setting

bluebell wood

Write where you know

Part of writing ‘what you know’ is writing ‘where you know’.

You can accomplish a huge amount via distance research, but there is no substitute for visiting the place you want to write about. If a place is too far (out of your wallet), then try to visit somewhere similar. You might miss small local nuances but there are quite a lot of similarities between one beech wood and another, or between one heathland marsh and another. Research may be enough to fill in the gaps, provided you have a sense of what facts you need to check.

On fieldtrips, I don’t make many notes about the places I go. Sometimes I draw little (bad) maps. But mostly I take photos. For me, photos are the best form of notes about places, not just in terms of what I saw when I was there but also in terms of what I felt and smelt and heard. With a little thought and practice, it’s quite easy to figure out how to take photos that will trigger your other senses. Just don’t get caught up in taking pretty holiday snaps. Fieldtrip photos are there as a record. Their purpose is to jog your memory. Pretty pictures are great but they’re a separate thing. Make sure you take both when you’re on a fieldtrip. Also, remember to take both close-up detail and long-shots so you have a sense of the lay out and where things are in relation to each other.

The Bone Dragon is set on the Cambridgeshire fens. Roughly. Give or take. Thereabouts. It’s not set in a particular village or town: the place isn’t even given a name. But it is somewhere that could exist. And it’s clearly roughly where it would be if it did.

I lived in Cambridge for more than four years, studying and working, so I know the town very well. Of course Cambridge isn’t the fens, but it’s geographically very close and it has the Backs and a canal stretch and lots of things I have very vivid memories of that are just the same as out in the fens.

Now, I have never spent much time in the fens themselves, but I have visited various parts of them so I know which aspects of Cambridge are the same as out in the wilds. Also, spent a lot of my teens imposing upon my lovely long-suffering auntie and uncle who live in the bit of Essex right by Cambridge (so on the edge of fen country). The areas are relatively similar, especially when you get out into the wetter, wilder places – which I did, since I’ve always loved walking… and exploring every possible path. (What a lovely sewage works I discovered on one such foray!)

When I was writing The Bone Dragon and needed some fresh inspiration, but didn’t have a lot of time, there were two forests nearby with marshy heathland that I could squelch about in. So between my memories of Cambridge, my memories of the Essex wilds near the fens, trips to the fens themselves, and heathland squelchings, I felt I could conjure the ‘where’ of The Bone Dragon into being in my study any time I needed. To what extent I succeeded, I invite you to see for yourself by reading my book (subliminal message: buy my book! buy my book!).

So when I say ‘write where you know’, I don’t mean you can only write about the place you live (or places you’ve lived), but think carefully about whether you would write better if you set your story somewhere you know or somewhere like a place you know. If you’ve no real life experience of a similar place, it will be very hard to build a realistic sense just from research. You probably won’t be able to say very much about the place or you’ll risk straining the reader’s credulity if it’s somewhere they know or like somewhere they know. The tricky thing is cities: many are far more different than first thought would suggest.

If the ‘where’ of your story doesn’t matter very much, it’s easy to write believably so long as you don’t go into much detail. But it’s a pity to lose the depth that setting can bring to a story. If you’ve got believable characters walking around in a grey, blurry world, readers aren’t going to engage as much. And it entirely rules out the possibility of establishing a setting that is almost a character in its own right – something that’s important to me as a writer.

So when you’re starting out with a new idea have a think. Where do you know? Chances are there are a lot of wheres you could write about. Why not pick one of them, or somewhere similar, rather a place/type of place you have no lived experience of at all?

There’s always the temptation to just invent your where, as I did with The Bone Dragon. And that’s fine, but your where has to be plausible for its rough, give-or-take, hereabouts setting. The where of The Bone Dragon may exist only in my head, but if I put a lot of cacti in it I’d have a problem even so. As it is, I couldn’t take you to the specific places Evie and the Dragon visit at night, but I could take you to lots of places that would do just as well. And knowing that gives me a different sense, when I’m in the World of the Book, of actually being in a real place: a place I can step into (if only in my head) and look around for inspiration. It’s a place I can explore whenever I want to because in my head there is a full three-dimensional fenland village that supplies all the sensory input I could possibly need without my having to build it in afresh every time I sit down at my computer.

My new book is set in Cambridge, but down the line there will be books set in a beech wood and books set in a version of rural Italy and books set in London… I have a lot of wheres to draw on. If you think about it, you’ll probably find that you do too.

 

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This enchantment of ice and crystal

frosted rose

In honour of last week’s Dragon-worthy frost, some photos that made me think of a particular scene from the book.

frosted fens

… the grass is so thickly frosted, every blade sharp-coated with ice…

frosted acer

The skeleton of the tree glows in the frozen night air as if displaying its soul to the heavens.

frosted acer leaves

The acer is a marvel of white over red.

frosted flowers

… diamond-flashes catch off the newly strange plants in the beds …

frosted seed pods

Now everything is shaded in grey and silver and white.

frosted ivy

Everything solid has turned to crystal.

 

leaves against the sun

The Next Big Thing

The lovely Katy Darby has just tagged me for the Next Big Thing meme: a questionnaire designed to get writers talking about their next book. Ideally, each writer tags five others but I seem to have a knack for tagging people who’ve done it and those who don’t have blogs. Go me!

Anyway, here’re my answers. (BTW, I’m cross-posting on both blogs because I ended up talking a lot about The Bone Dragon.)

 

What is the working title of your next book?

MoB. While I’m still drafting I only ever refer to a book by the initials of the working title. Sharing the title sets it in stone for me so, as it’s hard to be sure a title’s right until the book is done, I try to keep it to myself until I’m fairly confident I won’t have to change it.

I’m the type of writer who doesn’t like to share a work in progress; for me, a big part of the joy of being a writer, and not a performer, is that I can keep my work secret until I’m ready to hear what other people think. If I start sharing stuff too soon, I get caught up in other people’s ideas and start doubting my own. I need to have a draft that’s close enough to the book in my head that I can use feedback effectively before I go about inviting it by sharing information. So, MoB it is for now. And, no, it’s not about men in dark suits or aliens. Or mobsters. Or flash mob dance crews. I defy you to guess the title… But would love to see your best shot.

 

Where did the idea for the book come from?

In The Bone Dragon, I feel that I started a conversation about a series of themes that are really important to me as a writer. MoB is the continuation of that conversation, without being a sequel. The plot developed from the idea for the ‘hook’, which led me to a key moment in the climax. From there, I used the idea of continuing the conversation from The Bone Dragon to help me work out the story of how and why the ‘hook’ leads to the climax – and vice versa, since the story isn’t as linear as it seems. The fun bit is that this is the opposite of how The Bone Dragon works: TBD is completely linear, only it’s not clear that that’s the case until you’ve reached the very end of the book.

 

What genre does your book fall under?

Like The Bone Dragon, MoB is a YA psychological thriller that will hopefully appeal to anyone over 16.

 

What actors would you choose to play the part of your characters in a movie rendition?

That’s a really tough question for me. One of the weirder bits of being as dyslexic and dyspraxic as I am is that I find it hard to remember and, therefore, to recognise faces. When I’m having a ‘dyslexic day’ (anyone who is dyslexic will tell you that a person’s level of ‘dyslexic-ness’ shifts from day to day – it’s one of the key things about dyslexia that research has yet to explain), I even struggle to recognise close friends and members of my own family. Mostly I recognise people by their context, their voice and, critically, their hair. This has a huge impact on my aesthetic. I rarely take photos of people and, when I do, I only take ‘snaps’. I just don’t have any sort of an eye for faces in their entirety. This is probably why I feel very strongly about letting readers ‘see’ what they want when it comes to my characters. I tend to provide a bare minimum (and often not even that) in relation to physical descriptions of people.

The flip side is that my visual aesthetic is overwhelmingly taken up with settings and objects. I always give a huge amount of detail on these things because I ‘see’ these things with crystal clear focus – almost as a way of making up for the fuzziness of the people. I love taking photos of landscapes and plants. My best photos are to do with angle, texture and detail, and that’s true in my writing as well. That, in a nutshell, is my visual aesthetic.

The bottom-line here is that I’m not sure I *can* answer this question. I’m also not sure I want to. If I did, I wouldn’t give photos, rather I’d talk about what various actors could bring to the parts in terms of evoking the key emotional aspects of the characters. For instance, the main character needs to be thin (it’s important to the plot): she also needs to look like someone who has attractive features but is almost trying to make herself unattractive, so the actor couldn’t be straight-forwardly pretty. She needs to come across as bordering on sullen, but with a degree of vulnerability that indicates that this is more than just ‘teenage sulks’. At the same time, she can’t seem fragile: she’s prickly on the outside and angrily defensive on the inside… Which makes her sound so lovable. But, like in The Bone Dragon, it doesn’t really matter whether readers like the protagonist per se. They just have to identify with the emotions that fuel her behaviour.

 

What is the one sentence synopsis of your book?

MoB is to a ghost story what The Bone Dragon is to a fantasy story about dragons. It starts with a girl in a blue coat vanishing into an autumn wood.

 

Will your book be self-published or represented by an agency?

Represented by my amazing, wonderful, fantastic, brilliant agent, Claire Wilson, at Rogers, Coleridge & White.

 

How long did it take you to write the first draft of the manuscript?

It’s not finished yet but I hope to have the draft done by the end of January. I know exactly what’s going to happen every step of the way, so it’s just about finding the right ideas at the sentence level. I hope it won’t be a long edit: it feels like it won’t be, but maybe that’s just wishful thinking. I’ve only been working on the idea since about March-April so it’ll be my shortest idea-to-book conversion ever. But I’ve got a good feeling about it, like I had with The Bone Dragon, so hopefully…

 

What other books would you compare this story to within your genre?

Oh gawd. I always find these questions so hard. It seems so presumptuous to compare to my work to the books I dream about seeing mine sit beside. Um… I guess the best answer looks back to what I said earlier: MoB is the continuation of a conversation I started with The Bone Dragon. If really pushed, I guess MoB is The Go-Between meets The Lovely Bones. Sort of.

 

Who or what inspired you to write this book?

When I first had the idea, I knew this was a book I wanted to write… but the inspiration that made it my most urgent project came from being signed by my wonderful agent, Claire. Out of all the books I wanted to write, this seemed the most natural progression from The Bone Dragon. I would love for Claire to enjoy the book and be excited to represent it. It’s the best way I can think of to say thank you for the first miraculous ‘yes’ that led to my finally being published…

… which, in turn, involved another critical ‘yes’. I absolutely love working with the team at Faber: it would be great to see if that relationship could continue and I think they might like MoB… but we’ll see.

 

What else about your book might pique the reader’s interest?

The protagonist is 16 going on 17, so the book explores some territory that’s touched on in The Bone Dragon but remains between the lines. The same aesthetic principles apply in terms of how the darker subject matter is tackled, but the conversation goes further. The protagonist is at a different point in her life with different things at stake so I have a very different array of opportunities to explore what damage means for someone who is on the verge of a whole series of life-defining choices – about A-levels, university, romantic relationships, where she lives, how she lives, who she’s going to be as an adult… In MoB, impending adulthood means that the main character doesn’t have much time to ‘get her act together’ if she is going to avoid mucking up her future.

Those are the things about MoB that are most exciting for me, as the writer. For the reader, there’s a much more obvious mystery to be solved in MoB that will hopefully sustain the book in a more fluid way than in The Bone Dragon. But the answers to that mystery will (hopefully) lead readers somewhere they’re not expecting at all.

 

So… three guesses what MoB stands for. Go on. Give it a shot. It’s cold and dreary and dark. Laughing will make it better. (So will chocolate, but that’s your own affair.)

Return to the fens

lowering skies through the trees

I know it will be one of those cold, clear nights. Crystalline.

 

foxglove frosted

Beneath, a plant with wide, awkward leaves – probably a weed – looks like folds of lace over silk.

 

budleia in the snow

…hinting only faintly of mauve beneath the silver and white where, earlier today, they were imperial purple: a wine-dark colour thick and heavy enough to drown in.

 

winter trees

The bare tree branches spike upwards like long black thorns. The clouds rip and tear themselves ragged as they force themselves on: rank upon rank of tattered monsters hunting each other across the sky.

Setting: the Cambridge fens

snowy path

as the light fails

The Cambridge fenlands are treacherous and beautiful…

trees growing out of the water

growing out of the water

Magical and dangerous in equal parts, especially in winter.

frozen pond in the snow

waterways

The boundaries between land and water dissolve.

stream with snowy banks

where land and water meet

Even in the snow and frost, the fens are alive with colour.

 

Frosty leaves

folds of lace over silk

 
This is the world that Evie ventures out into at night.
 
splitered frozen pond

treacherous ground