Finding The Real Writer's Social Network

Like many writers I am attached to my computer for large chunks of the day whilst I imagine myself into a different time and place. Not only am I inhabiting other worlds than the real one for much of my working life, but I'm also making friends in another virtual world here on my blog, on Twitter and Facebook.

That's two unreal worlds I am plugged into, let alone all the books I'm reading, which make a third.

It is easy to forget that none of these worlds are shared by the average person. When I was at my book group last week I happened to mention that authors could publish their books themselves. 'Really?' they said,  'you mean that anyone can publish a book? How?'

I explained about self-publishing and ebooks, and uploading, until they began to look slightly glazed. 'Oh,' one of them said. 'I might try that, one day, I have a little memoir that would be fun for my family to read.'

I was astonished. These are book people - readers that buy books regularly both on and offline, but they had never actually noticed that the publishing industry has changed. Then I realised. It is not that they are ill-informed, not at all. It's just that they live in the real world. A world in which where books come from -  their creation, manufacture and sales - is pretty much irrelevant. Yes, they are readers for pleasure, but books are just the icing on the cake of life.

They represent the average reader who browses books in the way cattle graze grass, picking off the bits they fancy, with no undue concern about how the grass got there in the first place. These are the readers who are not book-obsessed enough to subscribe to book blogs, or hunt down authors on the web, or to stalk authors on Twitter. These, I think, are actually our sane book buying public. If they see a book they fancy in the Oxfam shop, they'll buy it, or they might pick it up in Tesco, or they'll borrow it from the library if someone they know mentions it as a good read. These are normal people who think of a platform as a place where they will catch a train.

A lot of them have kindles, but are not avidly following the daily deals. They wait until they have finished what they are reading, then cast about randomly for their next read. It is often luck which particular title comes into their path. So how does a writer reach them as potential readers? Not by Twitter, or Facebook or Blogging. These are the people who have lives, for heaven's sake!

I love my real networks, my book group, the people I meet at Tai Chi, the people in my local garden centre. I talk to them about books (not necessarily my books, but books in general) and I usually recommend something. The best publicity is word of mouth, so I tell people when I have really enjoyed a book. I hope that other people will do that for me if they have enjoyed one of mine. Recommending someone else's book (unlike touting your own) is pain-free, embarrassment free, and a good service to both the author and the reader.

So here, for the sane book-buying public (who let's face it, are probably not reading my blog anyway, but are out at Pilates or Art Class or holding down a complicated and/or stressful job) are my recommendations for this week: BURIAL RITES by Hannah Kent and THE ONE I WAS by Eliza Graham

Historical literary fiction that is both gripping and engaging, although in this interview Hannah Kent claims to hate the term 'historical novel'! Bookbag review of The One I Was, a multi-generational roller-coaster of a novel that you won't want to put down.

Throwing mud at a wall - my foolproof writer's process

Charlotte Betts is another fan of the seventeenth century and writes fantastic award-winning romantic novels set in the Restoration period. She invited me to take part in this writing process blog hop and you can find her blog on her writing process here:

I have done my best to answer the set questions, though it is very tempting to meander off the point!

What am I working on?

I'm working on two things, one a big thick adult novel, and the other a slimmer title suitable for young adults as well as my adult readers. The big novel is a novel based around Pepys's diary. I have used Pepys's Diary for so many years as reference material for my other books that I just could not resist! It tells the story of Pepys's most famous obsession, his wife's companion Deborah Willett. I have to say, it does feel slightly odd writing about someone with the same first name. Fortunately Pepys himself soon shortens it to Deb, which feels a little more comfortable!

The second smaller novel is part of a series of novellas based around the life of highwaywoman and royalist Lady Katherine Fanshawe - see my previous post. The first volume was told from the point of view of her deaf maid, and is awaiting editing. I'm on the second volume now which includes the Battle of Worcester in the English Civil War, and is written from the point of view of a ghost. This is a slightly scary thing to do, but very enjoyable. I turn to that when I get stuck with the big book, or at night when it's dark!

How does my work differ from others of its genre?

Rather than writing about Kings or Queens -  immensely popular in historical fiction, just look at those shelves groaning with books called 'The Queen's ---' (fill in the blank, but no, The Queen's Doughnut'  is not acceptable) - my books are written about ordinary people. I love reading those books about royals though, I recently read 'The Queen's Exiles' by Barbara Kyle and it was a wonderful read.

When I say ordinary, that doesn't mean the characters are dull, in fact the opposite. They are the movers and shakers that shift society into different ways of thinking. I like to have multiple points of view in my novel, so that a broader view of the historical period is painted for the reader. I often write from the male as well as female perspective, so male readers are often pleasantly surprised to find that the book works for them too.

My books embrace themes that matter to me. For example the underlying question in The Lady's Slipper is: who owns what grows on the land? Is territory something worth fighting for? The setting of the English Civil War, and the battle for the lady's-slipper orchid's survival meshed perfectly together to explore these themes. My other two novels, equally, are underpinned by ideas that I wanted to look into for myself. I enjoy meaty, complex reads with adventure and romance and a strong sense of atmosphere, so I expect that's what I'm trying to produce!

Why do I write what I do?

I fell into writing historical novels by accident, when I was studying for an MA. The first novel started as a writing exercise, but it just kept on growing! By then I'd found that I loved it. Historical fiction uses some of the skills I learned in my previous job as a designer for stage and TV, such as the ability to reearch and plan, and manage my own time, and the ability to think around insurmountable problems (essential when plotting!). I am passionate about the past, and love anything old and interesting. My ideal day out would encompass a visit to a historic house or museum or archives, followed by afternoon tea (with scones and jam, naturally!). When I launched A Divided Inheritance we had exactly that sort of afternoon at Leighton Hall, and I hope my guests enjoyed it as much as I did.

How does your writing process work?

I wish I knew! To be honest I'm a bit chaotic whilst I'm writing. I'm like a magpie, picking up scraps of this and that and scribbling snippets in notebooks. I have a big batch of research books and far too many 'favourites' on my google task bar, of things I am reading as part of the initial 'throw mud at a wall' process. I'm also really motivated by pictures, so I collect a mass of visual information, postcards, and more web favourites. This can take a few months, but happens whilst I am finishing and editing the previous books. Only by doing this can I know if I have enough material and interesting stuff to sustain a long novel and eighteen months worth of research and writing.

After this, some of the mud sticks (I hope!) and I start to draft. At this point I have a solid idea of the story, and the historical basis for it,  but no details. On my word doc I lay out arbitrary chapter headings and start to fill in the detail. My first draft is what other people might call an outline, and it follows the chronology of the real history I'm writing about. But - if there are scenes that excite me I can't resist having a go at writing them, so I don't torture myself, I just go ahead and do it. Once I've done that sort of a draft, with some scenes fully written and others just noted as 'Chapter 5 - Mother dies', I'm ready for a second go at it. In this draft I try to fathom out how to make the scenes I haven't written yet more interesting or gripping until I have to write them. This involves more research and book gathering and tinkering with the plot.  And so it goes on, draft after draft. The actual writing is like re-living the scene as I put it onto the screen. Eventually I end up with a full novel, all of which I enjoyed writing. At this point I'll put it away and work on something else for a bit to get distance.

When I pick it up again I start editing, and this sometimes involves re-structuring and sometimes only nit-picking. Mostly it is about re-ordering the story into a logical flow. This is the point where I realise what the novel is really about, so I go back through it again and re-write with that in mind.

So you can see, it is not exactly a quick, streamlined process, but it's more of an organic building-up over time, where the plot events accrue significance as I'm working.

I wish I could be the sort of person who sits down with a perfect plan and writes to it, but I'm just not. Initial ideas are always the most obvious ones - I  need the juxtaposition of a lot of different stimuli to delve deep enough and make the right sort of connections to get a juicy story.This is why I think I'd be hopeless at writing crime - where I expect you have to know exactly who has done it from the outset, and why, and everyone's alibis! My method gives me a lot of 'wiggle-room' if I find a better or more interesting idea. I do love books on the craft of writing  though, and fantasising that I'll be that super-efficient writing machine next time. . .

Next week Eliza Graham will be taking up the baton to tell us about her writing process.

Eliza Graham writes historical fiction under the pen name Anna Lisle. She also writes  fiction set in contemporary times but with a historical twist. Her most recent book is The One I Was.

The One I Was

1939. Youngster Benny Gault, a Kindertransport refugee from Nazi Germany’s anti-semiticism, arrives at Harwich docks, label flapping round his neck, football under his arm, and a guilty secret in his heart. More than half a century later, Benny lies on his deathbed in his beautiful country house, Fairfleet, his secret still unconfessed. Rosamond, his nurse, has a guilty secret of her own concerning her mother’s death in a fire at Fairfleet, years earlier. As Benny and Rosamond unwind the threads binding them together, Rosamond must fight the unfinished violence of the past, now menacing both Fairfleet's serenity and Benny's last days.

The One I Was is a novel about shifting identities and whether we can truly reinvent ourselves.

An interview with Eliza Graham

Eliza's new book, Jubilee, published by Pan, has the same publication date as mine. What's more Eliza started her writing career with Macmillan New Writing, so it seemed like a good chance to congratulate her on her new book and find out a bit more about her writing process, now she has three books already under her belt.

It's the Queen’s Golden Jubilee, and Rachel and her aunt Evie are celebrating with the crowds on the village green. The scene is tranquil, but Rachel and her aunt can never forget what happened exactly twenty-five years ago. On that day, Evie’s young daughter Jessamy vanished. She hasn’t been seen since.

Soon after, news comes of Evie’s sudden death, and Rachel must return to the village to deal with her aunt’s estate. The extraordinary story she uncovers there will change everything. It is a story of departure and return, of atrocity and betrayal, of unrequited love and the dreadful legacy of war.

Hello Eliza. Tell us a little bit about the process of writing Jubilee. How did the process differ from the writing of your other books, and how was it the same?

Jubilee's gestation occurred over a shorter period of time than that of the other two books: in part because I had a contract with set delivery dates this time round. So it felt more intense and pressurised, which was hard at times, but that's how it has to be to fit a book into a publisher's schedule. I'd been mulling over the theme of a lost child for some years, though, so I had ideas to draw on. And we'd actually helped organise the Golden Jubilee party in our own village, which helped with detail. This time round I didn't need to go anywhere else to research settings: it was literally on my doorstep, as my location. the Berkshire Downs, is also my home.

Every writer thinks their work is unique. Have you ever been compared to another writer and if so, who and why? What is the book you most wish you had written?

People have sometimes said my writing reminds them a little of Elizabeth Jane Howard's, which I find thrilling and flattering because I adore her books. I'm not sure what it is in my writing they see that's the same: it's hard to assess your own novels objectively! I'd love to have written any of her books. Or any of Anita Brookner's. Or, perhaps surprisingly, any of John le Carre's Smiley novels. In yer dreams, Graham!

Your book features two jubilee celebrations. What made you want to write about them and how important do you think these sort of celebrations are to English life?

I remember the Silver Jubilee party from childhood. Mainly because I won a prize in a bicycle race! When we helped organise a Golden Jubilee party it was quite a revelation: people came along and offered help whom we'd never met before, even though where we live is a small community. The party drew people out. I found that moving. Certainly celebrations like Jubilee parties work very well in bringing people together. You don't have to be a fervent Royalist to see that the continuity of the Queen's life is very reassuring to many people. It was so interesting hearing older people talking about watching the Coronation: it came at a point when they were still recovering from some very tough years and represented such a lot of hope. I'm fascinated by the tension between continuity and change in people's lives, and that's probably one of the common themes of my three novels.

What inspires you to write? Is it an idea, a character, a theme, or something else?

Usually it's a strong emotion: fear or loss or isolation. Then I 'see' the story cinematically. I try and let the emotions and images build a head of steam before I attempt to write about them. I write best when I feel that I'm going to burst unless I try and express myself.

Thanks very much Eliza, wishing you every success with Jubilee.