Yesterday was bliss in many ways. The weather had cleared after rain and thunder storms and DH took the boys to the cinema. I thought - peace - and stretched out on the sofa to read. All week long each and every time I thought I can read someone needed me. So poor FAIR DECEPTION was interrupted. I have longed to read this book because I had read the first three chapters of it's follow-on story here and Caroline was such a plucky heroine that she has stayed with me. So when FAIR DECEPTION was published by Hale I was thrilled.
Yet each time I went to sink into the wonderful Regency setting something interrupted including on the flight back to Dubai in February when inspiration struck and I worked the seven hour flight instead of relaxing and getting lost in another world. So when I picked up the book last week I foolishly thought I would have plenty of time to escape - no, my dear children had other plans. I grabbed small bits here and there which was not at all satisfactory. For some books it's okay to read two pages here and two pages there, but others are best consumed nearly whole.
As I said I settled on the sofa with dd happily rearranging her room and read. I was lost in another world and loving every minute of the escape then boom twenty pages from the end when I am so caught up I don't want to know the world outside the book exists everyone needs me! I deal with request one politely - finding paint and an easel for Ds1. I settled back into book immediately gripped and then two minutes later Ds2 needs me to sort something on the computer. Grrrrrrrrrr. Sorted and then return to wrapping myself in the story. Dh comes home having booked some flights and wants to discuss. Explain I won't be long but I NEED to finish this wonderful book (Doesn't anybody else show respect when a person is so close to the end you can taste it? Before interrupting a reader I always glance to see where they are in the book - the end is sacred!). He looks at me then wonders off. Down to ten pages and DD wants to ice her fairy cakes. Gritting my teeth I pour icing sugar into a bowl and beat the hell out of it and leave her to cover the the world in violent pink icing. I retreat into the story - torn between reading quickly and savouring each word and Dh, bless him, appear to ask if I want a glass of wine????
Can someone tell me why it is that as you approach the end of a book that everybody needs you? Why is it that you can't be left in peace to enjoy the satisfaction of the end????
From the above you can tell that I loved the book. I love Regencies and have done so since I discovered Georgette Heyer. Jan Jones does a brilliant job of conveying a totally different time and creates characters that you care for deeply. Can't wait to finally read the rest of Caroline's story from FORTUNE'S WAGER. In the meantime I will jump back into the Regency world with C.S. Harris's WHY MERMAID'S SING (although I have this in hardcover so it may have to wait until we are back from our trip to Cornwall for Easter) after I finished Rachel Billington's LIES and LOYALTIES that I began last night.
Showing posts with label Rachel Billington. Show all posts
Showing posts with label Rachel Billington. Show all posts
Sunday, April 05, 2009
Wednesday, March 18, 2009
Links Again
If you don't read Nathan Bransford on a regular basis then you must drop by and read this post on character motivation. Today it was one of those hit on the head type of things. I am well back into the rewrite of August Rock and thus far pleased with the new shape and feel. By removing Tristan's point of view - he had become more interesting by being less transparent and much easier to see why Judith struggles with him and his motivations. However so far this has led to a major loss of words, but I feel confident went I tackle the editing I will make them up with filling out the new dimensions of Judith's story.
I am also at that point when I wonder if I am totally deluded and I have wandered off into the far land of writing meaningless tripe. I have taken a fairly straight forward romantic story and twisted it. Nothing is quite clear in it any more. I don't know who if any one Judith will choose - this maybe a good thing - maybe the reader won't either. Toby, my ghost, has remained a constant - what he wants is clear, but in the next edit I may have to shake up his 'current' day activities a bit but not yet. Judith has to reach her goals and I have hit the last third of the story - nail biting time. I wonder if what I had for breakfast will effect which path she takes today or will the film I saw last night (Watchman - which I loved but I have to confess seeing it here in Dubai probably left me with a limited view as I understand the 'full' version is 162 minutes and we were in the cinema a whole lot less than that - more like 120/130!) will reflect in today's production?
The Dubai Literary Festival authors that I listened to gave me much food for thought - especially about my writing.
-Kate Mosse's comment about not having to be the same writer as you are a reader really hit home.
-Rachel Billington's comment about the tension your own values bring to your writing and your characters.
- The vastly different takes on how to work with research.
All of this has bashed around in my skull and I know know what I want to write about and A Cornish House is in the right spot so August Rock is now on the road to becoming more me and I am very clear where the WIP is going once I can put my hand back onto it. I can't tell you the sense of relief to finally know what kind of writer I am. Now my problem is to find a writer in a similar vein - and here lies the problem - I am not the same as a reader and a writer. I know I haven't read him or her yet! So I can't say to agent or editor in the style of .....
Do you know what type of writer you are? Is it the same as your reading voice?
PS- just found this-
I am also at that point when I wonder if I am totally deluded and I have wandered off into the far land of writing meaningless tripe. I have taken a fairly straight forward romantic story and twisted it. Nothing is quite clear in it any more. I don't know who if any one Judith will choose - this maybe a good thing - maybe the reader won't either. Toby, my ghost, has remained a constant - what he wants is clear, but in the next edit I may have to shake up his 'current' day activities a bit but not yet. Judith has to reach her goals and I have hit the last third of the story - nail biting time. I wonder if what I had for breakfast will effect which path she takes today or will the film I saw last night (Watchman - which I loved but I have to confess seeing it here in Dubai probably left me with a limited view as I understand the 'full' version is 162 minutes and we were in the cinema a whole lot less than that - more like 120/130!) will reflect in today's production?
The Dubai Literary Festival authors that I listened to gave me much food for thought - especially about my writing.
-Kate Mosse's comment about not having to be the same writer as you are a reader really hit home.
-Rachel Billington's comment about the tension your own values bring to your writing and your characters.
- The vastly different takes on how to work with research.
All of this has bashed around in my skull and I know know what I want to write about and A Cornish House is in the right spot so August Rock is now on the road to becoming more me and I am very clear where the WIP is going once I can put my hand back onto it. I can't tell you the sense of relief to finally know what kind of writer I am. Now my problem is to find a writer in a similar vein - and here lies the problem - I am not the same as a reader and a writer. I know I haven't read him or her yet! So I can't say to agent or editor in the style of .....
Do you know what type of writer you are? Is it the same as your reading voice?
PS- just found this-
You Should Be a Film Writer |
 You don't just create compelling stories, you see them as clearly as a movie in your mind. You have a knack for details and dialogue. You can really make a character come to life. Chances are, you enjoy creating all types of stories. The joy is in the storytelling. And nothing would please you more than millions of people seeing your story on the big screen! |
Wednesday, March 11, 2009
EAILF Censorship Debate
First let me apologize for the long delay in continuing my posts on the festival. After weekend rugby break I have found it hard to put my head back into a more intense place. No surprise there really. I have also struggled with writing up the censorship debate. There are many reasons but the key one is that in a way there is no point as those truly interested can watch it all on video here. So rather than giving you my rather detailed notes please watch the the video. It is well worth it but not if you wanted more info on the whole banned or not banned book fiasco. The highlights me were:
- Andrei Kurkov's almost cheeky hit at the thing that no one was speaking about - banning a book these days was a surefire way to receive publicity
-Margaret Atwood's comment that lie was not freedom of expression
- Nelofer Pariza's commented that writers write to engage in dialogue
- the general gist of the western writers was that in the west the biggest censorship was that of self censorship and this was mainly due to political correctness
-Rajaa Al Sanea spoke about portraying humans as humans not being forced to a postive or negative stereotype. She didn't feel she had to portray women one way or other but to portry life as it is - not sugar coated; then it can cross boundaries and this is positive
-Margaret Atwood asked what is our relationship with our audience; you write by yourself then it is published; you are not there then but separated by time and space; sometimes that feel gives you a sense of safety; it was key to remember that in today's world your audience can be anyone; it is like a message in a bottle throw into the sea - sometimes it is a life line and some will be affronted. You can't control how people will react so just make it the best book possible. Your responsibility is to the work - make it the best it can be
-Rachel Billington commented the west was seriously threatened by political correctness, the pressure to be saleable, commercial pressures; writers have to be strong about what they need to write
Finally it was Rachel Billington who gave me greatest gift as a person who at times struggles with my faith and its part in my writing. She was responding to a comment on the Catholic Church and censorship which she felt was justified. She said if you are a novelist you have to feel completely free and able to create characters; that doesn't mean you don't start somewhere with your beliefs and values...in fact that is what gives the tension most writing is looking for - you gather the complications of your own beliefs with the way you are allowing your characters to behave and do dreadful things which provides great tension.
Paul Blezard blogs about the festival here .
Tomorrow - Margaret Atwood
Tuesday, March 03, 2009
EAILF Rachel Billington and Anne Fine
Before today's post I just want to say again that these are my notes and they are far from perfect. I have obviously focused on the writing aspect of the sessions. So many things that were discussed had resonance with me that I tried and failed to capture it all. Here are some links to some of the press coverage from here:
Becoming an Open Book
Dubai Should Host More Events says author
First Literature Festival
Festival Has to Exert Own Right
Rachel Billington and Anne Fine with Liz Thomson
Liz Thomson opened the session by highlighting the differences and the similarities between the two writers. Anne Fine, the second children’s laureate, began writing with children’s literature and has added adult fiction and Rachel Billington began with adult fiction and added children’s. Rachel is from a privileged background and Anne is not. Both write about families and relationships.
Rachel had written 18 adult novels and 4 children’s. She comes from a family of politicians and writers. She is one of eight children and this she feels is how she came to writing. She could be heard this way. She feels fiction is the most exciting occupation for both reader and writer. She said if you want to write then read to find your voice.
Her comments on being writer were:
- humiliation is part of it
- you have to learn to be immodest and pump up your ego
- you have a complicated balancing act; you want to be part of the world but when you are writing you are alone and become a god like figure creating worlds
- a writer is a bit psycho – making up things and being in different heads: being in the real world and the one in your head
When Rachel began writing she started with characters but as she progressed she enjoys the plots more. She has become bolder with them. She read many thrillers in order to achieve this. She usually has her theme first and she likes working with many characters. She is interested in the challenge of the form. In her latest release she has seven characters all written from the close third person pov. It is a ‘filmatic’ way of writing – the switching of pov but it should be invisible to the reader.
She was asked how she felt about writing degrees – and she prefers self taught writers. She can spot those who have been through programmes as they write well but many times are missing the ‘soul’. The writing may have a mechanical feel or feel if it has been written by committee.
Anne struggled to be seen as anything but a children’s author initially. On her return from living in California she was compelled to write adult fiction. The topics seized her but in the UK it is hard to move from kids to adult but the other way is easier as people think – isn’t it good the quality writers are going to write for children.
In her adult work she has focused around Passion, Marriage and Families. She never signs a contract until the book is finished which gives her freedom.
The discussion then moved to the difference in writing for children as opposed to adults. Children are much more discerning that adults. If you don’t grab them immediately then they dump you. It is brilliant training. Children want to laugh and to be scared. The process of writing is exactly the same but with children you start with the reader having no assumed knowledge and cut at a different angle but never underestimate the child.
Both women were asked if the shared their work with anyone. Anne does not. Her agent is her first reader and her agent has more input than her editor. Rachel’s first reader is her sister.
They were asked about adults reading children’s’ book – the crossover book. The said what do you want to be first? A children’s novel or and adult. Anne could think of only one true cross over novel – The Curious Incident of the Dog in the Night. She said don’t confuse books with toys.
There was a comment that there seemed to have been a push in film and in books to reach the lowest common denominator. This was a dangerous concept. One quoted P. Roth who said for every one reader born you have 70 dying off. It can take some effort to get in to a novel and now readers don’t. Rachel added that they are not taught to read the whole book any more.
They were asked how much of themselves is in their novels. One quote M. Sparks – write a novel as if no one you know will read it.
Anne admitted there is loads of herself in her books. She always asks what if? How far would she go? Anne said she sails very close to the wind
Rachel said writers are like actors – they enter a different form.
Their final comments by Anne were on publishing in general. She said that marketing had taken over from editorial judgement. She quoted T. Thomson who said …publishing is too marketing led.
Becoming an Open Book
Dubai Should Host More Events says author
First Literature Festival
Festival Has to Exert Own Right
Rachel Billington and Anne Fine with Liz Thomson
Liz Thomson opened the session by highlighting the differences and the similarities between the two writers. Anne Fine, the second children’s laureate, began writing with children’s literature and has added adult fiction and Rachel Billington began with adult fiction and added children’s. Rachel is from a privileged background and Anne is not. Both write about families and relationships.
Rachel had written 18 adult novels and 4 children’s. She comes from a family of politicians and writers. She is one of eight children and this she feels is how she came to writing. She could be heard this way. She feels fiction is the most exciting occupation for both reader and writer. She said if you want to write then read to find your voice.
Her comments on being writer were:
- humiliation is part of it
- you have to learn to be immodest and pump up your ego
- you have a complicated balancing act; you want to be part of the world but when you are writing you are alone and become a god like figure creating worlds
- a writer is a bit psycho – making up things and being in different heads: being in the real world and the one in your head
When Rachel began writing she started with characters but as she progressed she enjoys the plots more. She has become bolder with them. She read many thrillers in order to achieve this. She usually has her theme first and she likes working with many characters. She is interested in the challenge of the form. In her latest release she has seven characters all written from the close third person pov. It is a ‘filmatic’ way of writing – the switching of pov but it should be invisible to the reader.
She was asked how she felt about writing degrees – and she prefers self taught writers. She can spot those who have been through programmes as they write well but many times are missing the ‘soul’. The writing may have a mechanical feel or feel if it has been written by committee.
Anne struggled to be seen as anything but a children’s author initially. On her return from living in California she was compelled to write adult fiction. The topics seized her but in the UK it is hard to move from kids to adult but the other way is easier as people think – isn’t it good the quality writers are going to write for children.
In her adult work she has focused around Passion, Marriage and Families. She never signs a contract until the book is finished which gives her freedom.
The discussion then moved to the difference in writing for children as opposed to adults. Children are much more discerning that adults. If you don’t grab them immediately then they dump you. It is brilliant training. Children want to laugh and to be scared. The process of writing is exactly the same but with children you start with the reader having no assumed knowledge and cut at a different angle but never underestimate the child.
Both women were asked if the shared their work with anyone. Anne does not. Her agent is her first reader and her agent has more input than her editor. Rachel’s first reader is her sister.
They were asked about adults reading children’s’ book – the crossover book. The said what do you want to be first? A children’s novel or and adult. Anne could think of only one true cross over novel – The Curious Incident of the Dog in the Night. She said don’t confuse books with toys.
There was a comment that there seemed to have been a push in film and in books to reach the lowest common denominator. This was a dangerous concept. One quoted P. Roth who said for every one reader born you have 70 dying off. It can take some effort to get in to a novel and now readers don’t. Rachel added that they are not taught to read the whole book any more.
They were asked how much of themselves is in their novels. One quote M. Sparks – write a novel as if no one you know will read it.
Anne admitted there is loads of herself in her books. She always asks what if? How far would she go? Anne said she sails very close to the wind
Rachel said writers are like actors – they enter a different form.
Their final comments by Anne were on publishing in general. She said that marketing had taken over from editorial judgement. She quoted T. Thomson who said …publishing is too marketing led.
Tomorrow's post will be on the session discussion Arab Women Writers.
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