists can get sparked for me in various ways: reading other books in the genre can help get my brain in ‘thriller’ mode; I also often go for long walks around the Lincolnshire countryside to get the brain wheels turning, plus sometimes I just have to pin down a friend and brainstorm relentlessly with (at!) them until the pieces finally fall into place.

The inspiration for my latest book, SAFE AND SOUND, was actually the true-life story of Joyce Vincent, a woman in her thirties who died at home in North London in late 2003. Her body was only discovered in 2006. Around 2013, I found myself watching ‘Dreams of a Life’, the incredibly moving docu-drama produced by filmmaker Carol Morley about Joyce’s life and death. The film stayed with me for years, itching away at my brain, until I was compelled to write my own version of this heart-breaking story.

***

Thank you so much Philippa for sharing that with us, and especially for the (rather scary) extract. All the best for your work and your writing.

***

Extract from SAFE AND SOUND

Chapter One

Before I started in this job, I used to picture bailiffs bashing in people’s doors and dragging furniture out into the street.

Of course, it isn’t like that really. We’ve sent this tenant a letter to let her know we’re coming, all correct protocol with the London Housing Association that I work for. I have two bailiffs with me but, really, all we want to do today is to ensure that this tenant, Ms Jones, knows about her debts, and hopefully sort out a means for her to pay them. That’s why I’m here: as her Housing Manager. Hopefully, I can agree a payment plan with her, something to help her out of this mess.

The bailiff with the kind face takes a deep breath and knocks hard on the door. ‘Ms Jones? Ms Jones, we are here about your unpaid rent.’

Safe and Sound by Philippa East

Safe and Sound by Philippa East

I think I can make out voices coming from inside the flat, but as I lean closer I hear someone saying Capital FM!, and I realise it’s just the radio playing. If the radio is on though, I can be pretty sure she’s in there.

The bailiff knocks again, thump thump.

A song comes on a moment later: ‘Everywhere’ by Fleetwood Mac. We’ll keep knocking and hope that eventually she will come to the door, even if she doesn’t open it. She has a right not to open it to us, but I really hope we can speak to her today. That way I have a chance to help. We can let things go for a while – the longest I can remember was four months – but we can’t just let it go on forever. Ms Jones is already three months behind. We’ve sent half a dozen letters already, but she didn’t reply to any of them, so now it’s come to this. If we can’t arrange some kind of payment schedule today, the next step is an eviction notice and I would really hate for it to come to that.

‘Ms Jones?’ the bailiff calls again.

There are footsteps on the stairs above. I step back and look up to see who’s coming. A neighbour from upstairs, nobody that I recognise, a black woman, smartly dressed, probably on her way out to work. There are dozens of people living in this block but now I wonder how many of them speak to each other or even know their neighbours’ names. But she must pass this way at least, most days. ‘Excuse me,’ I call out to her. ‘Do you know the tenant in this flat? Is she usually home at this time?’

The woman comes down the last few stairs.

‘She’s got the radio on,’ I say. ‘We’re assuming she’s in.’

The woman pauses next to us and shrugs. ‘Her radio is always on,’ she says. ‘I hear it every time I go by.’

She loiters for another moment between the staircase and the doors to the outside, sizing us up. But she is busy, she has her own life to be getting on with, and no doubt she’s learnt that it’s best in a big city like this not to get involved. ‘Sorry,’ she offers as she hitches her handbag more securely onto her shoulder and makes her way through the heavy door to the lobby.

We turn back to the flat and the other bailiff knocks this time, his fist bigger, his knock that bit louder. I look down at the file of papers I am still holding against my chest. I’ve been in this flat before; I checked the last tenant out. I can still picture it: the tiny apartment is only a bedsit really, tucked away on the ground floor, hidden under the stairs so you could quite easily miss it. The living room and bedroom are one and the same, the sofa tucked behind the front door doubling as a bed, and there is a kitchen, but only an archway divides the two, so you could hardly even call them separate rooms. There’s a tiny toilet, with a shower attachment that hangs, a little bit crooked, above a plastic bath. And that’s it.

The last tenant, I remember, only stayed a few months. They complained about the commercial waste bins that always somehow ended up against the rear wall of this block, even though they belonged to the restaurant twenty yards away. Then the flat was empty for a good while, until this tenant moved in a year ago. Into this flat, now allocated to me.

The song has flipped over and it’s another tune that’s playing now. I recognise this one too: ‘Beautiful Day’ by U2. Out of nowhere I get a sort of roiling feeling in my stomach and a prickling up the base of my spine. I hand my file of papers to the bailiff with the plain, kind face and walk right up to the door. I bend my knees so that my eyes are level with the letterbox and lift up the flap. With my cheek against the flaky wood of the door I look through the slat of a gap that has opened up.

I see all the post, a slithering pile of it silting up the floor on the other side of the door. No doubt the letters we sent are among it. The strangest smell reaches me in thin wisps from inside, and suddenly I find myself thinking back to last year and the annual inspection I was supposed to carry out. I let the flap of the letterbox fall and straighten back up. My chest has gone tight. I can’t seem to speak.

Now both bailiffs are looking at me, but I can’t find a way to tell them what’s wrong. The older one leans down, copying what I have just done and sees for himself what’s through that narrow space.

He puts a palm on the door, as though to steady himself.

He manages to say something and he says: ‘Holy shit.

***

Oh my goodness! What a great beginning. Thank you Philippa for sharing.

Philippa’s Links

Amazon Author page: https://www.amazon.co.uk/Philippa-East/e/B07S3JQDGK
Safe and Sound book link (via Bookshop.org who support independent bookshops): https://uk.bookshop.org/books/safe-and-sound-9780008344047/9780008344047
Twitter profile: https://twitter.com/philippa_east

Inspirations for 2021: Malve von Hassell and the trobairitz

Another inspiring extract for you: meet Malve von Hassell!

About Malve

Malve was born in Italy and spent part of her childhood in Belgium and Germany before moving to the United States. She is a freelance writer, researcher, and translator, with a Ph.D. in anthropology .

Malve’s first historical fiction novel, The Falconer’s Apprentice , is for young adults. She has also published Alina: A Song for the Telling , set in Jerusalem in the time of the Crusades.

Author Malve von Hassell

Author Malve von Hassell

Malve’s forthcoming book, The Amber Crane (to be published by the fabulous Odyssey Books this year),  is set in Germany in 1645 and 1945. Currently, she is working on a biographical work about a woman coming of age in Nazi Germany.

Today she is sharing an extract from her novel Alina, and explaining how history inspired the story.

Malve’s Inspiration: the trobairitz

Malve: When writing my historical fiction novel, I wanted to incorporate and give voice to the trobairitz, the women singer-songwriters of the 12th century. My protagonist Alina is a young woman who aspires to become a trobairitz.

Who were the trobairitz?

Trobairitz are female troubadors. In the early 12th century, the troubadour school or tradition originated in a region of southern France as well as parts of Italy and Spain known as Occitania. The art of the troubadours declined and eventually died out by the middle of the 13th century. Trobairitz came from that same tradition.

Why did most of the known trobairitz emerge from the Provence and other areas in southern France?

The social-economic factors defining the lives of ordinary women in that part of the world reduced their choices. Other than marriage and childbearing, few alternative paths were available to women in the 12th century. Women from the upper classes had the same restrictions, unless they chose the church. In rare instances, women made names for themselves as writers or healers, or managed to carve out positions of political power at various courts.

In southern France, compared to other regions in Europe, women had more control over land ownership. That meant women had access to sources of power. This was perhaps reinforced by the fact that during the Crusades, many men were away, leaving their wives to administer their estates.

The trobairitz moved far beyond the traditions of the troubadours. Like the troubadours, they often sang about courtly love. However, trobairitz had a much sharper, more grounded, and even mocking tone. Their lyrics were often more sincere, direct, and passionate than that of troubadours. They wrote about political and social inequality and questioned the prevailing mores of the times that silenced women and relegated them to the realms of motherhood.

For the first time in European history, women could claim authorship of their lyrics and compositions. All known female composers who preceded them wrote sacred music, with their works published under the names of men for their music to have any chance of being distributed and played.

Alina: a Song for the Telling by Malve von Hassell

Alina: a Song for the Telling by Malve von Hassell

 

Excerpt from

Alina: a Song for the Telling

Chapter 8 Wind in the Desert

Sand had gotten into everything I owned. I gave up trying to shake it out and resigned myself to being covered with a layer of dust until we arrived in Jerusalem. My hair was even more disheveled than usual, and I could taste the salty sweat on my cracked lips. My eyes burned from the hot glare of the day. I was tired.

And I was happy.

It was as if I was drunk on the colors of the desert, the silence, the vastness, and the impersonal harshness, drunk on traveling and on being far away from home. With one ear I tried to catch the sounds of the men talking. Occasionally I could make out Count Stephen’s voice.

“Let’s play some music.”

Startled out of my reverie, I glanced around. Milos had walked over and crouched on the sand next to me. He helped himself to a date. “How about it?”

I hesitated. During the journey from France, it had seemed a natural thing to do in the evenings, but now with Count Raymond, Count Stephen, and other older knights, I felt uncomfortable. I hardly needed to draw more attention to myself.

“Come on, Alina. This might be the last chance we’ll have for a while.”

Reluctantly I took my lute out of its wrappings. “What would you like to sing?”

“How about Can vei la lauzeta?” Milos asked.

For a moment I yearned for home. Right now the hills would be covered with wild thyme.

I began to play a few chords, and then Milos began to sing, softly at first. Heads turned, and a few of the knights wandered over to listen to us.

Behold the lark

Dancing

In the sun’s rays and

Swooping into the depths, borne down by the delight in its heart.

It makes me yearn to be one with all who have tasted happiness.

After the first few lines, I forgot my discomfort. Milos and I had done together this so often that we didn’t even need to look at each other for cues about when to increase or lower the volume or when to slow down or to pause. For Milos, it was just one of many facets of his being. He liked to perform, but he had never hounded our father to teach him new songs.

For me, it was so much more—not just a joy, but something vital in a way I couldn’t explain. Maybe in part it was because I could control it when I couldn’t control anything else. Perhaps it had been like that for our father as well. Of course he was a man, and nobody could force him into a marriage or tell him how to act. So maybe it wasn’t the same. Anyway, for me it was more than that.

When Milos finished, the last drawn-out note echoing through the still evening air, I made a sign to him and whispered, “Now it’s my turn. I’ll sing Ar em al freg temps vengut.

Milos shook his head. “But that’s about winter, and it’s too long,” he whispered.

“We’ll do just a few verses,” I said stubbornly. All afternoon I had watched the shifting light transform the desert into a glowing purple void, the silvery green leaves of the scrubby desert brush the only signposts reminding us of the ground beneath our feet. I had kept thinking of the right music to convey all this splendor. Finally, I remembered the song my father taught me by the trobairitz Azalais de Porcairagues. Gently I strummed the strings and began.

Winter is upon us, and time stands still,

Trapped in ice and snow and mud.

All birds have fallen silent

(for none wants to raise her voice in song).

Milos picked up his flute and followed my voice. The melody was sparse and severe, a song of immeasurable sorrow, glorying in desolation. It was as if one could hear the high-pitched whistling and groaning sounds from a frozen lake, echoing across the ice.

Now, with the heat of the day drifting away into the darkness, the flute’s plaintive notes evoked the wind sweeping over the sands. I kept my eyes on Milos as I sang. A hint of sadness in his eyes reminded me of our father and his lost, hungry expression at the end.

When we drew to a close, Milos lowered his flute, but I didn’t want to stop yet.

I concluded with one of my father’s pieces. Eerily, he had composed it a year before my mother died. It was about a dreamer who walks through a misty valley, blind to the flowers at his feet, in search of his love. He walks and weeps and does not hear the birds all around him. Faster and faster he rushes through the woods. His steps lead him to the brink of a ravine. He never falters as he steps into the void. I didn’t sing the lyrics, instead just picked out the chords of the simple melody.

A last dark note and I placed my fingers on the strings to still them. When I raised my head, I looked directly into the face of Count Stephen. He had moved quietly to join the others listening to us. The fire lit up his features—plain, with a jutting nose and a wide mouth slightly off-center, a broad forehead, and grey eyes under thick brows. Courteously he inclined his head toward me and smiled. It transformed his face.

I realized that I was staring at him, and felt myself go red, hoping he could not see this in the dark.

“Thank you, Mistress Alina. I hope we will hear you perform again.” Then he turned and walked away.

The next day we arrived in Jerusalem.

***

Goodness! Now I want to read on. I hope you do too. Here are some useful links to help you do that. Many thanks to Malve for sharing this with us. Until next week!

 

Malve’s LINKS

https://www.malvevonhassell.com

https://www.amazon.com/Alina-Telling-Malve-von-Hassell/dp/1643971042

https://www.barnesandnoble.com/w/alina-malve-von-hassell/1137197559?ean=9781643971049

 

A Circus Load of Inspiration

The Last Circus on Earth leapt out of my reading pile last year and filled me with that rarest commodity of 2020: delight. You can see my review here.

Today author Ben Marshall is treating us to his take on inspiration, and a Fabulous Extract from the novel.

I know you’re going to enjoy this!

Welcome to the blog, Ben. Can you tell us what most inspires you?:

Ben: Connections inspire me. Between people, nature and ideas.

Lichen photographed by Ben near Loongana in Tasmania

Lichen photographed by Ben near Loongana in Tasmania

Science, art and gardening are three great ways to connect.

Also pubs.

I guess pubs are actually places of connection, so I see a theme.

Now for our special treat: an extract from The Last Circus on Earth. The story is told by Blanco, a surprisingly likeable killer … Yes, I know! But I truly do love him 🙂

 

In Blanco’s Words:

Strombo smiled at the Gaffer; a nasty smile what promised nothing but bad stuff for Sparrow. ‘I’ll give her a test run, eh?’
Which is when I lost it.

Later on, Madam Tracey explained to me I got what the head doctors call ‘impulse control problems’. But when she said it, there was a hint of a smile in her voice, like she approved but couldn’t let herself show it. Don’t get me wrong, I know what I done was stupid, but that’s what comes of no sleep, no food, murdering people, dealing with psychopaths, and having the girl you like kiss you.

Strombo didn’t know what hit him. Me—with a punch that had my heart and soul in it. For a big bloke he stayed upright what seemed like a long time. But his eyes were glazed over and all of us could see he wasn’t with us no more. Like a big tree chopped at the base, he slowly toppled, and everyone jumped out of the way because Strombo’s big enough to kill you even when he’s unconscious. Time sped up again as the Gaffer turned, knuckle-duster in place, and threw a feint with his right before launching the metal with his left. Normally, I’d let him graze me, then roll myself up for the beating. But this time I was angry in a way I never been before, and I let my reflexes do their thing. I sidestepped, drove a fist into his solar plexus, brought me shoulder up into his chin and finished him off with a Glasgow kiss.

Madam Tracey’s jaw dropped, the Professoré’s eyebrows went up and stayed up, and Mala and Milosh looked impressed—and like they were ready to finish me off if it came to it.

As the Gaffer hit the deck, I dropped my fists, opened up my stance and looked into Milosh’s eyes. ‘If anyone ever looked the wrong way at Mala, would you do any different?’
In the split second it would’ve taken him to bury a blade in me, he didn’t. Milosh don’t hesitate when there’s trouble—he’s in there and it’s all over. This time he just shook his head. ‘You just make bad trouble.’
I shrugged and walked away. ‘Trouble’s me middle bleedin’ name.’

I finished my prep and sat with the rest of the freaks, waiting for the axe to fall. We all agreed I’d basically given myself two choices—do a runner, or stay and be killed. If I stayed, the Gaffer would put me in the circle with Strombo for a straight-up bare-knuckle fight. Then it’d be on until someone—me—got beaten into a coma.
There’s a code, see. You do a colleague an injury like what I did to Strombo and the Gaffer, and there’s consequences. It’s like an old-fashioned duel except you’re tied together, and instead of a neat bullet hole I’d have Strombo’s ham-like fists tenderising my skinny body into sausage meat.
I cuddled Daisy, letting her lick the cold sweat off my face, and considered my fate. Baba Yaga brought me a concoction she said would clear my mind, which it didn’t, but Moineau—Sparrow—come in all done up for her Nightingale act looking right serious.
‘Madam Tracey tells me what you just done.’
I shrugged, brain jammed with misery and fear—not for me but her. ‘You need to run, Sparrow. Tonight. Now.’
‘Madam Tracey said otherwise.’
‘You’re not safe here.’
‘Nor you, you big pillock. Always looking after other geezers, you are. Which proves you is a diamond geezer and worth likin’. A lot.’
I kept looking away, stroking Daisy, who was cheerfully chewing my thumb. I couldn’t answer Sparrow because she made my head spin.
She kneeled and looked up into my dial. ‘You been protecting me. Now it’s time I helped you.’
‘You can’t, Sparrow. I’m done for. If not this time, the next.’
‘Listen—I been stuck inside this head of mine watching and listening. And what I don’t know about the people in this circus in’t worth knowing. I also know you in’t just strong in here.’ She thumped my chest. ‘You is smart up here.’ She tapped the side of my head. ‘And people likes you—even if you is a misery sometimes—because you care. It’s inside of you to look after other people. You can’t help it. So maybe it’s time to see Splinter again—get him to sort things for you, so we can start working on a new Steering Committee.’
I looked up, startled, and the freaks, all listening intently, looked to each other. They were shocked by what she said, but not so shocked they were shutting her down. Baba, Erik and Methuselah nodded first, then Elasto, Lobby and Dislocato followed suit.
‘You’re all madder than me,’ I said. ‘You’d be cutting your own throats going against them lot.’
Methuselah cleared his throat. ‘Splinter is mortal and will, or so you tell us, die sooner rather than later. The Gaffer will then become a power greater than he already is, but without Splinter to check his excesses.’
Baba Yaga nodded. ‘The Gaffer rules by fear. I don’t like.’
‘He’s already in the top job, if you ask me,’ I argued. ‘He does Splinter’s evil will, so he might be a better Gaffer when Splinter’s dead.’
Sparrow snorted. ‘Either way, you won’t be around to see it if you don’t sort this beef you got with him and Strombo. You need to talk to Mister Splinter.’
I shook my head. ‘Nothing short of a gun in me back could make me go in there and face him again.’

A minute later, there I am, standing on the steps of Splinter’s caravan, Sparrow prodding me in the back. ‘Go on, Blanco. What’s the worst thing what can happen?’

***

Isn’t that marvellous? Whatever is happening, the wry, sassy voice of Blanco makes me smile.

Thank you so much Ben for sharing.

The Last Circus on Earth by BP Marshall

The Last Circus on Earth by BP Marshall

Now here are some links that you’ll love to follow up

benmarshallwriter.com
http://briobooks.com.au/booklist/lastcircus
https://www.goodreads.com/book/show/54584809-the-last-circus-on-earth

Clare Urbanski loves villains … just a bit too much…

Clare Urbanski is a fantasy author and Twitter-certified villain fangirl. She’s managed to confuse and alienate many a friend who can’t understand why she always falls for the brooding villains instead of the courageous heroes, or why she always wants to play villains even though no director ever casts her as one. On top of that, she can’t find any fictional villains who will date her. As such, she’s had to settle for creating fictional villains of her own, ignoring the temptation to give them all happy endings.

Author Clare Urbanski

Author Clare Urbanski

Hello, it’s so nice to meet another Clare! We should form a club…No, onto more important things. What was your favourite book as a child?

Clare: The Truth Cookie by Fiona Dunbar. I still love that book. A little bit of magic and a whole lot of emotional family struggles—which the main character does use magic to solve, but very much through her own initiative.

It’s really well-written, I agree, and a great premise. What about creative writing courses – do you think they are valuable?

Totally depends on the instructor and what you need. If it’s all about craft and doesn’t involve practical feedback at all, that can be helpful to extreme beginners. Instructors who impose their own preferences on you and give you bad grades for not being Ernest Hemingway shouldn’t be allowed to teach creative writing, but they can help you develop a thick skin if nothing else. The kind of course I recommend is the kind that’s basically a workshop guided by the instructor’s expertise. I’d argue those are useful for everyone.

Workshopping is a wonderful resource for any writer, I think. What’s the best response you’ve ever had to your writing?

Someone once told me Sixth in Line was like “Crime and Punishment times seven.” (Dostoyevski’s) Crime and Punishment happens to be one of my favourite books, and I definitely wasn’t purposely trying to imitate it, but I was absolutely delighted by both the compliment and the realisation that Sixth in Line actually does take a bit of a jab at the übermensch philosophy. I guess Dostoyevsky and I both hate it. No one is special enough to be above consequences!

I’m all in favour of undermining the übermensch! What’s your favourite writing food and drink?

I actually have this nasty habit of not eating or drinking at all when I get on a good writing streak. I remember texting my writer friend once saying “HELP I’VE BEEN WRITING FOR THREE HOURS STRAIGHT AND I JUST WROTE A REALLY DISTURBING SCENE AND IT’S ALMOST 9 PM AND I HAVEN’T EATEN SINCE NOON PLEASE TELL ME I’M NOT INSANE.” Not sure how she puts up with me.

Sixth in Line by Clare Urbanski

Sixth in Line by Clare Urbanski

Ah, you do like olive dangerously! Can you tell me about the time you decided you are a writer?

I was in fifth grade. I used to be super into those Bailey School Kids books, and I remember being very disappointed to discover that not every type of fantastical creature I liked was featured in the series. Then, suddenly, one day I thought, “What if I wrote a book about the ones they missed?” And as soon as I realized nothing was stopping me, that’s exactly what I did. (I still have that one. My mom printed out all 150 pages for me and everything. Not a bad achievement for an eleven-year-old… which is the only thing that’s kept me from burning it. It is exceptionally, prodigiously terrible.)

Ha! Lucky for me, my early efforts are long-lost. Is there anyone in your past who’d be surprised at your writing?

Anyone who knew me as a child: Oh, are you still writing?

Me: Yeah!

Anyone: [Remembering cute story about plucky middle school detective girls and the evil fairies’ labyrinth of doom] So what have you been working on?

Me: Well, I just finished a novel narrated by a serial killer…

Anyone: Uh.

Me: And I’m editing one about a teenage prince having a mental breakdown over all the deaths in his family…

Anyone: [Runs away]

That’s hilarious! Where do you write?

Actually, for me it helps to move around. For some reason I focus better if I don’t write in the same place twice. I’ve gotten a surprising amount of writing done in very non-romantic places, like while riding the city bus or trapped in the lobby of a Russian hotel (long story).

Ooh, perhaps another book about the Russian hotel…Where do you get inspiration or ideas from?

The most random places you could imagine. I did some excellent character development once by walking into a Walgreen’s to get out of the cold while I was waiting for the bus. The only money I had on me was a dollar in quarters, and since I was bored waiting I decided to search the store for anything I could buy with that. Unfortunately I was extremely hungry, and it was torture looking at all the candy when I could only afford an eraser. My mind immediately jumped to one of my main characters from a work in progress, an ex-criminal. I pictured him walking through his local market as a twelve-year-old, doing the same thing I was, but knowing full well he and his mom would go hungry that night if he couldn’t find anything cheap enough. Suddenly I understood exactly how his thieving habit started.

That’s very clever, and a kind of method-acting way of getting inside your character. I like it. If I wanted to interview one of your characters, who would you suggest?

It might be funnier to tell you who I wouldn’t suggest. I think the absolute worst candidates would probably be 1. the Jack of Spades, the villain’s sidekick from Queen of Spades, and 2. Crystal, the main character’s twin sister from Hero of the Hinterland. They’re both an incredibly dangerous combination of powerful (in combat and magic, respectively) and spectacularly socially inept. You don’t want to be the one to accidentally make them feel threatened.

The Witch's Apprentice by Clare Urbanski

The Witch’s Apprentice by Clare Urbanski

I will keep that in mind! Eek. *looks over shoulder in case a magic villain has materialised* Who helped you most when you were starting out?

My parents had this one friend who used to read my works in progress when I was in high school. Every time he came over I would print out a chapter or two for him, and he read every single one of them. Considering how terrible I think those high school projects are now, I actually get a little teary thinking about how kindly and generously he encouraged and supported me by being my first “fan.”

That’s a lovely memory. Early constructive support is very important, I think, more so than early criticism or corrections. Thanks for speaking with me Clare – and adding yet more to my long ‘want to read’ list.

Clare’s LINKS:

Twitter: @ClareUrbanski, @VillainFangirl

Facebook: https://www.facebook.com/clareurbanski.author

 

Daughter of the Times: Louise Fein

Real people living though unprecedented times – sound familiar? This is what author Louise Fein brings to life in her novel People Like Us  (see my review of this wonderful book here). Inspired by her family’s real life travels and tribulations, Louise looked at the historic events of Nazi Germany from both sides, creating wonderful characters who will resonate with readers. How can such things happen to ‘people like us’?

Welcome, Louise, lovely to speak with again. I see mention of your novel everywhere  such as in the latest issue of the Historical Novel Society journal. I’m so glad to see it getting the attention it richly deserves. You came to writing later, after studying your masters – what advice would you give an aspiring writer?

Author Louise Fein

Author Louise Fein

LOUISE: My advice is: persist, persist, persist. Writing is a long game, so don’t be in too much of a hurry. Read as widely as possible, it’s the best and most vital way to becoming a writer. Set yourself easily achievable targets. Ones which don’t seem too daunting. You most likely have a job or busy life around which you must write, so at the end of a long day, you probably won’t want the prospect of writing 2,000 words. But, if you set a target of just 500 words a day, four days a week, you will easily have a first draft within a year. A comfortable target means you are less likely to bail or procrastinate. Then, once you have a first draft, even if it’s terrible (and most, certainly mine, are) you will have something to rewrite, edit and polish. Only when it is as good as you can get it, should you consider sending it out.

Yes, I agree, and I’d probably add that you need to put it aside for a little before sending. How much research is involved in your writing?

A lot! I am currently writing historical fiction, so it’s a huge part of the process. For People Like Us, I travelled to Leipzig twice to conduct in depth research there; I read everything I could get my hands on about Leipzig in the 1930s, as well as fiction and non-fiction set in that time period. I listened to people’s recollections, read contemporaneous diaries, letters, official documents and even Mein Kampf, to really understand the mindset of the Nazis. My current novel is set in 1920s England and I’m having to do just as much research for that, although a totally different subject matter. Luckily I love the research part of the job.

Daughter of the Reich by Louise Fein

Published as Daughter of the Reich in the US

Can’t wait to see the new one! I guess that’s part of your writing goal for the next twelve months?

I am in the editing cycle for my second novel. I am excited for this book, but can’t say too much about it at present. I am also thinking ahead to my third book, and doing some early research for that. I have a setting for it, a premise and rough outline of a story, which is how I usually start. The early research is quite general but helps me to hone the story. I will then write a pretty rough first draft which will be a chance for me to explore my characters and story lines. Most of it will end up being ditched, but it’s part of the process. When I write the second draft, I will do more specific and detailed research as required. I will finesse and add depth and detail to the storyline. I will do at least three drafts, probably, before I feel ready to submit to my agent and editor. There will be further edits after that following their input.

And that process is why your writing is so good! Is it easy for you to meet other writers?

Before I started my master’s degree, I didn’t know any other writers. Through the course, I soon had a core group of writing friends and we continued to meet up long after the course had finished to critique each other’s work and to support each other in our journey to publication. Since getting my publishing deal, I have met a great many other writers, both virtually and in reality. They are, in my experience, THE most supportive, generous and lovely group of people who cheerlead each other. Writing is a lonely job and chatting to others who understand the writing life is crucial for me!

I find the #writingcommunity wonderful! Do you belong to a book club?

I belong to three! Reading is my passion and I also love chatting to likeminded people about books.

Three book clubs! That’s very keen. Where do you write?

I am very lucky in that I live in a 400-year-old converted watermill. In the garden we have an Elizabethan barn (dating back 500 years), beneath which runs a small stream, and which used to house a horse and some farm equipment. It has been converted into a library-style writing office, where I have my desk, a rug, couple of sofas and shelves full of books. I share the barn with some tiny birds who nest in the rafters and the odd bat! It is wonderfully peaceful and the perfect place for creativity, although, despite being heated, it is a little cold in the winter! My dog always accompanies me, curling up and sleeping in her basket at my feet while I type. Walking with her helps me solve many a plot hitch.

Writers and their dogs – a heavenly match. If I wanted to interview one of your characters, who would you suggest?

I think I would have to choose Erna. She is the best friend of my main character, Hetty. Erna is incredibly brave, selfless and a brilliant friend. We get to know Hetty in the book very well, having access to her inner thoughts and feelings. It would be great to know more about the lovely Erna.

I loved Erna, she’s great character. Do you send out a newsletter to readers?

I do. I send a quarterly newsletter to my readers who sign up to my website: www.louisefein.com You will receive a free WWII themed short story if you sign up and I promise, I won’t spam you!

That sounds like a wonderful deal! All the best, Louise, and let us know when Book #2 is here!

 

Louise’s Links:

To find out more, you can follow Louise on Facebook: https://www.facebook.com/louisefeinauthor/  or Twitter: https://twitter.com/FeinLouise or visit her website: www.louisefein.com

You can buy People Like Us from the following booksellers, or ask at your local independent store:

UK

https://www.amazon.co.uk/People-Like-Us-Louise-Fein/dp/1789545005

https://www.waterstones.com/book/people-like-us/louise-fein/9781789545005

https://www.hive.co.uk/Product/Louise-Fein/People-Like-Us/23814992

Australia

https://www.harpercollins.com.au/9781789545012/people-like-us/

https://www.amazon.com.au/People-Like-Us-Louise-Fein/dp/1789545013

USA

https://www.amazon.com/gp/product/0062964054

https://www.barnesandnoble.com/w/daughter-of-the-reich-louise-fein/1132922940?ean=9780062964052 

https://www.harpercollins.com/9780062964052/?utm_campaign=aps&utm_medium=athrweb&utm_source=aps

 

 

Remarkable Women with Carrie Hayes*: free love and votes for women

Carrie Hayes’ debut novel Naked Truth tells the story of real life sisters, Tennessee Claflin and Victoria Woodhull, American suffragettes and advocates of Free Love, who came to New York in 1868 and challenged the status quo.

*Author photo by Pamela Forbes
Tennessee Claflin, stockbroker

Stock broker Tennessee Claflin with investors, from The Days’ Doings, February 26, 1870.

Unusually and rather shockingly for women of the time, they opened a Wall Street stock brokerage and published a newspaper. In 1870, Victoria made history when she became the first woman to run for President of the United States.

Victoria Woodhull attempts to vote

Suffragettes Victoria Woodhull and Tennessee Claflin attempt to vote, from Harper’s Weekly, November, 25th 1871

Welcome, Carrie, and thanks for speaking with me. Can you tell us why writing is important to you?

Carrie: Writing is important to me because words and language are the most basic and spontaneous way for us (ie people) to convey our thoughts, feelings, dreams and everything else that goes along with being a human being. I love, love, love all forms of art- music, dance, theatre, and the visual arts, but writing is something almost everyone can do- at least to one degree or another. So that pushes its significance to the top of the list.

What’s your take on creative writing courses?

I think creative writing courses are incredibly valuable. They help tease out whatever natural flair you might have as a writer, at the same time as (hopefully) drilling in a little bit of discipline when approaching one’s work.

What would you like to tell aspiring authors?

My words of advice to any aspiring author would be to read as much as you can, particularly those writers you admire and would like to emulate. The books that you read are like free lessons and can only help you grow as a writer.

Can you give us some insight into your writing routine?

My go-to routine for writing involves as much procrastination as possible! But sitting at my desk is very heaven. It’s in a smallish room at the top of the landing at the house where I live. There’s a wall of books on one side and a small bed across from that where my dog snoozes while I work. The desk was a gift from a friend and had been her mother’s. It’s an elegant burled oak lady’s desk with a patina full of good vibes. It’s centered on the window and looks out onto the street. I can peer around my computer screen and watch the comings and goings outside. I don’t allow myself to quit for the day until some writing happens….Writer’s block is not really a thing for me, because a very brilliant writing teacher I had said, “Plumbers don’t get plumber’s block, you just have to work through it. Just get to work!” She also pointed out that 300 words a day come out to a novel a year, so there isn’t any excuse. My favorite writing food and drink is preferably something that isn’t sticky. I’m a pretty messy person, but a gooey keyboard is the worst. I tend toward salty savoury things whilst working, but then again it’s a rare sweet that I’d turn away from too..

Procrastination staved off by snacks sounds like a good plan! What kind of responses to your writing have you had?

“I didn’t want it to end….” was the best response I’ve had to my novel. However, reviews are tricky. Because whoever is reviewing the book might really, sincerely not have enjoyed it at all! And that puts the reviewer in an awkward position, I think… so one shouldn’t take these things too much to heart, but getting a negative review never feels good. Alas, it’s part of the deal of putting one’s work out there! An agent who wrote me a really nice rejection letter said my novel made him think of Annie Proulx‘s writing…. But I haven’t read much of her work, and the agent also rejected me, so I don’t know what to think about that. I guess I realised that I am a writer when it just became the default setting of how I spend my quality alone time. I wrote something in medium about that: this is a friend link so anyone can click on it and see it  in medium. https://medium.com/@carriehayz/for-dad-in-time-for-fathers-day-2f3368f78455?source=friends_link&sk=f730af86b5cafa8217227457ce1f1425.

It ‘s about my dad, who was involved in the New Journalism movement of the 1960’s. He would constantly say that I would be a writer. Of course, if one’s parent says something, it almost becomes a challenge not to do the opposite thing….  It wasn’t until he’d been dead 30 years that the writing thing really took hold and I just stopped fighting it.

That’s very interesting, if a little sad, but your dad was right. If writing is your go-to quality activity, then it’s definitely your way of life. Do you like reading too?

My favorite genre is historical fiction, which not coincidentally, is my genre. I love doing the research. It’s everything to me. In fact, I wish I were better at it. And to be honest, my favorite reader would be someone who just likes to read what I like to read! Something challenging but not too difficult! Something with lots of nuanced, even feminine perspective that doesn’t necessarily end the way that I want but something that leaves me feeling a little bit breathless and amazed by the narrative journey I’ve taken whilst reading the story, you know?

Naked Truth, or Equality, the Forbidden Fruit by Carrie Hayes

Naked Truth, or Equality, the Forbidden Fruit by Carrie Hayes

Your writing style is quite different to a lot of historical fiction. How have readers responded?

So far, my book has yet to gain much traction. It may be because it isn’t very straightforward. Also, some readers have really disliked the way I used news clippings and letters from the period to frame the action. Then there are those who find the jump cut style of the narrative rather jarring. I am a huge Baz Luhrmann fan, and the way he incorporates the jump cut in Romeo and Juliet left a very powerful impression upon me in terms of storytelling and structure, even now, years later. So, the way I wrote the book was an attempt to emulate that sort of perspective. I think that were I to write it again, I would stick with my guns, too. I just like a jarring, staccato style narrative. I do. So, if I could write a  note to a reader, I think it would say,

Dear Reader, 
THANK YOU for reading this! If you don’t know who Victoria and Tennessee were, now you will. They were real women who did incredible things, but were largely lost to history. 
I wrote this book with the hope of inspiring you, if only just a teeny tiny bit to take chances and to do incredible things. 
Also, Reader, please rest assured that at the end of the day, it doesn’t matter if your efforts go unheralded, 
incredible things are still worth doing. What matters is that you did them. 
With every best wish, Carrie

Thank you so much for chatting with me today, Carrie. Your Naked Truth book is on my TBR list for this year, and I’m very much looking forward to it.

Carrie’s LINKS

Website: www.carriehayes.net

The Book: Naked Truth or Equality: the Forbidden Fruit

On Amazon: Naked Truth or Equality: the Forbidden Fruit

Instagram: https://www.instagram.com/carriehayes1964/

Facebook: https://www.facebook.com/carriehayespage/

Blog: https://medium.com/@carriehayz

 

‘First, I make tea’: the craft of writing with Yoon Ha Lee

Yoon Ha Lee is a Korean-American writer of science fiction and science fantasy. YHL has a B.A. in math (maths to those of us in Australia) from Cornell University and an M.A. in math (yes, maths) education from Stanford University. Yoon loves to explore mathematics for story ideas. His fiction has appeared in several revered sci-fi & fantasy (SFF) publications such as F&SFTor.com, and Clarkesworld Magazine, and his stories have been chosen several times for  “The Year’s Best…” anthologies.

Earlier this year I was fortunate enough to review Yoon’s fabulous book, Hexarchate Stories, an instalment in his much-loved Machineries of Empire series. I introduced my review with this sentence:

Prepare to be amazed and captivated by this collection of science fiction delights…

Imagine my pleasure when Yoon agreed to be interviewed for the Last Word of the Week!

Welcome, Yoon, and thank you for speaking with me today. You’ve been widely published and have quite a name in SFF circles. What words of advice would you give an aspiring author?

YOON: There is a lot of writing advice out there.  Realize that every writer is different, and that advice that works for one person may not work for another.  There’s often no harm in trying something to see if it works for you, but if the advice doesn’t work, there’s likely nothing wrong with you.  It’s intended for a different kind of writer, that’s all.  Take what works and discard what doesn’t.

That’s very reassuring. Do you have a go-to routine for writing?

First I make tea.  Then I sit down to write, except my tortoiseshell cat, Cloud, jumps up and blocks the keyboard.  I pet her until she decides that she’s had enough worship and wanders off.  Only then do I get started.  Really, worshipping a cat is one of the most pleasant ways to brainstorm anyway.  She interrupts me at intervals for more petting, which is a great way for me to take typing breaks!

I think I need another blog series called ‘authors and their feline muses’! How much research is involved in your writing?

It depends on the story!  In a sense I’m constantly researching, because I keep an eye out for ideas and interesting facts as I read or browse the internet or listen to conversations.  Some stories are mostly invention, so they don’t require me to research anything specific.  On the other hand, my forthcoming novel Phoenix Extravagant is set in a fantasy version of Korea during the Japanese occupation, and its protagonist is a painter, so I spent six months reading everything I could get my hands on about Korean archaeology and art history.  Spoiler: it’s hard to find much on those topics in English; I am indebted to my mom for helping me find books!

Ah, a secret research assistant. Excellent! How do you deal with plot holes – if you ever have any!

First, I go to my husband and whine at him, usually with the words, “Joe, my novel is brokedy.”  Then I make him take me to a cafe, where I explain why my story isn’t working (and probably the other patrons are giving us weird looks because we’re talking about nanomachines or undead generals or whatever).  He brainstorms with me and comes up with a solution.  I ask him to type it up and email it to me.  I read the email.  Then I ignore his suggestions and do something completely different.  Strange as this method sounds, it works!

I must try it! I can’t get my husband to read my books until they arrive in paperback form. How you get feedback about your story before it’s published?

I have a trusted group of friends whom I ask to beta read for me.  There’s usually a few people willing to volunteer at any given point in time.  Some of them are writers, some of them aren’t.  Every beta reader has different strengths and weaknesses, so I try to get a few different viewpoints.  For example, my husband is a physicist, so he’s great at finding logic holes.  Character arcs, not so much.

The Candlevine Gardener & Other Stories by Yoon Ha Lee

The Candlevine Gardener & Other Stories by Yoon Ha Lee

Good plan. What’s your writing goal for the next twelve months?

Right now I’m working on a science fantasy short story for the Silk & Steel anthology.  I’m a novice fencer attending the Red Stick School of Fencing in Baton Rouge, so there will be dueling!  My duelist character is going to be much more competent than I am–what else is wish-fulfillment for?

I’m currently under contract for a sequel to my kids’ Korean mythology space opera, Dragon Pearl, so I’m excited to be working on that after the short story’s done.  I love space opera so it’s going to be fun returning to that genre.  That’s due in October.  And after that, who knows?

Ninefox Gambit by Yoon Ha Lee

Ninefox Gambit by Yoon Ha Lee (Machineries of Empire #1)

That’s quite a program! And you’re the third SFF author I’ve met who also fences… What’s your favourite genre to read?

I have two right now–nonfiction and tabletop roleplaying games (RPGs).  The world is full of weird and fascinating facts; my shelves have books on linguistics, military history, music theory, and other delights.  As for the RPGs, I’m a gamer with an interest in game design, so I love looking both at older settings like TSR’s Planescape (a Dungeons & Dragons campaign setting) as well as indie RPGs like Monsterhearts 2 or Tiny Frontiers.

Are you planning to write any graphic novels?

I’d love to give it a go; I’ve experimented with one- and three-panel gag strips in the past.  My current project, sort of in the nature of a warm-up, is a 22-page comic adaptation of my short story “The Battle of Candle Arc,” originally published in Clarkesworld Magazine (http://clarkesworldmagazine.com/lee_10_12/).  I have a script, thumbnails, and color test, so the next step will be to do the pencils.  Trying to make a story work in a visual format is extremely interesting.  I’m personally looking forward to drawing exploding starships because, please, don’t we all?

What would be a dream come true for you?

This is a very long shot, but I would be thrilled if someone made an animated TV adaptation of Ninefox Gambit or even all of Machineries of Empire.  I suspect that doing it as live-action would be cost-prohibitive because of all the “magical” special effects and space battles, but maybe animation would ameliorate that?  It’s nice to dream, anyway!

A wonderful dream – I’d love to see that! Thank you so much for the chat. You’re an inspiration.

Phoenix Extravagant by Yoon Ha Lee

Phoenix Extravagant by Yoon Ha Lee

 

LINKS

website: http://yoonhalee.com

Twitter: @deuceofgears

Instagram: @deuceofgears

BOOK LINKS

Phoenix Extravagant (preorder):

https://www.amazon.com/Phoenix-Extravagant-Yoon-Ha-Lee/dp/1781087946/

Dragon Pearl

https://www.amazon.com/Dragon-Pearl-Yoon-Ha-Lee/dp/136801335X/

Ninefox Gambit

https://www.amazon.com/Ninefox-Gambit-Machineries-Empire-Yoon/dp/1781084491/

Trevor Wood introduces The Man on the Street

Although Trevor Wood has lived in Newcastle for twenty-five years and considers himself an adopted Geordie, he still can’t speak the language. A successful playwright who has also worked as a journalist and spin-doctor for the City Council, Trevor served in the Royal Navy for sixteen years joining, presciently,  as a Writer. Trevor has an MA in Creative Writing (Crime Fiction) from the University of East Anglia.

Trevor’s widely-praised first novel, The Man on the Street, is set in Newcastle, and will delight readers of mystery thrillers – if you like Val McDermid and Ian Rankin, Trevor’s Jimmy Mullen series could be your next addiction.

Let’s discover a bit more about the writer behind Jimmy.

LWOTW: Welcome, Trevor, and thanks for talking to me on last Word of the Week. What was the first book you read for yourself?

TREVOR: Like most people my age I blame Enid Blyton for everything. The Secret Seven, Famous Five and the ‘Adventure’ series were undoubtedly my gateway drugs to a lifelong love of crime fiction. It’s no coincidence that my debut crime novel The Man on the Street features a dog. He’s a direct descendant of Timmy.

Author Trevor Wood

Author Trevor Wood

Once I’d put on my big boy pants it was difficult to know where to go next for something to read – YA fiction was barely a thing back in the day. The solution came to me on a terribly dull barge holiday on the Norfolk Broads with my cousin and his family. These days I’d love that kind of holiday – a glorified pub crawl on a boat being my kind of thing – but for a 14-year-old boy it was stupefyingly boring. The solution was galloping through the shelf full of books on the barge – all written by Agatha Christie. From that moment on it was crime all the way and it’s all due to Enid and Agatha (and maybe Scooby Doo).

Enid and Agatha provide a perfect pedigree, but I see you also have an MA in Creative Writing. Do you think that creative writing courses are valuable?

I have nothing but praise for the creative writing courses I’ve done and am certain that without them I wouldn’t now be a published author. I tried a couple of short, local courses in Newcastle first. From the first I ended up joining a small group of writers who meet up every three weeks to offer each other constructive criticism on our latest work in progress. It’s been an invaluable part of my process. My second course provided me with a great friend who also happened to be a retired senior cop, who is now not only a drinking partner but a sounding board for some of my more fanciful ideas regarding the police.

It was the third, however, that provided the major impetus to my writing career, such as it is. I was one of the guinea pigs on UEA’s inaugural Crime Writing MA, a two-year, part-time course with an end point of producing an 80,000 word crime novel. With visiting writers including Lee Child, Ian Rankin, Mark Billingham and Denise Mina, and ten other thoroughly-committed budding crime writers offering regular feedback on every 10,000 words produced, it was a total joy from start to finish. Not only did it make me a far better writer, it opened so many doors, with visits from agents, editors and several experts in their fields from pathologists to crime scene boffins, the whole thing was an inspiration. Out of the eleven students, five now have publishing deals and three more have agents with books in the pipeline.

If your ambition is to be a published crime writer then I urge you to SIGN UP NOW (I’m not on commission but maybe I should be?)

Yes, you should be! That sounds like a fabulous course.  Personal question now: are there any secrets hidden in your writing?

It’s not a secret really but a small in-joke for my own amusement that no-one has ever mentioned so this is basically a WORLD-WIDE EXCLUSIVE.  The main character in The Man on the Street, Jimmy, is a homeless veteran who is suffering from PTSD. He is particularly haunted by fire as a result of his experiences in the Falklands War. I have a cop in my book too, who may or may not be on Jimmy’s side, no plot spoilers here. The cop’s name is DS Burns. I did say it was a small in-joke.

But a world-wide exclusive small in-joke! LOL! Now, how do you feel about reviews?

Undoubtedly the best response I’ve had to The Man on the Street was from the ultra-talented writer Dominic Nolan, who I’m certain will soon be catapulted on to the A-list with his brilliant new book After Dark. All praise is, of course, deeply gratifying but when it comes from a master of his, and your own, craft it’s doubly so. I’ll leave this here:

Trevor has assembled a fine array of characters—each playing their part in the main narrative whilst remaining the heart of their own stories, and never once are they condescended to. The plotting is so deft—weaving the larger tapestry of social inequality and the wretchedly skewed priorities of collapsing instruments of state services with the more intimate darkness of personal crimes. It is the kind of thriller our times need and deserve.

Dominic Wood on The Man on the Street

cover

Of course, there will always be those who don’t like your work. I really don’t mind less-than glowing reviews as long as they are constructive and often find myself agreeing with some of the criticism. If you’re going to be a writer you really have to learn to take criticism because believe me you’re going to get it. It starts from the moment you begin submitting to agents and then, if you survive that ordeal, editors come next – and it never really stops. It’s a brutal rite of passage and you need to be resilient to get through it. That doesn’t mean you have to agree with everything that’s said about your work, far from it. But it does mean you have to be able to examine your work carefully and critically. I have a rule that if two people say the same thing then I need to have a good look at it but sometimes you have to go with your gut and stay strong if you’re convinced you’re right.  There will always be people who hate your work. Note it and move on quickly. I’ve co-written around a dozen plays and my favourite bad review was “the writers set the bar really low yet still manage to limbo dance under it.”  Which you have to admit is a funny line even when you’re the victim of it.

Oh dear, yes, that made me laugh out loud! Do you imagine specific actors playing your characters – which is possibly inevitable for a playwright?

I was very lucky with the audio version of The Man on the Street. As I’ve mentioned above, I’ve co-written several plays (and consequently worked with a lot of great actors.) My publishers sent me a link to listen to when they thought they’d found the right actor to take the job on and I didn’t even need to open it. It was the outstanding David Nellist, who had starred in one of my co-written plays Alf Ramsey Knew My Grandfather but is perhaps better known for playing Mike Stamford, the character who introduces John Watson to Sherlock Holmes in the re-boot of the TV series. As always, Dave has done a fantastic job with the book, bringing a real authenticity to the characters.

That’s wonderful. And is there more Jimmy Mullen to come?

Yes there is! A second book is well underway, and there might be bigger things in store for Jimmy.

That’s so exciting! Thanks for sharing with me today, Trevor, and all the best to you and Jimmy.

You can find Trevor on Facebook at

https://www.facebook.com/Trevor-Wood-Author-104885950924368/

and he tweets too: @TrevorWoodWrite

*******

The Man on the Street

When Jimmy, a homeless veteran grappling with PTSD, witnesses a murder, no-one believes him.

Even he hopes it’s another hallucination.

Then a newspaper headline catches his eye: GIRL IN MISSING DAD PLEA.

It’s time for Jimmy to stop hiding from the world. But telling the girl, Carrie, what he saw puts him at risk from enemies, both old and new

Jimmy has one big advantage though; when you’ve got nothing, you’ve got nothing to lose.

Bringing history to life with Caroline Warfield

Discovering Diamonds (independent reviews of historical fiction) first led me to award winning author Caroline Warfield, because her book Christmas Hope seemed a perfect match for my own The Stars in the Night. (Put them together for a perfect present!) Caroline excels at family-centred romance set in the Regency and Victorian eras.

Caroline has been many things: traveller, librarian, poet, raiser of children, bird watcher, Internet and Web services manager, conference speaker, indexer, tech writer, genealogist—even a nun.

She reckons she is on at least her third act, happily working in an office surrounded by windows where she lets her characters lead her to adventures in England and the far-flung corners of the British Empire. She nudges them to explore the riskiest territory of all, the human heart.

Welcome, Caroline, and thank you for speaking with me on Last Word of the Week. Can you tell us about the first book you read for yourself—or bought for yourself?

Caroline: All writers are avid readers—we have to be. I don’t remember not reading so this question is hard. A more vivid memory isn’t so much the first book I bought for myself but the moment I liberated myself from the children’s section of the public library. The door to that building was in the center, and for years I turned to the right to the children’s section when I came in. One day at twelve I turned left instead of right.  No one stopped me—it was a heady and powerful feeling. The book I took out that day was Jane Eyre.

How wonderfully liberating. What words of advice would you give an aspiring author?

The best advice I ever got was simple. If you want to be a writer, you have to write. Just sit down and do it. What is more to the point, keep doing it every day. Don’t diddle, talk, or dream about it. Do it.

Carol Roddy

Do it. Of course! Is writers block a thing for you?

Yes, although it is usually less dramatic than a complete block. I will cruise along writing 1-2000 words a day on a book, hit a speed bump and come to a screeching halt. Some of it is that I can’t envision the next steps of the plot, but I’m learning that the underlying issue is usually that I’ve failed to get well enough acquainted with the characters—their personality, life, wounds, scars, underlying goals…that sort of thing.  Once I know them well, and I’ve put them in a situation, the writing flows. When I hit a wall, it is time to go back to character charts and backstory for a while.

Character charts – why didn’t I think of that?! What’s the best response you’ve ever had to your writing?

My favourite praise is “I was up all night finishing your book.” SIGH

 

That is high praise indeed. Lovely! Your focus is on historical novels – how much research is involved in your writing?

Heaps—especially when I allow some impulse to set characters down in a setting and historical situation about which I know little. The worst was the time I sent a character to India and realized I knew nothing about the East India Company, the country itself or its culture. Research, research, research.

With a fabulous reason to do more of our favourite thing – reading! Do you get feedback about your story, before it’s published?

Always. I drop little excerpts of my WIP to reader groups on Facebook as I write, and I always get it to beta readers before I do one final self-edit before sending it to the publisher.

That sounds like a good feedback system. What’s your writing goal for the next twelve months?

I’m doing something a little different this year. I have two projects in process at once. Because readers like series, and they don’t like long waits between books, I’m holding on to finished manuscripts. But I’m writing two series at once. The first is a new set of books in my British Empire series using sons and daughters of characters in my earlier books. We’re up to about 1840 in that saga. Book one is finished in rough draft. That one, The Price of Glory, takes place primarily in Egypt and Nubia.  The other series is more of a traditional Regency world, it covers two interrelated families around a coaching inn in a village in the English Midlands. The hero of book one in that series is half-brother to both families, the innkeeper’s and the earl’s, who has been called home reluctantly in 1817 after leaving for good (he thought) fifteen years before.  My goal for 2020 is to have the two books in the Empire series and one in the other finished, with two other stories well under way

That’s a big year you have in front of you, but it sounds fascinating. What’s your favourite genre to read?

I read historical books. Mysteries, romance, straight up fiction, non-fiction, biographies—if its historical it will find its way on to my to-be-read pile.

I bet we have a few overlapping favourite authors. Where do you get inspiration or ideas from?

Often, ideas come to me from travel.  I once sat in a café in Rome and asked myself whether I could set a Regency novel in Rome. Turns out I could and Dangerous Secrets has become one of my favourites. I also rely on reading, on my own previous books, and, of course, bits of historical trivia.

Do you plan your books, or do you listen to your muse?

I rely entirely on the girls in the basement. I fill them with settings, history, and characters and they give me back stories. If I do my preliminary work regarding characters and setting, and we agree on some key turning points, the girls and I, it works. Over-planning puts them to sleep.

What a delightful process! Is it easy for you to meet other writers?

Not always but it is vital. Since I moved to the urban wilds of eastern Pennsylvania I no longer belong to a local chapter. Luckily, I have made some excellent friends online. We brainstorm, read each other’s work, and encourage one another. Every year we produce a collection of new stories with interrelated story elements. One year it was a house party overrun with kittens (Holly and Hopeful Hearts). One year it was a Valentine’s Day ball (Valentines from Bath). This year, timed for Valentine’s Day, it is Fire & Frost in which all five stories converge at the 1814 frost fair on the frozen Thames.

How marvellous! I must say, Caroline, I love your work. Thank you so much for sharing today.

You can see Caroline’s wonderful works one her bookshelf at https://www.carolinewarfield.com/bookshelf/

You can find more about the stories in Fire & Frost and links to various retailers here: https://bluestockingbelles.net/belles-joint-projects/fire-frost/

You can find all Caroline’s books here: https://www.carolinewarfield.com/bookshelf/

You can follow progress, find excerpts, and learn about her characters here: https://www.facebook.com/groups/WarfieldFellowTravelers/

 

Caroline’s other links:

Website

Amazon Page

Good Reads

Facebook

Twitter

Newsletter

BookBub

YouTube

 

 

The Middle Child Reads

2020 has begun with a great deal of destruction, loss and anxiety for us in Australia. I will write more  about this, but I also need to take it on board – it’s part of me now.

I wish it need not have happened in my time,

And I can still do bits and pieces – like this list of twenty positive actions.

This week, I’m looking over my shoulder, gathering strength for the times ahead.

Last year, 2019, was pivotal for me in many ways:

I could say that 2019 is the year that convinced me that I am writer. So that was quite affirming, as well as a huge relief! Looks like I can sort of do this thing I’ve always longed to do.

Middle Child Reads

Some of you know that I ‘suffer’ from Middle Child Syndrome. I’m not the eldest, or the youngest; I’m not the prettiest, or the most artistic; I’m not the most talented sportsperson, or the most charming bloke. Each one of those titles belongs to one of my six siblings. Three older, three younger. (Search Middle Child Memes – they’re hilarious!)

Your classic middle child, so they say, craves the attention that is lavished on their older and younger sibs. Mid kids are said to be overachievers as they try desperately to be noticed. I could call 2019 the year of overachievement.

But I won’t. I’d rather say that my defining characteristic is that  I’m the reader – reading is my superpower – and now I feel I can confidently say

I’m the writer!

Oooh, that felt good.

Thank you so much for your support and interest in 2019. Next week I’d better get my head properly around 2020.