News from the writing group

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.

Buy links:

Ed & Lily eBook : Due, Sofia: Amazon.co.uk: Kindle Store

The Book Guild Ltd

Ed & Lily by Sofia Due | Waterstones

Ed & Lily by Sofia Due | WHSmith

Ed & Lily : Sofia Due : 9781913913298 (bookdepository.com)

Google Play: https://play.google.com/store/books/details/Sofia_Due_Ed_Lily?id=6Es_EAAAQBAJ

The ebook will soon be available through other retailers, such as Apple, Barnes & Noble US, Kobo and OverDrive.

©Jessica Norrie & Sofia Due 2021

No signal

In last night’s disturbing dream my phone was useless and I couldn’t communicate. Partner said: “Good premise for a crime novel.” I don’t want to write a crime novel, but as always a title came straight to mind. No signal covers 1) my blog hiatus 2) the rural disadvantage of partner’s house 3) physical and metaphorical aspects of lockdown, and 4) the event that stopped me blogging much and writing at all.

In January a dear relation, not elderly, had a stroke clinicians labelled catastrophic, overnight losing independence and professional, social and cultural involvement to massive brain damage, semi paralysis, and total speech loss. For weeks she had “no signal”. Now she smiles, shrugs, raises her eyebrows, taps one hand, and cries.

For two months we could barely signal back. Covid allowed only three hospital visits, justified to management as therapeutic. Discharge was to an understaffed, pack-em-in uncare home with photos of forty Covid victims prominent in the foyer. At my first “visit”, I balanced on a steep grass bank and gurned through a closed double-glazed window, probably terrifying a confused, pain-racked, depressed, non-verbal Charlotte. After two weeks, strictly timed fifteen-minute visits were allowed, when she cried and cried. I have told the regulating authorities…

Finding urgent, pleasanter, safer care with no previous knowledge of the sector, was difficult. It’s a buyer’s market, nursing homes having lost so many residents, but judging suitability when you can’t go inside to witness staff and residents interact is tricky. There’s the selling agent’s word for it, pre-Covid inspection reports and glossy brochures with more chintz than people. You can tell a lot from the smell, mutters a district nurse friend. In normal times.

Nor could we access the typically £82000 pa fees of a good home because Charlotte hadn’t appointed Lasting Power of Attorney (have YOU done this? It costs £80/£160 online and takes just a few weeks to come through). She couldn’t agree to LPA because she’d lost mental capacity so our only avenue was the Court of Protection. Even with an excellent solicitor this takes seven months and £4000+. So whatever your age please apply for LPA today, for your loved ones’ sakes! Without it, we can’t deal with Charlotte’s bank, maintain her house, access her phone or computer… or shut the bailiffs up. But hooray for the social worker who organised interim payment of home fees!

Identifying, informing, updating friends, navigating legal, financial and medical protocols takes hours. Though still without CoP status, a contradiction requires me to advocate for Charlotte as her Deprivation of Liberty Safeguard representative. Therein lies a moral minefield.

Amid the pandemic, all NHS staff dealt professionally and kindly with Charlotte, as far as we know. Yet it’s compartmentalised and random. Some individuals communicate with next-of-kin; others won’t until CoP is formalised. Doctors spent two days saving Charlotte’s life. Then she became the therapists’ responsibility. The excellent hospital team discharged her to the community team who visit rarely and tell me nothing. Emergency hospital admissions for IV treatment open communication black holes. True to form, our Etonian government guidelines for care homes are delayed, illogical and impractical. So Charlotte, who can currently be visited immediately during her frequent hospital stays, suffers ten lonely days of self-isolation whenever she returns “home” (which is a good and caring place, but, obviously, not the lovely house she can no longer access). Each time, the private speech therapy I’ve sourced is postponed and even on her birthday she couldn’t leave her room.

This prolonged whinge is my entirely selfish point of view. Writing from Charlotte’s would mean exploring the wrenching experience of a loved one more deeply than I can bear – it’s an imagined state of mind to be visited only in the small hours or small, safe stabs of trying-to-understand. So I divert my thoughts to all that must be done. To write her POV would also mean experimental language even more demanding than McGregor’s (below). There’d be pages of wailing pain, of being bypassed and misunderstood, occasional enjoyment of tastes (dysphagia permitting), embarrassment, exhaustion, depression – very common post stroke, frustration, boredom and loneliness and where’s the happy ending? Disabled readers might cancel it and they’d probably be right.

But this is a books and writing blog! Poignantly, my last chat with Charlotte was about a book review here. Stroke is common in life, less so in literature. The only one more physically serious than hers that I’ve read of is in The Diving Bell and the Butterfly, also filmed. Dominique Bauby, in his forties, was riding a professional wave as editor-in-chief of Elle magazine when a stroke paralysed him almost completely. He could only dictate this memoir, letter by letter, by flicking his left eyelid. I could quote the whole thing… For obvious reasons it isn’t long, but it’s beautifully written/translated and extraordinary.

Jill Bolte Taylor’s My Stroke of Insight is inspiring – see her TED talks on YouTube. This American brain scientist had a major stroke aged 37 and viewed her eight-year recovery as a unique research opportunity. She explains the medical jargon and her own psychology and cognition with clarity, humour and joie de vivre. A helpful checklist of carers’ dos and don’ts highlights the devastating damage stroke can cause. “Recovery was a decision I had to make a million times a day. Was I willing to put forth the effort to try?” If this exceptionally positive and informed young woman found it so exhausting, what hope is there for others? But at least our NHS, beleaguered though it may be, means a stroke victim needn’t try to remember which hospital her health insurance covers, mid-stroke.

In the UK the Stroke Association have cheap communications aids for recovering stroke victims, though little for Charlotte’s more severe condition. Bolte Taylor happily relearned from children’s books; others may feel patronised which is where the SA booklets come in.

I’ve reviewed Jon McGregor’s precise and moving writing before. In a happy coincidence for me, his latest novel, Lean Fall Stand provides the reassurance of finding my experience reflected in good fiction. I won’t name the stricken character as he’s introduced in a different role, the stroke a deus ex machina for the reader as well. Quoting McGregor’s language play would need more context than my space permits, but, never obscure, he has surprising fun with a victims’ conversation group, light relief (not parody) after the grimmer initial weeks. There’s sympathy for his carer’s reaction too, the weary, questioning love/unlove of a mostly absentee partner when sudden responsibility strikes hard at her own life.

Which is more or less where I started this post. As I write, the stroke related emails drift in… I hope that explains the recent absence of signals from me. Take care all.  

©Jessica Norrie 2021

Titles seek book

The Italian dramatist Pirandello wrote a play called Six Characters in Search of an Author, which is the best title ever. I’d make the bestseller charts if all a book needed was a title. I love titles. They come to me throughout the humdrum day and I think: Yes! Great! I forget many, but some stick. My problem is I haven’t written the stuff that comes next.

Trying to get through to the hairdresser reminds me I could channel Steig Larsson with The Girl with the Lockdown Hair. And another good phrase has rung through our house since March 2020. A glass or two of wine with olives and vegetable crisps saved the lockdown day with a semblance of structure. We knew we were drinking too much, so partner stopped referring to it specifically and substituted an invitation to The Things That Go With Wine (or on special occasions, The Things That Go With Fizz). These adapt easily. How about The Things That Go With Love or The Things That Go With Death? One Day I May Be Sorry for giving those away, but there’s no copyright on titles, so Be My Guest. Idioms make great titles.

Mrs Hellebore and Her Son Primrose sprung to mind on the first day of Spring. This will (or won’t) be humour – think The Diary of a Nobody and Lupin Pooter. Maybe Persephone will publish it when I’m a forgotten authoress. When? Who am I kidding?

Building without Dust came when I was mopping endless daily plaster residue from my keyboard during building work. I did once use it to head a review of Rachel Cusk’s work. Like Cusk, I love writing and reading about houses and homes, along with Kate Summerscale, Jane Christmas, Ann Patchett and hundreds of others. My eventual Building without Dust will be heavy on metaphor – tearing down the old to replace it with the new and then is the new any better? How long does the joy in it last? What’s the fallout from the process? It all sounds so grim I’d better just stick with the title.

Stealing Winston is my cosy crime idea. “Where are you moving to?” asked the removal man giving an estimate. “Near the Winston Churchill statue,” I said. He gave a great sigh of satisfaction. “AH! That’s my favourite statue in all Essex. Solid bronze, it is. Can’t think why no-one’s nicked it.” I stopped packing to scribble ideas about ne’er-do-wells saddled with storing and selling a whopper of a statue wot they’d pinched one night for a larf. Ideas ARE copyright so if I see this in the bestseller lists in years to come, watch out. 

Hooray for poetic titles. A beauty came up recently in an article about either the Anglo-Saxon burial ground at Sutton Hoo or the additional bits of Stonehenge they’ve found in Wales. Among the ancient remains were Traces of Ancient Sunlight. How lovely; sorry that’s the only trace of information I’ve retained.

Drinking in the Atrium/ Gin in the Atrium? The Counter Tenor in the Umpire’s Chair? Back to the Hammerklavier? What’s the genre? asks long-suffering agent. Well, it’s a bit niche…

The Infinity Pool was set in an alternative holiday settlement, whose management sold out in the minds of its eco guests by building a snazzy alternative to swimming among the local jellyfish. It also felt vaguely philosophical, giving my title a bit of extra heft. When we translated the title to French the philosophical side perhaps took too much precedence and the German translator added an explanatory sub-title. The Magic Carpet – which won’t be translated but would be easier – featured in one of the stories my child narrator drew inspiration from. Unfortunately feedback shows people think it’s a children’s book because of the title.

Thanks to Anete Lusina on Pexels.com for photo

In a recent thread in Book Connectors, my favourite Facebook group for bloggers, authors and readers, a writer complained her publishers always changed the titles she gives her books. If a commercial publisher took my books, they could call them what they like. They’d be entitled, for showing such faith in me. I just have to write the books first.

©Jessica Norrie 2021

Review: “Good Grief” by Catherine Mayer and Anne Mayer Bird

In the 1980s, our bookshop had no computerised systems and often customer requests were vague (“It’s about history, and it’s green”).

Customer, irritable manner: Do you have a shelf on bereavement?

Me: Er, let’s try the General Non-Fiction or Psychology sections? (Self-help, even in Hampstead, didn’t have its own shelf then.)

Customer, impatient: That’s not what I had in mind.

Me (hauling volume one of British Books in Print from under the counter): I’ll look under B for Bereavement but do you know a title or author’s name…?

Customer, tearful: How could I know a title, I didn’t know I was going to need it!

A wiser colleague took over. I’m still ashamed of my insensitive response and not sure my youth was an excuse.

In this New Year without fireworks there are many more bereaved. Here’s children’s author Shirley Hughes on widowhood in the Oldie:

“(After 12 years it’s still hard), but I’ve kept working. I go to my studio every day at half past nine and I’m on deadlines. Working keeps your brain in your head. During the week I was holding it together but you can’t work all the time and weekends were, and still are, absolute hell without John. But I started writing a novel and… it kept me going. What really kept me going was my three grown-up children… and my seven grandchildren; I see a lot of them.

But what about bereavement during a pandemic, without extended family visits? (What’s the right verb – do we negotiate/manage/undergo/suffer/survive bereavement?) My first read of 2021 was Good Grief, by journalist and activist Catherine Mayer and her mother Anne Mayer Bird. They were both widowed within six weeks at the turn of 2019/2020, supporting each other through the aftermath as Britain entered lockdown. Anne found herself writing to her husband John, telling him about current events and how she missed him, her difficulties and successes, setbacks (including falling victim to cruel fraud) and support, the government’s Covid failures and how John’s garden was pushing ahead into spring without him. Catherine wraps these letters with her own reflections on losing husband Andy Gill. She describes how his loss undermines her day-to-day functioning, notes how she can mourn, plan and celebrate, tries to eat healthily, exercise, work and maintain morale. It’s all additionally affected by lockdown. Anne and Catherine dislike the common “keep busy” advice given to the bereaved. I remember my father and the widower of a very close friend both swearing by it. accepting all invitations, travelling, theatre-going, having friends to stay. The Mayers couldn’t, whether or not they wanted to. Their memories of coping with previous bereavements are comparative studies of a different society.

Good Grief is a thematic but not a chronological account. We meet two funny, clever, kind men several times, and they are repeatedly taken away. Two funny, clever, sad women celebrate them during and after bereavement. Some of the (welcome) humour is laugh-out-loud funny, some wincingly awful – the condolence message sent through a courier service that kept Catherine awake with postponed delivery alerts; the unbelievable crassness of an aeroplane passenger’s remark to the suddenly widowed woman in the next seat. But most of the humour here is humour in the old-fashioned sense – an imbalance of body and mind. Bereavement is a physical and emotional upheaval, no matter how expected and even when a “blessed release”. Those left behind change inside and out; they experience heat and cold differently, their digestion alters, their reactions slow and may be inappropriate; their thoughts take surprising paths. There are questions, what-ifs, guilt, regret, memories galore. Grief’s ambush can’t be quelled; it just bursts out elsewhere.

These are two very personal takes on becoming a widow. Some reactions will resonate more than others, as Anne’s worry did with me: how, without John, to reach the top cupboards and master the TV remote? Meanwhile Catherine creates the hashtag #lovelydead to celebrate Andy. Using social media may support many and let’s hope they’re not trolled as she has sometimes been. Some potential comforts disappoint: Anne wants to revisit the film Truly, Madly, Deeply, whose laconic hero (Alan Rickman, himself now among the #lovelydead) haunts a mourning Juliet Stevenson. This time round, Catherine and Anne find it mawkish, fictional grief that can’t comfort real grievers. (I think Stevenson’s acting could illuminate a shopping list and was disturbed by their dismissal of my favourite scene, but then I’ve been lucky, my own 2020 more frustrating than grief-filled.)

The Mayers struggle with what Catherine calls “sadmin” and “dread tape”. So, everybody, please: write and update your will; make your funeral/memorial wishes known; tidy your financial affairs and tell someone you trust your passwords. These loving acts reduce the practical burdens of death.

Faced with such pain, why “Good Grief (apart from the professional journalist’s knack for a punning headline)?  Welcome it, was the message I received. Grief discards trivia and reminds us what really matters. Grief puts the dead centre stage and celebrates them. If they hadn’t been so loved, we wouldn’t be so sad. Without grief, we can’t continue living.

It so happens my third novel describes bereavement from the point of view of the dead. My main character can’t RIP until problems are resolved and conversations finished. I’m still hoping she’ll find a publishing home in 2021. Meanwhile, or as well, if Good Grief had been available in the 1980s, I’d have suggested it to my customer, to perhaps reflected some feelings, help her pause for breath and support her moving forwards.  

© Jessica Norrie 2021

First the quiz, now the answers. Well done everyone!

Many people said my Christmas Children’s Book Quiz was too hard – sorry! I was just about to provide more clues, when a friend who is a bit of a Hermione emailed me with a 98% score! (If you haven’t tried the quiz yet, it’s here.)

Whether you raced home like Hermione or are sulking in a snowdrift, I hope I conjured childhood memories and showed you books you haven’t heard of. Children’s literature deserves every bit as much attention as writing for adults, so I’ve added links to explore further (or enjoy reminiscing). One thing I’ve learnt from setting this quiz is that my knowledge needs updating, something for the next lockdown perhaps.

Round 1: Did you, like me, read these as a child?

  1. Just So Stories by Rudyard Kipling. Kipling was a product of his time and class, with much of his writing jingoistic. But these animal stories remain delightful.
  2. The Children Of Green Knowe by Lucy M Boston. Not now as well known as she should be, Boston wrote ghost stories based on her own ancient home. The second, The Chimneys of Green Knowe, was unusual in featuring a heroine whose blindness isn’t central to the plot.
  3. Peter Pan by J M Barrie. Strange notions of childcare here! But as stipulated in Barrie’s will, Peter Pan royalties go to Great Ormond Street Children’s hospital in London.
  4. Just William by Richmal Crompton. She preferred her numerous novels for adults, but William – who never ages – is universally recognisable.
  5. Thomas The Tank Engine by the Rev W Awdry. Despite brilliant illustrations the original text is somewhat dense, but the characters have adapted for each generation.
  6. Island Of The Blue Dolphins by Scott O’Dell. This is a stirring story of an indigenous teenage girl’s survival after cruelty leaves her alone on a a remote island. See some of the Goodreads reviews for more in depth thoughts. I loved this as a teenager.
  7. The Wolves Of Willoughby Chase by Joan Aiken. The first in a long, wonderful series. Aiken is up there with Pullman and Rowling for creating imaginary worlds and intelligent female leads.
  8. The Little White Horse by Elizabeth Goudge. Charming, nostalgic, romantic…
  9. Ballet Shoes by Noel Streatfield. Streatfield’s knowledge of theatre helps this classic story of yet more disadvantaged young girls deciding what they want and going for it!
  10. The Borrowers by Mary Norton. There are definitely Borrowers in my house. Inventive, and yet it teaches about vulnerability and inequality too, if you want morals in your children’s reading.

Round 2: A Picture Tells a Thousand Words

  1. Lucy and Tom’s Day by Shirley Hughes. This was first published in 1960. Hughes, now in her 90s, is still producing high quality stories and artwork, something new for every generation.
  2. The Very Hungry Caterpillar by Eric Carle. The first book I read my children, when they were just a few months old. I’ve used it for the happiest teaching ever since, in lots of different languages.
  3. Peace At Last by Jill Murphy. Another brilliant, repetitive bedtime story even for the youngest babies.
  4. Madeline by Ludwig Bemelmans. “In an old house in Paris that was covered with vines / Lived twelve little girls in two straight lines.” Who wouldn’t carry on after a start like that?
  5. Funnybones by Janet and Allan Ahlberg. The skeletons try to scare the humans but they’re much too funny!
  6. The Snowman by Raymond Briggs. Just to show that a book can captivate without words. Briggs has also produced much darker work, and drawn a touching biography of his parents.
  7. Handa’s Surprise by Eileen Brown. Beautiful illustrations, funny ending.
  8. The Mousehole Cat by Antonia Barber and Nicola Bayley. I still can’t read this without welling up – try it for yourself or just admire the fabulous pictures.
  9. The Snowy Day by Ezra Jack Keats. This 1962 US classic was possibly the first published picture book to feature a black child without stereotyping. It was still popular with the children I taught up to 2016.
  10. So Much by Trish Cooke and Helen Oxenbury. At this family party, seen through the eyes of a toddler, you’ll have SO MUCH fun!

Round 3: Classics Old and Newish

  1. Anne Of Green Gables by L M Montgomery. The later books disappoint (me), but Anne Shirley as introduced here is great fun, overcoming a rotten start in life to win everyone’s hearts.
  2. What Katy Did by Susan Coolidge. The message about learning good behaviour through disability is cloying now, but this story fascinated me as a child. Again, the sequels are less successful (I think).
  3. Little Women by Louisa May Alcott. Still good enough to make a great recent film. Amy was always my favourite, but you’re supposed to like Jo best. The sequels? Nah…
  4. Noughts And Crosses by Malorie Blackman. A simple but clever premise, and an excellent recent TV series. Some reviewers miss the point!
  5. Harry Potter And The Philosopher’s Stone by J K Rowling. Not sure where you’ve been if you’ve missed this one. An imaginary world that’s given pleasure to millions, despite some of the author’s recently expressed opinions running into opposition. The sequels work brilliantly, if at too much length.
  6. The Lion, The Witch And The Wardrobe by C S Lewis. A wonderful series for any child (or adult) who’s ever played about with a fictional universe. It’s a shame about the girls’ roles and the blond, noble Narnians against the dark skinned evil Calormenes, but the imaginary world created and the love of nature and animals remain outstanding.
  7. Alice’s Adventures In Wonderland by Lewis Carroll. Having loved this as a child, I was surprised how wordy I found it when reading it to my own children. But a roll call of illustrious illustrators have had enormous fun with the invention and characters over the years.
  8. Winnie The Pooh by A A Milne. Now the subject of many Facebook memes, Pooh remains as lovable and silly as ever.
  9. Northern Lights (published in the US as The Golden Compass) by Philip Pullman. My use of the UK title of the first in this fantastic series may have thrown some of you. But hey – it’s meant to be a mystery. The recent BBC adaptation does it far more justice than the film.
  10. Mary Poppins by P L Travers. Quite dry to read, compared to the film, but worth persevering.

Round 4: These characters are (part of) the family – but in which book(s)?

  1. Mary, Laura, Carrie and Grace Ingalls are the daughters in the Little Houseseries by Laura Ingalls Wilder. Controversial now for the way some (not all) characters view American Indians, but beautifully written and fascinating social history as long as it’s clear it’s from the point of view of white “pioneers”.
  2. Bobbie, Peter and Phyllis are The Railway Children (E. Nesbit) For an Edwardian woman, Nesbit had an extraordinary life.
  3. Pod, Homily and Arriety are The Borrowers (Mary Norton). See above.
  4. William, Charles, Percy, Fred, George, Ronald and Ginevra are the Weasley children’s full names (Harry Potter). See above.
  5. Kurt, Marcie and Minal Cricket are the siblings of Clarice Bean, in the series by Lauren Child. A popular contemporary series.
  6. Pongo and Missus are the parent dogs in The 101 Dalmations (Dodie Smith). This link is to the edition I had as a child, as I prefer the cover to one with film stills.
  7. Sally and I (her narrator brother) are visited by The Cat in the Hat (Dr Seuss). When he comes back things get even crazier!
  8. Lily Rose, Kate, Jim, John, Jo, Peggy and baby William were The Family From One End Street by Eve Garnett. The language may seem patronising, but when published in the 1930s it was ground-breaking as the first British children’s series to feature a poor working class family in a realistic way.
  9. Naledi, Tiro and Dineo were siblings in Journey to Jo’burg by Beverley Naidoo. It’s an easy to read story of children living in apartheid era South Africa. For my mixed ability classes of 12 year olds it packed a powerful emotional and educational punch.
  10. Ahmet is the schoolboy refugee separated from his family in Onjali Rauf’s prizewinning 2018 debut, The Boy at the Back of the Class, illustrated by Pippa Curnick. There’s also a US book with the same title by Tahlie Purvis, which I hadn’t heard of when I set this quiz. Take a point (or two) if you’ve answered with that one (or both)!

Round 5: Animals

  1. Paddington by Michael Bond. Pooh may like his honey, but for Paddington only marmalade will do.
  2. Orlando, the Marmalade Cat by Kathleen Hale. Hermione tells me there’s also a heroine called Marmalade Atkins in a series by Andrew Davies.
  3. Wilbur is described as SOME PIG in letters spun into Charlotte’s Web by E B White.
  4. In The Story of Ferdinand by Munro Leaf, Ferdinand is a bull who would rather smell the flowers than fight in the bullring.
  5. Mog is Meg the witch’s cat in Helen Nicoll and Jan Pienkowski’s Meg and Mog picture books. Mog is also the Thomas family’s cat in Judith Kerr’s Mog the Forgetful Cat series. There may be more!
  6. One owl service is a set of dinner plates featuring owls with magical properties in Alan Garner’s The Owl Service.
  7. The second is the postal service provided by owls in the wizarding world of Harry Potter. See above.
  8. The two benevolently despotic elephants I thought of were Babar by Jean de Brunhoff, and Uncle, by J P Martin. Hermione also suggests Colonel Hathi from The Jungle Book.
  9. In The Magician’s Nephew by C S Lewis, Diggory’s Uncle Andrew was planted (and watered) by an elephant who mistook him for a tree. Google “images from The Magician’s Nephew” to see this incident as depicted by the wonderful Pauline Baynes. (Must blog about children’s illustrators some time.)
  10. The Elephant’s Child (Rudyard Kipling) was spanked by his aunts and uncles for his insatiable curiosity. See Just So Stories, above.
  11. Elmer, in David McKee’s picture books.
  12. The Velveteen Rabbit by Margery Williams.
  13. Anansi the spiderman features in traditional folk stories that originated in Ghana and spread to the Caribbean. Anansi tells stories and plays tricks.
  14. Although a dog, Nana was nanny to Wendy James and Michael in Peter Pan (see above). They escaped through an open window as she was babysitting.
  15. Mole, in The Wind in the Willows by Kenneth Grahame.

Round 6: Identify the author and/or the book(s) they are talking about.

  1. “It is the book I’m proudest of because it had something to do with the death of the Dick and Jane primers.” Theodore Geisel (Dr Seuss) said this of The Cat in the Hat (see above). The UK Dick and Jane were Janet and John. Janet helped Mummy in the kitchen. John helped Dad wash the car. They were boring.
  2. “… reviewers at the time said things like: “in spite of the strange title, it’s a very good book.” Judith Kerr on When Hitler Stole Pink Rabbit interviewed in the Guardian 18/2/15
  3. “… my father had got to where he was by climbing upon my infant shoulders.” Christopher Robin Milne, in his autobiography The Enchanted Places, showed resentment of the Winnie the Pooh books by A A Milne.
  4. Richmal Crompton complained here that William Brown “takes possession of every story I try to write, even though they are not about him.”
  5. “I knew it would make people feel uncomfortable.” Malorie Blackman writing here about Noughts and Crosses.
  6. “If you read my novels, you know, they’re not black novels – they’ve just got characters in them…” Benjamin Zephaniah quoted in The Guardian 14/10/14

Round 7: Snippets of random information

  1. Tolkien and C S Lewis drank together in The Unicorn pub, Great Malvern, Worcestershire, whose gas lamps feature in The Lion the Witch and the Wardrobe (see above).
  2. James Thurber was part blind after being shot in the eye by his brother in a childhood game of William Tell. (The Thirteen Clocks and The Wonderful O was a favourite of mine as a child, in the Puffin edition with illustrations by Ronald Searle.)
  3. Sarah Ferguson, Duchess of York and once married to Prince Andrew signed a seven book “nurturing” children’s book deal in Australia and New Zealand in early 2020. I think authors should get contracts on merit, not because they are linked to the UK royal family. So I am not giving a link to her books. 10,000 bonus points if you agree.
  4. The UK children’s author and illustrator who said “I get on with (children) perfectly well but spend time with them? No, no, no…” was Quentin Blake.

Round 8: And lastly, in honour of a Europe I’m so sorry and angry to leave, have a go at these questions:

  1. Where The Wild Things Are by Maurice Sendak (whose parents were Polish).
  2. Madeline by Ludwig Bemelmans (France). See above.
  3. Miffy by Dick Bruna (Netherlands).
  4. Strewwelpeter by Heinrich Hoffmann. This link is to the German edition because I loved the picture which was on my English copy as a child. Horrifying stories of awful punishments for children who misbehave.
  5. The Diary of Anne Frank by Anne Frank (Holland). Apologies if I muddled you – I always thought this had the title I’ve given but now see recent translations call it The Diary of a Young Girl.
  6. Fables by Aesop (Greece).
  7. Pippi Longstocking by Astrid Lindgren (Sweden).
  8. Pom, Flora, Alexander and cousin Arthur are Babar’s triplets and nephew in the French books by Jean de Brunhoff. See link above.
  9. When they’re told by the Brothers Grimm (German brothers who collected fairy tales from all over Europe).
  10. Pinocchio (by Italian Carlo Collodi) and Johnson are both shown with noses that lengthen with every lie.

I hope you enjoyed my quiz. Do keep sharing it, and let me know how you did by commenting below. Happy new reading year!

Questions and answers © Jessica Norrie 2020.

Quizzing around the Christmas tree!

This Christmas will be quieter than usual so here’s a quiz to print off and mull over. See how much you can do without Google! Please do post comments and scores, but not answers – they’ll be on the blog after Christmas. You may have to think back to your childhood, maybe even your parents’ and grandparents’ childhoods as I’ve realised many of my choices are old fashioned. If any 21st century children and grandchildren would like to contribute up to date and more diverse examples of well known books for a future quiz that would be great and you can email them to me via the blog.

There are a whopping 75 questions (I worked HARD on this, or you could just call it self-indulgence). Score 1 point for every correct fact you get – eg a point for authors and for picture books illustrators’ names. A point for the title or series, extra for the countries the books come from in Round 8 and any other answer to a specific question. I make the maximum score 150 but it could be more. Let me know what you get – and note, some books and authors may appear in more than one question.

Here’s an example, for two marks: TMG by PP would be Tom’s Midnight Garden by Philippa Pearce.

Round 1: Did you, like me, read these as a child?

  1. TJSS by RK
  2. TCOGK by LMB
  3. PP by JMB
  4. JW by RC
  5. TTTE by RWA
  6. IOTBD by SOD
  7. TWOWC by JA
  8. TLWH by EG
  9. BS by NS
  10. TB by MN

Round 2: A Picture Tells a Thousand Words

  1. LATD by SH
  2. TVHC by EC
  3. PAL by JM
  4. M by LB
  5. F by J & AA
  6. TS by RB
  7. HS by EB
  8. TMC by AB and NB
  9. TSD by EJK
  10. SM by TC

Round 3: Classics Old and Newish

  1. AOGG by LMM
  2. WKD by SC
  3. LW by LMA
  4. NAC by MB
  5. HPATPS by JKR
  6. TLTWATW by CSL
  7. AAIW by LC
  8. WTP by AAM
  9. NL aka TGC by PP
  10. MP by PLT

Round 4: These characters are (part of) the family – but what is the book or series?

  1. Mary, Laura, Carrie and Grace
  2. Bobbie, Peter and Phyllis
  3. Pod, Homily and Arriety
  4. William, Charles, Percy, Fred, George, Ronald and Ginevra
  5. Kurt, Marcie and Minal Cricket
  6. Pongo and Missus
  7. Sally and I
  8. Lily Rose, Kate, Jim, John, Jo, Peggy and baby William
  9. Naledi, Tiro and Dineo
  10. Ahmet – and why is he on his own?

Round 5: Animals

  1. Who liked marmalade?
  2. Who WAS marmalade?
  3. Who was SOME PIG?
  4. Which animal hero of a 1936 children’s book banned by General Franco and burnt by Hitler was, according to Life magazine, accused of being “everything from a fascist to a pacifist to a burlesque sit-down striker”?
  5. Who had a cat called Mog? (At least two possible answers.)
  6. Describe an owl service…
  7. …and another?
  8. Two benevolent despots in children’s literature happen to be elephants. Can you name them?
  9. In which book did someone’s uncle get planted by another elephant who thought he must be a tree?
  10. And whose aunts and uncles spanked him for his insatiable curiosity?
  11. Who is made of patchwork?
  12. .…and who of velveteen?
  13. Where in the world does a spider play tricks and tell tales, and what is his name?
  14. Which canine babysitter lost sight of her three charges?
  15. Who got fed up with spring cleaning?

Round 6: Identify the author and/or the book(s) they are talking about.

  1. “It is the book I’m proudest of because it had something to do with the death of the Dick and Jane primers”
  2. “It was a brilliant title but the publishers didn’t like at first. Even reviewers at the time said things like: “in spite of the strange title, it’s a very good book”
  3. “It seemed to me almost that my father had got to where he was by climbing upon my infant shoulders.”
  4. “He takes possession of every story I try to write, even though they are not about him.”
  5. “I knew it would make people feel uncomfortable.”
  6. “If you read my novels, you know, they’re not black novels – they’ve just got characters in them; it’s about who they are, you know, the story and it represents the communities that I’ve lived in, which are very mixed communities. I don’t sit down and go “right, I’ve got to write black literature for black people” or anything like that. I just write stories.”

Round 7: Snippets of random information

  1. Which two UK authors used to enjoy a drink together in this pub, in a town whose gas lamps inspired a famous scene in a book by one of them?
  2. Which humorous US cartoonist and writer for adults and children was part blind after being shot in the eye by his brother in a childhood game of William Tell?
  3. Which Brit signed a seven book children’s “nurturing” book deal in Australia and New Zealand in early 2020? (10,000 bonus points if you can guess my thoughts about this.)
  4. Which UK children’s author and illustrator said about children: “I get on with them perfectly well but spend time with them? No, no, no. There’s no need, you see. I just make it all up.”

Round 8: Lastly, in honour of a Europe I’m sorry and angry to be forced to leave:

Photo by Mau00ebl BALLAND on Pexels.com
  1. (Picture book) WTWTA by MS
  2. (Picture book) M by LB (oh! I already had this in Round 2. 2 free points then.)
  3. (Picture book) M by DB
  4. (Poems) S by HH
  5. (Autobiography) TDOAF by AF
  6. (Classic) F by A
  7. (20th century Classic) PL by AL
  8. Where might you find Pom, Flora, Alexander and their cousin Arthur?
  9. Why might reading fairy tales not be an entirely happy experience?
  10. How have cartoonists recently compared Boris Johnson to an Italian classic character?

Questions © Jessica Norrie 2020. Photos of The Unicorn and Snowman with books © Jessica Norrie.

A non-fiction selection box

I mostly get my non-fiction fixes from news and media, but by mid 2020 I’d become tired of Covid related items. I wanted more varied food for thought, and entertainment. Also Novel 3, despite wonderful, polite, positive comments (“a beautiful and bracing read” said an editor from one top publisher) wasn’t finding a contract. I needed to reconsider what makes a book readable and saleable, whatever the subject. So I turned to five popular non-fiction bestsellers published or revised since 2018.

In my school chemistry and biology lessons, I pushed worms aimlessly round Petri dishes, larked about with Bunsen burners and stayed ignorant. Now being stalked by Covid rang alarm bells. I’ve passed (my) existence in this warm wobble of flesh and yet taken it almost entirely for granted. It was time I learned how my body works and I decided Bill Bryson’s The Body: A Guide for Occupants would be a good teacher. He is full of awe and wonder: The brain exists in silence and darkness, like a dungeoned prisoner. It has never felt warm sunshine or a soft breeze…and yet, everything else (in your body) is just plumbing and scaffolding.” I can’t remember all the details, partly because as Bryson tells me, my ageing cells are pre-programmed to die. But the book has an excellent index and I should have time to reread it because compared to other animals, we are awfully good at surviving.” Bryson is always a comforting presence for grim times.

I bought Why I’m No Longer Talking to White People About Race months ago, because I thought I should tbh. Having been paid extra in urban schools to develop diversity policies, I smugly thought I knew what Reni Eddo-Lodge would say in this book derived originally from blogposts. (Although I did at least realise my white person’s racism awareness came from study that I could drop at will rather than from personal daily experience.) Then I heard her on Woman’s Hour, when she took the UK non-fiction number 1 slot as Bernadine Evaristo headed fiction, saying this double black success was more bitter than sweet in the aftermath of George Floyd’s death in the US. She writes from a perspective white people can only imagine. She’s rightly angry that the aggression that killed Stephen Lawrence in 1993 is still rampant. She dismisses handwringing like mine. She links feminism, class, and racism. She relents somewhat, suggesting how white handwringers can help. She does see positives ahead, though rightly commenting (and note my preamble above): “So much of touring this book has involved regulating other people’s feelings”. Anyone who wants to comment on race should read this book first and remember, as quoted: We are here because you were there”. I’d be amazed if your comments didn’t alter in the light of it.

“Something you may not ever have given any thought to is how you would fund a criminal defence. But you should.” The Secret Barrister also began as a series of articles about injustice. This anonymous practising barrister-author is alarmed by how little the public understand the law. He’s amusing, informative and angry. The system can destroy, bankrupt, or madden anyone: defendant, witness, legal professional or plaintiff. This book explains anomalies, anachronisms, and the effect of underfunding, overwork and random priorities from headline chasing governments, analyses serial offending and reveals shocking court and prison conditions. Defending a client in the magistrates’ court is often like “pitching to the admissions board of a 1980s country club”. Politicians and sentencing guidelines get even more stick. This isn’t (mostly) a dry read. He’s compassionate towards the accused and passionate on their right to a fair defence. Individual case histories, humour and the lucidity of a disillusioned expert channel Dickens, but 150 years later, our legal institutions should serve and be served better. “How we treat..ordinary men and women who have been fed into the justice machine, mangled, battered, confined and, years later, spat back out onto the streets, is inexcusable.”

We all need light relief. I find The Crown entertaining and, never a royalist, don’t really care whether it’s a true account. So I lapped up Lady in Waiting. Author Anne Glenconnor grew up in a stately home so huge that raw eggs in a bain-marie would be perfectly boiled by the time a footman had carried them from the kitchen to the nursery. Her account of working for Princess Margaret isn’t exactly warts and all – the worst you hear of Margaret is that she was so fascinated by everyday gadgets she once gave another lady-in-waiting a loo brush for Christmas. “’I noticed you didn’t have one when I came to stay.’ In fact, Jean had hidden the loo brush when Princess Margaret had visited and was rather upset by the gesture.” The reader is granted fly-on-the-wall privileges and this fly was buzzing, especially on the trips to Mustique.

The Five: The Untold Lives of Women Killed by Jack the Ripper isn’t (quite) as miserable as it sounds. Historian Hallie Rubenhold, one of whose other books became the TV series Harlots, deliberately doesn’t focus on the Victorian murderer. I regularly pass the London pub where some of his victims were last seen and the advertised tourist walks and memorabilia are ghoulish. Rubenhold remembers the women instead, describing “respectable” backgrounds, not the prostitutes the press dubbed them, with skills, children and circumstances shared by thousands (I recently discovered a relation who also had to leave a violent husband, only a few miles from Whitechapel at the time the Ripper was active.) Each individual woman is, in a sense, brought back to life in these accounts based on meticulous research and contemporary evidence, having first been driven like piles deeper and deeper into the ground in order to bear the weight of everyone else’s demands”. Despite The Five selling so well, the pattern continues. The BBC was recently heavily criticised for trailing a documentary series about Oscar Pistorius without once mentioning his murdered girlfriend Reeva Steenkamp, and in fiction we still analyse Othello’s tragedy more than Desdemona’s.

How could five such different books have bestseller appeal? Well, they all have variety. There is tragedy as well as royal gossip in Anne Glenconnor’s life; science and wisdom well as humour in Bill Bryson’s bodyscape. Humour lightens the injustices found in the court room and Eddo-Lodge has calm suggestions to balance her anger. The Ripper victims’ stories include fascinating social history of homes and workplaces, clothes and speech, and unexpectedly colourful episodes in apparently ordinary lives. Effective popular non-fiction spins yarns like any novel and plotting is key. Glenconnor is the heroine of her own story, childhood to old age. Bryson’s journey round the body includes medical heroes and villains, good and bad microbes, happy accidents and fateful events. My other choices have the compelling interest, emotional involvement and quest for resolution of well recounted true crime. These are valuable models for the fiction writer too.

With Christmas coming, I hope you’ll find something to your taste in my selection box and I’d be happy to hear your own non-fiction choices.   

©Jessica Norrie 2020

Un livre nouveau est arrivé ! A new book has arrived!

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

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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!

©Jessica Norrie/Isabelle-Rouault-Röhlich 2020

English readers stop here unless you wish to practice your French (but feel free to comment below).

Putting this image here to celebrate it and show how much I hope we can rejoin you all soon!

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.

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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 !

©Jessica Norrie/Isabelle-Rouault-Röhlich 2020

Mojo gone? Mustn’t grumble!

People in England do grumble; it’s a national hobby. For example, I wear my Remoaner badge with pride. One grumble leads to another, as here when I meant to write about not writing and found myself on Brexit by my second line.

This blog post grumble is cheaper than a therapist and may find friends among the online rumble of grumbles about books not selling, authors uninspired, authors unappreciated. One author started a recent Book Connectors thread with: “I’m sure I’m not alone, but boy, I feel alone right now”. Respondents described “terrible inertia”, “terribly demoralising times”, “soul-destroying hard slog”, “disappointing book sales and no vigour to promote”. Publishing a book in a saturated market is like “screaming into a din.” Twitter too is full of moans, not only from authors. It’s a great place to bellyache, beef, bitch, bleat, carp, cavil, chunter, complain, create, find fault, gripe, grizzle, groan, grouch, kvetch, mither, pick holes, protest, sound off, whine, whinge. (That’s my riposte to writing teachers dictating you must only use the verb “said”.)

Much author grousing is justified. The disrespect for the time and effort taken to produce a book, the hoops to jump through to get it published, friends and families all wanting free copies or buying one between twelve, with their first question “What are you going to write next?” Then there’s the stranglehold of genre; the expensive, sometimes formulaic creative writing industry; piddling advances and low royalties; piracy; gatekeeping from trade publishers; too few stockists; Amazon dominance; the difficulty of getting noticed/reviewed; the high cost to indies of (often excellent) editing and design; the scams from fake services… The assumption that all self-published authors write crap – this blog post was delayed as I fired off a response to a smug thread on the Facebook “Extreme Pedantry” group.

I blame my own current inertia on recent rejections from trade publishers. I do understand rejections are a rite of passage, even a badge of honour, and mine are “improving”. They’re now increasingly detailed, thoughtful and almost wholly positive. Novel 3 is currently garnering rejections in this vein: 

“…what an original idea. I am glad to have seen it…she does write nicely”

“I have finally had a chance to read (NOVEL 3) and admired it very much… I did enjoy its emotional range and vivid setting… Hope you find it a great home.”

“I thought it was so unusual, and for someone who doesn’t LOVE (this kind of) book I was absolutely hooked! The writing was particularly lovely in places and I enjoyed it very much as a reader.”

“I found it really original with an extremely interesting premise, and thought Jessica was really successful in accomplishing what she set out to do.  The mother’s physical distance but emotional intimacy with her children… is really well realised and very evocative. I enjoyed the lyrical quality to the writing, and like I say it was very different to all the other submissions I have considered recently.”

“I think that this novel has a brilliant message…”

“…all the best with finding a publisher for Jessica – she is a very strong writer with brilliant ideas.”

And since going to press: I was intrigued by the premise and the themes – which Jessica explores with great tenderness – and I think the writing is excellent.

On bad days, “good” rejections feel no different to someone saying “Call this crap a book?” Of course they are, but you do find yourself wondering just how good your package has to be to jump through the acquisition committee hoops and remain true to your own voice. I take my hat off (some days with more grace than others) to those who write multi-volume crime series and romances but that’s not my skillset. I write standalone fiction. The worst any editor’s said about Novel 3 is: “it’s slightly didactic”. It’s an overtly feminist novel, for Goddesses’ sake. Do editors find fault with Margaret Atwood for being didactic? (Virago were sent Novel 3, but haven’t responded – yet.) Also – as of yesterday – “It’s too diffuse“. Fair enough.

I managed 14,000 words of Novel 4 and have sent them to my Zoom writing group for their opinions. I’m happy to wait for their response, as I haven’t opened the file since August. It seems rather pointless. Novels 1 and 2 were both well received when self-published after trade publisher rejections, but sales have dwindled. I don’t want to send Novel 3 down the same path. And if I still can’t get a publisher to risk an advance on me – any sum, however modest, would be acceptable – why bother with months of back and eye strain, revisions, self-doubt, rejection all over again?

Yet, what to do with my retired days? The choir can’t meet; the clothes shops can’t open their changing rooms; I can’t Zoom all day.

So I understand the grumbling authors online. The responses from the writing community are fantastic, ranging from virtual hugs through practical encouragement and pep talks. Spare me those last; I don’t need to hear about other people’s six figure incomes from churning out five books a year and embracing the marketing side. But the empathy and sympathy (never could understand the distinction) – are great: long may they continue. When I’ve been sufficiently hugged, I’ll be back in a position to use the practical advice. Thank you all for that.

The rumbling grumbles surely reflect creeping poor mental health among the general population, as the evenings chill and second wave Covid lies in wait. Everyone has trials – my son who’s self-isolating two weeks into a new teaching post with no tests available; the shop staff afraid to ask customers to wear masks; my daughter whose possibly fractured foot wasn’t x-rayed for months (yes, months); the elderly man in town this morning who showed me his “cancer card” and asked if the public toilets were all closed. When does a grumble become a legitimate grievance?

We authors must put our grumbles into perspective. But I’ll spare you a pep talk. Please consider yourselves hugged instead.

©Jessica Norrie 2020

Review: the Writers’ & Artists’ Guide to Self-Publishing

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.

Although I HATE MARKETING MY BOOKS, here’s one: http://getbook.at/TheMagicCarpet

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.

Although I HATE MARKETING MY BOOKS, here’s another. Http://getbook.at/TheInfinityPool or for the German and French type the title and author into Amazon.

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.

©Jessica Norrie 2020