URTS blog tour: Where I Write by Louise Gornall, author of Under Rose-Tainted Skies

Rose3I am so excited to have the fabulous Louise Gornall, author of the equally fabulous Under Rose-Tainted Skies here today (and it’s the first day of my summer holiday today – how symbolically freedom-celebrating is that?). If you haven’t heard of this book, (where have you been?) there is some info at the end of the post but it is high on my recommended list for this summer and has been out about a week now so – you know what to do. Anyway, here is the lovely Louise herself, to tell you a bit about her writing – specifically, where she writes:


Louise GornallGood morning, guys! Thanks for having me over. Of all the questions I’m asked about writing, ‘where do you write?’ has to be my favourite, simply because the answer is always changing.

Right now, as I write this, I’m sat on a deck, surrounded by hills, bordered by trees and endless green fields. I’m in the Lake District, a short walk away from the Beatrix Potter museum, with five of my best friends — they’re squeeing and splashing around in a hot tub. I’m going to join them in a second, but I just wanted to jot down some ideas about my new book that I had last night, and I really wanted to cross a couple of things off my to-do list before we leave tomorrow and my bank holiday is snatched away by family fun times. That’s not sarcasm. In my village there is a parade and a fair and, beside Christmas, it’s probably the best day of the year here.

Where will I write tomorrow? I think maybe out in the garden. We’re having some uncharacteristically warm weather in the North West, and you guys know how it is over here, you gotta catch it before it disappears and you start seeing Christmas in September. But if it is too cold, I’ll sit on scatter cushions, on the floor, in a small space between my bed and bookshelf. I do have a desk, but I can never seem to get comfy at it, and if I’m not comfy, I will forever be distracted and write nothing.

I guess I can pretty much write anywhere, too. I don’t really need a computer as I draft on my phone with Google Docs. Ooh! And in bed. I like writing in bed. You know when it goes super quiet and dark, and your mind starts thinking of all the story things? I love it when that happens — and I have my phone right beside me, so I can tap out a few lines of thought before I go to sleep.


Under Rose-Tainted Skies

Thanks, Louise, it’s always so interesting to hear people’s actual writing practices. So you don’t need just the right chair in just the right place? I love the idea of you writing outside, surrounded by friends – sounds great (if a little noisy/distracting for me… I’m not tied to place either, but Must Have Quiet – via headphones and white noise/instrumental music if necessary).

Here’s how Goodreads summarises the novel:

Norah has agoraphobia and OCD. When groceries are left on the porch, she can’t step out to get them. Struggling to snag the bags with a stick, she meets Luke. He’s sweet and funny, and he just caught her fishing for groceries. Because of course he did.

Norah can’t leave the house, but can she let someone in? As their friendship grows deeper, Norah realizes Luke deserves a normal girl. One who can lie on the front lawn and look up at the stars. One who isn’t so screwed up.

I’ll be reviewing this one properly soon, but here are my initial thoughts on finishing:

Fabulous account of agoraphobic teen with OCD – don’t think I’ve ever seen anxious thoughts so perfectly delineated. Everyone with an anxiety disorder will want their friends to read this to help them understand. But of course, this is no ‘handbook on OCD’ – it’s a story first and foremost, and above all, I enjoyed following Norah’s tale as she deals with the boy next door and his intrusion into her (extremely limited) world. I’ll be recommending this one a lot.


URTS blog tourThank you so much to Louise for visiting. Tomorrow, she’ll be at Escapism From Reality. She can be found online on Twitter and at her website.

Thanks also to Chicken House for providing a review copy and the fabulous Nina Douglas for tour organisation.

 

Rewriting the World: Fantasy and Social Issues (YA Shot Blog Tour with Ellen Renner)

cropped-yashotcolourlesssmallAre you aware of the YA Shot event? It’s a fantastic Arts Council-sponsored event taking place next week in celebration of libraries and young people’s literature. 71 YA and MG writers are appearing in 3 venues across Uxbridge on Wednesday 28th October. There is also a programme of blogging and vlogging workshops for those who want to learn more about this area.

This thought-provoking post on the world of fantasy writing from Ellen Renner appears courtesy of YA Shot and demonstrates the high quality of material that you can expect on the day.

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Rewriting the World: Fantasy and Social Issues

I write in order to understand. Writers stand outside the world and watch it spin. We study this amazing, contrary world we live in and ask: Why?

Why do some people do bad things, and others good? Why is society organised the way it is? Does power always corrupt? Is history doomed to repeat itself? Why do bad things happen to good people? Where do I fit in? Can I make a difference?

These are the very questions children ask of themselves and the world as they grow up. Writers simply never stop asking. Perhaps we never truly grow up. The first job of a story-teller is to entertain (otherwise no one will listen!); the second, to ask the hard questions.

Castle of shadowsAll of this is why I predominately write fantasy, although my debut novel, Castle of Shadows, could more accurately be described as alternative history. I wanted to write about power and politics set in a time of great technological and social change. In fact, I wanted to put a mirror up to our own world while keeping a necessary distance. So I created a world based on 1830s England but free from its history. Castle of Shadows was written just after the Iraq War and, not surprisingly, features political shenanigans and a weapon of mass destruction.

My most recent boTributeoks, Tribute and Outcaste, are straightforwardly within the fantasy genre, with all its related world-building. It was both liberating and terrifying to realise that the only limits were those of my imagination. But too much freedom can be a trap and I chose my ‘magic’ carefully and made sure it had logical limits within the story. Instead of potions and spells, my magic-users have a genetic ability to transform matter (telekinesis).

I wrote Tribute because I wanted to explore issues that have haunted me since I was a child: racism, sexism . . .all the ‘-isms’ which are an excuse for the all-too-human tendency to scapegoat segments of a society as ‘other’. In other words: the failure of empathy. It is no coincidence that my main character, Zara, is gifted – or cursed – with extreme empathy. She has no choice but to rebel against the evil she not only sees, but feels.

In this book – and especially in Outcaste – I explore the group-think mentality which allows genocide to happen, which enables members of a self-defining group to de-humanise those who do not belong. I’m extremely proud that Tribute is endorsed by Amnesty International.

Fantasy, for me, is a Petri dish in which I can place elements of our own society and culture them in isolation and watch them develop. Sometimes unexpected things grow in the dish. It isn’t surprising that the world of Tribute is unfair and violent, or that the non-magic are enslaved by those with telekinetic power. But I was shocked to discover that this terribly dark society had a single positive aspect: one silver lining to the cloud of oppressive evil. As I explored the logic of my world, it became clear to me that since women mages are as powerful as men – and cannot therefore be dominated physically – that there would be little reason for sexism to exist inside their society. Which means that when the main character – magic-user and rebel Zara – flees to the non-magic world of the Makers, she is in for a rude shock. That story is told in the sequel, Outcaste.

Sadly, fantasy still seems to suffer from a twentieth-century bias amongst the critical establishment. This, despite the fact that, when used well, fantasy is one of the best literary tools for asking those difficult questions. It is a device which allows writers and readers sufficient distance from our messy, complicated lives in which to think more clearly. Fantasy, used well, is a direct descendant of the great world mythologies. The best examples of its practice deserve to be read with thought and care, in the realisation that – in the hands of a good writer – nothing is more ‘real’ than fantasy.

*****

How brilliant was that? Thank you so much, Ellen – and YA Shot, for that great post. If you want to find out more about Ellen’s writing, she is published by Hot Key Books and there is a fabulous review of Tribute by SF Said on the Guardian Books site, in which he says:

Two things make or break a fantasy novel: the magic and the world. In both these respects, Ellen Renner’s Tribute shares something with Ursula Le Guin’s Earthsea books, stories that gave us an original conception of magic and a richly imagined world, using the genre to say something deeply resonant about our own world.

The True Face Curriculum by Siobhan Curham

true faceSiobhan Curham is on a mission to help teens find their true selves, with her fabulous book True Face, which came out last week. I’m so happy to have her guest posting here at the Hearthfire today.

I asked her what her dream curriculum would look like (and I so wish we could implement this in schools right now – it looks brilliant!).

One thing that baffles me about the education system is that it’s so geared towards preparing us for our adult lives: cramming our heads full of knowledge, training us to pass exams, providing us with qualifications, and yet no time, or very little, is spent looking at who we actually are. Instead of tailoring education to fit the unique needs and talents of the individual, we’re forced to squeeze ourselves into a ‘one size fits all’ system. Only it doesn’t fit all at all.

And when you combine this with the pressure from the media and society to look and act and think in a certain way, it’s all too easy to lose sight of our true selves before we’ve even left school. Then, when we do leave, we can end up in jobs and relationships and lives that make us feel unhappy and uncomfortable because they just don’t fit.

Losing sight of my true self when I was a teenager caused me to drop out of uni and end up in a job that I hated. It took me years before I regained the confidence and clarity to remember who I truly was and follow my true calling as a writer.

So, if I could give school curriculums a TRUE FACE make-over, here’s what I would do…

Finding Out Who You Truly Are

There would be regular sessions designed to help students identify who they truly are. They would frequently be asked questions such as: What are your passions? What are your talents? What are your strengths? so that their academic education could be adapted accordingly to ensure that they shine.

Feeling Good About Your True Self

Building on the findings from the previous section, I would help students feel good about their own unique talents and characteristics and strengths – even if they didn’t match those deemed the most aspirational by society. Especially if they didn’t match those deemed the most aspirational by society. The world desperately needs more free-thinking, free-spirited people. It does not need any more reality TV stars.

Having a Healthy Body Image

To counteract the air-brushed images we’re constantly being bombarded with by magazines and the media, students would be taught that true beauty exists within all of us. And that to live our best, most fulfilling lives, we need to eat for vitality, exercise for fun and revel in our so-called ‘imperfections’.

Turning Wounds into Wisdom

Students would also be given the tools to turn any painful experiences into lessons to live their life by. Turning wounds into wisdom is one of the most freeing things you can do in life and absolutely vital for happiness during the teenage years.

Overcoming Your Inner Voice of Doom

During the school years you can often become plagued by your ‘inner voice of doom’ – the voice in your head that tells you that you’re just not good enough, popular enough, attractive enough, clever enough. I would provide students with simple techniques to counteract this inner voice and encourage them to create an inner voice that is way more supportive.

Making and Being True Friends

There are few things more depressing than reading the statistics about bullying in schools, so a substantial part of the True Face Curriculum would be focused on creating a culture of encouragement and support. There would be regular Random Acts of Kindness days and mentorship schemes.

Mindfulness Techniques

With anxiety, self-harming and depression amongst young people all massively on the rise, there would be regular lessons in basic mindfulness techniques so that students would have the tools to help themselves when life gets tough.

Studies are showing that meditation has a transformative effect in the classroom and on students’ lives, so I would make this a daily practice.

Finding Your True Calling

Lots of time would be spent studying inspirational women and girls from all walks of life and all different professions. So that when teenage girls are surveyed about what they want to do when they leave school 70% don’t reply ‘be famous’ (as they did in a recent poll). My goal would be to have 100% answer that they want to in some way create, adventure, pioneer and explore.

Although I might not be in charge of the curriculum (and writing this post has made me really wish that I was!) all of these subjects are covered in TRUE FACE and my talks and workshops for schools.

You can find out more over at the TRUE FACE website.

See what I mean? How much more meaningful could school be with Siobhan in charge? Thank you so much, Siobhan, for visiting the Hearthfire today. If you have or are a teen and like the sound of these ideas, I would strongly recommend grabbing a copy of True Face.

Following Your Inner Compass: Q & A with author Andrew Norriss

Jessicas GhostAndrew Norriss’s brilliant new Middle Grade (9-12+) book, Jessica’s Ghost, is out now and I highly recommend it. We are fortunate enough to have Andrew visiting the hearthfire today to answer a few questions about this book and his interesting writing career (did you know his other writing includes sitcom The Brittas Empire and kids’ TV series Bernard’s Watch?).

Jessica’s Ghost tackles a weighty subject (depression and suicide) for young readers; where did the idea for the book come from?

It’s not an idea I consciously chose. I would not have dared. I was trying, as an experiment, to write a story without all my usual pre-planning, so I began with the idea of a ghost (with no idea why she was a ghost) and just started tapping away. I was halfway through the first draft before I realised she had killed herself (it’s curious how this was never really up for debate) and was thoroughly alarmed. This is not my usual territory, and I was not at all sure I had the ability to make my story remotely convincing.

That does sound alarming! Francis is a great character. How do you create a character like that? Did he arrive, fully-formed, or did you have to work out what would make him different?

Arriving fully formed just about sums it up. Again, to my surprise. I know nothing about clothes, design or fashion and there was a lot of hasty searching in books and on the web for good phrases and words that might make it look as if I did. What I did know, however, is that passions like these can appear at a remarkably early age, so I imagined Francis finding back numbers of Vogue when he was four, and demanding a sewing machine for his eighth birthday. And just a few weeks back I found an article in the paper about a famous designer who had done exactly that.

What would you say to someone who says children’s books shouldn’t raise difficult issues directly?

I have some sympathy with this but, like so many things in life, you can’t make a hard and fast rule about what can and cannot be put in books. Even in Narnia, war kills friends and mothers have cancer. Maybe it’s not so much the subject that matters so much as how it’s treated. And most important of all, of course, whether it’s a good story.

Yes, didactic ‘issues-driven’ books don’t really work for any age group, adults included – story is definitely the most important thing. Jessica’s Ghost is, first and foremost, a good read and I think that’s how you can ‘get away with’ raising these issues with this age group.

You have written in a range of media and genres in your career; how much is that a conscious choice?

After deciding that I was going to take the writing thing seriously, the first piece I wrote was a situation comedy for television and, to my astonishment, managed to sell it. I wrote sitcoms for 10 years, with my friend Richard Fegen and then, as mysteriously as the urge had arisen, it simply disappeared, and I found myself writing other things instead. Like books for young people.

I don’t know why this happened, but I have come to realise that there is an inner compass in all of us, telling us which star we have to follow – like Francis wanting to design clothes – and it is a foolish person who, for the sake of money or fame or to please their parents, tries to go in a different direction. We really have about as much choice about where this inner compass will take us as we do in choosing which direction is north. To a quite remarkable extent we go where we have to go…

Do you have a fixed writing routine? (e.g. number of words per day, set hours for writing etc)

I never went for the idea of a set number of words, but I always found a time limit very useful. I usually made sure it was not too long as well. Four hours was a good day…

What advice would you give to young writers?

The best advice I ever found on writing was given by Robert Heinlein (science fiction writer). He said there were only three rules to follow for a successful career in writing. Number one was to write something (he reckoned that was where 99% of would be writers fell down). Number two was to send it off to a publisher. And number three was to keep on doing numbers one and two… Made sense to me!

Thank you, Andrew – such interesting answers. If this has whetted your appetite for a quirky MG read that offers depth without ever feeling heavy, I can definitely recommend Jessica’s Ghost.

UKYA Extravaganza Blog Tour: Q&A with Alan Gibbons

UKYA extravaganzaAs you may know, there is a very special event taking place on the last day of this month: the UKYA extravaganza, with 35 UK authors of YA books at Waterstones Birmingham. Tickets sold out within 24 hours, and it looks like this will be the first of many, rather than a one-off event. Today the blog tour stops here, with Alan Gibbons answering a few questions about writing, the UKYA phenomenon and reading.

Gibbons booksAlan’s books cover a range of important and interesting topics. They are often contemporary novels, focusing on difficulties that teens and children face. He has written about gun crime (Raining Fire), hate crimes (Hate), domestic violence (The Edge), bullying and suicide (Hold On) and racial tension (Caught in the Crossfire, An Act of Love) as well as football (Total Football series), mythology and folklore (Shadow of the Minotaur, Night Hunger). With all of Alan’s books that I have read, there is a very real and very human story at the heart that brings the issue into focus. His writing is issues-led, but never preachy or didactic.

What do you think is special about UKYA? Why does it deserve celebrating/ promoting?

I think any initiative that keeps young people reading through the teenage years is to be supported. This crossroads between childhood and adulthood can often be turbulent, thrilling, troubling and monstrously exhausting. It was for me! The genre barely existed until landmark books such as S E Hinton’s The Outsiders, Robert Cormier’s Chocolate War and Heroes and Robert Swindells’ Brother in the Land and Stone Cold blazed a trail. Now it attracts some of the most talented writers around. An event that brings lots of these authors together with their readers is a terrific idea.

You obviously believe in the importance of diverse books. What advice do you have for writers who are hesitant about writing characters who are from different cultures from themselves?

I suppose I just feel that the variety of human experience should find its way into literature. Writers who have a range of black and Asian, male and female, gay and straight characters aren’t following an agenda or pushing ‘political correctness.’ They are reflecting their society. They are being human. Anyone who chooses not to do this is surely pushing an alternative agenda.

I would never be so arrogant as to give other writers advice. Personally, I think I have nothing to lose by walking around in somebody else’s skin. Whatever details of skin colour, gender or sexual orientation, we are all brothers and sisters and have far more in common than we have difference. I just write out of human solidarity and that means having that little bit of courage to stray into the odd avenue I have not trodden myself, to imagine another person’s circumstances and responses. Hey, if I get it wrong I can apologise in the best way possible, do it better in the next book I write. Defensiveness is the enemy of literature and artistic creation.

I’m also aware of your tireless library campaigning. Do you see this as part of your role as an author, like school visits?

Absolutely. I am a teacher-writer-activist. Each of those elements is as essential as the others. What this government is doing is wrong, the greatest act of cultural vandalism carried out in this country since World War Two. How could we writers step aside and let the philistines get away with book burning by proxy without raising howls of protest?

Can you tell us something about what you’re working on at the moment?

My next novel is about political and personal betrayal, focussing on the son of a Member of Parliament and something his father did in public life that impacts disastrously on the family. It was planned to be called You Took My Son, but may morph into End Game because my publishers prefer the second title. I am just happy for it to see the light of day in the spring. I am now working on a book about abduction and abuse for 2016.

How do you work? Do you plan in depth? How do you decide what your topic will be? Does the story come first, the characters or is that not at all how it works?

I was an angry young man. Now I am an angry man in late middle age. Pretty soon I will be an angry old man. I usually start with something in the news that either upsets me, confuses me, perturbs me or inspires me. From that, the characters start to emerge, essentially how they respond to crisis. I would love to be good at planning, but I am terrible. I usually get an ending, a few ‘scenes’ in the middle and a vague sense of where it is going then start tapping away at my laptop. I feel my way through the text instinctively and rather chaotically, I’m afraid.

Thank you, Alan, for that insight into your work. I look forward to seeing you in Birmingham!

In the meantime, if you fancy a well-written thriller set very firmly in the real world, grab one of Alan’s books.

Mothers in Hidden Among Us and The Hidden Princess – guest post from Katy Moran

Today, Katy Moran, author of Hidden Among Us and The Hidden Princess, is here to talk about mothers in YA novels and specifically in her Hidden duo. If you haven’t read these novels, I would definitely recommend them.

Mothers are often necessarily absent from YA fiction. Usually, you can’t get your heroine or hero into the truly epic amount of trouble that makes a good story with their mum in the

Hidden Princessbackground cooking tea and asking if they have done their homework. Connie has grown from being a vulnerable little sister in Hidden Among Us to a spiky heroine in her own right in The Hidden Princess, and whilst Miriam might be a bit emotionally distant with her, there is no way Connie could have planned an illegal rave with her mum on the doorstep. It’s the second party in my Hidden books to which the fae Hiddhidden among usen arrive as uninvited guests, with awful and far- reaching consequences each time around. Sometimes you just have to get rid of the mothers for these horrendous screw-ups to occur, and to give your teenage leads the chance to emerge (or not) from disaster without any adult help.

On the other hand, it’s definitely not common in YA to actually hear a mother’s side of the story. After all, these novels are about the young, the cool and the desperate, not about their mums. But in Hidden Among Us, the first of my Hidden books, when Connie is still just a little girl, I decided to narrate a few chapters from the perspective of Miriam. To really understand why she is such a different mother to each of her three children, we need to hear her side of the story and how she was led into the terrible position of getting too close to these dangerous fae creatures, and subsequently having to make a choice between Lissy, Connie and Rafe. Writing from Miriam’s perspective in flashbacks to her own teenage years and early twenties made her a more well-rounded character. I think she’d be just a textbook over-protective mum, otherwise.

The Hidden books aren’t just about the loss of children, though. The death of Larkspur’s mother sparks a revenge plot that forces all my characters into intolerable situations and leads them into situations where they are forced to make impossible choices. My fear is that I should have explored Larkspur’s mother more deeply as a character. I worry that I fridged her – that she falls into the category of the cardboard cut-out dead female who exists only to generate a revenge plot for male characters. I wish I’d been able to round her out a little more without compromising on pace.

Writing novels is a good way for authors to explore their own worst fears. The mothers in The Hidden Princess and Hidden Among Us were born from my own worst fears as a mum, not from my actual mother, who couldn’t be more different to Miriam. That desperation to protect all her children comes from a very deep and instinctive source inside me, and the fact that she can’t protect all of them is what drives the drama – a theme which re-emerges in The Hidden Princess when we learn how Lissy’s Hidden friend Iris lost her own baby son.

I do owe a little of these books to my own mum, though – well, perhaps more to my grandma. I’m not sure if Mum will thank me for sharing this, but lots of babies present a slightly odd and squashy appearance at birth, and Mum was born with both ears squashed flat to the sides of her head.

What did the midwife say to my grandma when she saw the pointed ears?

“It’s a changeling!”

Now there’s an idea…

Wow – I certainly didn’t experience Larkspur’s mother as a flat stereotype, largely because there is so much action in the novel, which would have suffered if her character were more developed. 

Thank you so much to Katy for visiting the Hearthfire today, and for giving us a peek into her thinking process. Mums in YA (and many children’s books) do tend to be absent or deficient, perhaps even more now as parents are less and less able to give their children enough freedom to have adventures. Gone are the halcyon days of the Famous Five, when kids could just roam around the countryside without anyone batting an eyelid!

Top Five Between the Devil and the Deep Blue Sea Essentials: Blog Tour Post from April Tucholke

devil blog tour banner

Today we are fortunate to be one of the stops on April Tucholke’s blog tour celebrating the publication of Between the Devil and the Deep Blue Sea (see previous post for review, but short version: it’s a cracker). I’ve been enjoying these list-themed posts. Check out the banner opposite to see where to go if you’ve missed any. And over to April…

1. Coffee.

The characters down espresso every chance they get, especially River and Neely. They run on the stuff. If you don’t have a caffeine addiction before you start reading, you will afterward. Hopefully.

 

2. Classic film.

The first day River arrives in town he and Violet pack a picnic dinner and watch Casablanca at an outside showing in the town square. Neely and Violet see A Brief Encounter together, and “Citizen Kane” is the name of Violet’s rundown mansion by the sea.

 

3. Classic books and short stories.

I reference several in Between the Devil and the Deep Blue Sea. Jane EyreWuthering HeightsThe Shining, “A Rose for Emily.” Violet is reading “Young Goodman Brown” from Nathaniel Hawthorne’s Mosses from an Old Manse when she sees River for the first time.

Violet is a Bookworm Heroine. She doesn’t have magical fighting skills. She doesn’t know how to use a sword. She’s not a secret assassin. She doesn’t have a temper or a cabinet of lethal poisons (unfortunately). She reads books and thinks a lot and dreams a lot and still manages to save the day in the end.

 

4. Art.

Violet’s parents are artists and she and her twin brother grew up breathing art and paint. Degas, Chagall, Pollock, French Impressionism, Italian Renaissance… There is a small painting studio in the backyard that the characters spend time in.

 

5. Music.

The characters listen to old Robert Johnson records in the attic. A lot.

Thank you, April, for sharing those with us. If this has whetted your appetite for Devil and the Deep Blue Sea, it’s out now from Faber so no need to wait!

Blog Tour: Student Bodies by Sean Cummings – I’m All About the Ass-Kicking (plus GIVEAWAY!)

I’m really excited to have Sean Cummings here at the Hearthfire today, having loved both Poltergeeks and Student Bodies (links to my reviews).

Click here for more tour links

I’m All About The Ass-Kicking

My thanks to Beth Kemp for inviting me to do a guest posting today.

I write urban fantasy – it’s kind of my passion because there’s something liberating about the entire genre. Yes, there are similar kinds of characters with similar kinds of story arcs, but what I really love more than anything is the serious ass-kicking that goes on.

Because slamming evildoers is really something we all might like to do deep down inside. So I tend to live vicariously through the heroes and heroines in books by Jim Butcher, Simon R. Green, Nancy Holzner … I could list all the UF titles I’ve read and probably pick out the best ass-kicking scenes in each one. So when I set about to write a young adult urban fantasy, I really wanted to create a character who epitomizes the kinds of qualities that I’ve found in protagonists by my favorite authors. I also wanted to write a book that was starkly different from what’s currently on the YA shelves at your local bookseller.

In POLTERGEEKS, teen witch Julie Richardson has something to prove to her mother. She’s cocky, snarky, independent and utterly fearless. Unfortunately for her, Mom winds up on the receiving end of a dark spell that rips her soul out of her body and leaves her in a coma. Voila! A hero’s journey. And what kind of hero would you be if you didn’t have a “chosen one” aspect to your life. Julie isn’t really chosen in the sense that she’s messianic – but she does have a magical heritage and part of her journey is to discover what it all means.

In STUDENT BODIES, I’ve really ramped up the tension and raised the stakes. Julie now knows what her place in the world is supposed to be and there’s a threat to every person at her school. She must also balance our the normal teenage mother-daughter conflict in a way that doesn’t make her come off sounding like she’s a petulant teen. Because Julie, like it or not, needs her mother. Mom is her anchor and in this second book, she still has a lot to prove. Her mother also has to begin to let her daughter figure things out for herself – Mom’s challenge is every parent’s challenge: letting go.

Did I mention there’s a lot of ass-kicking going on in book two? Because, you know, there is. We’ve got new friendships – Twyla Standingready, an aboriginal magic slinger in her own right. If Julie’s going to solve the threat to everyone at her school, she’s going to need allies because the danger is very real, very dark and it gets very big very fast.

Marcus is still there, but even he’s not safe. Julie has to deal with the fact that her newfound role places her boyfriend in danger. She’s learning that even with her great power, she can’t always protect those who are closest to her, no matter how much she tries.

STUDENT BODIES is a dark, book. Where POLTERGEEKS was light, fluffy and thrilling, STUDENT BODIES deals with some very dark themes that make all the characters much more believable. There’s a ton of magic being thrown around throughout the book and an ending that I promise you simply won’t see coming.

Well, there you go. An ass-kicking teen witch, a threat to basically everyone at her school and the clock is ticking. Do get a kick out of STUDENT BODIES, won’t you?

About the Author:

Sean Cummings is a fantasy author with a penchant for writing quirky, humorous and dark novels featuring characters that are larger than life. His debut was the gritty urban fantasy SHADE FRIGHT published in 2010. He followed up later in the year with the sequel FUNERAL PALLOR. His urban fantasy/superhero thriller UNSEEN WORLD was published in 2011.

2012 saw the publication of Sean’s first urban fantasy for young adults. POLTERGEEKS is a rollicking story about teen witch Julie Richards, her dorky boyfriend and race against time to save her mother’s life. The first sequel, STUDENT BODIES is due for publication in September 2013.

Sean Cummings lives in Saskatoon Canada.
*Author Links*
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About the Book:

Student Bodies (Poltergeeks #2)

Release Date: 5 September 2013

Summary from Goodreads:

Whoever said being a teenage witch would be easy? For fifteen-year-old Julie Richardson and the city’s resident protector from supernatural evil, the Left Hand Path doesn’t give a damn if you’ve found true love for the first time in your life. There’s someone lurking the halls of Crescent Ridge High School with enough malice to unleash an epidemic of Soul Worms – supernatural larvae that feed on the very fabric of a victim’s humanity.

After witnessing the death of one of the most popular kids at school, Julie and über genius boyfriend Marcus are in a race against time to find out who is behind the attacks. All the evidence points to a horrifying plot at the City Weir during the Winter Solstice; the place where icy waters of the Bow River and a thunderous spillway will mean the deaths of more than a hundred of Julie’s classmates.

If she has any hope of saving their lives, she’ll need a little help from a coven of white witches and an Aboriginal mage whose snarky attitude is matched only by her magical prowess.

GIVEAWAY
STUDENT BODIES GIVEAWAY:
UK Prize Pack
1 Signed Copy of STUDENT BODIES
1 Signed Copy of POLTERGEEKS
1 Signed Copy of FUNERAL PALLOR
1 Signed Copy of SHADE FRIGHT
1 Amazon Kindle
CANADA/US Prize Pack:
1 Signed Copy of STUDENT BODIES
1 Signed Copy of POLTERGEEKS
1 Signed Copy of FUNERAL PALLOR
1 Signed Copy of SHADE FRIGHT
1 Amazon Kindle

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#murderonthebeach Blog Tour: Deleted Scene from James Dawson’s Cruel Summer

I hope you’re ready for the awesomeness that is here today. James Dawson’s Cruel Summer, out now from Indigo, is a fabulously tense tale of murder and friendship. I am so excited to be a part of this blog tour, celebrating both Cruel Summer and Kate Harrison’s Soul Storm, wrapping up her fantastic Soul Beach trilogy.

CRUEL SUMMER – DELETED SCENE

In early drafts of Cruel Summer, Katie also had a narrative. It was felt, however, that it was more interesting if all of the novel was told from the point of view of the ‘sidekicks’. In most YA novels, Katie would be the main character, but Cruel Summer plays with that format. This scene still exists from Alisha’s point of view, but in this deleted scene we actually get to hear what Katie and Ben are saying.

Katie stared at the fire for what felt like hours. The roaring flames lost their will to fight, tiring to feeble tongues before dying to embers. They still glowed scarlet though, and they still gave heat. When she poked them with her stick, they flared up angrily, trying to spark. If she weren’t so tired she’d have thought up some poetic analogy about them being like the dying fire, but she couldn’t be bothered.

Most of the others had drifted back to the villa, blaming coldness or tiredness. Maybe it was all too much: the flight, the wine, the sun. Janey. Alisha remained on the other side of the ashes, playing with her camera. The pair sat in companionable silence.

The mood had lightened a little after the talk about Janey, but the elephant, although acknowledged, didn’t go anywhere. Katie didn’t feel any better for getting things out in the open. OK, they’d talked about it, but there was still so much left to say.

‘Hey,’ Alisha finally said. ‘I’m gonna get ready for bed.’

Katie nodded. ‘I’ll be in in a minute.’

‘You OK out here by yourself?’

‘Yeah. I like the quiet.’

Alisha walked over and gave her a kiss on the head. It was a reminder of how close they’d been once upon a time, but Katie wasn’t sure anymore. The gesture felt awkward. It was like Janey had been the stitching holding them together, after she jumped, everyone fell apart, tumbling miles apart in different directions.

Alisha’s flip flops clattered up the stairs towards the villa and she was alone with the tide and the embers. Katie closed her eyes. Still noisy in her head, but quiet on the beach. Things would seem better in the morning. They always did.

Without needing to open her eyes, she became aware of someone approaching. She opened them to see Ben’s silhouette amble onto the sand. She’d recognise his walk anywhere. ‘Hey.’

‘Hey.’ She tried to think of something cute or funny to say. There was nothing. This was painful – she hated not being able to banter with him.

‘I just wanted to come and make sure you were OK. You went pretty quiet.’

She looked up at him. With nothing to say, she just shook her head. If she opened her mouth, she was pretty sure a sob would find its way out. Ben sat alongside her, their shoulders touching this time. Unsure of himself, his arm hovered for a moment, like he was scared something might bite it. But as soon as his hand made contact with her arm, it all made sense and he pulled her into an embrace.

She rested her head on his shoulder and closed her eyes. He was so warm and so soft. He still used the same washing powder. Katie buried her head in his t-shirt. It was all the same – a familiar feeling blossomed inside her chest. It was the same as it had been, and it was unique to him. She loved other things and other people but no-one else made her feel exactly like this. It was Ben-love.

A flock of what ifs flew into her mind. What if they’d never split up? What if he’d never gone out with Janey?

His stubble grazed the top of her forehead. His skin on her skin was too much to stand. She opened her eyes to find Janey sat on the other side of the fire, watching them. Not as she had been, but as she was. A drowned girl. White, dead eyes. Bloated cheeks. Grey-blue skin. Katie recoiled, but the vision had gone.

‘What?’

‘We can’t do this, Ben.’

‘Can’t do what? We weren’t doing anything wrong.’

Katie stood and started back towards the villa. She held her arms close to her body like a shield. Turning to face him, she said, ‘Ben, we can fancy this shit up as much as we like. What happened to Jane was our fault. You and me.’

‘Katie, it wasn’t. We have to stop blaming ourselves. We have to let it go.’

Katie shook her head. ‘We don’t have that right. We don’t deserve it.’ She ran up the stairs to the villa and didn’t look back to see the hurt on his face.

**********
Wow! Thank you so much, James, for this peek into the earlier life of the novel. If you haven’t already read Cruel Summer and this has whetted your appetite, do not delay – the blogosphere is raving over this one with good reason. Check out all the other fun with the hashtag #murderonthebeach, including many more fascinating blog posts and a fab Twitter Q&A with both authors.

Q and A with William Sutton, author of Lawless and the Devil of Euston Square

Today I’m very happy to bring you some fascinating insights into the work of William Sutton, author of the fabulous Lawless and the Devil of Euston Square, a Victorian detective novel being published this week. If you’re in the London area, do take a look at the open invitation to the book launch below *sigh*. Maybe next time… Anyway, here’s what William had to say:

Why historical crime?

By mistake. I fell in love with the construction of subterranean London. The 1860s became my domain.

But in constructing my techno-thriller of the past, I discovered I could be blunter than I would be allowed to today. In a diseased society, if your friends went about cleansing it, how far would you support them?

Favourite fictional detectives?

I do like non-detectives detecting:

Oedipus the King, Sophocles
Porfyry Petrovich in Crime and Punishment (the original Columbo)
Inspector Cuff, Wilkie Collins’ The Moonstone: “I own that I made a mess of it. Not the first mess which has distinguished my professional career!”
Utterson, the lawyer, in Strange Case of Dr Jekyll and Mr Hyde
Joseph K in Kafka’s The Trial
Detective McDunn in Iain Banks’ Complicity
Diane Keaton in Manhattan Murder Mystery (first mystery: is there even a mystery?)
Woody Allen in The Curse of the Jade Scorpion (see Oedipus above)

Your writing process? I’d like to know about planning – were all the pieces in place before writing?

Every book is different, every story is different, as I scrabble to find new ways to annotate and organise the waves of ideas.

I take notes, write scenes on backs of envelopes, wake up in the night. Notebooks, pads. Now I’m using Evernote and Scrivener, which let me check and add to notes anywhere.

I write by hand in fountain pen in A4 notebooks at a desk with no computer. I just love turning the page, numbering the pages, the cartridges running out, the whole process. I’ve now started typing up on to typewriter (my mother’s, a 1958 Eaton). I know it sounds mad. But my last book I spent so long faffing around with computer files, it’s actually quicker to rewrite decisively, revising with care but without deleting and cut/pasting, then to type up finally on to computer.

I’ve used speech to text software to help me type up. I’ve used text to speech software to listen back to (a robotic reading of) what I’ve just written.

My acting teacher told me, “On n’est jamais trop aidé.” You can’t be helped too much: ie whatever helps, do it.

Could you give us a crash course in writing crime fiction?

1. Go with your instinct on what you want to happen and why it matters.
2. Gather ways it could have happened.
3. Split them up. Wilkie Colllins: “Make ’em laugh, make ‘em cry, make ‘em wait.”

Thanks to William for this little bit of insight. Fountain pen, eh? If this has whetted your appetite to hear more from him, check out the details for Thursday’s launch: