Last year I was one of many who wrote a guest blog post for Chantelle Atkins, an author, writing group teacher and mentor with a similar teaching background to mine. She was collecting articles on experiences of the first lockdown (how long ago that seems! Yet a rerun remains a distinct possibility given how poorly the Westminster government have managed the pandemic). Don’t groan, that’s not the theme today. Instead, this interview with Chantelle celebrates the creativity she, her fellow writers and mentees, child and adult, demonstrate in this anthology just published. Like me, she enjoys encouraging children’s writing and storytelling and links it with adults’ creativity too. As we emerge into a changed world, do enjoy this varied set of approaches and reactions.
Hi Chantelle. Please start by telling me how you planned the anthology.
The first three sections came about from posts I wrote for my personal blog. I then asked other writers and bloggers to join in and write under the same themes. It was in my head from early on that if I got enough content, we could put a book together under Chasing Driftwood. Lots of contributions came from the writing groups and clubs we run and via word of mouth. Many others were writers and bloggers I’d connected with previously and who wanted to participate.
Which is your favourite piece and why?
I think I have to say the poems on Hope written by the children. Not to say the adult poems aren’t amazing, because they are, but I felt like the hope theme really caught fire with the children and we had lots of wonderful entries. Each hope poem really made me smile and a few brought tears to my eyes. The children are also particularly proud and excited to be published for the first time!
Was putting “Stay Home” together an individual task or a team effort? Would you like to acknowledge any special help here?
We couldn’t have done it without the contributors so a huge thank you must go to every one of them for participating first in the blog posts and then allowing us to publish their work in the anthology. Myself and my business partner Sim did the work between us, putting it together, formatting the ebook and paperback, editing and proofreading. We were extremely lucky that a talented friend of Sim’s offered to do the front cover design for free! So we are very grateful for that.
It’s a great cover! Did it take the designer many attempts or come right straight away?
Law Baker is a friend of Sim’s and we gave him a bit of a brief, wanted something with a house and windows and different people gazing out. It was his own idea to add the nurse on the street which I think is absolutely perfect.
How will the proceeds will be used?
They will all go straight into the bank account of our Community Interest Company (CIC) and will be used to fund our next community writing projects which will benefit young writers. The company is called Chasing Driftwood. The name came when I had two old songs in my head one day when walking. Driftwood by Travis and Chasing Rainbows by Shed 7. I combined them for something unusual!
A community interest writing group? That sounds interesting…
I started as an adult writing group, adding children’s writing workshops in 2015. Because my youngest was only a baby at the time, I was limited to running workshops in school holidays but it started to take off and in 2017 I applied to become a CIC. Once my youngest started school I reached out to local schools about running writing clubs and they were very keen. The local home education community approached me two years ago for clubs to accommodate them, and Sim joined in 2019. It’s gone from strength to strength.
Describe a typical children’s and/or adults writing workshop. Are they online only?
With the clubs, four are online via Zoom and four are in person, within schools and libraries. Workshops can be online or in person. Adult workshops include sessions on developing characters, how to build an author platform, whether self-publishing is right for you and more. The children’s clubs and workshops cover many things! Poetry, short stories, creative non-fiction, article writing, blogging, journaling, comic books, developing characters, how to plot, how to use literary devices and much more!
What’s the next project for you personally and/or for Chasing Driftwood?
I’m working on a four-book YA post-apocalyptic series, among other things! I’m also co-writing a YA series with Sim. As well as the many clubs and services we already offer, we’re hoping to launch a new Chasing Driftwood community writing project soon. I can’t say too much yet but it will involve putting together a climate and wildlife themed anthology written by young people, and will also involve another project that aims to connect children with nature through writing.
Thank you. It’s been a pleasure to play a part in Stay Home and to hear about Chasing Driftwood and your personal writing projects. Good luck with everything as 2022 approaches!
You can buy the ebook of Stay Homehere and the paperback is here
Some authors roam their keyboards alone, but many like the comfort of a writing group. I found mine when, after weeks critiquing each others’ work on a Writers & Artists course, four of us decided to continue.
When the world was normal we met in an art deco cocktail bar in Holborn. Sometimes we’d emailed extracts in advance, sometimes it was more ad hoc. Then in lockdown we read each others’ entire books and commented, raising our glasses on Zoom. It really has been invaluable.
One of us, Sofia Due, has just published an earlier novel. Ed and Lily is a cleverly constructed story of the dangers of “couple fatigue” – when you’ve developed a particular way of doing things and nothing’s really suiting either of you but you don’t realise the damage you’re sustaining along the mundane way. Lily, working in Cardiff, has ideals, Londoner Ed has ambition. Ed is organised, Lily is chaotic and spontaneous. On Christmas Eve Ed’s booked a romantic getaway to Iceland – but Lily’s working late and misses her train. The book unravels how they got to this point through flashbacks. The reader’s kept wondering if this is make or break to the very last page. All good fun but it deepens with Ed’s family background and Lily’s job for a frontline charity. Here’s what Sofia had to say about it:
As the privileged (I think) first blogger to interview you, I’ll ask the obvious. What inspired Ed and Lily?
I had this idea about a couple who meet quite young, and everything is perfect but it’s almost too much, too soon. They’re not yet ready to settle down, not where they want to be as individuals, but to achieve what they want, they might have to leave the other behind. To make a relationship work, does one person always have to compromise and give up their dreams or can both succeed?
I started writing this in 2017 and about 20,000 words in, I saw ‘La La Land’ and thought, ‘Yes, exactly, that’s what I’m trying to say.’ There’s a wistfulness about the choices they made and what was right for them. Either way, to stay or go, would have been right – in different respects and with different outcomes.
Lots of us have had relationships like that, where to make the relationship work means changing direction, taking a chance, moving country and that will cause some difficulties. This is a story about whether you stick it out or go it alone.
It’s also about how we don’t talk about the important things in relationships, especially if things are going wrong. We’re scared and ignore the elephants in the room because once you start discussing things, you can’t be sure where it will lead.
It’s a clever structure…
The structure was always like that, with alternate chapters from each point of view, to create a dialogue between Ed & Lily. The idea was the story started at the end, when the relationship was in trouble so it would be more detective story than romance, examining what went wrong, why, and whether it could be fixed.
Once I’d committed to this structure, it seemed like every book I picked up was doing the same. What I wanted was that with each chapter, the reader’s sympathies might change.
And how would you describe the genre?
I put this book through the new writers’ scheme at the romantic novelists’ association, twice. The second reader said it was more of a love story than romance as romance is supposed to do the ‘boy meets girl, something gets in the way, they get back together’ structure and this doesn’t. When I started, I was aiming for a simple love story but somehow, in my stories someone always ends up in a refugee camp!
Lily’s a vibrant, funny, realistically flawed character, based on anyone in particular?
I’m glad you think so, and no, not really. Aspects of her life and work are based on people I know but I’m surrounded by warm, competent, well-meaning women who over commit. She’s a bit scatty, but that’s what happens when you have too much on your mind, when you aren’t concentrating because you have a mental block about something else.
I found it harder to warm to Ed, although I cared so much about Lily it didn’t matter. Can you sell Ed to me?
Ed is kind and funny (I hope) but he lost his mother very young and is scared of more loss. The self-sufficiency and minimalist personal style is a defence; if he doesn’t have much, there isn’t much to lose! He’s liberal and open in his attitudes and appreciates that his rival for Lily isn’t someone else but her aspirations – which he supports. He’s shocked when he finds he might be wrong. He really loves Lily but he’s frightened of losing her by making demands and caging her. Without meaning to, that’s what he’s done. He needs to set himself free. As Lily says, ‘You were wearing a Hawaiian shirt when we met.’ He can change, although he doesn’t have to, just show he could.
That’s interesting. Other people have wondered how he puts up with Lily!
Lily works with refugees in war zones, a serious balance to the “boy meets girl” flavour of the main story. Is this based on your own experience?
To an extent. Refugees find their way into everything I do but although I worked with some children in the Calais jungle, most of my work is office-based. I’ve never done field work in a refugee camp. The camp in the book is fictional but based on places I’ve seen. The refugee stories like the woman walking for hours on a broken ankle or offering bracelets in exchange for help are real.
Why did you make Ed an architect?
Perhaps because when I started writing, we had building work and I was comparing the rubble with the computer drawings and thinking what I needed was a nice architect in my writing life to take my mind off the mess. It’s part of Ed’s conflict. He likes clean lines and open space but his loyalty to the people he loves means he’s surrounded by fusty antiques.
You started “Ed and Lily” written some years ago. What made you revisit it?
I finished it in 2017 and got a few requests for the full manuscript, but it wasn’t taken further. I worked with a mentor during 2019 to rework the timeline. Again there was interest, but it wasn’t taken up. Usually, I try and write something every day but during the first lockdown, I found it really difficult. I decided getting this book out would be my creative project for the year, to keep me looking forward. It’s been fun, I’ve had a lot of involvement in it. I also thought stylistically, it was now or never for this book. After the times we’ve been going through, who knows if realistic characters with ordinary problems will be what we want to read about!
Who would like this book for their birthday?
Perfect for people with birthdays in the next few months. They’ll get a chance to appreciate the timeline countdown to Christmas.
I marked my 5thblogiversary and promptly disappeared from the blogosphere. Ongoing family stuff, you know how it is… So this is a have-to-write-one-now-or-may-never-make-it-back post. It’s a miscellany of announcements. Are four items enough for a miscellany? A mini-miscellany, perhaps.
First, my enterprising German translator Michaela Pschierer-Barnfather persuaded me to record an extract from The Infinity Pool – me in English, she in German from Der Infinity-Pool. This is for the YouTube channel TranslatorsAloud – also on Twitter @LoudTranslators. It’s a great site showcasing literary translators and my debut novel is privileged to provide their first item of translation out of English! Literary translators (indeed all translators) are an overlooked and undervalued breed. In the days of foreign travel I often used to marvel at the number of bookshops and the size of their translated stock, the evident enthusiasm of overseas readers for the words of other cultures and languages. Meanwhile we in Brexit Britain point our stubborn, leaky boat vaguely towards Australian harbours that probably don’t want us. I invite you to be the judges of my recording as I can’t bear to watch more than a few sentences of myself. Michaela’s came out really well and I do wish this hard working, professional translator and everyone else on this fascinating site good sales and many enjoyable projects to follow. Here we are in all our glory: https://www.youtube.com/watch?v=bDq9QFu2NrQ&t=4s
Second, I promised fellow author and blogger Gail Aldwin I would publicise her blog on mine. Gail has many gifts – writing, teaching, warm encouragement of fellow human beings – but also one problem. For some reason Facebook will not let her post items from her blog, which is just rotten for an author. Anyway, back in March Gail approached me for a review of her book This Much Huxley Knows. I snapped that I don’t take review requests. She apologised for asking and offered to review The Magic Carpet instead and to interview me on her blog. I took her up on both offers, and the review was great. How generous is that? I said – in some shame – I would reblog my guest post from her blog. Then WordPress wouldn’t let me. The social media gods really do have it in for this blameless person. So she suggested I copy and paste it. But I think it’s better read in its original home on Gail’s blog because then you can also explore her books and the writer services she offers. Thank you again, Gail, for the opportunity, and I wish you good luck with your books and better luck with social media.
Item three. Many indies dream of getting a “proper” publisher, but fate can still intervene against mainstream publishers and authors. You may have read a rave review I wrote of Kevin Sullivan’s first-in-a-new historic Glasgow crime series, The Figure in the Photograph, published by small but historic firm Allison and Busby. Sullivan writes a jolly good detective yarn with engaging characters, interesting themes and evocative settings. This series opener should have been launched at Glasgow Waterstones in Spring 2020. Does anything about that ring a plague warning bell? Waterstones had put up their Covid shutters and didn’t reopen for months. The stylish hardback edition was destined for a library market but libraries closed too. When the paperback and follow-up hardback, The Art of the Assassin appeared in early Spring 2021 the bookshops and libraries were still shut and launches and festivals were online promise only. Some new books have found a voice via social media but I’m sure these are not the only new books which have gone under the general radar. Anyway – three cheers for another grand yarn of Edwardian wrong doing in Glasgow and Edinburgh. Juan Cameron the Scottish/Spanish detective-photographer hurtles round gracious riverside houses, stations, theatres and slums as he mixes with Viennese professors, Cuban exiles and women who on the whole are brighter than he is. Do track this slightly bumbling sleuth down. We all need good reads this rotten May as hailstones replace lockdown to keep us still indoors.
Sacré bleu! The last laugh lies with my fourth item. Comedian Ian Moore ‘as also created a new detecteev, wiz apologeez to ze French. Death and Croissants will be published on 1st July and already comes recommended by Alan Carr, Josh Widdecombe, Sarah Millican, Adam Kay… If you can’t get to France this summer this may be the next best thing. It’s even been compared to Richard Osman’s Thursday Murder Club, although I’m too jealous to read him so I can’t comment. I wish Ian every success, and if you can’t wait there’s a free prequel available here, with a quiz thrown in. Amusez-vous bien!
Please note: This blogpost interview with my translator is in French and English so you don’t have to read more than half of it! If you blog about books in the francophone world please see the full French text below and feel free to republish it (by all means share too if you blog in English). Also please do contact me for a free Mobi file if you would be interested in reviewing Infinitude.
Je publie cet entretien avec ma traductrice en français et en anglais, donc il ne faut lire que la moitié ! Le texte français est proposé à la suite de l’anglais et j’invite les blogueurs du monde francophone à le diffuser sans modération ! De plus, si vous êtes blogeur/se et que vous aimeriez écrire en donnant votre avis sur Infinitude, je vous prie de me contacter pour obtenir une version électronique gratuite de mon roman.
As this is my English language blog, I’m providing the English version first.
Faced with the horrors of Brexit, it’s a pleasure to have collaborated on Infinitude, the just published French translation of my first novel. As soon as I published The Infinity Pool in 2015, a translation was suggested. The German version appeared in 2018, and the French edition two months ago. You’ll find the paperback and the Kindle edition by searching any Amazon worldwide, or at: http://getbook.at/Infinitude
I owe huge thanks to Isabelle Rouault-Röhlich, who’s patiently translated my first novel. She deserves great success with this project. This interview introduces her and explains the process of translating someone else’s book.
Hi Isabelle ! Where do you live and work ?Which languages do you use in daily life?
Bonjour Jessica ! I live in Valencia, Spain. I work here, and also in Paris or London when I’m lucky enough to be asked by clients. My mother tongue is French, but I spoke English from when I was about six years old, so we speak English at home too. Of course in Valencia I also speak Spanish (Castilian). My husband works a lot with German, so our house sometimes sounds like a real Tower of Babel!
How did you come across this translation project?
The project for this book was posted by a colleague on a translators’ forum. I already had wide experience of editorial translation and of translating non fiction. But up until then, I hadn’t had the opportunity to translate a novel, so I didn’t hesitate a second before buying the book and diving straight in. The story hooked me straight away, that’s what decided me!
Tell us about the process of translating a whole book. How do you start? What are the pleasures – and the pitfalls?
There’s no shortage of pitfalls. But I was prepared for them. The main difficulty is thinking you can translate something every day. It isn’t always possible to fit it in with the demands of other customers, and you have be be very disciplined. The other traps are more to do with language and the science of translation: you must remain aware that the translator’s role is adaptive, and not get discouraged when the French and English don’t match. For example, if you can’t find an equivalent concept or term in the other language, then you must return to the story and take a step back from interpreting the words literally. And when the English sentences seem a bit long and putting them into good French seems impossible, you mustn’t give up but keep formulating and reformulating…
Can you give us an elevator pitch for Infinitude/The Infinity Pool?
Serendipity, a holiday settlement on a Mediterranean shore, promises personal growth for body and soul. But this year, Adrian, the charismatic “guru” director, hasn’t turned up. His loyal disciples must fight their personal and 21st century battles alone. Infinitude is a novel about the importance of others.
Who do you think would particularly like this book? Is there a special place, or a particular time of life when it would resonate most?
I think it’s a novel for people aged 25-45. But there are no real age limits!
I know you’ve already translated one book from English to French. Can you describe it please (and provide link)?
Yes, thank you for the plug! I’ve finished translating“Les audacieuses”, an adaptation of “Rouge” which is a novel by Richard Kirshenbaum. It was inspired by the lives of Elsa Rubinstein and Estée Lauder and the troubled relationship of the two great women who invented modern cosmetics.
The novel won’t come out until 7 January 2021, delayed by the pandemic. I’ve also another project with a publisher who wants to introduce French readers to an American author who disappeared too young. It’s still under wraps…
Infinitude is partly about the effects of tourism on a traditional community. I think you too are campaigning against environmental damage?
Yes indeed. I’m very active in the struggle against plastic pollution and single use plastics, taking part in beach clean-ups. I’ve produced multilingual publicity for town halls and institutions to educate their citizens, and also poster resources for public use everywhere. I’m seeking financial backing for this campaign, and you can find details on my website: www.wordistas.net
What sort of translation do you do to bring home the bacon? How can we ask you to quote for a project?
I do mostly “adaptive translation”. I also specialise in “trans-creation”, which is creative marketing and publicity translation. And I have a special interest in environmental translation work. Please see my website (above) for more details.
Thank you so much, Isabelle, and especially for your hard work over the past few years. Let’s hope Infinitude is an infinite success for both of us!
Thank you too, Jessica, very much. Our mutual trust has helped us get this project finished. Now like you I wish Infinitude all possible good fortune and infinite success!
English readers stop here unless you wish to practice your French (but feel free to comment below).
A vous, lecteurs francophones!
En total contraste avec les horreurs du Brexit, cette belle collaboration avec le traducteur de mon premier roman a été pour moi un grand plaisir. Au moment de publier The Infinity Pool en 2015, l’idée de proposer une traduction a été lancée. La version allemande a été publiée en 2018, et la version française – Infinitude – vient de sortir !
Vous pouvez consulter et acheter le livre en version papier ou pour Kindle chez Amazon dans le pays de votre choix, ou ici : http://getbook.at/Infinitude.
Je souhaite tout particulièrement remercier Isabelle Rouault-Röhlich, qui a patiemment traduit ce premier roman, et je lui souhaite ainsi qu’à ce projet la plus belle des réussites.
À suivre, cet entretien présente la traductrice et explique un peu le processus consistant à traduire un livre rédigé par quelqu’un autre.
Bonjour Isabelle ! Où habites-tu et où travailles-tu ? Quelles sont les langues que tu parles au quotidien ?
Bonjour Jessica ! Je vis à Valence, ou Valencia, en Espagne. Je travaille ici, mais aussi à Paris ou à Londres si j’ai la chance d’être appelée pour un projet par un client ! Ma langue maternelle est le français, mais j’ai commencé à parler anglais très tôt, vers l’âge de 6 ans, alors nous parlons aussi anglais à la maison. Et à Valence, je parle espagnol (castellan), bien sûr. Mon mari travaille lui beaucoup avec l’allemand, ce qui fait de notre maison une vraie tour de Babel parfois !
Comment as-tu entendu parler de ce projet de traduction ?
Ce livre m’a été proposé par une de mes collègues grâce à un forum de traducteurs. J’avais déjà une grande expérience de la traduction éditoriale et de la traduction d’ouvrages de non-fiction. Mais jusque-là, je n’avais pas eu l’opportunité de traduire des romans, c’est pourquoi je n’ai pas hésité une seconde et ai acheté le livre pour m’y plonger immédiatement. J’ai tout de suite accroché à l’histoire, c’est ce qui m’a décidée !
Raconte-nous un peu le processus de traduction d’un livre entier. Comment l’aborde-t-on ? Quels sont les plaisirs – et les pièges ?
Les pièges ne manquent pas. Mais je m’y attendais ! La difficulté principale, c’est de penser qu’on peut traduire un peu chaque jour. Ce n’est pas toujours possible quand on a d’autres clients, et il faut une grande discipline. Enfin, les autres pièges relèvent plutôt de la langue et de la traductologie : il faut être conscient du véritable rôle d’adaptation du traducteur et ne pas se décourager quand l’anglais et le français ne sont pas d’accord, par exemple si on n’arrive pas à trouver un concept équivalent ou un terme dans l’autre langue, auquel cas il faut se plonger dans l’histoire et prendre du recul par rapport aux mots en tant que tels. Et si les phrases anglaises sont un peu longues et que l’exercice en français semble impossible, il ne faut pas se décourager, formuler et… reformuler.
Est-ce que tu peux nous présenter Infinitude en 25 mots ? Un résumé en quelques secondes ?
Au bord de la Méditerranée, un lieu de vacances propose à un public un peu « bobo » de se ressourcer, corps et âme. Mais cette année, Adrian, le charismatique « gourou » de Serendipity, n’est pas arrivé. Ses fidèles « suiveurs » vont se retrouver face à leurs contradictions et à celles du XXIe siècle. Infinitude est aussi un roman sur l’importance de l’autre.
A ton avis, quels lecteurs aimeront ce livre ? Est-ce qu’il y un endroit parfait pour le lire, ou un moment de la vie qui correspond particulièrement pour le lire ?
Je pense que ce roman s’adresse aux 25-45 ans. Mais il n’y a jamais de limites d’âge !
Je crois que tu as déjà traduit un autre roman anglais en français…
Oui, merci de le mentionner ! J’ai terminé la traduction de “Les audacieuses”, une adaptation à partir de “Rouge” un roman de Richard Kirshenbaum inspiré de la vie d’Elsa Rubinstein et d’Estée Lauder et des relations houleuses entre les deux grandes dames qui ont inventé la cosmétique moderne.Visiter: https://michel-lafon.ca/livres/les-audacieuses/
Ce roman ne sortira que le 7 janvier 2021 à cause de la pandémie. Enfin, j’ai un autre projet en cours avec un éditeur qui veut proposer au public français de relire une auteure américaine qui a disparu trop tôt. C’est encore confidentiel…
Infinitude fait allusion aux effets du tourisme dans une communauté traditionnelle. Je crois que toi aussi tu luttes contre les dommages à l’environnement ?
Exactement. Je suis très active dans la lutte contre la pollution par le plastique et les plastiques à usage unique et je participe à des nettoyages de plages. Je réalise des écrits multilingues de sensibilisation citoyenne pour les mairies et les institutionnels, mais aussi pour diffuser auprès de tous les publics, et je suis à la recherche de financements. Ce que je propose est présenté sur mon site web www.wordistas.net
Et quel genre de traduction fais-tu pour gagner ton pain quotidien ? Où peut-on te joindre pour en savoir plus sur ce que tu proposes ?
Je fais le maximum de traduction-adaptation. Je suis aussi spécialiste de la « transcréation », c’est-à-dire la traduction créative pour la publicité et le marketing. Enfin, la traduction environnementale m’intéresse beaucoup.Mon site web est www.wordistas.net.
Merci beaucoup Isabelle, et merci encore pour ton grand travail de ces dernières années. Espérons une réussite infinie pour « Infinitude » !
Merci beaucoup à toi, Jessica. La confiance nous a permis de mener à bien ce projet. J’espère comme toi qu’il aura un succès infini. Alors bon vent à ce livre !
Last year I was asked to contribute to the Writers and Artists Guide to Self-Publishing. To be more precise, the publishers asked self-published authors to contribute case studies, I responded and they kindly included me. The pandemic delayed my author copies. My thanks now go to Eden Phillips-Harrington, Assistant Editor of W&A yearbooks at Bloomsbury Publishing, who’s written a useful chapter on how publishing – traditional and indie – actually works.
Like others, I didn’t plan to self-publish. But after not quite making it past the editors/gatekeepers of trad publishers despite my agent’s best efforts, that was how my first and second novels appeared and I’ve been learning how to go about it ever since. As for my contribution to this guide, I felt as Groucho Marx did about his club – any book that included my advice wouldn’t be one I’d want to read. Now I realise the guide is a readable mix of useful reassurance, information and “next steps”. Even my words of wisdom may help someone somewhere.
All such information is available online, notably at ALLi (Alliance of Independent Authors) but I did like holding it in one volume, reading from start to finish how the process works, and scrawling pencil notes rather than trawling through linked web pages. W&A is a highly reputable brand and this guide has a practical, no-nonsense approach from a bevy of well qualified and established experts (apart from me). A good general introduction for absolute beginners to the self- publishing world, it also contains information still unfamiliar to me after five years, explains concepts I was pretending to understand and signposts old and new tasks I must get around to (website! Email list!)
The very clear chapter on editing explains, with checklists, what different types of editor do, in which order, with timescales and tasks. Using an editor is non-negotiable. Self-published books have a rotten reputation, partly a hangover from vanity publishing days and still sometimes deserved. It follows that self-published authors have a responsibility to all colleagues and readers to ensure their product is of blameless quality.
As a contemporary fiction author who doesn’t need illustrations, tables, photographs etc, I’ll admit the detailed chapter on design made my head swim! It’s maybe best read after the chapter which explains both physical and ebook production. Providers include firms that undertake every aspect of production for you, including editing, design, manufacture, distribution and marketing, specialist services you can dovetail (you hope) together, and market giants like Ingram Spark or Amazon. Together these chapters start you off whatever your project, establishing when you can go it alone and when you’ll need to pay for professional input.
The distribution model, sales and royalties to expect (or aspire to) are outlined next. These differ widely according to decisions you take at the production stages; bullet pointed lists assist you. Two factual inaccuracies in this chapter highlight the drawbacks of a paperback guide to a constantly changing subject: since it went to press Bertram UK wholesalers, sadly, went into administration, and UK ebooks are no longer subject to VAT.
I HATE MARKETING MY BOOKS! Fortunately, a sympathetically written marketing chapter has made me more receptive. I’m almost basking in the sentence Put the readers’ needs first and you won’t ever feel uncomfortable or like a salesperson. I’ll never write “I love marketing my books” but the checklists, practical suggestions and myth-busting do help. However, fourteen printed links to online sources is too many for one chapter. That’s fine for ebook readers, but…it would have been better to summarise what they say.
The authors’ case studies show the enormous amount of mutual help authors provide. I cannot stress this enough. It’s only human to envy others sometimes, but by and large self-published authors form a supportive and generous community, especially online. It’s also nice to see book bloggers recognised. These mostly unpaid reviewers and publicists give invaluable service and should be treated with care and courtesy at all times or they’ll give up and then where will authors be? Most people needn’t cover every item on the TEN PAGES of to-do lists, but they do mean you won’t leave anything out. As the guide says, “enjoy ticking them off”. The further information sources and glossary at the back should come in useful too.
Occasional statements beg for expansion. Some strong independent publishers prefer to deal with authors directly, says the Introduction. Since most self-published authors don’t by definition have agents, I imagine readers screaming “Who? WHO?” Although I do understand, in the present climate, how quickly details change.
Genre and cost are two elephants in the room. I think genre is within the guide’s scope as the closer a book fits a genre, the more likely a self-published author is to succeed. My own sales have fallen foul of not being crime, romance, horror etc. How did I fall into the quagmire of “general fiction” and is there a helping hand out there?
Producing my first novel cost nothing. A friend supplied the cover photo, a designer friend put it together, we uploaded everything to KDP and off we went. It sold 4000+ copies. Well done me, but I squirm now. Professional editing would have made a good debut better. Second time round I bought design, editing, proofing, a blog tour… maybe £2,500? Your budget is very important! You will be covering all costs yourself and you need to be clear what these are! says chapter 4. But the guide is coy about the sums involved until you reach some of the author case studies which – gulp! – give food for thought to would-be millionaires.
So – helpful, practical, a very good start or waymarker for any self-publishing journey. Now would W&A please publish a guide to using the updated WordPress Gutenberg Block Editor. It has about the same speed and flexibility as its namesake, a printing press designed around 1440. Apologies for any swearing that’s leaked while attempting to write this post. See you next time, unless I give up in despair.
I do have some news this week, but first I have a question for you:
Did you ever go to school?
As many of you know, I was a teacher for 33 years. I posted a lot about it when I started this blog, because I was still in harness. Then I retired and with gratitude in my heart for a fascinating career that at last I was leaving (when I started I only intended to stay a few years), I blogged a farewell.
Four years later, what a lot of crap we’ve seen, and even more this week. Nurses, porters, paramedics and hospital cleaners have been refused a pay rise. They’re supposed to live on clapping and rainbows, I suppose. Teachers did get one (from existing money, so something else will have to go), and immediately teachers are blamed for it. Why have they got a pay rise? They haven’t even been in school! Lazy, workshy – and so on.
Right then, today the class task is 5 minutes silent reading which you’ll find here. It’s a heartfelt plea from a practising English teacher. Authors who read this: we need English teachers. They read our books and teach the readers of tomorrow! So head over and read her POV, please, and I want to see you back in here as soon as you’ve finished.
Now spend 5 minutes writing your answer to Susan English. How are you going to help put things right for this teacher and her colleagues? (You at the back – if we don’t get this done today we’ll all be staying in until we do.)
This possible model answer is more or less what I commented on her blog:
I do so sympathise. I taught all age groups and some teacher training/school improvement. In my NQT year (then called “probation”) I went to a family party at my new partner’s home in a county where they love to tell you they’re “proud to call a spade a spade”.
“What do you do?” asked an aunt/cousin/bad-fairy-at-the-wedding. “I’m a teacher,” I said. “Teachers? I wouldn’t give you the time of day for ’em!” she retorted. And so it went on… party after party, all my teaching life:
“What do you do?” / “I’m a teacher…” “Teachers? Ever heard that saying: ‘those who can, do; those who can’t, teach’. Ha ha ha! Oh I remember Mr X/ Ms Y. We used to love winding him up! And we made her cry! Yes, she used to run out the room weeping! Those were the days!”
These otherwise pleasant people somehow became bigoted monsters the moment you said you were a teacher. I can only think each of them had been damaged at an early age by one of the very few colleagues who doesn’t have pupils’ welfare etched deeply in their hearts.
Nowadays I go to parties (currently only on Zoom, of course) and when people say “What do you do?” I say, “I’m a writer!” “WOW!” they answer. “That’s so impressive! I could never do THAT! You must be so brainy, have such focus, work so hard, have such imagination and empathy…” “Yup,” I say. “I developed all those when I was teaching, and I did my best to develop them in your children too.” “You were a teacher? Oh we had this teacher and we used to make her cry…” etc.
When you leave, write a novel about it. Or start one now. Writing The Magic Carpet was as good as therapy and it really boosted my morale. Yes, I HAD done a good job, yes I HAD worked hard, and I know you do too. Even if no-one else does, I’m saying, “You’re a teacher? Well DONE!”
(A* for the blog post too.)
What other news do I have? It’s BIG news, it deserves a post to itself and next time I’ll have one. The French version of The Infinity Pool was published this week. It’s called Infinitude. Are you French? Do you know French people? (Could be because a French teacher started you off…) Soon I’ll be interviewing Isabelle the hard working translator but for now here’s the book cover, the link’s above, and here’s some bon vin français to drink a toast. Now please find someone to buy it, and/or Der Infinity-Pool which is the German version because guess what? Teachers DO mostly earn more than authors or translators. Except in respect.
When I published The Infinity Pool in 2015 I barely knew what a blog was, let alone a blog tour. I didn’t envisage blogging myself, and I had no idea of the goodwill, time, energy and commitment put into spreading the word about books by bookbloggers, helping readers choose and writers survive.
More experienced authors pointed me in their direction and I began to get in touch with them, mostly via Facebook. It could be laborious – not because the bookbloggers were obstructive or unhelpful, quite the opposite. They were generous, informative and kind. But life became full of tasks and lists:
Identify and visit blogs.
Get a deeper sense of their flavour by exploring a number of posts.
Read guidelines, consider if they apply to me.
If they do, construct a polite contact email.
Await a reply, consider whether to contact again (most bloggers are very prompt about responding so this wasn’t often necessary. However, a sub task was keeping a record of who I’d contacted.)
Sort out what I had to do when they replied with an invitation, eg write guest post / send blogger a copy for review / answer blogger’s q and a / fit answers to quirky format only used by individual blogger to help them stand out. Send them.
Put together all the other documents they need, eg extract / links to buy book / author photo and biog / social media links / cover images. Send them.
Make a note of the date the post will appear.
On that date share it on Facebook, Twitter and anywhere else I can think of, bearing in mind that overkill is, well, overkill.
Share it again later (remember overkill though. And underkill.)
Thank anyone else who’s shared it on Twitter, Facebook, etc.
Now I have this blog of my own, reblog the post (having first remembered to ask if the original bookblogger is happy with that).
Respond to any comments, on the original blog and my own.
Thank the bookblogger…
Add details to my file of “online presence” because agent told me publishers like to see authors have one when considering whether to take their books.
It all takes time; my eyes even then were finding it a strain spending too much time gazing at screens; my grasp of Twitter was (and remains) more a case of clutching at straws.
As one kind early reader of The Magic Carpet said, “Such an impressive leap forward!” Now a proud author second time around, I’m about to have my very own blog tour for #The Magic Carpet. No’s 1- 8 on the list are taken care of by the blog tour organiser – huge thanks to Anne Cater at #RandomThingstours! I’ll certainly still be contacting bookbloggers who aren’t involved at some point, but for now I’ve enough time on my hands to spend some of it adapting a much loved children’s rhyme (appropriate as my book involves children discovering the power of stories and words).
To the tune of “We’re going on a bear hunt!”
We’re going on a blog tour. It’s going to be a good one! I’m a bit scared – What will the bloggers say?
Uh uh! A guest post! A compelling original guest post! I can’t not write it. I can’t write badly…Oh, gee! My audience is waiting!
We’re going on a blog tour. It’s going to be a good one! I’m a bit scared – etc.
I did write more verses but I’ll save them for a rainy day when I can’t think what else to blog about. A troll comes into it, but I think we have him licked. I’m sure you get the gist.
I chose this title for today’s blog post for two reasons:
1) This is a new venture: my first author interview on the blog. When given the opportunity I was keen to write about Jennie Ensor and her book because I so admire what she’s done. If this goes down well I may do more interviews in future.
2) More importantly, Jennie’s novel is about childhood sexual abuse. It’s not autobiography and shouldn’t be read as such, but during the publishing journey she has opened up about her own childhood experiences. The reception and sales of the book look pretty good to me so far and she has much to be proud of. Hence the title. Now on with the show.
The Girl in his Eyes (Bloodhound Books, Sept 18) is the story of Laura, a young woman who can’t find her niche in life. She drifts through jobs ranging from unfulfilling to dodgy; she can’t give of her best in either, and she can’t make friends. “As if she had no free will whatsoever.” She was sexually abused by her father Paul, who “always had to be in control”. We soon see he was in control of Laura’s mother too, rendering parenting from both sides damaged. Without spoilers, the plot involves whether Laura can recover and also whether she can stop it happening to others. Ensor’s background is journalism. She sets out the context, the facts, the questions arising and the denouement efficiently, readably and well. I’d have liked a more original style in places, but style is hardly the most important thing about this novel, and it’s a page turner.
It’s hard to find Laura’s personality for the first two thirds of the book, for Laura as well as the reader. That’s the point – what happened to her in childhood has effaced her as a human being. “…an invisible cloak separated her from the world, containing within it all the bad things …she couldn’t let anyone see.” Her story is told in third person, with her mother’s and, bravely, her father’s in alternating chapters. Though I cringed as I read, I think Paul’s are the most successful chapters. Ensor captures (what I imagine to be) the self justification and twistedness of an abuser so well. Paul is only too real, nasty man, and so is mother Suzanne. But do read it and find out for yourself.
Q. I liked the discreet, reticent way you wrote the abuse scenes, and also those when Paul is attracted to another 12-year-old girl, Emma. The worst scenario would be accidentally writing something that some readers found seductive, yet to avoid such scenes altogether would be to create elephants in the room. Did it take you a long time to find the right balance?
A. Most readers seem to agree that the grooming/abuse scenes in the novel are not at all gratuitous or over the top, though for many they were unsettling. I did my best to write them so as to minimise the possibility of some readers getting turned on by what Paul was doing – or wanting to do – to Emma, but I also wanted to indicate clearly to the reader what actually was going on. When I first wrote those scenes I didn’t think about balance, I just wrote what came to me. Later on, I cut a few descriptions of Emma from Paul’s point of view, e.g. how Emma smelled to him, and certain things which seemed too intimate or likely to offend/repel. Details can be powerful but beyond a certain point, I think it is definitely best to leave things to the reader’s imagination.
Also, there is the issue of point of view. The novel is all written in the close third person. Given that I wrote the grooming/abuse scenes from Paul’s POV, I knew it would be possible at times for readers to interpret that Emma is being ‘seductive’ with Paul rather than purely a victim, because in his twisted mind that’s how he perceives her. I wanted to get inside his head but felt uneasy about readers being drawn into too high a degree of empathy for his loathsome behaviour. However, I intentionally let some of Emma’s actions remain open to interpretation, to show how the carrot of being discovered as a model affects her better judgement. All in all, this needed a lot of pondering to get right.
Q. Laura has one friend, Rachel. “…sometimes she had the disconcerting feeling that Rachel looked on her as an object of curiosity, much as a biologist might examine the contents of a petri dish”. Does Rachel do all that you’d want a friend to do in Laura’s situation? Do you think Laura looks on herself that way, too?
A. Rachel is not the ideal friend, for sure. She is interested in Laura and has some insight into what she is going through, but is unable or unwilling to go the extra mile to support Laura. When I wrote the scenes with Rachel, I didn’t feel too much sympathy for her. But by the time I came to redraft the novel a few years later, I had more understanding of how difficult it can be to support a friend who is behaving self destructively. As for Laura’s view of herself – I wanted her to be, for much of the novel at least, unaware of how her behaviour is driven by her past abuse, so that she is, to an extent, surprised by how she herself acts.
Q. One aspect I liked was how you explore the mother’s experience, as wife, mother and friend. “Even now [says Laura], I’m going round on tippy toes to save (mother) from the harsh reality.” I got the sense you started off quite judgmental but became more sympathetic to her as the story continued – would I be right?
A. I wanted to show how Laura’s mother Suzanne develops as a character in response to her overwhelming pain of knowing what her husband has done to their daughter – which is something she has suspected deep down but not been able to face. I also wanted to show how the relationship between Laura and her mother changes as a result of this. Laura is rightly angry with her mother early on, but by the end of the novel both women have changed. I wouldn’t say I became more sympathetic to Suzanne, but I definitely hoped that readers might take a more nuanced view of her by the end of the novel.
Q. This is an affluent, suburban family – or appears to be. Appearances are very important in the book. Why did you decide on that particular social background?
A. Yes, this is an affluent family, living in a detached house in a prime part of London (Wimbledon village). I’m attracted to the idea of dark things coming from the outwardly ‘normal’ suburban family – and it is somehow less expected that a sex abuser will live in a nice house, have a fast car and a good job, which I think makes the set up more interesting.
From what I know about paedophiles, apart from being mainly men they come from all social and economic backgrounds – from the well-off professional classes to the unemployed. However, I do think that it’s plausible that stressful situations such as the threat of unemployment and subsequent loss of power might affect a man’s behaviour. The novel is set in 2011, during the last economic downturn, when employment was particularly insecure, and the stresses on a successful businessman in his fifties facing redundancy for the first time (as Paul is) would be significant. In my own family, which inspired some aspects of The Girl in His Eyes, my father was often out of work and our family was impacted by the resulting high stress levels and uncertainty about how we would get by. Paul’s current job insecurity is perhaps one factor that drives him to start grooming another girl.
Q. You’ve written the book in sections from three points of view. How comfortable was it to put yourself inside Paul’s head?
A. I started out with that structure as it seemed the best way to tell the story. I wanted to show how all three characters respond to extreme circumstances, in a way that would let me get inside their heads but allow me to pull back at times (eg to help the reader understand what was going on for a character).
Re Paul, I wanted to show the development of his attraction into an increasing obsession towards Emma, and how his distorted thinking enabled him to consider doing things other men wouldn’t. I had several men in my head who I drew from when creating him. While I enjoy writing ‘bad’ characters in general, it was certainly difficult and draining at times to go to some of the places I needed to go to with him.
Q. Describe your emotions since the publication of The Girl in his Eyes.
A. Huge relief and excitement that the novel was finally published, and gratitude that it was getting such strong (and mostly very positive) reactions from readers. Also I felt both anxious and at times frankly terrified when I began talking publicly in the media about my book and its inspiration – the family I grew up in and my own experiences of abuse as a child. Thankfully, I’ve had much support online and from those close to me. I’m very glad I was able to share some of what drove me to write this novel, and in doing so to spread the message that victims of sexual violence and abuse should not be shamed into silence. After speaking live to Jo Good on Radio London knowing that thousands had been listening, I was on such a high you wouldn’t believe. As I’ve said in other places, the speaking out I’ve done lately has definitely awoken my inner activist!
Q. What will you follow this book with – or do you think you deserve a rest?
A. Though I care greatly about many social justice and women’s issues, I’m definitely a writer first and foremost. I’m pleased to be getting absorbed in work on a fourth novel, a psychological thriller with supernatural elements. I hope to finish the first draft before my third novel is published next May with Bombshell Books, an imprint of Bloodhound Books. It’s rather different from The Girl in His Eyes – a family drama with a brazenly comic streak, about a scientist who’s torn between her stalling career and the demands of her family. I think I needed to cheer myself up after the darkness in my first two books!
Q. Finally, I’ve worried about chapters in my own work in progress, where a character abuses a child. Do I have the right to write of this, not having experienced it myself? As my blog readers will know, I do think it raises questions, writing in the voice of those who’ve had experiences I don’t share.
A. I strongly feel that writers should write about anything they want or need to write about, no matter what they’ve experienced and what colour, gender etc they are.
I was very chuffed when Ensor commented: “Your questions are about the most thoughtful I’ve received, and I would have answered them all if not for the space constraint!” So if you want to hear answers to more of them, please let me know in the comments below and I’ll invite her back. Or take a look at her own Blog/website,Facebook,Twitter,Instagram and/or Goodreads pages.
Sometimes a high quality experience crops up unexpectedly to enhance my life. One afternoon last week, when I was wasting time or so I thought on Facebook, up popped an advert. Julian Barnes would be in conversation with Hermione Lee, starting in four hours.
(Lucky me, to live in London and be free at short notice, with £11.50 to spare for a ticket plus the fare into Piccadilly. This is the sort of event many writers and would be writers are not able to attend. See Kit de Waal on the subject, here.)
I’ve always admired Julian Barnes’ writing. It was inspiring to see him in the flesh. Tall, spare, sardonic, dignified. He can do a lot with one raised eyebrow or a glance along his nose (not down his nose, I think). The hour began with Barnes reading from The Only Story, published on 1st February. (A similar reading is available here.) I’d read the first pages before the talk, and if I’m honest been underwhelmed by comparison with the opening to his last book, The Noise of Time. Now here were the necessary cadences to bring the prose alive, a helpful oral guide to approaching the text.
I’ve not been to many such events. I once saw Fay Weldon taking questions after a play at the Rosemary Branch in Islington. She was rumbustious, hearty and undeterred by whatever was thrown at her but I remember little of what she said.Then, not long before she died, I saw Doris Lessing take sole command of the wide National Theatre stage, unexpectedly elegiac and mild, reflecting with conviction and humour on a life interestingly lived. The Barnes event was more elegant, in the pretty little lecture theatre of the Royal Institution. It seemed more scripted, fittingly for Barnes who famously considers his choice of words so carefully and takes Flaubert as a model. There were no questions. Professor Hermione Lee has worked extensively with Barnes before. Even so, some of the observations she made took bravery, as this patrician man makes it clear when he doesn’t agree. His joke about a young man who for some reason had to walk out mid talk caused laughter that must have rung loud in the embarrassed departing ears.
The Only Story is about love going right and love going wrong. The epigraph is Dr Johnson’s definition in his 1755 Dictionary of the English Language. “A novel: a small tale, normally of love.” The beginning poses the question: “Would you rather love the more, and suffer the more, or love the less and suffer the less?” As Barnes said “The first love becomes a template for all subsequent loves – either as what not to do, or as an ideal.”
Barnes spoke of memory, age, time, and autobiography in his fiction. Memory becomes less reliable as you age, more dependent on the imagination. He can’t use his own memories in his writing for at least five or six years after the event; they have to undergo some sort of internal process first, which he likened to composting. Some memories beg to be used in fiction, but the writer must shoehorn them in carefully or they’ll jar. He asks academics who study his books to alert him if he’s used an anecdote before.
He thought (though didn’t specifically advise) younger writers need to write chronologically at first, within a short time frame, or much of their narrative can only be guesswork. The writer over seventy has the privileged capacity to handle extended time periods. But, although Barnes often sets his fiction in the “neutral” suburbia of his youth, and prefers to write about inner emotions, the reader shouldn’t assume everything is autobiographical. A reader of The Only Story had cast him as the hero, and written: “I didn’t know you had two hip replacements!” His reply, eyebrow raised, sardonic smile: “One can make things up, you know. This is fiction.”
Many in the audience nodded vigorously at the points he made, but they were mostly much younger. Some took frantic notes and others were recording Barnes on their phones – was I mistaken or was he not wholly pleased? If they were creative writing students looking for specific recipes for planning novels, his answers were slippery but amusing. I think I’ve deciphered these quotes correctly from my jottings on the Evening Standard in the tube – I was less well equipped than the creative writing students and wanted simply to listen.
Lee: Why are your books so short?
Barnes: (purses lips, picks up book and leafs through): 213 pages? Then he quoted a favourite of his, the French writer Jules Renard who in a journal of some 1000 pages said: “All novels are too long”.
Lee: Well, I mean, “compressed”, then.
Barnes: Well, you say what you have to say, and it takes as long as it takes.
(Although I wondered if some of his writing is “compressed” because he’s been honing his craft for so long he now needs fewer words to express what he means.)
He sidestepped a question about planning with an anecdote about his friend Michèle Roberts and how she develops a novel. For his part, he strolls about until ideas come (“mooching and mulching”.) But he did discuss taking care with “balance”. For example, in Arthur and George, Arthur (Conan Doyle) could have become weighted down with research material whereas George ( a young man he championed in a court case) had only an ephemeral presence in the archives. It was a challenge not to reflect this contrast in how the text showed the characters.
Lee asked how he felt about the use of his name as an adjective “Barnesian”. He said he didn’t know what it meant, partly because he doesn’t read reviews. He doesn’t object to “Dickensian” or “Larkinesque” but wouldn’t want to explore such an interpretation of his own work because it might make his writing “self conscious and limited”. Then she approached writing in the first, second or third person, but again Barnes signposted books other than his own. All I can tell you is Julian Barnes recommends Bright Lights, Big City by Jay McInerney as the best example of second person narration he knows. Here’s The Only Story‘s narrator (possibly a mouthpiece for JB, more probably not) on settings: “The time, the place, the social milieu. I’m not sure how important they are, in stories about love…and one other thing: don’t ask me about the weather.”
If I am making Barnes sound ungenerous or exclusive, I don’t mean to. He must enjoy talking about his work because there are several interviews available online for anyone not lucky enough to be able to attend such events. But his presentation finds a subtle, precise middle ground between publicity and dignity – much like his writing style – not giving too much away, tickling the audience’s interest, retaining his own privacy. Diffidence, form, subtlety are underrated in our screeching age, and this compressed event was perfect in its understatement.
There’s been much recent discussion of diversity in publishing. Here was a white, middle class, able bodied (the hips, anyway) European male in amusing conversation, before a mainly white audience of (presumably) Londoners. No barricades will be stormed by audiences attending events like this. Yet the decorous dialogue between two establishment figures reflected the style, wit, poignancy and insight into the human condition of Barnes’ writing, with lessons for all. I enjoyed it immensely.
My friend Sharon Drew is showing two paintings in the 2016 Royal Academy Summer Exhibition. I’ve watched Sharon’s art develop over many years. You don’t have to be an expert to spot the confidence and versatility of her work. At each annual Open Studio event I find a different style, and there is never anything tentative about the way she uses colour. More abstract work can need more thought, so we discussed parallels between the visual arts and writing, and between viewers and readers, and it’s helped me open up a world that I hope you will enjoy too.
Reculver, Thanet 2015 (Watercolour landscape study) size 15 x 25cm
Obviously the familiar “Old Masters” tell a story (eg the nativity), but do you think more modern, perhaps abstract paintings can do so as well?
SD: Abstract painting can make a direct connection with the emotions, like listening to classical or contemporary music. It can create a mood, atmosphere or sensation and also transport one to another place and time.
Abstraction also has a place within the narrative of 20C history of art. Modernism, in this case, focuses on process and materials and lack of recognisable imagery. This links with similar attitudes in architecture and design as well as literary and performing arts of the time.
JN: So the literary parallel here would be with writers such as Woolf, Joyce, Eliot, Kafka, Faulkner, up to Beckett…where the “story” may be a different shape from a conventional narrative, but themes and forms emerge and words play with each other to make another kind of sense.
Do you think it’s important that viewers “understand” a painting straight away? Are you concerned about providing an approachable way in? Does it matter to you if their interpretation is different to yours?
Each person brings their own experience to the work – I cannot predict or control how others interpret my work – I like this! I’m often told that my paintings remind people of something they have seen or even a particular time in their life, which I could never have imagined. As far as I’m concerned this type of response enriches my experience as an artist. I also use fairly open titles such as Undercurrent or Conceal in order not to completely pin down the meaning.
Way Through(2) 2016 (acrylic on canvas) size 64 x 76cm
Some viewers are able to engage with abstract paintings without any introduction to the work, maybe in terms of colour and surface, others see an association or meaning. Some people need more background to the work to help make connections. Others may prefer figurative and representative imagery to suggest symbolism, scenario or narrative to satisfy their curiosity and analytical skills. Imagination and interpretation are key to viewing most artworks – (JN:just as they are for fiction, poetry and theatre).
Technical skill can be harder to identify compared to a realistic image and so abstract paintings can easily be dismissed, hence the comment … “my 4 year old could do that!”
Can you describe the process of getting ideas for a new canvas? How might a painter’s planning differ from or resemble that of a fiction writer?
There are many different approaches. For me it’s often a particular process, such as a decision to work with diluted paint or the gestural brush mark, that is the starting point. I usually work in a very intuitive way, walking a fine line between chance and control, deciding to intervene and making adjustments or just leaving things as they are.
I regularly travel to the North Kent and West Cornish coasts and make sketchbook drawings and paintings out in the landscape. On these occasions I am working from reality – sea, cliffs, clouds etc., and these studies record my observations, like a visual journal. Back in the studio I’m not aiming to reproduce these studies but perhaps the sketches and the sensation of being out there inform my paintings in terms of light, colour, space, and rhythm. JN: The writer’s notebook as used by the artist…
The Island-St Ives 2014 Sketchbook (Watercolour)
As I am based in East London the urban landscape also feeds into my work creating, at times, a clash or fusion of the two contrasting environments.
JN: I also found on your website this quote which could just as well be about writing: Surprisingly perhaps creativity can come from regular daily practice. It’s no good just waiting around for a brilliant idea, it is much more likely to come through consistent work.
Do you know on starting a painting whether it will stand alone or be part of a series?
The best advice I was ever given was to work in a series. This helps to build up momentum and get into the flow and also to be my own critic as each work informs the other and assists in resolving problems. However ultimately I want each painting to be able to exist alone, unless it’s intended as part of a diptych or triptych.
There are no “characters” in your paintings as such – or are there?
The paintings do have different characteristics – i.e. strident, understated, brash, excitable, energetic, mellow etc., and so can directly affect the energy, atmosphere and mood of a space.
Clodgy Point, St Ives 2015 (oil on paper) size 17 x 23cm
Is there a narrative to how your work has developed? Does it have to be linear?
Definitely not linear! I follow my instincts and do not worry if a new process seems to be taking me in another direction, it is something I welcome and enjoy the difference. Having said that I do see that colour has been a constant presence in the work, and also my intermittent sketchbook drawings and paintings of the garden and coastal landscapes have been produced throughout.
Very early on I pulled away from representation into semi-abstract painting with abstract shapes, colours and textures with flower motifs. Then I became interested in more formal grid structures and bands of colours before breaking out into free-form flowing paintings made of highly diluted paint. During my MA at Central Saint Martins I made a departure to installation which I felt was a meeting point of painting, sculpture and installation. After this I went back to painting and for the past few years I’ve been particularly interested in light, colour, space, and rhythm and the use of the expressive, gestural painted brushstroke.
The two painters who have influenced me since my Art School days are American Abstract Expressionist Willem de Kooning and British colour abstractionist Patrick Heron, so in that sense I feel very rooted to this tradition of painting.
I know you were recently part of a narrative yourself, when your paintings were used as the work of an artist whose story was being told in a film, “Art Is…”. Can you describe your feelings about having your work “fictionalised” and apparently painted by someone else?
Yes, a rather surreal situation of being simultaneously detached and intensely involved. To be surrounded by my paintings and the contents of my studio, but in the middle of a film set, the boundaries of art and life were constantly blurred. I also loved the way the different teams – lighting, sound, set – dressing, costume etc. – worked together with the Director to produce his vision for the final work. Such a contrast to my situation! One of the main things I remember is the sense of real time disappearing, especially as the film shoot is not made in chronological order, day and night get very mixed up.
Great also meeting Paul McGann, Gary Kemp and Emily Beecham … so lucky!
St Ives Boats (2) 2015 (oil on paper) size 15 x 21cm
There are glorious visuals in children’s books and I think adults need them too. Could you see yourself collaborating with a writer? I don’t want to use the word illustrate, as I’m thinking more in terms of two people telling the same story side by side but independently and with equal status.
Always open to suggestions of collaboration!
Thank you so much, Sharon, for helping me to elucidate parallels which I always knew were there but had never managed to put into words. You can find out more at Sharon’s website, her Open Studio coming up on 25/26 June in London, and of course see those two paintings at the Royal Academy.