Small but beautiful: the myriad possibilities of folk and fairy tales

Today I thought I’d republish an updated piece that  I originally wrote for a presentation a couple of years ago, and which focusses on my love of folk and fairy tales, as a child reader, an adult writer, and a new small publisher!

Small but Beautiful: The Myriad Possibilities of Folk and Fairy Tale

By Sophie Masson

Three is a powerful number in fairy tale and folklore. And so in this piece I’m using it as a motif, to speak to you in three guises: as a young reader, an adult writer and a new publisher.

Once upon a time…

As a child, at my grandmother’s Toulouse apartment.

I dearly loved fairy and folk tales as a child. I was very lucky in that my very first literary mentors were oral, in fact, the very tradition fairy tale comes from: for I was told stories from a very early age. First by my paternal grandmother in Toulouse: as a baby, after I got very sick in Indonesia, where I was born and my parents were working, my parents took me back to France and left me with Mamizou(Marie-Louise), my glamorous, kind grandmother, and my two lovely, and lively, aunts, dark-haired Betty and blond Genevieve.  In that fairytale setting of the ancient city of Toulouse, surrounded by stories held in its very stones, I was nurtured on tales of fairies and witches, monsters and heroes, tricksters and innocents. The tales of Perrault and those of Grimm jostled those from local folklore and those from far away: from the beginning, fairy and folk tales from around the world featured in my imagination. Then, after I’d left my grandmother’s home at five years old, with my parents and siblings and we arrived in Australia, the fairy tale tradition continued, for we had so many illustrated books based around tales from across the world, and my father used to make some up for us too, and give his own(sometimes scary!) retellings of famous ones. Our mother also took us to see Disney animations such as Cinderella and Sleeping Beauty and I still love those Disney films–they are made with such delicate, sparkling artistry, they are little gems in themselves. But of course, given my deep background in the original fairy tale, they were never the be-all and end-all for me, just another way of entering into that enchanted world. And the very first book I read by myself in English, at the age of six or so, was a beautifully illustrated Little Golden Book called The Blue Book of Fairy Tales, which included Rapunzel, Beauty and the Beast, and Toads and Diamonds. I found a copy of that book in a garage sale a few years ago—and as soon as I clapped eyes on it, I was instantly transported back to that childhood reading experience! I knew the stories already, having heard them; but to decipher them for myself, in a language that wasn’t my native tongue, added an extra dimension of magic…Later still, I read more collections of fairy and folk tales from all over the world, both in English and French, in gorgeous illustrated editions. I couldn’t get enough of those sorts of stories. They were both consolation and escape; helped me to disappear into enchanted realms when frequent family melodramas made life difficult and painful; but also helped me to make sense of the world on my return. I loved myth and legend too, but in a different way.

Fairy and folk tales are less grand than myth, and less ‘serious’ than legend, but they are, in a way, more approachable. More human. And yet more magical. More geared towards not the great ones of this world, but the little people. They privilege the world of the village, the cottage, the everyday, transformed by luck, wit, kindness, courage…Most of all, they offer possibility: of escape, of justice, of hope. And of course of adventure. People say sometimes that it’s a pity fairy and folk tales are ‘only’ seen these days as suitable for children. While I understand what they mean, I think that it’s a patronising mistake to imply that something ‘only’ for children has no intrinsic value, in itself. Children understand folk and fairy tales, instinctively, without analysis. They understand without articulating it what it is that is so rich and nourishing in these ancient tales. Going from light to dark and all shades in between, managing all emotions from love to hatred, joy to sorrow, dread to excitement, laughter to grief, they are humble yet powerful, full of meaning yet full of adventure, and all in one concise and distilled package, for the tight framework of folk and fairy tale allows the imagination to run free. They also impart extraordinary and complex truths about human life and human nature in ways that are much more potent than if they were expressed baldly. You understand them with your subconscious, with your imagination, well before you are able to articulate them.

Turning the page, to adulthood…

I’ve never lost that love, that instinctive attraction to fairy tales–to me they are both intoxicating and refreshing, they lodge in your bones and your blood and in your dreams. And for a novelist, they are just a gift! As a writer, I love taking fairy tales and myths from around the world and playing around with them, re-inventing them to create fresh and lively new stories which whilst staying true to their essential core. I’ve explored quite a few fairy tales in my books: Aschenputtel(German form of Cinderella) in Moonlight and Ashes; The Scarlet Flower(Russian form of Beauty and the Beast) in Scarlet in the Snow; Rapunzel in The Crystal Heart; Snow White in Hunter’s Moon; Sleeping Beauty in Clementine; Puss in Boots in Carabas; (Tattercoats(English version of Cinderella) in Cold Iron; Breton fairy tales and the Arthurian fairytale of Dame Ragnell in In Hollow Lands; Celtic stories of underwater realms in The Green Prince; and the Russian story, the Tale of Prince Ivan and the firebird in my novel, The Firebird, as well as the Arabian Nights in my four-volume El Jisal series: Snow, Fire, Sword; The Curse of Zohreh; The Tyrant’s Nephew and The Maharajah’s Ghost. I chose each of those tales as inspiration because I felt they each had wonderful paths to explore, characters I could embroider on, magical backgrounds that were enticing…And so it proved to be!

What to me makes traditional fairytales particularly suitable as a basis for modern fantasy fiction is that in themselves they mix both enchantment and pragmatism, the world of the everyday and a realm of pure magic. And it’s all done in such a matter of fact yet also profound way. You can never get to the end of the meanings of fairytale; and the fairytales of a people reveal their essence, their soul, if you like, in a moving yet also funny and beautiful way.

And it’s not just the folk-based fairytales such as the Arabian Nights, Grimm’s collections and Perrault’s that are so inspirational. Original fairytales can also work this way: think of Hans Christian Andersen and Madame Leprince de Beaumont, who wrote Beauty and the Beast, a story which has inspired countless writers, including me with Scarlet in the Snow!

The biggest challenges of basing your original work on such well-known tales is that, of course, people have certain assumptions about the characters and the way the story goes. But though in my fairytale novels,  I keep to the basic inspiration of the tale, it’s my story I’m creating and I make it  very much my vision of the central character, the story arc etc. In fact the challenges are what makes I think the story so good to write as you are constantly open to the unexpected that will transform familiar territory into surprising discovery. In the classic fairytales of course, things just happen–because they do, and that’s the meaning of them in the tale if you like–but in a novel of course you do need to ask, why? who? what if? And so on. And that is exciting. It’s like following a detective trail, burrowing deeper into the heart of the tale, and finding your own new meanings within them.

And finally:

My love for these traditional tales has led me recently into a wonderful new adventure.

In January 2013, working in partnership with two other creator friends in my home town of Armidale in northern NSW, illustrator David Allan and author/artist/designer/dollmaker Fiona McDonald, I became one of the founders of Christmas Press, a new children’s publishing house. Why did we do that? Well, we all love the gorgeous classic picture books that we grew up with, the kind which featured retold traditional stories and beautiful illustrations, opening children–and their families–to a wealth of wonderful tales from around the world, and we felt that such books were now difficult to find. But rather than complain about it, we decided to do something about it–and so Christmas Press was born! And why Christmas Press as a name? Well, we all remembered the special excitement of getting those beautiful books under the Christmas tree. But our founding motto, ‘Books to cherish every day’, also tells you that these books are certainly not just for special occasions!

Though our first title Two Trickster Tales from Russia featured my retelling of two fabulous Russian folktales, David’s illustrations and Fiona’s design, we only started with our own work as we knew we were taking a risk dipping a toe into the publishing water at all, and it was better to take that risk with our own work than gamble with someone else’s!  The first book was certainly a lot of work and a very steep learning curve. But it was great to work through the process, first of concept, then layout, then design, over many lively working meetings. The printing costs for the first print run were partly funded by an Indiegogo crowdfunding campaign, which received fantastic support from fellow authors, illustrators, librarians, teachers, readers, booksellers—and even other publishers!

Since then, we have published seven other books in the ‘Two Tales’ series. The wonderful authors who have worked with us to create these retellings of classic stories include Ursula Dubosarsky, Kate Forsyth, Duncan Ball, John Heffernan, Adele Geras, Margrete Lamond, and Gabrielle Wang. We were thrilled that they enjoyed working with us, and that they didn’t mind that as a tiny press, our advances are very small—though we pay standard royalties. The opportunity to work in an area they really love but find difficult to interest big publishers in, was often mentioned as a great drawcard by authors. A big plus for us in attracting such talented and well-known creators!

Though most of our illustrations for the Two Tales series were done inhouse by David or Fiona, we also worked with other emerging illustrators: Kate Durack, whose powerful work illustrates John Heffernan’s magisterial retellings of Mesopotamian tales; and Ingrid Kallick, whose magical pictures illustrate Margrete Lamond’s engaging retellings of Norwegian tales.

In just five short years, Christmas Press has acquired a reputation for beauty, fun and high quality, with excellent reviews in national publications, shortlistings for awards, international sales, and even a mention for one of our titles, Kate Forsyth and Fiona McDonald’s beautiful Two Selkie Stories from Scotland, in the most recent edition of the very prestigious Oxford Companion to Fairy Tales.

Christmas Press also publishes anthologies of original Christmas-themed stories, poems and illustrations, and in 2016 we debuted two new imprints: Second Look, for republications in print on demand form of out of print titles by well-known Australian children’s author; and Eagle Books, which concentrates on adventure fiction for readers 11 and up, whose launch title, also in 2016, was the first translation in over a hundred years of Jules Verne’s great classic adventure novel, Mikhail Strogoff, and was followed by, to date, two other fabulous adventure novels by contemporary authors, with more to come.

But although, after eight titles published in the Two Tales series, we have decided to concentrate on other types of books, we are immensely proud to have helped to bring these small but beautiful tales to a new generation of readers. That is truly something to celebrate!

www.christmaspresspicturebooks.com

 

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Results of the 2018 New England Thunderbolt Prize for Crime Writing

This year, I’ve had the honour of being the co-ordinator for the New England Thunderbolt Prize for Crime Writing, which in just six years has become one of Australia’s most prestigious awards in the genre, and has launched the careers of several writers, most notably Emma Viskic, multiple award winning author, who was the first winner of the Fiction category in the inaugural(2013) Thunderbolt Prize.

The results of the 2018 Prize have been announced today(Nov 30) and I’m delighted to also be able to publish that announcement here. A full list of winners, highly commended and commended citations, as well as judges’ comments and reports, is available on the New England Writers’ Centre website.

Congratulations to all, and thank you to our wonderful judges and sponsors!

The New England Writers’ Centre is delighted to announce the results of the 2018 New England Thunderbolt Prize for Crime Writing.

The New England Thunderbolt Prize for Crime Writing is a national award for unpublished short-form crime writing in three main categories: Fiction, sponsored by the Faculty of Humanities, Arts, Social Sciences and Education, University of New England; Non-Fiction, sponsored by Moin and Associates, Lawyers; and Poetry, sponsored by the New England Writers’ Centre. There are also three special awards: the New England Award for a writer resident in New England, sponsored by Readers’ Companion Bookshop; the Emerging Author Award, for an unpublished writer over 18, and the Youth Award, for writers under 18, sponsored by Christmas Press and Little Pink Dog Books, children’s publishers based in Armidale.

In its sixth year in 2018, the Prize attracted a strong field of entries from all over Australia, by writers both published and unpublished. New England writers also made a strong showing this year, with several receiving high commendations and commendations, including the winner of the New England Award, Phillipa Trelford, who received a Highly Commended citation in the Poetry category. Other New England writers represented include Linda Brandon, who received a Highly Commended citation in Fiction, Lynne Newberry, who received a Commended citation in Fiction, and Annie Worthing, who received a Highly Commended citation in the Youth Award.

The winners of the 2018 New England Thunderbolt Prize are as follows:

Poetry: Ivy Ireland (NSW), for Grey is not your colour.

Fiction: Nic Lesley (NSW) for Bottom of the harbour scheme.

Non-Fiction: Christopher Ryan(NSW) for Sins of the Fathers.

New England Award: Philippa Trelford(Armidale)for Chiaroscuro, Madgwick. Also Highly Commended, Poetry category.

Emerging Author Award: Nic Lesley(NSW) for Bottom of the harbour scheme. Also Winner, Fiction category.

Youth Award: Eva Mustapic, age 14 (WA) for Laundry Day.

The New England Writers’ Centre warmly congratulates all the winners, as well as all those who received Highly Commended and Commended citations. A full list of winners, as well as those highly commended and commended, plus judges’ comments, is attached.

All entries were blind-read by the judges, with all identifying marks removed, other than title and an assigned number. Judges this year were Jean Kent, Poetry; Sulari Gentill, Fiction; Pip Cummings, Non-Fiction; and Beattie Alvarez. The New England Award and Emerging Author Award were chosen based on judges’ recommendations.  The winning entries will be published on the New England Writers’ Centre website in December.

The New England Writers’ Centre wishes to thank the hard-working and thoughtful judges and all the generous sponsors of the New England Thunderbolt Prize for Crime Writing for helping to make 2018 another successful year for the Prize. And a big thank you to all entrants!

Ho, ho, Hippo–an interview with Hazel Edwards

Today, I have the great pleasure of presenting an interview I did recently with Hazel Edwards, to celebrate the publication of a very special picture book: Ho! Ho! Ho! There’s A Hippopotamus On Our Roof Eating Christmas Cake. It’s the seventh and final title in the well-loved Hippo series, written by Hazel and illustrated by Deborah Niland, which since the publication of the very first Hippo book in 1980 has been a firm favourite with families all over Australia–and well beyond (even royal families, as you’ll find out!)

This book’s as warmly and engagingly written as ever, with the familiar charm of the bold, colourful illustrations and a sparkly Christmassy feel as well. You can also get an activity pack which includes all sorts of fun Christmas activities–and cookie cutters, including one in the shape of Hippo of course, to make gingerbread biscuits just like the little boy does with his grandmother in the book. Indeed, Hazel’s dedication in the book is to her grandson Henry, the third generation to make friends with Hippo, as she explains in the interview. Read on!

First of all, Hazel, congratulations to you and Deborah Niland on the publication of Ho ho ho, there’s a hippopotamus on our roof eating Christmas Cake! It’s the seventh and final book in the much-loved Hippo series which have enchanted generations of children and their parents. Can you tell us a bit about how this new book came about?

Extract from Santa Skylight gift book page

 Grandson Henry Garnet  ( to whom “Ho! Ho! Ho !…is dedicated) inspired this hippo story. Henry had just moved with his parents and big brother to an older house which has two chimneys. He was concerned that his grandparents’ house had only skylights, and the lack of chimneys would mean Santa might miss us on Christmas Eve.  Since I write a story gift of the imagination for him each Christmas, that became his photographic story, with his older brother suggesting a webcam and GPS to redirect Santa.

As with many picture books, the story was later ‘tweaked’  but is still about the logic of fantasy, especially when you have a ‘fantastic’ hippo and a Santa who might co-exist on a roof. And I especially wanted Hippo to strut a cake-walk on the roof , which later became a dance and carols by cake-light. So all ideas are moderated in the creation of a picture book like ‘Ho! Ho! Ho!…’

The hippo biscuit cutters have attracted the attention of reviewers , who are avidly baking gingerbread hippo biscuits.  I feel a bit of a fraud as I’m not a great cook, but the grandkids and I will make hippo biscuits this weekend.

I wanted the emphasis to be upon the ‘giving’ of creativity at Christmas, not a ‘gimme presents’ attitude.  So within the text and illustrations are many ideas which readers and families can create for themselves.

Hazel’s grandson Henry reading Ho Ho

Instead of a ‘launch’, readers are making the other ideas Deborah Niland has hinted at in the visuals.  And hopefully next year will be the touring musical again with Garry Ginivan productions. Last year’s  national ‘Hippo Hippo the Musical’ inspired from the books, was one of the most satisfying aspects for me of this history of the imagination. To sit in the audience with enthralled children who were the third generation of the original readers of the 1980 edition was special.

And they were all reacting to the hippo character on stage as if he were part of their own imaginative world.

Lovely as it is to see a new Hippo book out, it must also feel rather poignant for you and Deborah, as this is to be the last. Tell us a bit about the journey of Hippo, from the start to now. Where did the idea for Hippo originally come from? Did you imagine 38 years ago that Hippo would capture the hearts and imaginations of so many people? And why do you think young readers take so warmly to Hippo?

 Originally our new roof leaked and our then 4 year old thought the workmen fixing it were the cake-eating hippo thumping around.  Now the nephew of the original 4 year old has been concerned about the same roof: only this time , the skylights being a Santa -barrier is the worry.

The original ‘Hippo’ trio in 1978 when Hazel first wrote the story: Kim (Henry’s mother) Lani (neighbour) & Trevelyan (Henry’s uncle)

Because the big friend has all the answers, especially when you are doing something for the first time and are apprehensive, the hippo books are reassuring. Situations like starting school, going to hospital or acquiring a new baby in the family are easily identifiable.  Christmas is also shown as a time of family sharing of traditions and is Australian, rather than snow laden.

I remember you saying in an interview that for the anniversary edition of the first Hippo book (There’s A Hippopotamus on Our Roof Eating Cake) you chose to tweak a couple of things in the text. Can you talk a little about that? And how has the reception of the Hippo books changed over time?

 Food is the sex of children’s books, so the sensual delight of adding a themed food to a book for literary events is on-going.

Most readers enjoy the absurdity of juxtaposing cake with hippos who are actually bad tempered in real life, not cute and cuddly. But across the years I’ve had requests  to make the cake gluten –free or a healthier alternative like celery sticks. Real hippos do eat carrots, so I’ve suggested carrot cake as a compromise, but generally the cake is a chocolate mud one which is apt for muddy hippos. Or even just roof tiles, which are easier to design than the challenging hippo cake shape.

The original ‘smack’ was edited out at the publisher’s suggestion but many readers, especially young dads had firm views on retaining the original wording as a point for discussion with their families. I tend to agree that stories should remain in the cultural context in which they were written and that readers are intelligent enough to discuss interpretations. I do NOT favour child abuse, but ‘smacking is a highly emotive issue for some parents. The publishers changed the wording to ‘Daddy growled’…so earlier editions are now collector items.

Picture books are of course always a collaboration between words and pictures, author and illustrator. Can you tell us a bit about your own collaboration with Deborah Niland over the years?

We live in different states.  Deborah adds her visual interpretations to the text and I’m always willing to change the wording if the picture already conveys the concept. But I keep the rhythm of the reading. I love the ‘joyous’ aspect of the ‘Ho! Ho! Ho!…’ illustrations due to Deborah Niland’s ability to draw so appropriately for this age group. But it’s also a book which can be shared within families and many nostalgic readers love collecting copies, even if they are no longer children.

Hippo has become a classic figure in Australian children’s literature. What are your favourite anecdotes about how readers from 1980 to 2018 have responded to him?

Literary Speed Dating in my memoir ‘Not Just a Piece of Cake; Being an Author’ is where the hippo (via Hazel) answers fan questions  in character.There’s also 100 things which have happened in the history of the cake-eating hippo friend.  Readers’ responses are often poignant. And some children with health issues have responded to the books, using them as a kind of therapy, that if the hippo can cope, so can they.  A book can offer reassurance that others survive, just like the young person in the original book (whose family has grown across the decades) but who is sort of in charge, with the help of hippo.

Here are a dozen memories:

  1. Knock at my front door. Small child. ‘Excuse me. Is this the house where the hippo lives on the roof?’ Answer. ‘Have a look.’
  2. Danish Palace note of thanks (with gold crown) from Princess Mary for autographed Hippo book Australia Government sent as official gift of the imagination for the birth of her daughter.
  3. Fan letter addressed to: The Hippo, Blackburn South, and delivered in person to author by the smiling mailman.
  4. Principal, an ex rugby player, accepted challenge to eat cake on school roof, in hippo costume, and read the book aloud if his students surpassed their reading quotas. They did. And despite being scared of heights, he kept his promise.
  5. Hippopotamuseum created by gifted educator to demonstrate physics principles e.g. falling, related to Hippo character.
  6. Rural prep mother who could not read, but wanted ‘Another easy book like Hippo which I’m learning to read with my 5 year old.’ Brave woman to ask in front of other parents.
  7. Parent’s letter from children’s hospital, thanking for the reassurance of ‘ Hippo on the Hospital Roof’ read in casualty waiting room and in ambulance en route.
  8. In Nepali Montessori School, in Kathmandu reading through interpreter, with hippo music and dancing, and Himalayan mountains as a backdrop.
  9. Feelix suitcase of book and stimulus for blind pre-schoolers. Also had hippo cake tins, an audio and Braille copy. Helped name Feelix project. Felix means happy and ‘feel’ related to the textures felt by blind children.
  10. Collage of memorable fan letters touring as ‘Corridors of Characters’ with Hippo responses by ghost-writer Hazel exhibited at the former Fremantle Maximum Security Jail.
  11. ‘Us mob like your stories. We laugh at the funny bits.’ from an online webchat with a remote outback school.
  12. After a literary festival, the over-loved hippo needed cleaning. Dry cleaners wouldn’t touch it because the head had paper inside. Too big to fit in washing machines, hippo had to be ‘emptied’ of the filling of polystyrene balls and the ‘skin’ washed by hand in baby soap flakes. Experts advised removing the filling either in the carpark or in the bath. …I found out why. The polystyrene balls went everywhere, even clung to our underwear. I handwashed ‘skinny’ hippo in our bath and a visitor freaked on opening the bathroom door to discover hippo hanging from the shower, to dry.

One of the most heart warming aspects of being a long term children’s author is having a three generational readership. ‘Ho!Ho!Ho! There’s a Hippopotamus on our Roof Eating Christmas Cake’ is being shared by the grandparent generation too. And I also have grandchildren who are reading books inspired by their parents when children. And even learning to read from Hippo books.

Henry Facetime-reading with Hazel

Another special moment with grandson Henry was when I gave him the advance copy and he read it through with expression. Earlier we used to read on Facetime each night, (he taught me Facetime and I helped with his reading) but he always chose the books we shared.

The first Hippo book was adapted for a musical recently--what was it like, experiencing your characters on the stage? And will Hippo pop up in other adaptations, whether for stage or screen?

While children’s theatre is my greatest love, I’d like the cake –eating hippo to have his own television program. In that way he could reach more children and also encourage them to pick up the books too. Although there have been translations into Mandarin, Japanese and other languages, the one I value most is the Braille translation in Vision Australia’s ‘Feelix project’ for children who are sight impaired.

Hazel at a performance of ‘Hippo! Hippo!’ the Musical

Note from Sophie: As Hazel’s publisher Penguin Random House kindly sent me the Hippo cookie cutters with a review copy of the book, I had a go at making some biscuits myself, as a trial run for the visit of certain special little people who are coming to see us in a couple of weeks’ time! I didn’t make gingerbread biscuits as I’m not keen on gingerbread., instead making a vanilla butter biscuit mixture which has a similar consistency and is easy to shape and cut out. Here, below, is the result–the biscuits just made, before they went into the oven, and the final, brightly decorated product with some bonus stars! Fun to make and taste pretty nice too–and I know some little people who will love making them too 🙂

 

 

 

 

 

 

 

 

 

More about Hazel Edwards:

Hazel Edwards writes quirky, thought-provoking fiction and fact for adults and children. Coping successfully with being different is a common theme. Co-written ‘junior novel ‘Hijabi Girl’ and YA novel ‘f2m;the boy within’ explore cultural diversity.

Best known for ‘There’s a Hippopotamus on Our Roof Eating Cake’ series, recently touring as a musical, Hazel has grandkids for whom she writes a story each birthday. ‘Outback Ferals’ her YA novel set in Darwin, is a sequel to ‘Antarctica’s Frozen Chosen’, researched during her 2001 Antarctic expedition.

Hazel runs book-linked workshops on ‘Authorpreneurship’ and ‘Writing a Non Boring Family History’.

’Trail Magic; Going Walkabout for 2184 Miles on the Appalachian Trail ’ with her son Trevelyan is an adventure memoir. He did ALL the walking.

A National Reading Ambassador, in 2013 Hazel was awarded an OAM for Literature. Her memoir ‘Not Just a Piece of Cake-Being an Author’ explores long-term creativity.

‘Celebrant Sleuth;I do or die’ an adult mystery with an asexual sleuth is her latest fiction and ‘Almost a Crime’ , short crimelettes are available on Kindle.

Hazel’s website is here.

You can find her on Facebook here.

The Girl on the Page–an interview with John Purcell

Today, I’m delighted to bring you a frank and fascinating interview with John Purcell, whose gripping new novel, The Girl on the Page, I read recently with much pleasure.

First of all John, congratulations on the publication of The Girl on the Page–and on writing such a gripping and immersive read! I thoroughly enjoyed it, as I know many other readers have done. Can you tell us a bit about how the idea first came to you?

I didn’t know it but the idea for the novel The Girl on the Page had been with me for years. This idea had been in my preference for reading literature as a young man. It had been in the way I had run my little second-hand bookshop where I had to sell recent commercial fiction to pay my rent, when all I wanted to do was sell people beat up old Penguin Classics. It was in my decision to work for online bookseller, Booktopia after my shop closed. And it was certainly around when I signed a contract to publish the erotic series The Secret Lives of Emma under the pseudonym Natasha Walker. The idea is a simple one, What is the cost of selling out?

What was the road to publication like? And what has reader response been like so far?

The road to publication was long. After publishing The Secret Lives of Emma trilogy in 2012-13, I returned to a novel I had been working on for years called, A Gentleman of Sorts. This novel was set in 1815 in northern England. And although I was very happy with it, no one wanted to publish it. Like a fool, I persisted trying to get it published. I wrote nothing new between 2013 and 2017, I just kept working on the novel no one wanted. The spell was broken when a leading publisher offered me a contract for the book. It was a lukewarm offer. The book would be published, but it would sink like a stone. It was over. I rejected the offer and put A Gentleman of Sorts to bed.

Days later I started writing The Girl on the Page. The words came in a torrent.  Over the next six months, writing on weekends only, due to my full time job, I finished the book. My agent sent it out to publishers and we found ourselves in the middle of an auction with three major publishers bidding on the book.  HarperCollins were victorious and with the help of my publisher Catherine Milne, and her brilliant team of editors, we knocked the book into the shape it is now. I couldn’t be happier with the end result.

Publishers send out proof copies to reviewers before the final edits of the book are complete. So, with my head still in editing mode, the first reviews came in from booksellers. They didn’t hate the book, which was a relief. They seemed to understand what I was trying to do, too. Overall, since publication, the response has been positive. I love that readers love Helen and Malcolm as much as I do. Though I have been punched by some readers for that bit at the end. You’ll know what I mean when you read it.

The story is told in many voices: in Amy’s, Helen’s, Malcolm’s, Daniel’s and a little in Max’s. Quite a lot of juggling, but carried off very successfully! How did you balance the different voices?

The characters of Helen and Malcolm have been loitering around in my imagination for years. They are result of my interactions with all the Helens and Malcolms who used to frequent my second-hand bookshop. The old journalists, retired academics, and quarrelling novelists.  I found their voices were already quite defined and easy to write.

The character of Daniel had to be of Helen and Malcolm, but defiantly different, too. He is their son, but estranged. You can’t stop genetics, and so I had to make sure Daniel displayed some of the attributes of his parents, while his resentment and self-loathing coloured nearly everything he said and thought.

Amy strode onto the page. Hers was the loudest and surest of the voices in my head while writing. I had to restrain her. She had a tendency to dominate scenes and conversations. I surround myself with strong women. I wanted Amy to have a truckload of confidence around her work but needed her to be vulnerable in matters of the heart. My time with Amy was spent turning the volume down on her attitude and turning the volume up when she spoke from the heart.

Knowing the characters well helps with balancing the different voices. I sketched out backstories for these characters which don’t all make it into the novel. I knew them well before I let them speak.

You took quite a risk in making two of your main characters–Amy and Malcolm–rather monstrous really (though always human!) They made me think of the ‘monstre sacré’ concept we have in French–a term which describes a person given a free pass on selfishness and outrageously bad behaviour because of their talent and/or personal charisma.  And the more ‘likeable’ characters–Helen, Daniel and Max–face a great disadvantage when in the orbit of those ‘sacred monsters’, each in different ways. Do you think that’s a fair take, or do you have a different interpretation of those characters?

The funny thing is, many readers relate to Amy. They cheer for her. I have noticed a generational divide in the response to the novel. Younger readers in general have seen it as an Amy novel. Amy’s ambitions, her needs, her desires are those of her own generation. They align with her from the start and live the novel through her, thus she is absolved of all sins. They certainly don’t see her as a monster. In fact, the question of principles at the heart of the novel is largely overlooked by younger readers. There is no such thing as selling out to them, as of course you always take the cash. Every time. Older readers talk almost exclusively about Helen and Malcolm. The choice Helen makes and the consequences of that choice. The old novelists’ relationship is the central hub of the novel to older readers but the relationship between Helen and Malcolm and their son Daniel also figures in the discussion of the novel.

Daniel is reviled by younger readers. He and Julia, the publishing director, share monster status for them. While for the older readers, they find Malcolm to be the most difficult character to deal with. They understand Daniel, forgive Helen, put up with Amy but they find it hard to forgive Malcolm. I think Daniel would see both his parents as ‘monstre sacré’, while the reader only sees Malcolm.

I hope what I have done here is create characters who are as flawed as we all are. I certainly like how a character can be one reader’s heroine and another’s villain. That a book can be about one subject for a reader and be a completely different book for another. If I have done that, I will think myself extremely lucky.

The book revolves around a conflict between two extremes of the book world: the short-term gain of bestsellers versus the slow burn of ‘serious’  literature..Yet of course many of the writers we think of as great–Shakespeare, Dickens, Austen, the Brontes etc–had large mass followings and were seen primarily as entertainers in their day. Do you think the distinction between ‘downhill’ and ‘uphill’ books (a cogent term employed in your book) is not as simple as someone like Malcolm might see it? And with your own book, which depicts the tension between the two, making the case for more thoughtful books whilst successfully adopting the suspenseful thriller mode–do you see it as part of the conversation around these things?

Even Malcolm doesn’t see it as a simple distinction, it’s just a convenient way for him to explain the differences between certain types of books. We all divide novels up into easy reads and more difficult ones. Some novels just ask us to think from page one, they require concentration, and if you aren’t in the mood, if you’re tired, for example, you will put them down. In that same mood you might pick up a thriller and read late into the night. Malcolm points out that we aren’t talking about a large percentage of the population when we talk about readers. And when we talk exclusively about novels we are talking about a fraction of the small fraction of the population who reads regularly. Most regular readers of novels have the capacity to read ‘uphill’ but prefer ‘downhill’ novels because such reading offers a form of escape that appeals to them.

The Girl on the Page is a ‘downhill’ book about ‘uphill’ books, said one reviewer. Which I found interesting. There is no doubt in my mind that my novel is being labelled ‘commercial fiction’ by some readers and many booksellers – that is, fiction which is easy to read and is expected to have a large readership. And yet, as one reviewer said, the blurb on the back made it sound really boring. The blurb actually described the content pretty well. But it doesn’t give any indication of the way it is written. And this is definitely part of the conversation, as you say. I have written one of those books Helen and Max hate.

I made a conscious decision to open the door to my book as wide as I could to let any kind of reader in. I wanted to involve people in my story from page one. So I wrote short sharp chapters which dropped the reader into the middle of the action. I want readers to become invested in the story and for them to turn the pages quickly. How else was I going to get people into a book where the big question is, should a literary writer publish a commercial book for cash? The result is readers are reading the novel in a few sittings and the end of the novel knocks them sideways and leaves them thinking about some pretty hefty things. Which is cool, right?

I was struck by your (very accurate, in my experience) observation of the ‘book-loving millenials’ who nevertheless don’t read in the same way that people of Helen and Malcolm’s generation might have thought proper. Can you expand a little on that?

The way people consume information today is completely different from any other age. We absorb so much more information in a day, through so many different screens, mostly in small bite-sized chunks. It’s only natural that the way a millennial reader approaches a book would be different. They have grown up in an informational soaked, entertainment overloaded world.

A physical book is an ingenious device which exists separately to the internet. It is its own ecosystem for the time you’re reading it. It has one overall argument, or subject, or story and it is told outside time. This is very attractive to those who are almost always connected and who don’t often enjoy the luxury of concentrating all their attention on one thing.

As a book industry professional–both as an author and bookseller who has frequent dealings with publishers and editors-you have an insight into the publishing world which comes over very strongly in the book, in various amusing–and sometimes depressing!–vignettes. The post-takeover shenanigans at  your fictional publishing house and the short-termism it engenders of course strikes many echoes in other book industry insiders/observers of course, including me 🙂 Putting on your prophet’s hat, what do you think might come of such developments within publishing?

Publishing has one great advantage at the moment, they still publish physical books. For a while there it seemed likely that printed books would go the way of video cassette tapes. Thankfully this was averted by the ubiquity of the smartphone which seemed to kill off the ereader and ebooks before they really took hold. And since then something even worse happened. Donald Trump. His cry of fake news has made many people notice just how difficult it is to find answers on the internet. And here’s where publishers of physical books come in. Over hundreds of years they developed a vetting process whereby they force writers to proof, edit, fact check and better their writing before they will publish it. There are checks and balances because publishing physical books is an expensive business. Of course, some publishers are better than others and of course they don’t get it right all of the time. But a vetting process is better than no process, as we are discovering to our shame online. As such, I believe publishing will still have a very important role to play in the coming decades.

Finally,  I thought that the title, ‘the Girl on the Page’ mischievously echoes an element of various bestselling titles, as alluded to in an aside in your book–is that the case? And can you expand a little on that?

The Girl on the Page was my working title. The sheer number of novels about women that were being published with ‘girl’ in the title was absurd and many people in the book industry were getting sick of it. So calling the manuscript The Girl on the Page was a bit of joke between me, myself and I. But later, as I wrote the scene at the book signing where the characters discuss books with ‘girl’ in the title, I realised that The Girl on the Page kind of worked for the book. So when I sent it to my agent I left it there. I really didn’t expect HarperCollins to go for it. But they saw the irony of it, and loved it. So, there you have it.

About The Girl on the Page:

Two women, two great betrayals, one path to redemption. A punchy, powerful and page-turning novel about the redemptive power of great literature, from industry insider, John Purcell.

Amy Winston is a hard-drinking, bed-hopping, hot-shot young book editor on a downward spiral. Having made her name and fortune by turning an average thriller writer into a Lee Child, Amy is given the unenviable task of steering literary great Helen Owen back to publication.

When Amy knocks on the door of their beautiful townhouse in north west London, Helen and her husband, the novelist Malcolm Taylor, are conducting a silent war of attrition. The townhouse was paid for with the enormous seven figure advance Helen was given for the novel she wrote to end fifty years of making ends meets on critical acclaim alone. The novel Malcolm thinks unworthy of her. The novel Helen has yet to deliver. The novel Amy has come to collect.

Amy has never faced a challenge like this one. Helen and Malcolm are brilliant, complicated writers who unsettle Amy into asking questions of herself – questions about what she values, her principles, whether she has integrity, whether she is authentic. Before she knows it, answering these questions becomes a matter of life or death.

From ultimate book industry insider, John Purcell, comes a literary page-turner, a ferocious and fast-paced novel that cuts to the core of what it means to balance ambition and integrity, and the redemptive power of great literature.

About John Purcell:

While still in his twenties, John Purcell opened a second-hand bookshop in Mosman, Sydney, in which he sat for ten years reading, ranting and writing.
Since then he has written, under a pseudonym, a series of very successful novels, interviewed hundreds of writers about their work, appeared at writers’ festivals, on TV (most bizarrely in comedian Luke McGregor’s documentary Luke Warm Sex) and has been featured in prominent newspapers and magazines.
Now, as the Director of Books at booktopia.com.au, Australia’s largest online bookseller, he supports Australian writing in all its forms. He lives in Sydney with his wife, two children, three dogs, five cats, unnumbered gold fish and his overlarge book collection.
Twitter @bookeboy
Instagram @bookeboy

 

Cover reveal for War and Resistance, my 2019 novel

I am thrilled to be able to reveal today the full cover of War and Resistance, my historical novel for older readers, which will be published by Scholastic Australia in February 2019. That year will mark 80 years since the outbreak of World War Two, and my novel is mostly set in the early years of the war, from early 1939 to late 1941, with an epilogue in 1950, and spans the globe, with sections set in New Zealand, Australia, France and Germany. (You can read a short blurb of the novel on the pic) .And one of the things I’ve loved about writing this novel–a novel that means a great deal to me–is that with it I was also given the opportunity to revisit characters from an earlier novel of mine, also set in wartime, only the war before that one–1914(Scholastic Australia, 2014), which was told from the viewpoint of Louis Jullian, a teenager at the time. And now, in this new one, his daughter Sasha is trying to follow in his footsteps…Looking forward so much to the publication of this book!

 

An interview with Cath Mayo

A couple of years ago, at the IBBY Conference in Auckland, I met New Zealand author Cath Mayo, whose novels based on the life of the Ancient Greek hero Odysseus were the basis for her fascinating conference paper exploring the unexpected commonalities between Ancient Greek and Pacific cultures. This month I finally caught up with her for a most interesting interview–enjoy!

You are very inspired by one of the most famous and ancient sagas of Western culture, Homer’s Odyssey, which you first encountered as a young reader in an adapted edition for children. Can you tell us about that, and what effect the story had on you as a child?

When I was a kid, Mum used to read aloud to us a lot, especially during the summer holidays. We’d be on the beach after lunch, itching to go for a swim, and she wanted to keep us out of the water for a while so we wouldn’t get cramp and drown.  So the books had to be pretty exciting, not just for me but for my two older brothers.

So I must have been about seven or eight when I first encountered Barbara Leonie Picard’s retelling of the Odyssey, with those fabulous illustrations by Joan Kiddell-Munroe. And I was instantly besotted – with Odysseus’s adventures and his resourcefulness and quirky cunning. As a cheeky kid trying to outwit my big brothers, I thought his impersonation of Nobody, when he was trying to escape the Cyclops, was magic.

As kids do, I started re-enacting – and got myself into various bits of bother by locking the rest of the family out of our only bathroom-cum-toilet, because that was where the towels were, and I could turn them into Greek tunics with the help of a couple of safety pins.

At night, after lights out, I started retelling the Odysseus stories to myself, naturally taking the title role. This soon led to various prequels and sequels, and all sorts of extra bits along the way that Homer had undoubtedly forgotten to put in to the official account.

What effect did these early reactions to the Odyssey have on you later, as an adult writer?

I gave up on the bath towels pretty soon, but I kept on with the retelling process. Odysseus was briefly supplanted by Beatle George Harrison, followed by a few other characters, real and invented. But Odysseus is a persevering sort of guy and he always comes back.

This habit of private story-telling – or fantasising if you will – is common with kids, but most people stop it at some point, to get on with the thorny business of adult life. I never did.

It took me a while, though, to realise that writers are not Gods – they live on Planet Earth like the rest of us – and I could dare to become one. So eventually I began to write the stories down.

What I still experience is that feeling of being totally inside the story as I imagine it and tell it. Which is what a good reading experience should give the reader as well.

Why do you think myths and legends and sagas are still important to us today?

They certainly were very powerful for me as a kid.

While I was busy reading and re-reading Picard’s retelling – and anything else remotely about Odysseus or the Troy story that I could lay my hands on – I also became a general Myths-and-Legends junky. The local library held a wonderful series of books put out by Oxford University Press, collections of myths and legends from just about every country you could imagine – India, Scandinavia, Egypt, Korea, Scotland, Africa, Russia, France…

They are amazing, exciting stories that have compelling stories and characters and resolutions, probably because they have developed and survived over long periods of time.

They also reveal the soul of the culture that engenders them, the values and the hopes and the fears and the disappointments and the successes. In troubled times they can be a rallying point of the spirit, a beacon for identity.

For New Zealanders, the myths swirling around Maui are colourful and resoundingly Maori; for Maori, Maui is more than just a fun story – this small, brave, wily underdog of a hero is an essential part of their ancestry and a powerful taonga – a great source of cultural pride.

At the IBBY conference in Auckland, you gave a very interesting paper, based on interviews and encounters with Maori and Samoan people, which drew connections and resonances between the Odyssey and Pacific Island culture. Can you tell readers a bit about that?

Growing up, I never consciously made the connection, even though I love Maori culture and mythology, and I’ve travelled and worked in the Pacific.

But one day, by chance, I met a sixteen year old Samoan student called Matt Nanai. Matt was crazy about sport – he’d just broken his leg playing rugby – and he was the lead singer in a school rock band. But he was holding a book – Rieu’s translation of The Odyssey. It turned out this was the first book he’d ever read cover to cover, and he thought it was choice.

This intrigued me no end. When I talked it through with Matt, we both realised that the world of Homer has far more parallels with traditional Maori and Polynesian culture than it does to my own Pakeha/European New Zealand society.

What are those parallels? Reverence for ancestry; a strong aural tradition; respect and hospitality; fierce family loyalty; speech-making; honour and pride; brave deeds; warrior values; sporting prowess and physical hardiness; the sea, coasts, islands and navigation; and song, music and dance.

Later on, I interviewed Tongan scholar and politician Sitivati Halapua and his daughter, Peau. They added fate, suffering, storytelling, wisdom and cunning, humour, and tapu/sacred things to my list.  I also questioned a Samoan paramount chief, Joe Annandale, and two Maori friends, Dean Martin and Sharon Hansen, and they too came up with insightful answers.

All of these themes can be matched by underlying values in The Odyssey and Iliad, backed by countless quotes from both poems.

I often think Maui and Odysseus are very similar heroic types. They’re not the big muscle-bound guys; instead they have to live on their smarts.

Your books for teenagers, The Bow, and Murder at Mykenai, are set in the Greek Bronze Age, or as it’s sometimes known, the Age of Heroes–the time of Odysseus, in fact, who is the main young character in the books.

I wanted to set these books, not only within the Greek mythological traditions but also in the social and political environment of the Greek Late Bronze Age, which is when the Trojan War is believed to have taken place.

Curiously, this isn’t the same world as the “Age of Heroes”. The latter is the one that Homer describes in his great Trojan War poems, the Iliad and the Odyssey, and it’s the one usually evoked by later retellings and illustrations.

But the “Age of Heroes” is a fantasy world, created through a jigsaw mix of different eras, ranging from around 1400BC right down to around 300BC – over a thousand years of changing customs and clothing, buildings and weapons. In pictures illustrating the “Age of Heroes”, men wear Corinthian-style helmets covering their faces, with narrow slots for their eyes, and women wear long, loose, white tunics.

I decided to return the Odysseus stories to Odysseus’s own time – a Late Bronze Age setting. So – for example – there are no big temples: gods were worshipped in shrines, which were either out in the wilds or inside palaces. Clothing was brightly coloured and often festooned with tassels and fringe, with women clad in fitted bodices and tiered flaring skirts cinched in at the waist with wide belts.

How do you go about researching the background of the stories? And how do you recreate the atmosphere of that time so long ago?

I love research. In fact, my husband had to force me to stop researching and start actually writing these books.

I majored in History at Uni, so I know my way around the local Uni library and the great collection of scholarly journals that gave me the in-depth knowledge I need to totally ground myself in this very different and often alien world. For the Bronze Age is separated from the world of Classical Greece by an abrupt cataclysm that saw the great palaces burnt to the ground, followed by a stretch of centuries known as the Dark Ages.

In the end, the amount of knowledge I have – photocopied articles stored in numerous file boxes and a whole bookcase of books – is far, far more than I would ever need to write my novels. What the reader sees is the tip of an iceberg. But the information iceberg is quick to inform me whenever something unusual crops up.

For example, in The Bow, Odysseus needs to enter a tomb. And I was able to put my hand immediately, not only on descriptions of various kinds of Late Bronze Age tombs but also what sorts of grave goods were deposited and how the bodies were treated – which was important for the plot. It meant that, instead of having to stop writing and spend a few evenings in the Uni library, I could look it up straightaway and get on with the story.

I also know that King Nestor, at Pylos, had a harbour excavated deep into the flat coastal plain near his palace, through which he diverted a river every winter to flush it out. I love this fact but I haven’t yet found a reason to use it!

What about the personality of young Odysseus?

Odysseus shines through so strongly in the Odyssey. Even in the Iliad, where he has more of a cameo role, we can see different sides of his personality.

But to capture the young Odysseus took some imagination. I had to try and wind the personality clock back, so to speak, and imagine him with the character traits we enjoy in the later stories – a quick wit, bravery, cunning, loyalty to family and friends, deviousness and a love of secrecy, strong emotions which he has to control, charm, eloquence, stubbornness, a sharp intelligence, an intolerance of fools, skill in disguise – but I had to imagine how those traits presented themselves before he added experience to the mix.

So he’s still learning, and he makes mistakes – not that he doesn’t later, in Homer’s poems!

You grew up by the sea, ‘mucking about in boats’ as you put it on your website, with your brothers. Did you always want to be a writer or was that something that came later?

I always felt like a storyteller, but it took me a long time to summon the courage to put words on a page. I grew up reading Rosemary Sutcliffe and Mary Renault, two monumental historical novelists, and I didn’t want to fall short of their standards. Fear of failing is something everyone has to conquer in order to reach for their dreams; I’m really glad I faced down my demons, and I only wish I had done it earlier.

When I was at school, nobody told us we could be writers. And nobody seemed to believe that NZ writing could be any good. I’m really pleased that’s changed!

What was the path to publication like?

It was hard but there were plenty of highs to balance the lows. I had some fantastic encouragement not long after I started – I won a short story competition and the judge, New Zealand YA and Children’s writer William Taylor, agreed to mentor me through my first book Murder at Mykenai. Bill was brilliant – blunt but also very encouraging. And the NZ Society of Authors awarded me a professional assessment, which also helped. So I was able to start dreaming that someone would get excited about the book enough to take it on.

I had seven rejections before Walker Books signed me up, but these rejections usually came with a page or two of detailed comments, which I could use to improve the book and my writing in general. So “no” isn’t always a bad thing, if you want the book to be as good as possible!

How do you think being a New Zealander influences your writing?

Good question! On the one hand, we can feel a bit inferior because we’re “only” New Zealanders and we live upside down on a small bunch of islands at the bottom of the world.

On the other hand being isolated means we get to “invent the wheel” quite a bit, so we feel confident about being creative and trying our hands at lots of different things. We’re not constantly being told we can’t do things because we’re not experts at it, so we just go ahead and do them!

New Zealanders often tend to be active, outdoorsy people and I’m no exception. I still muck about in boats, and when I was younger I did a lot of tramping, including some pretty adventurous stuff off the beaten track in the Southern Alps. This taught me how to survive in harsh conditions without any technological backup.

In my novel writing, my characters are living in a very low-tech world, and my heroes live physically active lives. So I can sometimes draw on my own experiences and feelings when things get tough for them.

You are also a musician and play in a band which tours the world. Can you tell us more about that?

Make that “played” in a band, past tense – in fact, several bands. I was mostly playing Country music, with bluesy, Bluegrassy, jazzy overtones, and those songs always have a story. I loved being part of a small group working together to take those stories to an audience. Nowadays I still play, but mostly for my own pleasure – my writing has taken over.

I love travelling, and while I enjoy being a tourist, it’s always more fun if I’ve got a purpose – I connect with people in a different way.  Back then, the connecting link was music, and now it’s research for my books. It was brilliant, when I visited Ithaca a few years ago, to talk with people about my books and what I hoped to see and find out about Odysseus’s own island. And when I wrote The Bow, I re-discovered a forgotten cave in Arcadia, and went through it with a bunch of Greek cavers.

Does your music ever inspire your writing and vice versa?

Only in a sideways kind of way.

I always did a lot of improvising as a musician – I hated the idea that I might step forward to take a solo and fake it by “joining the dots” – playing a calculated number of pre-learned patterns in a set order. It was all about listening like crazy and jumping off the cliff.  I never quite knew if my inner, creative ear would manage to hear enough to put up a parachute, so I could sail out over the abyss and land safely at the end. It was a fabulous experience when it did, and at least I didn’t die – except with embarrassment – if it didn’t.

Curiously, this is incredibly like the feeling I get when I’m writing. Somewhere in the non-logical part of my brain, there’s this great big ear that’s listening out for whatever is seething round in my subconscious mind, and these days it sends me stories rather than music.

The Ancient Greek singers must have experienced something very like this. When they sang their long, semi-improvised epics, they called on the Muse, as though it was the Muse singing the song, using the bard only as a mouthpiece.

What are you working on now?

I’m working hard on a co-writing project with David Hair, another Kiwi writer who’s had great success with YA writing and Adult Fantasy.

We’ve teamed up to create an Adult Fantasy series called Olympus. Once again, it’s about Odysseus, this time as a young man in his early twenties, in the years leading up to the Trojan War. The first three books have just been signed up by Canelo, a UK publisher.

The collaborative process with David has been very exciting, challenging and stimulating. We do a lot of brainstorming via Skype (we’re rarely in the same room, or even in the same country) and huge amounts of planning, backwards and forwards. Then David gets the first draft down – he’s very fast – and I do the next, “up” draft, to use Anne Lamott’s terms. After that, we bat it to and fro till I don’t know whose words and ideas are whose.

The first book Athena’s Champion comes out on November 8th – it has a cover to die for! And the second book Oracles War is already with Canelo for editing while we plan out Book Three.

New Zealander Cath Mayo is an award-winning author, writing YA historical novels, children’s plays and adult fiction. Much of her work is set in Ancient Greece, for which she has a life-long passion. After graduating in History, she returned to university to study Homeric Greek. Her YA novels, Murder at Mykenai and The Bow, star a youthful Odysseus, as does Athena’s Champion, the first book of a new adult fantasy series, Olympus, co-written with David Hair.

Publication week for Black Wings

This week sees the publication of Black Wings, coming out in the UK with the fabulous Greystones Press. On Tuesday I’m meeting my publishers and celebrating the book’s release. It will be wonderful to hold a copy of the book in my hands!

Copies of the book, which is available in both paperback and ebook format, can be ordered from Booktopia, Book Depository, Amazon etc.