Starting a writer dynasty - by Lu Hersey

 Googling famous writer dynasties, I can't help noticing they generally start with one privileged man (who has money or class, generally both, and of course a wife to do the childcare). He writes a critically acclaimed literary novel. His progeny then follow in his footsteps.

I don't fit into any of the right categories to start a dynasty, being neither male, classy nor rich - in fact as a single parent with four children and very little money, I was probably closer to trailer trash. Despite this, amazingly, I seem to have started a writer dynasty. 

Admittedly our dynasty isn't in quite the same league as Dickens, Amis, Stephen King, or the Waughs (yet). But my daughter and I are both now published authors (it may not be literary fiction, but the books are very readable) - and I reckon that's something to be proud of. 

Olivia (writing as O R Sorrel) writes brilliantly funny YA - which fortunately is exactly what people want to read. Guppy Books published her first novel Apocalypse Cow this month, just before her 30th birthday - and I've been far too busy helping her celebrate this to write anything new myself. 

I can't recommend her book highly enough, and I'm not even slightly biased. (Also, it has the best cover ever.)

Here's to nepotism. And cakes.

Lu Hersey

Writing the Magic

X: LuWrites

Threads: luwrites

Maggie Blue and the Dark World by Anna Goodall, review by Lynda Waterhouse

 

Many moons ago I visited a jeweller and had an ouroboros (snake biting its tail) ring made from Welsh gold and tiny chips of diamonds. It may communicate its magical power to me one day but, until then, I’ll just read about the magical ouroboros in Anna Goodall’s powerful debut novel, Maggie Blue and the Dark World.

The striking cover art by Sandra Dieckmann sets the scene of the two parallel worlds encountered in this dark tale. It also depicts the irascible old one-eyed wise-cracking cat, Hoagy, in his rightful place beside Maggie Blue.

Twelve year old Maggie Blue Brown sits at the centre of both worlds. She is highly attuned to people’s emotions and actions. At the start of the story she is deeply unhappy. She has been moved away from her home by the sea to the suburban drabness of West Minchin to sleep on a dusty sofa in her eccentric Aunt Esme’s poky flat. The ring belongs to Esme and is always on the fourth finger of her right hand. This ring curls around Maggie’s fingers and speaks to her in its sinewy sweet voice and guides her journey between this world and The Dark World.

Maggie’s mother is suffering from depression, her father has left home, and she is being bullied at her new school by a group of girls lead by the glamorous Ida. The only person at school to show an interest in her is the school councillor with the cold green eyes, Miss Cane.  Maggie is rightly suspicious of Miss Cane and can see unhappiness under the veneer of Ida’s successful life. Maggie may be feeling isolated and lonely but she has a rebellious streak. Despite it being forbidden, she walks through Everfall Woods and pursues her belief that she and Ida are kindred spirits. Soon Ida will be taken to the Dark World and Maggie will come to her rescue.

The Dark World is a frightening and puzzling place. Selfishness and greed have led to a climate of disaster. There is no authentic happiness. Eldrow, the ruler of Sun City is both seductive and terrifying. Maggie learns to appreciate the value of real happiness and compassion.

This story has a strong fast-paced action plot filled with real jeopardy and danger. It is beautifully written in the third person which gives it an epic feel. Hoagy is a wonderful comic cat creation. There is a strong emotional undercurrent to the writing that explores both the disconnect between humans and their environment and the struggle to find true happiness and meaningful friendships.

At the end of this part of the story Maggie turns her back on the Dark World and the ouroboros ring is locked away.  One day she will need it again to guide her. In Maggie Blue and The White Crow perhaps?

ISBN 978-1-913101-33-6

Guppybooks.co.uk

 

The Importance of Books by Vanessa Harbour

We all know how important books are. We know what a vital role they play. Sometimes though it really helps to be reminded why. Some of you may have seen a tweet I posted earlier this week about an experience I had when lecturing. In discussion with a group of students about character I asked them who their favourite characters were. The answers were diverse and eclectic but often what accompanied their answer was an explanation. This explanation nearly always included how the characters and/or the book had helped them and why. For some it had been through a darkest moment, for others, it had been to deal with difficult situations and overwhelmingly, it was how they had helped them get through adolescence. Sorry, I’m not listing the books here as I don’t want any student feeling they are being talked about.  Here I am talking in generalities. The majority of these books were young adult fiction. Another reminder of how important young adult fiction is and how vital it is that publishers continue to produce amazing YA by the incredible YA authors from the UK. I picked up one the other day at the mass book launch and publisher launch for Guppy Publishing. Gloves Off by Louisa Reid, is brilliant and so powerful. A must read.

But as I said, we know books do this. We know books can provide an escape and support when needed. Maybe that metaphoric hug just when craved. No character in a book will judge. Books are places where you can tell the characters your deepest darkest secret. A book can be whatever you need it to be. Between those pages is a safe place to be and that is what we, as writers, create.

Books do so much more. They can open a dialogue, providing a chance to discuss difficult and/or sensitive subjects. The reader can ask questions of the text, of themselves and, when they are ready, of others – whether that is parents, teachers, siblings or friends. Again, this is not news. Windows and mirrors, a chance to see someone experiencing the same issues as them or a chance to try and understand what it is like to experience those issues, walking in their shoes.

Back in 2011 in my PhD, the research I did highlighted how important it was that young adult fiction continued to cover challenging subjects. The thesis looked at the representation of sex, drugs and alcohol in young adult fiction, but I believe it is so much more, covering many more difficult and sensitive subjects, and not restricted to young adult fiction. Philip Pullman has previously stated that there are some themes too large for adult fiction and can only be dealt with adequately in children’s fiction while Melvin Burgess also suggests that children can cope with anything as long as it is in context. Both of these have helped me understand so much for many years now.

Melvin Burgess

Philip Pullman

The important phrase there is ‘in context’. I do have an issue when contentious subjects are used for shock value or the scene is just gratuitous. It needs to serve a purpose and be part of the narrative. I have been a little concerned in some areas of Twitter to see a call for some issues to be ‘white-washed out’ and never ever included.  This for me is a problem. The moment you exclude something and refuse to talk about it, there is a risk it will become mysterious and exciting. This creates the exact problem those who wish to 'white-wash' them out have been trying to avoid. The issue suddenly becomes something intriguing. If you include issues in a piece fiction, ensuring it is not sensationalised or glamorised, then it provides an opportunity for dialogue. A chance to discuss these issues in a meaningful way. I personally believe this is important.

More than anything I want to say to people and, in particular, young adult writers, keep writing. Your books make a real difference.

Dr Vanessa Harbour

@VanessaHarbour

www.vanessaharbour.co.uk

http://chaosmos-outofchaoscomesorder.blogspot.com