An Australian author living in Norway

Category: Novels (Page 2 of 2)

The Next Big Thing

I was recently tagged in a game of “blog tag” by author Nola Sarina, who writes paranormal, fantasy and science fiction. The idea is to answer a series of questions about my current work in progress, so here goes:

What is the working title of your book?

Sweet Alyssum; it is part of ‘The Eidolon Cycle‘ series.

What genre does your book fall under?

If I’m to use acknowledged literary genres, Sweet Alyssum and the series it is part of is New Adult Paranormal Fiction. However, as I’ve said before, this series is something of a genre-buster. I believe it has wider appeal as far as age is concerned, and the paranormal element, while important, is not the most important part; rather it is a backdrop for what are essentially stories about individual young women facing very human challenges and conflicts.

Give a brief synopsis of your story.

Nicky Bailey witnessed her parents kill each other when she was only seven years old. Now, eleven years later, the imaginary friends she invented to help her through her trauma have reemerged and are insisting they are real. And dead. Nicky has never believed herself to be normal, but now she thinks she’s having a complete mental breakdown. It’s only when she finds an old photograph of one of these eidolons, as they call themselves, in a history book – a man who died in the 1920s – she has no choice but to accept their story, and her own family’s history.

When the eidolons tell her that she and what’s left of her family are in danger of attack from a woman Nicky only truly remembers from her nightmares, she must decide whether to stand strong and face her deepest fears, or run. But she soon discovers that her childhood home, her mother’s last words, and an old book of fairy tales may hold the secret to her strange visions, and maybe the key to her family’s survival.

Where did the idea come from for the book?

Originally, this was to be a sequel to Amaranth. But when I began to explore the life of Nicky Bailey, who was eight years old in Amaranth, there was so much more going on that had nothing to do with Eva Hamilton (Amaranth’s protagonist). So I decided to write it as a standalone story which would incorporate elements and characters from the eidolon world, but would serve to enrich the cycle, rather than be part of the same storyline.

Part of the story is based on plans I originally had for Amaranth, but had to leave out as the book took on a life of its own, and the rest is inspired by Nicky herself. She’s a wonderful character to write, and I hope she is as lovable in her own story as she was as a small child in Amaranth.

Which actors would you choose to play your characters in a movie rendition?

Many writers build imaginary Hollywood casts from their characters, but this has never been something I’ve been very willing to do. The characters are so clear in my mind, putting someone else’s face, voice or mannerisms to them is almost impossible. I suppose I could see Nicky as a young Sandra Bullock, and Bridget, her therapist, something like a cross between Diane Weist and Julie Andrews. As for Andrew… perhaps Chris Hemsworth? Though that might have more to do with Joss Whedon’s cheeky writing for him in The Avengers than anything.

Tag!

To continue with the game, I’m tagging Sammy H.K Smith, Paige DanielsChelsea Ranger, Gisèle Le Chevallier and Audrey Camp. Over to you, ladies!

Sweet, complete

Last week I finished the first draft of my second novel, Sweet Alyssum. It was quite an exciting achievement, not least because I had been aiming to get to this point by the end of October and actually reached by goal two weeks ahead of schedule. On my final day of writing, I wrote 9500 words earning a lot of self-congratulation, followed by a painful bout of tendonitis. But it was so satisfying to be done, especially since the series is now two thirds complete (unless I decide to go for that fourth book that’s been niggling around in my head lately, insisting that it should exist).

Sweet Alyssum is the second book I have written for my series The Eidolon Cycle, but it is not the second book in the series. Why? Because there is no second book. There is no first book and no last book. The Eidolon Cycle is a non-sequential series telling the individual stories of three different young women whose lives are inexorably intertwined, even though each book is set in a different time period.

My hope for the series is that readers will be able to start with whichever of the books appeals to them most. From that point, each additional book enriches the others until the reader eventually has the whole picture. Additionally, readers will get a different experience of the world and its characters depending on the order in which the books are read. Loyalties may arise for some readers where others are firmly opposed to certain characters, depending on how much they know about each of them before their story arcs are complete.

I will now let the draft rest for a couple of weeks before rolling up my sleeves and getting down to tightening and polishing it up before sending it to my agent. In the meantime I’m working on two short stories for the Oslo International Writers’ Group anthology, and I will then begin work on the third, and perhaps final, Eidolon book, aiming to have it complete by April 2013.

As a little good news aside, I won the Bookkus Water, Danger, Humour short story competition last week. My story was chosen as the winner by voters visiting the site, who scored the stories out of ten on a star-rating chart. Overall, my story, Rocks in his Socks, scored an average of 9 out of 10. I couldn’t be happier with the result, and am looking forward to seeing the result in print early in 2013.

Brought to you by…

I am very pleased and excited to announce that Amaranth and I are now represented by Michelle Johnson of The Corvisiero Agency. Michelle is a published author, professional editor and is now working under Marisa Corvisiero who launched her own agency earlier this year. They’re a great team and I’m really looking forward to working with them.

The next part of the journey is likely to be slow and, at times, painful, but I’ve been so motivated by Michelle’s enthusiasm for and confidence in Amaranth’s potential, that I’m feeling positive about the road ahead. Of course it helps that I’m busy working on the next book in the series, Sweet Alyssum, and have mapped out the plot for the third and final book, Bella Donna.

As we progress, I will post news and developments here and on my Facebook Page.

For those authors who are on the hunt for an agent, you have my sympathy and good wishes; it’s not an easy process and there were times I almost gave up. Indeed, I had a plan to publish under a small, indie imprint by the end of the year if I found no success in the big leagues. However, persistence pays (as well as having a strong product to sell and a very strong query letter). By the time I signed with Michelle, I had submitted over 50 queries in both the UK and United States and received something like four requests for the full or partial manuscript.

It’s a tough time in the industry and you do need to have a thick skin to get through the process unscathed. I read that something like 3% of all queried books are taken up by agents, and still only half or less than those go on to get a publishing contract, then of that tiny percentage, many will sell less than 100 copies. Sobering statistics for the aspiring author. But, as most writers will tell you, very few people are in this line of work for money. Most of us do it for the joy of writing – and I’m definitely one of those.

Genre matters

As long as there has been literature, there has been a desire and need to group it into categories. There is no officially agreed set of literary genres, and the more I become involved in the publishing industry, the more I realise that these days genre is as much about target audience and marketing strategy as it is about stylistic categorisation or plot type.

It seems that many publishing houses and literary agents are increasingly focused on categorising books by what they believe a given demographic will buy and read, rather than the contents of the books themselves. This makes it incredibly difficult for writers whose work crosses age, gender or racial boundaries and has potential appeal to a wider audience. You’d think wider appeal would mean a more saleable book, right? Not according to the experts.

Let’s take the genre currently known as Young Adult, for example. (Note: to me this has always been a ridiculous name for the age-group spanning the years between 12 and 18: since when is a twelve-year-old ANY kind of adult? But that’s a rant for another day.) The basic requirement for a Young Adult novel is that its protagonist is between the ages of 12 and 18 years (though 13 to 17 seems to be the best bet), and deals with the sorts of issues kids in this age range are interested in and go through themselves (or, if we’re going to be totally cynical, what older people think kids in this age range are interested in). While I believe there’s a very appropriate safety-net involved in this categorisation, (you can at least be fairly confident they’re not going to contain a lot of gratuitous sex, swearing or violence), to suggest that all people this age like the same kind of books is ludicrous. Do all people between 30 and 50 like the same books? So then a sub-genre system is employed; we have YA Contemporary, YA Fantasy, YA Sci Fi… and so on.

So what’s wrong with that? you ask. Nothing. Except that it pigeonholes both the books and the people who might read them. If you categorise books by life-stage, you’re saying that once you’ve completed a life-stage, you no longer have any interest in it, even for nostalgia’s sake. Or if you haven’t reached a certain life-stage, you can’t be interested in it yet.

Have you ever felt embarrassed because you enjoyed a Young Adult title, even though you’re in your twenties, thirties or older? I know plenty of people who were embarrassed to admit they’d read and loved The Hunger Games trilogy simply because it was classified YA. And yet, had the protagonist been just a couple of years older, it would have been marketed as Adult Dystopian, and those people would have been able to proudly proclaim how much they enjoyed it.

Then there is the lost genre, dubbed ‘New Adult’ by St. Martin’s Press in 2011. A ‘New Adult’ is someone in the approximate age range of 18-25, dealing with the pressures of becoming responsible for his or her own life for the first time. It’s a period in anyone’s life fraught with change, stress, excitement, adventure… all the ingredients for a great story. And yet, this genre is a black-hole according to a vast number of agents and publishers. Why? Because apparently 18-25 year olds don’t read.

Next steps

Things became interesting this week when I received not one, but two requests from New York literary agencies who want to read more of Amaranth. It’s both exciting and terrifying to come so close: it could be the start of something huge, or it could just give me further to fall. But what I want to be able to take away from this development is the knowledge that there are at least two agents out there who think my work is worth their time. That is HUGE.

Continue reading

Interview with Barefoot Basics

I recently got in touch with Rochelle Stone of Barefoot Basics, an Australian-based marketing company working to assist authors entering the publishing industry for the first time. She requested an interview about my novel, Amaranth, which has today been published on the Barefoot Basics website. I talked to Rochelle about the book itself as well as how I manage my time between writing, self-promotion and holding down a day job.

Vocal challenges

My current work in progress is proving quite a challenge, and one of the key reasons for this is voice. When I mentioned my struggles to a friend recently, he said he could always recognise my voice in my writing, and that when he reads my work, he hears my voice in his head. I tried to explain this wasn’t quite what I meant, but I realised he had a point. I began to wonder if it is actually possible to separate the writer from the writing.

Amaranth is written in the first person, and the narrator is a nineteen year old girl named Eva. If I’m honest with myself, Eva’s narrative voice is very close to my own internal narrative; I wrote her much the same way I would write myself. She has a dry, dark sense of humour, is given to pessimism (and melodrama) and can be quite caustic. It was quite easy to write from her perspective.

However, the next book in the series is written from a different character’s perspective, and though she is also a girl in her late teens, she is a very different character to Eva. She’s bright, bubbly, mischievous and though she has a dark past, she refuses to let it get her down. It was a complete shift in gears for me, and I’m glad I took the time to write some short stories in between novels so that I could cleanse my palate of Eva, as much as is possible anyway, given the points I made above.

The interesting part is that two chapters in, though I’m struggling to keep the new voice authentic through word choice and structure, I’m finding the best thing I can do is to adopt her mindset. Method writing, perhaps? In order to know instinctively how she would react and what she would say in any given situation, I need to think like she would. I’ve found it rather therapeutic to shift my brain into nothing-gets-me-down girl; I’ve stopped for a break a number of times and found that I’ve been unconsciously smiling.

Reading back through the chapters I’ve written so far, I have managed to create a distinctly different voice for this novel, and yet my writing voice is still in there. Perhaps there are writers in the world who are true chameleons and can write in a completely different voice from book to book, but I am not quite there yet. And yet… I’m not sure I want to be. Not entirely. When I pick up a book by a favourite author, I want to hear his or her voice in there somewhere. It’s like a trademark. No, on second thoughts, it’s more subtle than that. It’s more of a watermark. Something at the nucleus of the writing that stamps it as theirs, and without it, I wouldn’t be able to trust the unfamiliar book to deliver what I liked about previous works.

Ideally, I want to find a balance. I hope that at some point my work will have fans who don’t know me personally, and don’t know what my real-life voice sounds like. For those people, I would hope to create something new and engaging each time, but with an intangible familiarity that allows them to trust that they’re going to get a healthy dose of what I do, no matter who the characters are, what they achieve or where I take them.

A Sequel to Amaranth

I’ve just begun work on a sequel to Amaranth, and although I won’t share too much about the actual story just yet, I can tell you how it came about. Originally, Amaranth was quite a different story; it was still based on a girl who committed suicide, but I had a completely different story planned for her than the one she ended up with. I had planned for Amaranth to have two very distinct parts, the first where Eva discovers her new existence and meets young Nicky and Elliot, the second would take place around ten years later when Nicky was eighteen and Elliot into his twenties. By the time I was halfway through the plan for what Amaranth eventually became, I realised I was never going to fit all of it into one book, especially since there are quite strict word limits for first-time authors as a rule. I’d also had real trouble with how to manage such a significant time jump without having to spend a long time describing what had happened in the interim and boring readers to sleep.

The best way I could think to tackle this problem was to further develop what I had in mind for Amaranth and split the whole idea into two books. But then the book took on a life of its own, and Timothy asserted himself into a main character in a way I hadn’t intended. He became key to the whole story and made it so that the second book could never really be about Eva.

The result is that though Book Two will essentially have the same plot I’d always intended, it won’t be a linear follow-on to Eva’s story. There will be new characters, and the ones we already met in Amaranth will have ten more years under their belts and will have changed in ways even I hadn’t anticipated.

Amaranth

In ancient Greece the peerless beauty, Amaranth, walks into the Alcyonian Lake and drowns, becoming the first immortal eidolon, cursed to forever wander amongst the living, unseen and unheard. Thousands of years later in the modern-day city of Lennox, nineteen-year-old Eva Hamilton throws herself off a cliff and awakens unharmed on the rocks below. With no memory of why she jumped and unaware she is bound by an ancient curse, she must find a way to either accept or escape her fate.

Back in 2009 I awoke one morning from a dream that I had started writing a novel about a girl called Eva. The name of the book in the dream is way too embarrassing to share with you, but it did plant the seed of an idea in my mind.

When I was a child, I used to write little books, complete with (terrible) illustrations, staple them together and give them away as gifts. Even back then I would brag about how I was going to be an author when I grew up.

The problem was that I never had any truly good ideas. Even when I decided to study professional writing in my 20s, I had a horrible time coming up with ideas to complete the assignments. I’m fairly sure most of what I wrote was complete rubbish. Don’t get me wrong, the writing itself was quite sound, at least if my grades were anything to go by, but it was the fact that it was based on almost nothing that brought it down.

So anyway, after I had the Eva dream I started to think about writing again for the first time in years. Walking home from work one day I looked around at the other people going about their business and thought to myself, “I really don’t pay attention to any of these people. They could be the walking dead, and I would never know.” And the idea for Amaranth was born.

Once I made a start, the ideas, for once, came thick and fast. I just sat down one evening and started to write, and the more I wrote, the more the story formed in my mind. I badgered my partner constantly about whether he thought this or that idea was good and, though he would claim otherwise, he helped me shape the idea into something I could apply a story to.

Not long afterwards, I fell pregnant with my daughter and the whole project was more or less shelved. I did write bits and pieces while I was traveling for work in Japan and the US, but there was something about the plot-line I had in mind that just didn’t sit right. I decided to leave it alone for a while and concentrate 100% on motherhood.

Throughout my daughter’s first year, Amaranth would pop up and swim about in my head now and then, the idea would morph and change, and then slink back into my subconscious. It wasn’t until she started in kindergarten and I had a few moments to myself that I felt ready to think about it seriously again. I cringed as I took out what I had written nearly two years before, ready to throw out the lot and start again.

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