Category: On writing

The Jazz Files

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JazzFilesblogtourposter

I was delighted to be asked to be a part of  Fiona Veitch Smith’s blog tour for her latest book, The Jazz Files, and agreed to post up my interview with her again. Here it is in its entirety – long but fascinating 😉

Congratulations on an intriguing, fast-moving novel. This is the first book in a series – could you explain how your publishing deal came about?

I hope you’ve got a cup of tea in hand, this is a bit of a long story … I was hired by Monarch (Lion Hudson) around four years ago to ghostwrite a biography. They took me on because a few years before that I submitted a non-fiction idea to them which they turned down. Although they didn’t want the book, they liked my writing style and kept me in mind for the ghostwriting project. However, after nine months working on it I came to the conclusion that the man who the book was about had made up much of his story. I told Monarch and they cancelled the contract.

Lion Hudson – and, in particular, Tony Collins, one of the commissioning editors there – felt awful that the contract was cancelled and asked if I had anything else they could look at because they really wanted to work with me. The only other thing I had in the pipeline at the time was a historical novel set in the 1st century against the background of the early church. At the time the Lion Fiction imprint was being launched and they asked to look at it.

It took them eighteen months – and two rewrites from me – to decide that although they liked the book, they felt it was too ‘Christian’ for their market. Again they asked me if I had anything else. Well I didn’t; nothing written anyway. But I’m not one to look a gift horse in the mouth so I started mulling over some new ideas.

My research of what Lion Fiction was already publishing told me that crime mystery series were something they were interested in. So I came up with the idea of a reporter sleuth set in the 1920s and submitted the idea to them. They liked the idea and the outline but weren’t prepared to go to contract without seeing the whole book.

So I had to write it. It took me six months. I submitted it – plus some ideas for the rest of the series – and they finally offered me a contract. Phew! So the moral of the story is … don’t give up. These things can take a looooooong time to come to fruition. I’m so grateful they stuck with me and I thank Tony Collins for believing in me as a writer for so many years.

Do you have all the ideas for the whole series already set out, or is it an evolving process?

It’s an evolving process. I deliberately started the series in 1920 so I had ten years for my heroine to have adventures before it became a series set in the 1930s – whether she, the publisher or I are game for another decade, is a decision for the future. However, I had it in mind from the beginning to set the book against real historical events as they unfold through the decade. Which events still have to be decided, but I do have a basic structure in mind.

About halfway through writing the first book I knew that I wanted to set the next one – which has now been written – against the diaspora of White Russian refugees in the wake of the Russian Revolution. I know too where the third book will be set and am starting my background reading on that now. I have an inkling of Book 4, but have not made any firm decisions yet. The story and background of Book 2 were decided because one of the characters of Book 1 was a Russian and it gave me scope to delve a bit more into his back story. Also, I found a faux Fabergé Egg in a charity shop, which gave me the idea for the main plotline.

The same with Book 3 – it’s linked to the back story of another character. So a tip for writers considering writing series: have a broad dramatis personae of colourful characters. They may only play a bit part in the first book but could be developed down the line.

The Suffragette movement is still at the forefront of your characters’ minds. Your main character, Poppy, is one of the young women who were forging their own careers in traditionally male-dominated worlds. Why did you choose to set the series in that era?

After my first self-published novel, The Peace Garden, I discovered I was attracted to the mystery genre. The book started as a literary novel but soon drifted towards mystery. And as I have a degree in history and I love reading historical mysteries, it seemed to be a natural fit. But why the 1920s? Well I originally conceived of it set in 1912. The day before I received the rejection for my 1st century historical and the request for another proposal, I had been to visit the grave of the suffragette Emily Wilding Davison in Morpeth. It was the centenary of her death and I had just used her as an example of women acting out their faith (she was a Christian) in a talk I gave to my church’s women’s ministry. The pastor’s wife suggested we visit Emily’s grave and lay flowers. There is a picture of me at her grave on www.poppydenby.com under the ‘Suffragette’ link.

The next day I received news that Lion had rejected my 1st century novel. I was naturally very upset after all the work I’d put into it, but heartened that they wanted more. As I was praying and asking God to guide me as to what to write next, my eye was drawn to a book on my bookshelf called Unshackled by Christabel Pankhurst. It’s a first-hand account of the women’s suffrage movement.

It suddenly dawned on me that I should write about a suffragette reporter sleuth. (Why a reporter? Well I was formerly a journalist … but that’s another story). So I started planning the novel. However, the period just didn’t seem to fit. The clothes were boring, the music was boring and frankly, my character might have been feisty but she was downright dowdy. I felt the same writing her as I did playing Sheila Birling in an am-dram production of An Inspector Calls. But what I wanted to feel was like I felt when I played the delightful Maisie in Ken Russell’s The Boyfriend (a high school production – pic again on www.poppydenby.com). I had also just started learning to play jazz clarinet and was listening to music from the 1920s. I began to conceive of shifting my story to the 1920s and having my main character an inheritor of the legacy of the Suffragettes.

Just like Poppy I worked as a journalist in the 1990s and inherited the freedoms won by the brave women of the 1960s and 70s. Once I made this shift I immediately felt an emotional connection with the character and the period. And the rest, as they say, is history.

How did you research the historical content of your novel? 

I read a number of non-fiction books about the period, which are listed at the back of The Jazz Files and also on the www.poppydenby.com website. In addition to this I went down to London for a few days and walked up and down Fleet Street and King’s Road – key locations in the novel – to get a feel for the place and travelled the same routes that Poppy would travel on bus and train. I spent two days in the British Library reading newspapers from 1920 – particularly the Daily Mail and The Times. Some of the news stories that appear in the book were genuine articles from the time. I also went to the Suffragette exhibition and fashion exhibition at the London Museum. Some of the outfits that Poppy and Delilah wear in The Jazz Files were exact replicas of outfits I saw there. In addition I researched what was playing on the theatre scene in 1920 as well as cinema and music. The songs played in chapter 3 of the book were all actually played in 1920. These are small details that most people won’t notice but it gives me great pleasure to get these things right. I also like to think it adds a touch of authenticity that readers will feel if not know.

Fiona in her 1920s guise 🙂

You write in various genres, including children’s books, stage plays and screenplays. Where do you get your inspiration for each genre, and do you find writing for one of them easier than the others?

I didn’t set out to write for all genre and media. I set out to be a full-time writer and simply pursued whatever opportunities came my way. I would push at a door to see how far it would open and if it stopped, try another. The net result is that I am published and produced across the media but with varying success in each. I am first and foremost a storyteller. I come up with story ideas and then see which media would be the best vehicle to tell that story. So I rarely look at a genre then come up with an idea; it works the other way. Occasionally though I will be commissioned to write something for a specific medium and then I delve into my ideas bank and see which story would best suit the technicalities of the medium. Some stories are more visual (film) others require immediacy and audience interaction (stage) still others are simple stories with deeper truths (children) then others more epic with extensive back story (novel). Short stories and poems are better suited to a single image or concept. I wrote a poem this morning about an ageing apple tree. The concept would have been overstretched if I’d tried to write it into a film or novel. It could have been a children’s story, however, but I wanted to get across a deep spiritual truth which required the reader to have a bit of life experience to relate to – so a poem for adults it became. Each medium has its strengths and weakness. It’s like trying to choose your favourite child. At the moment though I am focusing on writing picture books for children with SPCK and novels with Lion Fiction.

For all those aspiring writers out there: how do you manage your time between being a lecturer in writing and writing itself? Are you working towards writing full-time or do you feel you have the balance as you want it?

I started lecturing by accident. A friend’s husband died suddenly and she asked me to take over her adult ed writing class. I’d never taught before, but I felt unable to say no. It turned out to be a very fulfilling experience. It also provided income to buy me time to write. Since then, now 11 years ago, I have continued to teach and lecture part time. I now lecture at two universities but I wouldn’t say it’s my day job – I only lecture a day or two a week between September and April. My day job is still writing. I think I’m beginning to find the balance. A couple of years ago I said yes to taking on more lecturing work because I needed the money but then my writing suffered. In the last two years I have tried to keep April to August completely free to write. It’s tough, because I only get paid for what’s called ‘contact time’ and I end up living off my credit card for a couple of months every year. Should other writers do it? That’s up to you. I gave up a full-time, well-paid job as a journalist to pursue creative writing, but my family’s income took a massive hit as a result. It’s not for everyone. I make sure I take on enough paid work to keep the wolf from the door. And that’s the reality for most writers. Very few people manage to do it full time without an additional income stream.

You also speak at conferences and offer creative writing workshops for both children and adults alike. Would you say that writers need to learn to diversify, or have those other avenues simply developed naturally for you?

I do that because a) I enjoy it; b) I have a natural gift for public speaking and teaching; and c) it helps to pay the bills (although some of the appearances barely pay enough to cover expenses – if anything at all!). This is something that suits me and my skill-set, but will not necessarily suit everyone. Yes it has increased my profile and hence gives me and my books a bit of a ‘platform’ but that’s not the primary reason I do it. I would advise writers to connect with their audiences in whatever way suits their personality and skill-set. But readers do like to meet authors ‘in the flesh’.

In 2011 you started your own ‘indie’ publishing company. How did that come about, and what was behind the decision to fold it in 2015? 

Crafty Publishing was started when my husband was made redundant (and then got a bit of spare cash when he got a new job fairly quickly). I had written a series of children’s books called the Young David Books, which I had unsuccessfully tried to get published. After they went down so well at my church my husband and I decided to use some of his redundancy money to self-publish. It was hard work but ultimately a successful little enterprise. Within four years of self-publishing we were approached by three different publishers to buy us out – two in the UK and one in America. By this time we felt we had plateaued with the books and couldn’t take them to the next level. We decided to sell the books to SPCK who are doing a brilliant job with them now and are getting them the international distribution that we were unable to do.

As things were going so well with my own books I thought I would try to give some other writers a chance – as I know how hard it is to get published – and also to try a different genre. I brought out my own adult novel and then signed another writer. We had four other writers in the pipeline (one children and three adult) when we decided to stop publishing earlier this year. The reasons were financial. My children’s books were the only things that made any money (not much, but we were approaching break-even point) yet we struggled to find sufficient distribution for the adult books to make it a viable commercial concern. We were at the point where we would have to have started siphoning off our family’s savings to fund it and we weren’t prepared to do that. So sadly, particularly for the authors involved, we had to call it a day.

You have quite a presence online: an old website, your new author website, a Poppy Denby website plus your Crafty Writers website. How do you have time to keep all the content refreshed? What advice would you give to writers wanting to make more of a presence online?

The truth is I don’t. My many websites reflect different aspects of my career over a 12-year period. One of the sites was more active when I was making my living primarily as a freelance feature writer, journalist and blogger. Another when I was earning more from giving writing advice and freelance editing and copywriting. As my career has developed so my web presence has changed. The problem is the sites are linked in to other sites and it is not that easy to take them down. As my writing career is becoming more streamlined into me being a novelist with Lion Fiction and a children’s writer with SPCK I am trying to streamline my online presence – but this takes time. So my advice: don’t take on more than you can chew!

It’s the same with social media: I am on Linked In, Goodreads, Twitter and FB but really only focus on Twitter and FB. They suit me and my relational personality more. I might give Goodreads another go but there are only a few hours in the day that I can (or should!) devote to social media. I would advise writers trying to build their online presence to choose one or two outlets and do them well. That being said, these days, having an online presence and being active in social media is one of the things publishers take into consideration when deciding whether or not to take your book. So do it, but do it wisely (ain’t hindsight a wonderful thing?).

What now for Poppy Denby and future writing projects?

I’m very excited that Poppy 2 has now been sent off to my publisher. I will be focusing mainly on lecturing over the Autumn plus promoting The Jazz Files. In between I will start research for Poppy 3. In the New Year I am looking forward to working on a new children’s series with SPCK. Beyond that, I’m very tempted to start pitching Poppy Denby Investigates as a television series. I would like to do the adaptation myself. A girl can dream, can’t she? And sometimes, just sometimes, those dreams come true.

You can buy a copy of The Jazz Files here.

COV_Front_JazzFiles

 

Author interview with Fiona Veitch Smith: part 2

In the second instalment of my interview with Fiona Veitch Smith, she provides more detail about what a writer’s life is like for her…

Fiona in her 1920s guise :)

Fiona in her 1920s guise 🙂

You write in various genres, including children’s books, stage plays and screenplays. Where do you get your inspiration for each genre, and do you find writing for one of them easier than the others?

I didn’t set out to write for all genre and media. I set out to be a full-time writer and simply pursued whatever opportunities came my way. I would push at a door to see how far it would open and if it stopped, try another. The net result is that I am published and produced across the media but with varying success in each. I am first and foremost a storyteller. I come up with story ideas and then see which media would be the best vehicle to tell that story. So I rarely look at a genre then come up with an idea; it works the other way. Occasionally though I will be commissioned to write something for a specific medium and then I delve into my ideas bank and see which story would best suit the technicalities of the medium. Some stories are more visual (film) others require immediacy and audience interaction (stage) still others are simple stories with deeper truths (children) then others more epic with extensive back story (novel). Short stories and poems are better suited to a single image or concept. I wrote a poem this morning about an ageing apple tree. The concept would have been overstretched if I’d tried to write it into a film or novel. It could have been a children’s story, however, but I wanted to get across a deep spiritual truth which required the reader to have a bit of life experience to relate to – so a poem for adults it became. Each medium has its strengths and weakness. It’s like trying to choose your favourite child. At the moment though I am focusing on writing picture books for children with SPCK and novels with Lion Fiction.

For all those aspiring writers out there: how do you manage your time between being a lecturer in writing and writing itself? Are you working towards writing full-time or do you feel you have the balance as you want it?

I started lecturing by accident. A friend’s husband died suddenly and she asked me to take over her adult ed writing class. I’d never taught before, but I felt unable to say no. It turned out to be a very fulfilling experience. It also provided income to buy me time to write. Since then, now 11 years ago, I have continued to teach and lecture part time. I now lecture at two universities but I wouldn’t say it’s my day job – I only lecture a day or two a week between September and April. My day job is still writing. I think I’m beginning to find the balance. A couple of years ago I said yes to taking on more lecturing work because I needed the money but then my writing suffered. In the last two years I have tried to keep April to August completely free to write. It’s tough, because I only get paid for what’s called ‘contact time’ and I end up living off my credit card for a couple of months every year. Should other writers do it? That’s up to you. I gave up a full-time, well-paid job as a journalist to pursue creative writing, but my family’s income took a massive hit as a result. It’s not for everyone. I make sure I take on enough paid work to keep the wolf from the door. And that’s the reality for most writers. Very few people manage to do it full time without an additional income stream.

You also speak at conferences and offer creative writing workshops for both children and adults alike. Would you say that writers need to learn to diversify, or have those other avenues simply developed naturally for you?

I do that because a) I enjoy it; b) I have a natural gift for public speaking and teaching; and c) it helps to pay the bills (although some of the appearances barely pay enough to cover expenses – if anything at all!). This is something that suits me and my skill-set, but will not necessarily suit everyone. Yes it has increased my profile and hence gives me and my books a bit of a ‘platform’ but that’s not the primary reason I do it. I would advise writers to connect with their audiences in whatever way suits their personality and skill-set. But readers do like to meet authors ‘in the flesh’.

In 2011 you started your own ‘indie’ publishing company. How did that come about, and what was behind the decision to fold it in 2015?

Crafty Publishing was started when my husband was made redundant (and then got a bit of spare cash when he got a new job fairly quickly). I had written a series of children’s books called the Young David Books, which I had unsuccessfully tried to get published. After they went down so well at my church my husband and I decided to use some of his redundancy money to self-publish. It was hard work but ultimately a successful little enterprise. Within four years of self-publishing we were approached by three different publishers to buy us out – two in the UK and one in America. By this time we felt we had plateaued with the books and couldn’t take them to the next level. We decided to sell the books to SPCK who are doing a brilliant job with them now and are getting them the international distribution that we were unable to do.

As things were going so well with my own books I thought I would try to give some other writers a chance – as I know how hard it is to get published – and also to try a different genre. I brought out my own adult novel and then signed another writer. We had four other writers in the pipeline (one children and three adult) when we decided to stop publishing earlier this year. The reasons were financial. My children’s books were the only things that made any money (not much, but we were approaching break-even point) yet we struggled to find sufficient distribution for the adult books to make it a viable commercial concern. We were at the point where we would have to have started siphoning off our family’s savings to fund it and we weren’t prepared to do that. So sadly, particularly for the authors involved, we had to call it a day.

You have quite a presence online: an old website, your new author website, a Poppy Denby website plus your Crafty Writers website. How do you have time to keep all the content refreshed? What advice would you give to writers wanting to make more of a presence online?

The truth is I don’t. My many websites reflect different aspects of my career over a 12-year period. One of the sites was more active when I was making my living primarily as a freelance feature writer, journalist and blogger. Another when I was earning more from giving writing advice and freelance editing and copywriting. As my career has developed so my web presence has changed. The problem is the sites are linked in to other sites and it is not that easy to take them down. As my writing career is becoming more streamlined into me being a novelist with Lion Fiction and a children’s writer with SPCK I am trying to streamline my online presence – but this takes time. So my advice: don’t take on more than you can chew!

It’s the same with social media: I am on Linked In, Goodreads, Twitter and FB but really only focus on Twitter and FB. They suit me and my relational personality more. I might give Goodreads another go but there are only a few hours in the day that I can (or should!) devote to social media. I would advise writers trying to build their online presence to choose one or two outlets and do them well. That being said, these days, having an online presence and being active in social media is one of the things publishers take into consideration when deciding whether or not to take your book. So do it, but do it wisely (ain’t hindsight a wonderful thing?).

What now for Poppy Denby and future writing projects?

I’m very excited that Poppy 2 has now been sent off to my publisher. I will be focusing mainly on lecturing over the Autumn plus promoting The Jazz Files. In between I will start research for Poppy 3. In the New Year I am looking forward to working on a new children’s series with SPCK. Beyond that, I’m very tempted to start pitching Poppy Denby Investigates as a television series. I would like to do the adaptation myself. A girl can dream, can’t she? And sometimes, just sometimes, those dreams come true.

To purchase The Jazz Files, please click here.

Author interview with Fiona Veitch Smith: part 1

Having been captivated by Fiona’s latest novel, The Jazz Files, I was delighted when she agreed to an interview. I’ll warn you up front that it is long, but so fascinating and full of honesty and advice for writers and aspiring writers alike that I simply couldn’t cut it. So please do read this and tomorrow’s instalment for a behind-the-scenes look at how Fiona’s new crime series has been birthed and crafted – and what life as a writer is like for her.

COV_Front_JazzFiles

Congratulations on an intriguing, fast-moving novel. This is the first book in a series – could you explain how your publishing deal came about?

I hope you’ve got a cup of tea in hand, this is a bit of a long story … I was hired by Monarch (Lion Hudson) around four years ago to ghostwrite a biography. They took me on because a few years before that I submitted a non-fiction idea to them which they turned down. Although they didn’t want the book, they liked my writing style and kept me in mind for the ghostwriting project. However, after nine months working on it I came to the conclusion that the man who the book was about had made up much of his story. I told Monarch and they cancelled the contract.

Lion Hudson – and, in particular, Tony Collins, one of the commissioning editors there – felt awful that the contract was cancelled and asked if I had anything else they could look at because they really wanted to work with me. The only other thing I had in the pipeline at the time was a historical novel set in the 1st century against the background of the early church. At the time the Lion Fiction imprint was being launched and they asked to look at it.

It took them eighteen months – and two rewrites from me – to decide that although they liked the book, they felt it was too ‘Christian’ for their market. Again they asked me if I had anything else. Well I didn’t; nothing written anyway. But I’m not one to look a gift horse in the mouth so I started mulling over some new ideas.

My research of what Lion Fiction was already publishing told me that crime mystery series were something they were interested in. So I came up with the idea of a reporter sleuth set in the 1920s and submitted the idea to them. They liked the idea and the outline but weren’t prepared to go to contract without seeing the whole book.

So I had to write it. It took me six months. I submitted it – plus some ideas for the rest of the series – and they finally offered me a contract. Phew! So the moral of the story is … don’t give up. These things can take a looooooong time to come to fruition. I’m so grateful they stuck with me and I thank Tony Collins for believing in me as a writer for so many years.

Do you have all the ideas for the whole series already set out, or is it an evolving process?

It’s an evolving process. I deliberately started the series in 1920 so I had ten years for my heroine to have adventures before it became a series set in the 1930s – whether she, the publisher or I are game for another decade, is a decision for the future. However, I had it in mind from the beginning to set the book against real historical events as they unfold through the decade. Which events still have to be decided, but I do have a basic structure in mind.

About halfway through writing the first book I knew that I wanted to set the next one – which has now been written – against the diaspora of White Russian refugees in the wake of the Russian Revolution. I know too where the third book will be set and am starting my background reading on that now. I have an inkling of Book 4, but have not made any firm decisions yet. The story and background of Book 2 were decided because one of the characters of Book 1 was a Russian and it gave me scope to delve a bit more into his back story. Also, I found a faux Fabergé Egg in a charity shop, which gave me the idea for the main plotline.

The same with Book 3 – it’s linked to the back story of another character. So a tip for writers considering writing series: have a broad dramatis personae of colourful characters. They may only play a bit part in the first book but could be developed down the line.

The Suffragette movement is still at the forefront of your characters’ minds. Your main character, Poppy, is one of the young women who were forging their own careers in traditionally male-dominated worlds. Why did you choose to set the series in that era?

After my first self-published novel, The Peace Garden, I discovered I was attracted to the mystery genre. The book started as a literary novel but soon drifted towards mystery. And as I have a degree in history and I love reading historical mysteries, it seemed to be a natural fit. But why the 1920s? Well I originally conceived of it set in 1912. The day before I received the rejection for my 1st century historical and the request for another proposal, I had been to visit the grave of the suffragette Emily Wilding Davison in Morpeth. It was the centenary of her death and I had just used her as an example of women acting out their faith (she was a Christian) in a talk I gave to my church’s women’s ministry. The pastor’s wife suggested we visit Emily’s grave and lay flowers. There is a picture of me at her grave on www.poppydenby.com under the ‘Suffragette’ link.

The next day I received news that Lion had rejected my 1st century novel. I was naturally very upset after all the work I’d put into it, but heartened that they wanted more. As I was praying and asking God to guide me as to what to write next, my eye was drawn to a book on my bookshelf called Unshackled by Christabel Pankhurst. It’s a first-hand account of the women’s suffrage movement.

It suddenly dawned on me that I should write about a suffragette reporter sleuth. (Why a reporter? Well I was formerly a journalist … but that’s another story). So I started planning the novel. However, the period just didn’t seem to fit. The clothes were boring, the music was boring and frankly, my character might have been feisty but she was downright dowdy. I felt the same writing her as I did playing Sheila Birling in an am-dram production of An Inspector Calls. But what I wanted to feel was like I felt when I played the delightful Maisie in Ken Russell’s The Boyfriend (a high school production – pic again on www.poppydenby.com). I had also just started learning to play jazz clarinet and was listening to music from the 1920s. I began to conceive of shifting my story to the 1920s and having my main character an inheritor of the legacy of the Suffragettes.

Just like Poppy I worked as a journalist in the 1990s and inherited the freedoms won by the brave women of the 1960s and 70s. Once I made this shift I immediately felt an emotional connection with the character and the period. And the rest, as they say, is history.

How did you research the historical content of your novel? 

I read a number of non-fiction books about the period, which are listed at the back of The Jazz Files and also on the www.poppydenby.com website. In addition to this I went down to London for a few days and walked up and down Fleet Street and King’s Road – key locations in the novel – to get a feel for the place and travelled the same routes that Poppy would travel on bus and train. I spent two days in the British Library reading newspapers from 1920 – particularly the Daily Mail and The Times. Some of the news stories that appear in the book were genuine articles from the time. I also went to the Suffragette exhibition and fashion exhibition at the London Museum. Some of the outfits that Poppy and Delilah wear in The Jazz Files were exact replicas of outfits I saw there. In addition I researched what was playing on the theatre scene in 1920 as well as cinema and music. The songs played in chapter 3 of the book were all actually played in 1920. These are small details that most people won’t notice but it gives me great pleasure to get these things right. I also like to think it adds a touch of authenticity that readers will feel if not know.

To purchase The Jazz Files, please click here.

A day in the life of a jobbing writer

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Today I am welcoming Edoardo Albert on my blog. He is a copywriter, editor and writer and his latest books, the series known as The Northumbrian Thrones, are published by Lion Fiction. The second book in the series, Oswald, has recently been published and, to celebrate, I invited Edoardo to give us some insights into his life as a writer.

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‘Alarm: 5am. But this morning, I didn’t need it. Son number three, two-year-old Isaac, had arrived in our bedroom at 1.30am, had settled in until 4.30am and then, with the hyperactive midsummer sun blasting through the curtains, woken up, thirsty, hungry and disinclined to go back to sleep. We got up. I fed and watered Isaac, and attempted to persuade him of the benefits of sleep. By 6am, he had agreed.

‘Luckily, I had switched off the alarm before heading downstairs, so wife number one and only was not disturbed. Sons numbers one and two had not stirred. The house was quiet, the street was quiet, I had an hour of calm to get some work done. The cat then came in, requiring breakfast.

‘This pretty well sums up the life of a modern-day writer: struggling desperately to fit some writing time in between the demands of family and making some actual, putting-food-on-the-kids’-plates money. Add to that long hours and every third person you meet telling you, ‘Oh, I’ve been meaning to write a book,’ and I sometimes wonder why I do it. But then there are times, as happened in the writing of Oswald: Return of the King, that you fall through the page into the story – it is as if a secret fire has lit inside the characters and, for want of any better way to describe it, they come alive.

‘Now, this is particularly precious but, also, particularly perilous for me, since what I am doing with Oswald and the first volume in the trilogy, Edwin: High King of Britain, is writing imaginative history. In most historical fiction, the history is the backdrop in front of which invented characters play out an invented story – sort of science fiction of the past. That’s all well and good, and at its best makes for wonderfully entertaining reading, but too often it slides into wish fulfilment. What I am trying to do with The Northumbrian Thrones trilogy is to take real people and actual events and show why they happened in a manner that is artistically satisfying and historically plausible. So it is a great privilege when these characters, most of whom were once real, living people, come to life in my mind, but a temptation too, for they are imaginings. Yet, at one level, I suppose if asked I would say that yes, I really do think Oswald was as I portray him: Tolkien, as he wrote the stories of Middle-earth, began more and more to believe that he was discovering rather than inventing. I am no Tolkien, but on the other hand seventh-century Northumbria lies on a somewhat firmer foundation of fact than Middle-earth.

‘As far as bringing this world to life, a great advantage is the fact that I have already written a book about the history and archaeology of the time – Northumbria: the Lost Kingdom, with archaeologist Paul Gething. Paul is director of the Bamburgh Research Project, which has been excavating in Bamburgh for over a decade now, and through writing and talking with him I gained the sort of insight that is simply impossible to find in books alone. For if I am trying to write imaginative history, Paul is doing imaginative and experimental archaeology, down to gathering bog ore from sites around Bamburgh, smelting and smithing it, to see if he can recreate the extraordinary weapon, the Bamburgh sword, that they rediscovered at the castle.

‘All this has gone into writing Oswald: Return of the King. I hope it doesn’t show (at least, not in a flashy, look-at-me sense, although I hope it appears in a sensed authenticity of detail).

‘As for my writing day, I squeezed in 45 minutes before catching the tube in to work. You think writing pays the bills? Think again.

‘There are some days I can devote entirely to writing, but these mainly result from not being able to find any better paying work for the day. Most often, I catch an early tube train in to work at Time Out or one of the other magazines where I play catch with my cash flow, settling in there for a day spent staring at a screen. This is good work for a writer: editing other people’s work, from the excellent to the barely competent, and marvelling how some writers, hardly able to craft a sentence, have managed to pursue careers in publishing.

‘The great joy of working in central London is the tube journey, for it offers uninterrupted reading time. As with all professions, increasing proficiency often entails doing less of what drew you to the subject in the first place. I became a writer, first and foremost, because I loved stories but, being a writer, I have less and less time to actually read any stories. Hence, all glory, laud and honour to TFL, and may their trains continue to take half an hour to get me in to central London: an hour’s reading a day is the vital word infusion that keeps the words fresh and renews the love of story.

‘So, there you have it, a writer’s day: words and screens, family and work, all in all not so different from other people. But I’ve done other jobs – deliveries, TV repairs, office work – and believe me, there is nothing – absolutely nothing – half so much worth doing as simply messing about with words.’

Oswald cover

Edoardo’s first book in the series, Edwin: High King of Britain, is currently on sale in ebook form at a reduced price. It is also available in paperback.

To buy Edoardo’s new book, Oswald, please click here.

Learning to enjoy the journey

woodland pic with path

I am the type of person that wants to know what’s coming. I want to be able to plan everything ahead of time. I have been learning that this is often a characteristic of the way I deal with fresh revelation from God: He teaches me something but I immediately want to know everything to do with that and how it will pan out in my life over the coming months and years.

But often God deals with me gently by reminding me that this life is a journey – I may have just realised something new but that doesn’t mean I have it all wrapped up. He longs for me to explore, to delve deeper and just enjoy the whole experience of learning rather than having to be an instant expert.

I often have a similar experience with my writing. I have a sense of trepidation when I start tackling the planning stages of a new book or Bible study notes. I can procrastinate for a little while but then, when an idea starts to form, I can feel frustration that I don’t know how the whole concept will look like once finished.

I may get a bit of inspiration about particular chapters or days’ readings, but feel lost and impatient that there seems to be a gap in part of the overall writing scheme. I feel like I must be in control of it all, must have a plan, otherwise it won’t work.

Do you ever feel that way?

And yet…

To read the rest of this post, please click here.

More than Writers site

I am really excited that today the first of my regular contributions to the Association of Christian Writers’ blog has gone live. The site is called More than Writers and already I have gleaned a wealth of encouragement and challenge from the bloggers this month. Please do check the site out – and comment on my post today if you want to, which is all about learning not to compare ourselves with others 🙂

comparison is the thief of joy

The Virgin Monologues

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Interesting blog title huh? Well, it’s an even more interesting title for a book – and that’s precisely what it is. Towards the end of last week I had the pleasure of attending the launch for this new book, written by journalist and writing coach Carrie Lloyd. Sassy, beautiful and brilliant, Carrie has long been writing about her relationship experiences on her blog Her Glass Slipper.

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Carrie’s book sees her, as a 21st century Christian girl, honestly sharing her dating trials and considering such questions as: is purity relevant? Why does Mr Potential never reach his potential? Is the fear of singledom making you settle for second-rate? And why are so many Christians so Christ-less in their approach to dating?

Carrie also talks about how she used to have ‘the recipe’ – a list of everything she needed in ‘her man’, but how finding freedom for herself has enabled her to ditch it.

I loved editing the book, and, even though I’m an old ‘married’, I gleaned plenty of wisdom from it – Carrie certainly pulls no punches in her writing. She has the guts to write personally about what she’s learned as well directly challenge the reader. I highly recommend this title (its tactile cover is another good reason to buy it 😉 ).

Here is an eclectic selection of pithy quotes from Carrie, taken from the launch night:

“So you’re writing about purity & sexual discipline…” “Yeah. It’s a niche market.”

“If you know who you are, you don’t need a list.”

“Vulnerability is your greatest protector.”

“We have lots of books on joy but they don’t make me feel joyful. I wanted my book to be fun.”

“We need to think more carefully about what freedom really is.”

“I’ve been an atheist and I know how off-putting Christian language can be.”

The Virgin Monologues is out now on kindle and publishes in book form on 23 Jan – for a taste of what to expect see Carrie’s book teaser.

Interview with Ready Writer Mag

I have had the pleasure of being interviewed by Ready Writer Mag about how I got into writing, what books I’ve just had published and what my future plans are. I also give advice to other budding writers. Here’s a little snippet:

How did you get your first commission?

I worked in a general reference department of a non-fiction publisher before going freelance – it was great to work in ‘integrated’ publishing. Once I was freelance, I worked for a range of publishers and one asked if I would help develop an illustrated Christian book list for them. It was a fantastic time of learning and I enjoyed it immensely. I was down to edit one of the titles that were commissioned from that time. But, when they received the manuscript they weren’t happy with it, so asked if I would consider writing it from scratch.

How did you feel?

I was totally blown away – and rather petrified! It helped that there was quite a specific breakdown of what content they wanted, although that did also feel like a little bit of a hindrance as I started writing. But it was great experience – and training – for what I was to do in later years (as that was back in 2003).

You can still buy the book – it’s called Taking Your Spiritual Pulse.

Did you think the millions would start rolling in after that first commission?

Um, certainly not – although I did wonder whether I would ever get to the stage of being able to command royalties, as that was done for a very small flat fee.

And did they, the millions come rolling in, I mean?

Well, I’m still waiting on those royalties! One of the things I was shocked by when I started writing, as well as editing, is how little authors are paid. Unless, of course, you are a Philip Yancey or Jeff Lucas, ‘jobbing’ writers as they are called, do not earn enough to live on. It was very eye-opening to realise I could earn more as an editor than a writer, which is one of the reasons I still do both. It is also the reason I write articles for magazines and online blogs, as they earn me a bit of extra money while I’m working on longer-term projects.

If you are interested in reading the full interview, please click here.

Today’s the day!

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My books, Jesus and Prayer, are officially published today by BRF. I know I have included pictures of them in quite a few recent posts, but I couldn’t let today pass by without posting them again now could I?

So, if you are looking for small group resources, or books for your own personal study, then do please consider these titles. Each one has seven weeks of material and links to the Foundations21 website for further resources.

If you do buy them, my hope and prayer is that they will bless you and help you to go deeper in your walk with God – perhaps seeing something from a new perspective or trying out a different type of activity. We are all on this discipleship journey for life – I’d love it if you’d join me for a short time through my books! 🙂

 

Learning with F21_Prayer Learning with F21_Jesus

Why do we always want something different?

On Friday my two new books are published. I am taking a moment to celebrate that fact – to thank the editor who asked if I would like to write them, and to acknowledge all the hard work it took to put them together.

Learning with F21_Prayer Learning with F21_Jesus

 

 

 

 

 

 

 

 

 

But it also makes me long for the day when the book I have burning within me makes it out of my heart and mind and onto the bookshelves. You see, so far I have four books under my writerly belt. But each one I was asked to write. The ideas did not originally come from me. Yes, I ran with them, developed them, put my all into them – but they don’t feel like they are quite ‘mine’.

I also look around at the Christian non-fiction authors who have huge followings, bestsellers and sell-out tours. I look and wonder – will I ever get anywhere close to that? And does God even want me to? In the times when I get frustrated, I have to consciously take my eyes off of another’s path and focus on my own. Because God has called me to walk out my own life, not someone else’s.

God really challenged me recently. I was considering whether I could feasibly take on the leadership training that I had been offered. So often we are told to look at our priorities, to check where all our time goes (yes I’ve previously written about doing a time budget – we got partway there!). I know that working parents will probably relate to what I’m going to say next: most of the time I feel like my whole self is being simultaneously stretched in at least four different directions.

Writing and editing make up my ‘job’, but I also believe they are part of my calling. I also know that first and foremost I am to love my God above everything and everyone – and then my husband and my children. I also now have a deep passion for those who attend our church. I want to see them reach their full potential, walk free from those things that have bound them and be all they can be. I am also fired up by worship and long to see people engaging with God in new and creative ways.

And yet so often I feel like I’m only just scratching the surface with each of those areas. That I’m just treading water rather than taking ground. I wonder whether I’m selling people short by not giving more – but then I know that, realistically, I haven’t got any more to give. So how can I take on anything else? But then that quiet small voice whispers to me, encouraging me and telling me it could be the one thing that equips me to serve others better, and gives me the time to actually stop and check my priorities.

To read the rest of this post please click here.