It’s DAY THREE of the blog tour for The Tale of the Whale by Karen Swann and Padmacandra. I’m so pleased to share a guest post from illustrator Padmacandra with insight into the artwork from the story, as well as my thoughts on the book.
The Tale of the Whale is undoubtedly a stunning debut from both author and illustrator, telling the story of a child and whale journeying through the oceans. Their beautiful friendship captures the symbiotic relationship between humans, the sea and the creatures who live in it, and their discoveries show the extreme harm plastic is causing. A lyrical narrative combines with beautifully drawn scenes from under the waves and brings to life the reality of pollution. A brilliant book to support children’s understanding of environmental issues and show just why we need to act now to save our seas. Not only this, it’s a really beautiful book to read and I wouldn’t be surprised to see this on award shortlists in months to come.
Welcome to the blog Padmacandra!
“Hello! I am Padmacandra, the illustrator of the Tale of the Whale. I am an ordained Buddhist which is why I have a funny name! Many people think this means the I should be wearing robes or have a bald head, but within my Order it means that I have made a commitment (with quite a long training process) to do everything in my life in the light of kindness and awareness, with the aim of waking up more and more to the truth of the interconnectedness of all life. I was delighted to be asked to illustrate The Tale of the Whale which speaks to this interconnectedness so lyrically and beautifully. Karen and I talked about the importance of the connection between the child and the whale and their friendship throughout the book, as well as connecting with the awesome beauty, joyfulness and depth of the ocean. It was so inspiring to research and make the images of all the ocean creatures, and their home, trying to communicate this beauty and connectedness.
One other detail about me is that I also work part time as a carer for the elderly, mostly living in for a week at a time. I enjoy the simplicity and practicality of the work: it can be such a straightforward way to be of service to others. I have the privilege of often being alongside people when they are facing the challenges of old age – when they have stopped feeling the need to “put on a face”- which feels like a real meeting. Perhaps also this flavour of joy in meeting comes across in the tale of the whale!
My Art Processes
I remember trying to learn Salsa some years ago and finding myself challenged by following step by step instructions. However, when the music started and I was in a group with other people dancing I found myself picking up some of the steps and moves by simply feeling my way. Likewise, with art I’ve found I seem to learn best by playing around and making mistakes. I also find it invaluable to look at the work of others that I admire. Not to copy, but to educate my eye. I find Instagram a good place for this.
I love to experiment with mark making. This was very much encouraged on the Cambridge Art School MA, and I continue to do so. I seem to have settled with oil pastels and wax crayons as a main medium, sometimes (as in The Tale of the Whale) combining these with monoprint textures (the monoprints are created by rolling ink and paint onto paper). I usually create images by laying down lots of lovely colours in layers first. Then I will either create images by scratching away layers to reveal what is underneath, or I add lines and shades on top with more crayon, coloured pencil, and occasionally acrylic pens. Usually, it’s a combination of these!
The Tale of the Whale was a lovely text to illustrate, and particularly as it was my first book as illustrator – I felt in good hands with the designer Ness Wood, and editor Janice Thomson. It was obvious that Karen had really thought about the illustrations in a very skilled way when writing her text. One challenge was to render the underwater scenes as well as the scenes above water. In the end, the method of layering waxy crayons with soft oil pastels on top worked very well, and I combined monoprints with these digitally.
Bringing texture to images is important to me – especially for this older age group of 4 to 8-year-olds who are starting to have a subtler appreciation of it. I hope texture brings more psychological depth, interest and sensitivity to my images. It reflects the way that nature is. Of course, it’s important to get the balance right between simplicity and complexity in an image – an area I find interesting to explore.”
The Tale of the Whale by Karen Swann, illustrated by Padmacandra, out now in hardback (£12.99, Scallywag Press. Find out more at scallywagpress.com. With thanks to Scallywag Press for inviting me to host a stop on the blog tour. Don’t forget to follow the rest of the tour:
It’s the second Victorian-inspired blog this month in celebration of the launch of Mr Dilly’s A Very Victorian Christmas, the festive treat for primary schools that the whole school community can enjoy! I’m really excited to welcome Catherine Bruton to the blog, author of No Ballet Shoes in Syria and most recently, the Oliver-Twist inspired Another Twist in the Tale. Today, I share my review of this wonderful tale and Catherine is sharing some wonderful insight into creating Dickensian characters.
You have heard, no doubt, the tale of Master Oliver Twist – that rags-to-riches boy; the parish orphan who became heir to the Brownlow fortune. But what few know is that was a second Twist – a girl, brought into this world moments ahead of her brother.This is the story of Twill Twist – and her journey through the gambling dens and workhouses of London, as she attempts to make a life for herself, rescue her friends, and uncover the mystery of her past – while meeting some familiar faces along the way…
For me, Oliver Twist always brings back memories of Christmas – the musical version was always on at Christmas time and who can fail to recall Ron Moody’s fantastic performance as Fagin?! And now, author Catherine has brought to life Dickens’ Victorian London again, with the most wonderful twist, as the title suggests. Meet Twill, none other than Oliver Twist’s twin sister, rescued from death by Baggage Jones, herself a young girl fighting for survival in Victorian London. Intertwining characters from the original story – including the wonderful Artful Dodger- with utterly delightful new faces, Catherine weaves a world fraught with danger for Twill as she navigates her way through the backstreets of Victorian London, trying to discover the truth about her past. Another Twist in the Tale is one of the most authentic, engaging and downright enjoyable books I’ve read in recent times and I am really pleased to welcome Catherine to the blog with a brilliant post about creating Dickensian characters. Welcome to the blog Catherine!
Creating Incredible Characters – the Dickensian way! By Catherine Bruton
“What was the best thing about writing ‘Another Twist in the Tale’, my sequel to Charles Dickens’ ‘Oliver Twist’ set in Victorian London and featuring Oliver’s long lost twin sister? That’s easy – it was the characters! Rediscovering familiar old faces from Dickens – the Artful Dodger, Fagin and Oliver Twist himself – and creating a host of exciting new heroes and villains of my own – Baggage Jones, the Monstrous Madame Manzoni and Miss Twill Twist – was just so much fun! So what did I learn from Dickens about how to create incredible characters?
From Mr Pumblechook, Martin Chuzzlewit, Ebenezer Scrooge, Pip Pirrip, The Aged P, the Artful Dodger, Mr Jaggers, Abel Magwitch and The Barnacles to Creake, Crumple, Cripples and Cruncher, Dickens’ character names are as weird and wonderful, glorious and grotesque, sad and funny and moving and brilliant as Dickens’ incredible cast of characters themselves. So how did he do it?
Well, Dickens knew how to play with sounds, from the assonantal Scrooge and Drood, the plosive Pip Pirrip, the alliterative Newman Noggs and Nicholas Nickleby, to the onomatopoeic Creakle and Jingle and Crimple. And he loved using homophones and puns too – Micawbre/Macabre, Jaggers/Jagged, Uriah/Urine, Claypole/Maypole, Krooks/Crook, to name but a few. Sometimes the word association goes further – from McChoakumchild, choking all the joy out of children, to the deadly Lady Dedlock and the heartless Harthouse. Dickens also enjoyed using everyday objects in his names – Bucket, Pocket, Guppy, Slime and Honeythunder – and he was the absolute master of the pithy epithet: who can forget The Artful Dodger, The Avenger and The Aged P?
So I gave myself licence to have fun with names in ‘Another Twist in the Tale’. I have my own alliterative heroes and villains – from Tommy Tickle, Madame Manzoni, Bob the Butcher’s Boy to Twill Twist herself (not that she becomes a Twist right away!) as well as my own associative names – Mrs Spanks who is famous for her beatings, Fleet who is fast and stinky as the river she takes her name from, and the cherubic Angel.
Names in ‘Another Twist in the Tale’ are particularly important because many of my characters’ names have been lost – or found! ‘Baggage Jones was quite sure she’d had another name once but it had been lost like a penny down the floorboards or an odd sock in the laundry … she had spent her fourteen years on this earth being addressed thus ‘Get over ‘ere, you baggage … Fetch this, you useless baggage …. Get on, you baggage you’ – that she had come to believe Baggage was indeed her name.’ Similarly, all of the members of the Sassy Sisterhood of Saffon Hill are named after the places where they were found, shivering and starving on the streets – ‘There was Sloane whose half-closed eye and scarred cheek had been gained in an encounter with the Old Bill on the King’s Road, Chelsea who has slept a whole winter in the snow on Eaton Terrace and little Angel who has been found starving on a street corner in Islington.’ Poor Piccadilly and Trafalgar – the asymmetrical twins – come off rather worse in this particular naming strategy! Meanwhile, many of the urchins who find themselves prey to the exploitative Blacking Factory sweatshop are nameless – ‘the latest arrival had no idea what his name was so the boys called him Nemo (which means nobody)’ Oh, and there’s the one known simply as Boy Number 12 (my nod to ‘Hard Times’!)
Meanwhile some of my names are riddles. The mysterious Mr Barrabas (not his real name!) takes his pseudonym from another literary baddie who poisoned his own daughter and a houseful of nuns with porridge (can you name the author and the play?) Oh, and this evil gentleman’s name also links him to another famous Dickensian villain to whom he bears a striking resemblance. ‘Mother Earth’ and the mysterious Mrs C also have names that prove to be riddles to be solved before our heroine can save the day. Meanwhile, Madame Manzoni is a tribute to one of my favourite characters from a classic novel NOT by Dickens! I shall leave the literary sleuths amongst you to figure out who (look out for the clue later on in the blog!)
As for Miss Twill (Twist/Brownlow) Jones – also known as Camberwell, Will Camberwell or just South o’ th’ River to her friends – well, our plucky heroine loses a name, gains a name, changes her name, throws off a name and gets a brand new one at the end! Yes, names are a big part of this story!
Dickens’ character descriptions are famously gloriously visual, almost cartoon-like at times. His characters come in different shapes (the ‘square’ Mr Gradgrind), sizes (Tiny Tim) and colours (just think of Miss Havisham’s wedding attire faded to sere yellow, like her hopes!) and his descriptions are peppered with wonderful metaphors and similes – who can forget the letterbox mouth of Mr Wopsle?
So, you can just imagine how much fun I had creating my own character descriptions, drawing on Dickens’ techniques and allowing myself licence to exaggerate as much as I liked. There’s the monstrous Madame Manzoni ‘who had once been a diminutive bird-like woman of singular beauty.But over the years a monstrous accumulation of flesh had descended upon her tiny body like lava upon a doomed city, burying the fairy-like girl in waves and waves of undulating white flesh’. Or Baggage Jones, ‘a scrawny scrap of a creature who bore a squashed appearance as of clothing hastily scrumpled.’ Or Twill Jones who ‘shared all her brother’s angelic beauty, but her big blue eyes shone with a fierce light and there was a determined tilt to her chin and firm set to her rose-petal mouth which reflected her fearless temper.’
And I had the most brilliant fun inventing suitably Dickensian metaphors and similes: ‘wobbling like a colossal blancmange’, ‘a tall hot, poker of a woman’, ‘tiny beady eyes that glimmered like currants in the swelling pudding of her doughy face’, ‘an eyebrow raised like a slug wriggling on a vast mountain of lard’, ‘he had the soft, plump features of a newborn and not much more hair on his head than a babe-in-arms neither’, ‘a squat looking girl with the appearance of a pugilistic pug’. Yes, when it comes to creating Dickensian characters it’s all about the imagery – the more weird, wonderful and grotesque the better!
During a trip to the Dickens’ Museum in London I learned that the great man would ‘act out’ his characters in front of a mirror to get the voices right (I even got to stand in front of the actual looking glass and mutter a few of the Artful Dodger’s choicest phrases!) Dickens uses dialogue almost like a play-write to evoke his characters’ idiosyncrasies. From Mr Sleary’s lisp and Harthouse’s lazy drawl, to the catchphrases for which so many of his characters are famous – Fagin’s obsequious ‘my dear!’, Scrooge’s ‘BahHumbug!’, Uriah Heep’s ‘Umble’ to Jo the Crossing Sweeper’s ‘I don’t know nothink’ and Stephen Blackpool’s ‘Tis all a muddle!’ not forgetting my personal favourite, Joe Gargery’s ‘Ever the best of friends!’
Dickens researched the idiolect of his characters carefully, studying a book of Lancashire dialect before writing ‘Hard Times’ and introducing into his London novels the earthy Cockney slang associated with the working class, the theatre, or the criminal underworld, such terms as butter-fingers (a clumsy person), flummox (bewilder), sawbones (surgeon), and whizz-bang (sound of a gunshot). He also made up plenty of words of his own – comfoozled meaning exhausted is my particular favourite. He turned nouns into verbs (and vice versa) ‘I won’t submit to be mother-in-lawed’ declares Fanny – adding prefixes and suffixes, and creating compound words, many of which have found their way into the Oxford English Dictionary (manslaughter and corkscrew apparently!). This playfulness with language lends a richness and variety to his novels and particularly to his dialogue, bringing characters vividly and memorably to life.
So, as a writer who spends a (possibly worrying!) amount of time ‘acting out’ characters in my head – and sometimes out loud, too (I frequently find myself talking in role as I potter round the supermarket or on the school run!), this was music to my ears. I loved going back to my well-thumbed copy of ‘Oliver Twist’ and studying the dialect of Fagin, Bumble, Dodger and other characters. This allowed me to mimic the cadences and rhythm of their speech, as well as echoing the syntax, peculiar idiosyncrasies of grammar, lexical sets and other idiolect features (yes, my English teacher geekhood quivering with delight!)
Oh, and I rather fell in love with Philip Thorne’s appendix in the Penguin Classics edition with its glorious list of Dickensian slang which I devoured hungrily, allowing me to pepper the Sassy Sisters’ dialogue with some of the choicest Victorian vernacular. I gave my characters their own catchphrases – ‘Spare the spoon and spoil the child,’ ‘Beauty is your duty’ – and allowed myself to go fully to town on accents, phonetic spelling – and even the occasional made up word of my own!
Yes, Dickens’ characters inspired many children’s authors, from Roald Dahl to J K Rowling, and his methods of characterisation are so distinctive that his creations live long in the memory. Following in his footsteps was the most incredible fun as a writer and when young readers close the covers of ‘Another Twist in the Tale’ I hope it might inspire them to check out one of Dickens’ stories for themselves. I love the idea that Twill Twist might introduce readers to her long lost brother Oliver and Nancy and Bill Sykes, to Pip and Magwitch and Miss Havisham, to Ebenezer Scrooge and Bob Cratchitt and Tiny Tim, to Nicholas Nickleby and David Copperfield and many more of the glorious characters and unforgettable adventures created by the inimitable Charles Dickens!”
Another Twist in the Tale by Catherine Bruton is published by Nosy Crow (5th November 2020, £7.99 paperback). With thanks to Nosy Crow for sending me this book to review.
As we near the end of National Non-Fiction November, it’s a huge pleasure to welcome Danielle Brown MBE to the blog today with a guest post about the fantastic non-fiction book she co-authored with Nathan Kai, Be Your Best Self – Life Skills for Unstoppable Kids (read my recent review here). Danielle is a double Paralympic gold medalist and Nathan is the youngest self-development published author, and a member of MENSA. The story behind the book is inspiring – read on to find out more!
Be Your Best Self
“Have you written a book for children about how they can be the best they can be?”
Danielle was asked this question by seven-year-old Nathan Kai at an event she was speaking at. Nathan explained that he’d been looking for a book to help him become the very best he could be, but after months of searching he couldn’t find anything out there.
“No,” Danielle said. “But that’s a really good idea.”
And it was. There are thousands of self-improvement books for adults, each one offering a different perspective on how to maximise our capabilities and live more fulfilling lives. However, there wasn’t anything out there to help children build solid foundations for success, happiness and esteem. Nathan then suggested that we wrote the book together.
This had the potential to have a HUGE positive impact and two years later we are very excited that Be Your Best Self has hit the shelves. Writing this book has been an incredibly fun journey, bringing together our unique perspectives and skillsets to create innovative and exciting guidance that children can really relate to, and empowering them to become their best selves. It’s a very unusual combination but we make a fantastic team. We see the world in different ways and our joined experiences and knowledge base has allowed us to create something that is designed for young people.
We believe that every young person is capable of achieving extraordinary things with the right mindset and support structures in place, and Be Your Best Self helps them to do this. Be Your Best Self is a comprehensive framework that encourages children to raise their aspirations and turn exciting dreams into a reality. It’s a thought provoking career tool, a vital people skills asset, a modern day confidence builder, an engaging life-hack, and it empowers children to make the most of – and create – opportunities to lead bright and successful futures.
Above all it lets children know that they are special and unique, valuable and important, and that they can achieve their dreams. We can all be BRILLIANT if we work hard and develop our strengths and weaknesses.
And this is something that applies to ALL children.
Nobody is born successful, but it is something we can all learn to achieve with the right support, guidance and skillset. We want to help children from all backgrounds and abilities build strong foundations for successful futures and recognise that they have the capacity to achieve great things. Getting this book published is only the start of our very exciting journey. We are looking forward to bringing the contents to life through inspiring workshops and presentations designed to make a lasting impact with children. We believe that the future is built by education and children deserve to be equipped with the right tools and strategies to help them maximise their potential.
Want to know a little more about the authors?
Nathan Kai is nine years old and very determined to achieve his goals – one of which has been to become a published author. Nathan is a member of MENSA and his intelligence shows. He is a prize winning linguist, grade 4 pianist, bronze UK and European medallist in Brazilian Jiu-Jitsu. He’s educated otherwise. He swims like a fish and thoroughly enjoys the challenges of writing. He’s thrilled that his hard work is paying off and he is looking forward to helping other children feel happier, more secure and confident and in achieving their goals too.
Danielle Brown MBE started archery on her fifteenth birthday and three years later she was on the Great Britain team, jumping in as World Number 1 and hanging onto that position for the rest of her career. Danielle won gold at the Beijing 2008 Paralympic Games and retained her title in London 2012, as well as winning 5 World Championship Titles. She became the first disabled person to represent England at the Commonwealth Games (and win gold) as an able-bodied athlete. Danielle works as a keynote speaker, trainer and coach.
Find out more at www.beyourbestself.global and head over to Twitter for a fantastic opportunity to win one of FIVE copies of Be Your Best Self!
I’m kicking off the autumn term on the blog with the first stop on the blog tour for Spylark by Danny Rurlander. What a great way to bring in the new term! Spylark is a fantastic middle-grade thriller full of adventure, lots of action and some great characters – not to mention a really cool and clever idea at the heart of the story! Spylark is set in the author’s native Lake District and uses the islands that inspired Swallows and Amazons as the backdrop. Danny Rurlander’s debut novel is a perfect adventure of the absolutely classic kind. With themes about the importance of friendship, bravery, terrorism and technology, readers will be swept up into the daring mission to save a Very Important Person from assassination. A thoroughly riveting read, Spylark is a must for middle grade bookshelves!
Danny Rurlander studied English Literature at the University of East Anglia, and worked in the finance sector for several years. He now serves on the staff team of a multi-cultural, city-centre church. While at University Danny spent two years learning to fly with RAF, as an officer cadet in the Cambridge University Air Squadron. He has lived in Austria, Kenya, Devon and Australia, but always longed to return to his native Lake District where he grew up exploring the fells and camping on islands, so it’s no wonder his descriptions of the landscape where Spylark is set are so real! I’m delighted to welcome Danny to the blog today to share some insight into what inspiration means to him.
“There’s a moment, roughly half way through the book, when Jim Rothwell, an older man whose wisdom and life experience help the child protagonists navigate some of the trickier moments of their adventure, offers a challenging view of love.
‘Joel, my lad, love is not always a feeling. Sometimes it’s a decision.’
This down to earth and counter-intuitive idea of love is also true, in my experience, of ‘inspiration’. Inspiration, for the fiction writer, is not so much a feeling, but a decision, an act of the will. If you sit around waiting for it to turn up, you’ll never write anything. But where does inspiration come from? The answer is so obvious it seems almost unnecessary to say it. Inspiration comes from two spheres: what you already know and what you don’t know, but know you need to know.
In writing Spylark a number of key influences and experiences (the first sphere of inspiration) found their way into the book: my own childhood adventures in the part of the world where the book is set; a first-hand knowledge of flying aeroplanes gained through my time with the RAF; and perhaps most of all, memories of books I read as a child. In particular I grew up not only reading Arthur Ransome’s Swallows and Amazons adventures but trying to live them out!
Spylark is a classic action-adventure thriller, involving spies, criminals, and a group of child heroes who save the day. But the book plays with this genre by means of a key technological concept. Tom, the main character, who has suffered a life-changing accident several years before the story begins, ‘escapes’ the harsh realities of his life by means of his home made drone. This enables him to be in two places at once, and enables the narrative to switch between locations in the blink of an eye.
This brings me to the second source of inspiration – what you don’t know, but know you need to know. Before I started I knew nothing at all about drones. So I had to find out enough to make the story convincing. Writers traditionally call this ‘research’ but that has always sounded rather outfacing and dull when you are itching to get going with the story. I prefer to think of it as fueling the tanks for the creative energy of writing.
The internet makes this easy of course. I subscribed to a few drone blogs to understand the technical stuff. I then tried to get my head around what could actually be possible, and how a terrorist might use this technology for destructive purposes. (At one stage if – for some reason – my hard drive had been examined by the police, it could have looked rather suspicious!) But it’s a good idea not to rely too heavily on Google. I also bought a book on drones, went out to the local beach to watch people flying them, and met up with a local enthusiast to watch him at work and ask him questions.
The key to this is not to think of what you don’t know as a barrier but an opportunity. I often say that writers are nosey-parkers! They learn to listen in on other people’s conversations on the bus; they observe the world around them in fine detail, tune into the stories of other people’s lives and actively imagine the world from someone else’s point of view. After all, one of the reasons children read is to learn about what they don’t know. If as a writer you can learn something new, the chances are the story will be even more vivid and fresh than those that come from your experience.”
Today I’m hosting the final stop on the blog tour for Starfell by Dominique Valente. I’m delighted to welcome Dominique to the blog with a guest post on writing – even when you are feeling least inspired. Many will identify with the dreaded writers block, but Dominique has some great tips for getting past it.
Starfell is Dominique’s debut middle grade fantasy series published by HarperCollins and I can safely say it’s absolutely gorgeous! I spent a large amount of time smiling at the wonderful storytelling and thinking about how my younger self would have been totally enthralled. The first book entitled Willow Moss and the Lost Day introduces a likeable young witch called Willow, who feels less than special even with her special powers. Whilst she might be able to find all sorts of lost things, compared to her beautiful sisters and mother, it’s all rather boring. If it weren’t for Willow’s eccentric grandmother, also a witch and whom Willow adores, life would be very dull. As we soon discover, all that is about to change when the most powerful witch in Starfell arrives on her doorstep, asking for help. So begins the most marvellous – and dangerous – magical quest where Willow finds that even the most unlikely of powers can save the world.
Starfell is the most enchanting story with a perfect balance of magic, heart and imagination. Willow and the friends she makes are a delightful cast of characters and Starfell feels like it could be just over the hill, so good is the world-building – although watch out for the trolls, wizards and Brothers of Wol! There’s also plenty of humour largely from Oswin, Willow’s somewhat begrudging sidekick; a sort of cat in a carpet-bag! Full of positive messages around believing in yourself and being selfless in the face of great difficulty, Starfell will have you hooked from the first page. Brought to life by Sarah Warburton’s brilliant illustrations, this book sings inside and out!
Read on for fantastic writing tips from the author herself, perhaps showing just how she created Starfell magic!
Writing with the handbrake up by Dominique Valente
“When I first discovered my love for writing I’d sit down for hours happily creating a magical world, never once wondering what an end reader would think. And then I started writing for a living. Having to expose my thoughts and ideas for someone to judge or correct, was tough. I’m not going to lie. But it was good for me. I learn the hard way, which isn’t good – and so often, the only way I improve is with tough love.
And while that has helped with making my writing more polished – and I now pay a lot more attention to things like grammar and structure. (There’s nothing quite like a newsroom and an editor who will call out your mistake in front of all of your colleagues to make you pull up your socks, fast!) It can take a bite out of your confidence, particularly if you allow it more room than it deserves.
It’s a bit like writing with the handbrake up. You’re able to write but it’s hard going because you’re having to try ignore that annoying voice – the one that tells you that you aren’t good enough, smart enough … and still haven’t grasped the comma at the age of thirty (just me?) . That voice is not always there. Some days the words come easy and I delight in every one. But others the FEAR arrives and it’s like wading against a current.
When that happens, this is what I do to get myself through it:
Write first thing in the morning, just after I wake. There’s something about an early morning start, before my brain has fully woken up that really helps. You’re still in that sleepy state and the self-doubt hasn’t had a chance to truly kick in, so by the time you’re fully wake you’ve already knocked out a few hundred words and you’re already half-way there…
Writing sprints. I set a timer and write for as long as I set it – usually ten minutes. There’s something about the ticking timer that focuses the brain not on the fear of a writing a bad story but on the fear of not putting down all the words, which really works. I learnt this great tip from the author Sarah Painter, and her excellent book on the subject of fear and self-doubt – Stop Worrying, Start Writing: How to Overcome Fear, Self-Doubt and Procrastination.
Just keep going. If the scene doesn’t work, I just work around it – I can always come back and fix it later. Or with a little distance I might find that actually that scene is great. It happens. The trick is to keep moving forward. The Jodi Picoult quote: ‘You can’t edit a blank page’ is so true. I’ve put that up on my chalkboard more than once, because I sometimes need a daily reminder of this.
Write the story for yourself first. I used to follow Stephen King’s advice which is to write for an ideal reader in mind – now I just write the story I want to read. For me it’s about creating something that I enjoy, I figure if I’m bored or moved or excited – maybe someone else will be too, and if not, at least I had fun doing it. For a while, when I was journalist and was trying so hard to write for someone else, I forgot about the joy – and that’s where the magic really lies.”
STARFELL: Willow Moss and the Lost Day by Dominique Valente out now in hardback (£12.99, HarperCollins Children’s Books)
Follow Dominique on twitter @domrosevalente, #Starfell
With thanks to Laura and HarperCollins for sending me this book to review and inviting me to participate in the blog tour! Don’t forget to check out the rest of the tour: