… on Amazon’s ‘look inside’ feature here.
… Just retweet any Faber Children’s (@faberchildrens) message on Twitter about The Bone Dragon competition by 4.30pm today and you’ll be entered to win a copy!
Today, I am officially a published author. I was expecting it might have sunk in by now, but a year on I’m still astonished from day to day to realise (a) I have an amazing agent, (b) I have a wonderful publisher, and (c) I’m being published. Am published as of today. It’s really quite nice that it won’t sink in because the realisation that it’s not just the latest in a string of daydreams is a lovely surprise each and every day.
And there have been all sorts of lovely surprises, not least that I’ll be speaking at the Hay Festival later this month along with Sally Gardner and Nick Lake. You can find more details about our ‘Happily Ever After?’ event here if you think you might be interested in coming along.
And then there’s the thing I’ve been longing for and dreading… finding out what people think of the book. Thank you so much to everyone who’s bought the book, read it, ordered it, included it in posts and cover reveals, and generally started getting the buzz going.
Luna’s Little Library was my first ever reader to comment. I literally jumped around for a little while being over the moon that my first reader liked the book. She’s also written an absolutely lovely review. Literally the sort of review I’ve dreamed about.
The first review to come out though was actually Annabelle Hammond’s detailed and thoughtful look at the book. It’s been amazing to hear that people are reading my book, but it’s the most wonderful compliment when people take the time not only to review but to review at length.
Katie from Storytellers, Inc.’s wonderful, insightful review picks up on so many of the things that I hoped readers would find in the book. Was so touched by the discussion of how I’ve handled the darker themes in the book: Katie review captures exactly what I was trying to do.
Laura from Sisterspooky’s review made my day by tackling many of the mistaken assumptions readers might make about the book if they only glanced at the blurb. It’s such a great thing for a writer to see reviews that address market forces so that readers can get a true sense of what a book is about.
Finally, INIS magazine have my first trade press review! So exciting to have one out before the official publication date. Now to cross fingers that there are more to come.
I know that everyone gets bad reviews. It’s part of the territory. But it’s so lovely to start with nice ones. Let the bad ones wait as long as possible!
It’s a strange and wonderful thing to read reviews of your work and especially to see the time and care people have put into thinking and writing about your book. I’ve been astonished with how many things these reviews have picked up on that really mattered to me as a writer. I wasn’t sure how much of what I see as the heart of the story would translate to readers. It’s a powerful thing to be told that it has translated: that readers are seeing what I see in the story… or at least partially. Seeing readers’ alternative interpretations of their work drives some writers mad, but mostly I’m curious. The book may be my creation but any reading of it belongs to that reader. I love that about the writing-reading process: there’s a point at which it’s collaboratively creatively, albeit it at a distance.
Thank you so much to the wonderful reviewers who have made my publication week so amazing. I can’t tell you how grateful I am for the care with which you’ve treated my work.
So excited to be able to share Part 1 of my dream-come-true news: I’m speaking at the Hay Festival on 29 May!
I’ll be doing an event with Sally Gardner, winner of the Costa Children’s for Maggot Moon, and Nick Lake, winner of the Printz for In Darkness, both shortlisted for the Carnegie Medal 2013! We’ll talking about happy endings: what makes a happy ending, whether happy endings are necessary, and so forth…
My parents and I used to go to Hay-on-Wye every spring when I was a teenager and I’ve always wanted to go to the festival. I’ve never managed it before because Hay’s always been at give or take the same time as Wychwood Festival, where I ran the Box Office until last year – and anyone in the entertainment industry will tell you there is Absolutely No Time Off just before or after an event you work for. Anyway, now, not only am I going, but I’m going as an invited author!
It is one of my lifelong dreams to one day be invited to speak at a biggish festival. Any biggish festival. I absolutely cannot believe that I’m going to Hay and… but the and is another story.
It’s especially hard to get my head around the whole Hay thing with The Bone Dragon not even out until 2 May. Thank you, thank you to the amazing Laura, my publicist at Faber, for making this happen and literally making one of my dreams come true.
So, the event itself is at 5.30pm on Wednesday 29 May 2013, on the Hay Festival Starlight Stage. If you’re looking to book, the event is called ‘Happy Ever After’ (HF70). Tickets are £5 and you can book here.
Hay-on-Wye is an amazing place: a beautiful old town filled with bookshops (mostly secondhand and antiquarian), so paradise if you’re a bookfiend like me. It also has amazing cafes and a few lovely jewelry shops, or it did last time I was there. It’s on the edge of the stunning Brecon Beacons so not the easiest place to get to but it’s a beautiful journey. For more information, visit the main festival site here.
It’s the perfect setting to launch a Dragon.
(Or for a Dragon to lunch, in case of any hecklers. Consider yourselves warned.)
Over on http://www.alexiacasale.com, I’ve been warbling about the importance of names, so I thought I might do a post here about the names I picked for The Bone Dragon… and use this as an opportunity to introduce some of the characters (well, a little bit anyway).
One thing I am bad about, as a writer, is that I tend to have too many named characters. It’s hard for people to keep track of them and it detracts from the reader’s focus on the characters who are important. I’m trying to remedy my natural inclination in this regard by naming some people by their role only (e.g. the policeman, Jenny’s mum, the lifeguard, etc.). This has worked fairly well in The Bone Dragon.
The main character has a rib in a pot that gets carved into a dragon. Given the parallels with Old Testament stories about Eve being made from Adam’s rib, I didn’t even have to think about my name character’s name. She was just Evie. Right from the start. There is also an Adam in the book.
Given how quirky the book is, it was really important to me not to strain the reader’s credulity more than necessary, so it made sense for the majority of the characters to have very ordinary names. As ordinary as possible while still being appealing: Amy, Paul, Ben, Fiona, Fred, Jenny, Mrs Poole, Ms Winters, Mrs Henderson…
Phee and Lynne are Evie’s two best friends. For them, I wanted names that weren’t particularly unusual, but weren’t too common. And I knew I wanted one to be a nickname. Phee is probably from Phoebe, but I’m not sure. Just as I’m not sure if Evie is from Evelyn or not. It doesn’t really matter. They think of themselves as Phee and Evie so that’s who they are in the book: it’s all anyone really needs to know for sure.
Who else? Well, there’s Sonny Rawlins. He just turned up, complete with name, so if there was a thought process behind his naming, then it’s not one I was conscious of.
There are a handful of other named characters, most of whom are named in a throwaway manner, so readers know they don’t have to remember these names.
And that’s about it for names. How abou the Dragon, you might ask? Well, things with the Dragon aren’t entirely straightforward. Things with dragons rarely are. You’ll just have to read and see…
Hopefully I’ll be able to share my super-exciting (at least to me) news about The Bone Dragon soon, but in the meantime I thought I’d do a post on a subject I’ve been thinking about a lot recently: whenever I plan a writing workshop, I often start thinking about how to use images… This may seem completely counter-intuitive but, for me, makes perfect sense.
I think it’s because I’m a very visual writer. I write books as if I’m creating a film, which is probably why I’m finding the transition into writing screenplay treatments far easier than I thought it would be (though, to be fair, it’s early days!).
Writing, for me, is about immersing myself in the world so that I actually *see* the place where the characters are around me. I can touch what is around them. The weather is their weather, the season their season. I write dialogue by being inside the character who is speaking and seeing what comes out (or what doesn’t when the writing is going badly). That’s just how it is for me. The ‘words’ bit comes in as I try to put down the most important parts of experiencing the world and life of the story.
You could write a whole book about what people think, feel, see, smell, etc. in one minute of one day. It might well be an enormously boring book, but you probably wouldn’t run short of content. Experience is so enormous… Which means that writing is very much a filtering and selecting process. I write as if I’m in a movie but, just like when filming, what I’m really capturing is a series of still images running one after the other. Individually, each is like a photograph.
So how do I decide what to put into words? It’s probably easiest to talk about description in this regard as this is where the process simplest. When writing description, I try to put down an image-in-words that captures my aesthetic: what I think is beautiful and interesting. I don’t try to be unique, though I do try to focus on what is different from my aesthetic and other people’s.
I also think about both what could be captured better in a photo and what can’t be captured in a still image at all. If a picture would say it better, should you really try to write 1000 words that won’t be as compelling? Why not look for the thing within the story that couldn’t be captured effectively as an image? Let the reader imagine the photograph stills that work as pure images: let them see their own version. Instead, write the images that don’t work as photographic still: those are the ones readers can’t come to for themselves. Those are the ones that you, as the writer, must give them.
Ultimately, the reason I start thinking of images when planning a writing workshop is that they give people an insight into their own aesthetic that is simpler to break down than 1000 words of their own prose or poetry. This, in turn, gives a window into thinking about voice and all the things that make writers unique.
Voice isn’t just a matter of narrative style or vocabularly… It should imbue every aspect of a book. But that’s a pretty tall order for any writing workshop. Starting from images lets people focus on the still photographs that make up the ‘movie’ of the book that runs in the reader’s imagination. It let’s you take things step by step and part by part. And that’s always a good place to start when learning.
Turns out there’s been a change of plans (either that or I slightly mixed up 1 March and 1 April – it happens) and the cover reveal is going to be… today. (YAY! [does happy dance] April seemed SOOOOOOO far away.)
So here it is. What do you think? [bounces in anticipation]
We’re also up on the Faber & Faber site! [Teehee!]
Watch out for the new blurb coming soon…
I’m super-excited to announce that The Bone Dragon will be published in German on 25 October 2013 by Carlsen! No cover yet, but watch this space…