Paula Hawkins in Angel Place

I love a publishing story where an author has worked hard on their craft for years and then breaks though in some Charlie & The Chocolate Factory scenario. Even though I know there’s often another story behind the official story in publishing, I still find massive inspiration in their journey. I’m always impressed by those writers who never give up. I began my Ride the Rhino Series on this journal, to hopefully inspire creatives with similar stories of determination and resilience. Yes, I know Ride the Rhino went quiet for awhile, because I moved to the country and my own book deadlines, but it is returning. Resilience is vital for a writer. It’s a tough business and you do need the soul of a rose and the hide of a rhino.
image of Paula Hawkins via The Times

image of Paula Hawkins via The Times

On Saturday 21st May, I travelled down the mountain to Angel Place in Sydney to see Paula Hawkins, whose psychological thriller, The Girl on the Train, was a New York Times bestseller, selling in the millions in the US ALONE, as a guest of The Sydney Writers’ Festival.
Angel Place's uplifting bird installation.

Angel Place’s uplifting bird installation.

Foreign rights for The Girl on the Train have been sold in 34-plus countries, and a movie by Dreamworks, will be released in October this year through Universal Studio.
Because I’m so busy with my current book and because I now reside above the clouds, I could only commit to one panel at this festival. But I didn’t want to miss Paula because I love her inspiring story.
I become the girl on the train.

I become the girl on the train.

For those who couldn’t make it, I have written out some of my notes from the talk. It was recorded for ABC Radio National. Please keep in mind that this is my paraphrasing of Paula’s conversation with Kate Evans.
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Paula was born in Zimbabwe and moved to London in 1989. Paula’s early career involved working as a financial journalist. The germ of an idea for The Girl on the Train aspired when Paula’s train broke  down and she spent a lot of time looking out of the window at an uninspiring view, hoping something interesting would happen – but it never did.
She always had a hankering to tell stories.
Paula wrote several other books (‘chick-lit’) under a pseudonym, Amy Silver. These books were good training and sold reasonably well, but she didn’t feel her heart and soul were in them. She’s not that interested in romantic comedy and had always wanted to explore darker psychological territory. Her fourth Amy Silver book bombed, selling under 1000 copies.
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Her agent was very supportive and pushed her to do the thriller that Paula said she always wanted to write. The agent also encouraged her to bring in a secondary character from one of the Amy books she had liked a lot, who drank. The agent thought that character had legs and was going to go far, and so they put ‘the drunken girl on the train’.
Paula at this stage was feeling totally wretched about her career. She was in debt and had to borrow money off her father, which was dispiriting at her age. All that misery went into writing The Girl on the Train.
She wanted the reader to think they knew the character, and then as they progress through the book realise they don’t know the character at all.
The rhythm of the train journey gave the book its structure.
She was interested in the memory loss from drinking. Also, that drinking can give you blackouts and make you vulnerable.
Paula believes you don’t have to like a character, but you do have to find them compelling.
Difficult women tend to be interesting characters. Women traditionally have been told to be compliant. Paula, however, is not interested in writing about meek docile, pleasing people.
For the structure, she mapped out the book starting with Rachel’s voice, then Megan.
When Paula began talking about Megan, she started gesticulating with her hands and became very animated.
There were lots of timelines that had to correlate and it was in the writing that the architecture of the story formed.
She did know ‘whodunit’, but she had to work out the rest as she wrote. She talked about how thriller-writing is about pace, and drip-feeding key bits of information at different points.
With The Girl on the Train, it was as if anyone could have done it.  She wanted a Hitchockian feeling to the book and an atmosphere of paranoia and self-doubt.
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Writers influential for Paula include: Agatha Christie initially for her ingenious plots. Kate Atkinson for her believable characters. Pat Barker, Cormac McCarthy (who can say in ten words what most of us would take pages to say). Notes on a Scandal by Zoe Heller is a favourite book of Paula’s.
There were misogynist accusations against her, and Gillian Flynn as well for Gone Girl. Paula said nobody accused Brett Ellis of being a misogynist for American Psycho. It’s understood he’s writing a character and not saying that all men are like that.
Her current book is more difficult to write, because of more demands on her time, such as this very talk. It takes you out of the head of the character that you’re with when you’re having discuss a book you wrote years before. It becomes a disjointed process and a new pressure is a readership around the world waiting for the new book, which will be a psychological thriller concerning sisters and memory. She is interested in the different perceptions siblings have of shared events in their lives. It deals with family, memory, and our sense of self.
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When it was time for questions from the floor the questions concerned such topics as:
Techniques applied when writing The Girl on the Train that she could share.
Paula replied: short chapters, always leaving each chapter on a note – even just a line that left the reader intrigued. Paula had never done any courses in fiction writing. Her agent, however, was a real help as she isn’t just about taking her cut of the money but is also interested in the editorial side of a book. Paula made the point that it’s incredibly difficult to write a novel (especially a first novel) without some editorial help.
There was also a question about her daily writing routine. Paula’s reply was that when the book is going well it’s a wonderful feeling. When it’s going badly it’s appalling. There is always a point in every book she writes when she sits at the desk and sobs.
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She was also asked about her feelings regarding the movie version (starring Emily Blunt) which unlike the book is set in America. Paula said she’s not as upset as some of her readers and that the movie is a different format to the book. She thinks the movie, which features very pretty white-picket-fences location of the commute into a US city, will be equally, if not more visually interesting than the more gritty English look (which I was visualising as I read The Girl on the Train) as it represents the darkness beneath the pretty façade.
Personally, although I love the casting of Emily Blunt, I would’ve preferred the original setting for this book. To me The Girl on the Train’s appeal was its very Englishness. It was reminiscent of that great English eccentric Alfred Hitchcock, and also Agatha Christie’s 4.50 From Paddington where Miss Marple’s friend Mrs McGillicuddy witnesses a murder as she travels on her train. A 1961 movie, Murder She Said, was based upon 4.50 from Paddington.
Some of my take-aways from Paula’s talk. I already know these, but it always helps to have them emphasised again:
‘Failure’ is not necessarily a negative. If her ‘chick-lit’ had sold through the roof, Paula would be under pressure to continue writing them and we would never have had The Girl on the Train.
Write to your strengths and your influences. If your heart isn’t in romantic comedies, then go where the passion and drive is leading you.
A good agent is essential. Not someone who is going to show you the door if your first books don’t sell, but someone who is prepared to support you as you find your voice, and also offers editorial support if needed.
Characters that might be secondary in one book could have life and wonderful legs if used again, so be open to characters wanting their own book and space to breathe.
Nothing is ever wasted. No experience is unimportant or seemingly ‘negative’.  If your train breaks down, don’t just browse your Facebook page. Stare out of the window and get really bored because that perfect idea might be lurking hoping to grab your attention. Don’t miss it through overstimulation of your brain and a stranger’s status update. JK Rowling would testify to that one as well.
Twitter can be a writer’s friend. This endorsement tweet from Stephen King would have helped propel The Girl on the Train’s massive success.

THE GIRL ON THE TRAIN, by
Paula Hawkins: really great suspense novel. Kept me up most of the night. The
alcoholic narrator is dead perfect.

And finally:
Never Give Up
Never Give Up
Never Give Up
I hope you enjoyed reading my notes from Paula’s talk. Please share with any kindred spirits you feel might be interested. It’s obviously so much better to see the author talk in person and Paula said a lot more on the day which I missed here as I was so interested listening (which is exactly how it should be). I am really looking forward to Paula’s next book and also the movie version of The Girl on the Train

Wisdom from The Company of Wolves

Little girls, this seems to say / Never stop upon your way / Never trust a stranger friend / No-one knows how it will end / As you’re pretty, so be wise / Wolves may lurk in every guise / Now as then, ’tis simple truth / Sweetest tongue has sharpest tooth.
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Granny: Your only sister, all alone in the wood, and nobody there to save her. Poor little lamb.

Rosaleen: Why couldn’t she save herself?

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Rosaleen: And then they lived happily ever after?

Granny: Indeed they did not!

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Rosaleen: Is that all you left of her? Your kind can’t stomach hair, can you? Even if the worst wolves are hairy on the inside.

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Black Rabbit Hall

I discovered Black Rabbit Hall on an outing to the Blue Mountains, after finishing my train book on the journey up. Fellow bibliophiles will understand my panicked dash to the local bookshop before my city train was due. fef106c85135361ed6ff421611acb10d   Browsing in Blackheath’s Gleebooks, I picked up Black Rabbit Hall with its intriguing title and lovely cover design. I was instantly hooked by the synopsis: mysterious Cornish mansion near creepy woods, the shadow of the past creeping into the present, family secrets held over decades – exactly the sort of book I love to read and write. Also the blurb by acclaimed Tasmanian John Harwood – who has achieved international success with his literary Gothic novels The Ghost Writer, The Séance and The Asylum  – decided me. I’d never heard of Eve Chase, which isn’t surprising as Black Rabbit Hall is her debut novel, but it was proof that you don’t necessarily need glossy author photos and a large publicity campaign to sell a book. Sometimes the product sells itself. 11326661_676156795853799_628218284_n   My trip back down the mountain passed in a blur as I lost myself in the world of Black Rabbit Hall. I was disappointed to find myself back in Central Station in Sydney, as I wanted to keep reading. aa70e1d1c7967ed897b1c8e71cb78eca   The books parallel storyline is set between the 1960s and the present day. Lorna Smith in the present-day thread is scouting a suitable venue for her wedding, and finds herself drawn to the mysterious, crumbling, faded gentry beauty of Pencraw House (Black Rabbit Hall) against her fiancée’s wishes.

A Black Rabbit hour lasts twice as long as a London one, but you don’t get a quarter of the things done. ’

In the 1960s thread, the Alton Family, who spend country holidays at Black Rabbit Hall, suffer a tragedy. Life for the Alton children alters forever, and the families destiny entangles with Lorna Smith’s in the present day thread. 8f94d9b1d1bbe1753f8168deb6961db1   Black Rabbit Hall is an intrinsically English novel, and does remind me in tone of Dodie Smith’s, I Capture the Castle. The 1960s thread, narrated by the very likeable Amber Alton, is strong and I revelled in the description of the the kitchen at Black Rabbit Hall, with ‘cornflower-blue walls – blue to keep the flies away – and a larder with broken lock. Bread dough rising in china bowls like pregnant bellies: pig guts soaking in salted water before being stuffed and turned into hog’s pudding; tin buckets writhing with conger eels, buckets of crabs.’ And Cornish food such as the dreaded ‘Kiddly’ broth. Eve Chase deftly brings the mysterious hall, with its groaning pipes, black and white tiled hall and constant power cuts to life with lines such as: ‘drawers stuffed with all manner of odd things: ration books, gas masks, a loaded pistol, a sheaf of golden curls from a dead baby, who, Daddy says, would have been our great-aunt had she lived. Oh yes, and Princess Margaret’s glove. That’s about as exciting as it gets.’ d6a8963aa6f44ea027001aea699cc89e

‘The temperature drops, the sea changes from clear blue to murky dark green, like a glass of paintbrush water.”
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I enjoyed the slightly surreal touches, such as the image of vast amount of rabbits around the hall at dusk. The hall faces west, and the silhouetted rabbits resemble shadow puppets, giving Pencraw House its name. Time is ‘syrupy slow,’ none of the clocks work properly, and nobody seems to care.

Ghosts are everywhere, not just the ghost of Momma in the woods, but ghosts of us too, what we used to be like in those long summers.’

It’s a beautifully written page-turner. My only very slight gripe was that the ending was a little too tidy and happy-ever-after for my taste, but I loved the journey into Black Rabbit Hall and it has stayed with me. This is one of those plot-driven story books that you want to gobble up, and keep the pages turning past the witching hour. 320ea507194ad7c1f881b39901df1c75   I look forward to reading Eve’s next novel. Black Rabbit Hall is published by Michael Joseph. “If Daphne Du Maurier and Ruth Rendell in Barbara Vine mode had been able to collaborate, they might have come up with something like Black Rabbit Hall: Rebecca meets A Fatal Inversion, so to speak. But Eve Chase is very much her own novelist, as fascinated by the varieties of love and affection that hold families together as by the forces that can tear them apart. A remarkable debut from an exceptionally talented and accomplished author.” —John Harwood, author of The Ghost Writer Eve’s website can be found HERE All images in this post with the exception of my train book photo via Eve’s Pinterest Inspiration boards.  HERE.

Kate Forsyth and the Eye of the Rhino

Hello, IMG_1670 I’m delighted to present my next author for my Ride the Rhino Inspiration posts – the beautiful Kate Forsyth. 2 (2)   I feel as if I’ve known Kate forever. We we were both briefly involved with The Drinklings many years ago, when we enjoyed wine and book chats in Sydney with a group of writers and we’ve spoken on a couple of panels together. group   She always inspires me with her intelligence, talent and her generous nature towards other authors. When I began this series of inspirational interviews I knew I had to have Kate aboard. When we last spoke at the Newtown Writers Tent for Better Read than Dead bookshop, we ended up in rain-soaked Newtown talking for hours in a cafe about writing, publishing, our children and the juggling act we have to go through. It’s a true testimony to how highly I regard her that when I suffered a major heartbreak with my publishing career, it was Kate I trusted, sending off a frantic email asking for her advice. In the very competitive world of publishing, Kate has always sought to encourage other authors to fulfil their dreams and destiny. Bitter Greens high resolution   Kate is an international bestselling author of 36 novels spanning a range of genres. She writes for both children and adults and has won many awards, including Five Aurealis Awards in a single year and a CYBIL award in the United States. Her bestselling novel Bitter Greens won the American Library Association Award for Best Historical Novel of 2015 and the library journal US Best Historical Novel. Kate has a doctorate in fairytale studies from the University of Technology in Sydney and a BA in literature and a MA in creative writing. Writing talent is obviously in her blood: she is a descendant of Charlotte Waring, the author of the first book for children published in Australia, “A Mother’s Offering to her Children” (1841).
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Her Great-Great-Great-Great Grandfather James Atkinson (Charlotte’s husband) wrote a book about Australia in 1826. Their daughter Louisa was also the first Australian-born journalist and novelist.
Louisa Atkinson

Louisa Atkinson

Kate’s sister Belinda Murrell is also a talented bestselling, internationally published writer as is their brother, Nick Humphrey.

Kate with her sister Belinda Murrell

Kate with her sister Belinda Murrell

Kate updates her very inspiring website regularly with loads of generous writing tips and fascinating interviews, and also runs writing retreats in the Cotswolds through the Australian Writers’ Centre. I hope you find as much inspiration as I did from Kate’s Ride on the Rhino.

J – Kate, you studied at Macquarie University where you did your Bachelor of Arts in Literature and after graduating, you worked as a journalist across a wide range of publications before you quit to work freelance. Throughout your years of study, you wrote the first book in your much lauded fantasy series, The Witches of Eileanan, but you’ve also written poetry under your maiden name Kate Humphrey. You wrote Full Fathom Five republished as Dancing on Knives as part of your Master ‘s thesis and you’re now finished your doctorate in fairy-tale retelling at the University of Technology. Academia is obviously hugely important to you. Do you feel continuing your education is necessary for writers in this competitive climate? On Twitter recently I retweeted Ann Patchett’s quote, ‘No-one should go into debt to study creative writing. It’s simply not worth it. This is not medical school.’ What advice do you have for those of us who would have to go into debt to study writing?
K – I  do not think you need to undertake a degree to be an author. I think you need to read a lot, and read widely, and a degree in Literature like my first degree can obviously help you do that. I think you need to learn your craft, and learn discipline, and a degree in Creative Writing like my second degree can help you in that task. And I think an intense period of research and reflection into an area of personal interest to you – like my doctorate in fairy tales – can only help you acquire the kind of depth of knowledge that can be of use to you as an author. But I certainly don’t think a set course of academic study is the only way to go! I think I learned more by my own reading and my own dedication to learning the craft by studying the work of other writers, and reading books on writing, than by going to university. I did all of my degrees for my own pleasure, and to learn as much as I could, and to become aware of other ways of thinking and doing … but anyone can challenge themselves and learn and grow, simply by living and reading and wondering and learning at their own pace and rhythm.
J  – Will we see more poetry from you? Do you still write poetry?
K- I was actually only thinking about writing a new poem yesterday … I never know when an idea for a poem will strike me. Usually I write poems in the small spaces between novels … or essays or picture books or short tales … and then I get all consumed with the next novel and have no room left over for short-form writing. The last poem I wrote was after I had finished BITTER GREENS – its a Rapunzel poem, showing the story still had not been fully exorcised. Here it is:
Kate Forsyth at seven

Kate Forsyth at seven

J – At two years of age you were badly savaged by a dog and your injuries were so severe that a man fainted when he first saw them and your mother was warned to expect you would die. You spent your formative years up to the age of eleven in and out of hospitals enduring many painful operations – during this time you lost yourself in the world of fiction and creating stories. Rapunzel was one of your favourite stories which formed the basis for your book Bitter Greens. Where did your strength come from to survive and transcend this extremely traumatic time?
K –  I don’t remember the accident. So I think it was my poor mother who suffered the most trauma at that time. Most of my memories of hospital come from around the ages of seven to eleven … and also I remember always having to be careful, especially if it was windy, about playing outside or playing with animals in case I got sick again. I still don’t like hospitals – the smell of them and the sound of them can make me feel anxious and even panicky – and so I do my best to avoid them. And I’m always interested in hearing about other authors who had childhood illnesses – I think we all coped in similar ways, by turning to books and stories, by reading voraciously, by imagining ourselves into other places, by having a rich interior life. I was lucky – an operation I had when I was 11 meant that I could have a relatively normal life from that time on, though I still do need to go back and have another procedure every few years (which I hate!)
Kate and her sister Belinda

Kate and her sister Belinda

J – When you first began writing for publication, I read in online interviews that early books you were trying to write to ‘fit into the market’ were knocked back. It was only when you began writing for yourself that The Witches of Eileanan was picked up in an international bidding war. What inspired you at this time to keep going? How important do you feel it is to write the book you love as opposed to writing for the commercial market?
K – In my 20s, when I was first trying to get published, I heard all the time that the only books publishers wanted were dark and gritty post-modernist contemporary novels – my least favourite type of book! I loved historical fiction and fantasy and old murder mysteries and romances, and books that had a story to tell. I was working on a novel at the time – it was set in contemporary times but it was certainly not gritty realism – but I was not able to find a publisher for it then (the book was eventually published as Full Fathom Five, and was recently re-released under the title Dancing on Knives). I was not trying to fit into a market by writing that book, the story was one that I had laboured over for many years and which was very close to my heart. I think it was just that I was still only a young author (I started it when I was 16) and it simply was not yet good enough to be published. It is true that while I was doing my Masters of Arts in Creative Writing, and used that novel as my major piece of work, I received a lot of encouragement to make it darker, grittier, more violent and less magical. But I did not know how to write it that way (many tears were shed as a consequence). It is also true that once I began to write Dragonclaw, my first published novel, I felt as if I had shed the shackles of expectation and I just ran wild, putting in everything I love about books and nothing I didn’t. I was lucky to write Dragonclaw at a time when publishers realised that there was a huge market for that type of books – a book filled with magic and mystery and romance .. and my life was transformed as a result.
The Puzzle Ring
J  – You’ve achieved so much already – but I know that even the most successful people have their setbacks and disappointments. What do you do when you do hit those moments? Is there any advice or words of wisdom you can share with us that may help creatives reading to deal with the discouraging times?
K – Of course! Being a writer is a constant rollercoaster of emotion – flying high one day and crashing down the next. It’s because we invest so much emotion in what we do. I have a couple of things that help me when I’ve been hurt or disappointed by something that happens. I print out any lovely fan mail I get, or any exciting emails from my publishers and agents, or amazing reviews, and then I stick them in my journal. So on a bad day I can go back and read them and remind myself that there are people who love what I do. I also write it out. My daily journal writing is a great source of comfort to me – I pour out all my feelings, all my unspoken hopes and fears, and then work through what is upsetting or bothering me. I’m also very lucky to have a very loving and supportive family and circle of friends, and so I talk to them about it, and they tell me not to worry about it – and that really helps!
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J  –You have a very active online presence; with blogging where you provide massive inspiration through your writing tips and interviews with other authors. You’re on Twitter, Facebook, Pinterest, Goodreads. What is your take on social media for artists? Why is it important for you to publicise yourself in this way? And how do you balance your time so that you’re not constantly distracting yourself from the work you’re doing with beating your own drum on social media? Which one is your personal favourite social-media platform?
K -I really enjoy blogging and all the rest, and so I do it for my own pleasure and to connect with kindred spirits. It helps me to easily stay in contact with writer friends all over the world, which I really love, and it means people can know what I’m up to at well. Although its a great quick way to let people know what I’m doing, I don’t like to think of it purely as a promotional tool. I think that kind of thinking leads to the kind of relentless self-publicizing that can be so off-putting. I tweet or post about what I’m reading and what I’m writing, and share links to articles I think are interesting or informative, I share poems that I love or pictures that I find inspiring, and support all my friends and colleagues as well. If I’m teaching a course or have some other event coming up, I’ll let people know – and if I’m doing some kind of giveaway or competition – and of course if I have a new book out, I’ll blog and post about that. In general, though, my social media is simply about connecting with other people who love what I love – and isn’t that we all write in the first place?
DANCING ON KNIVES
J –  You’ve written across genres and for all ages, Historical Fiction, Children’s Books, literary mystery, poetry. In this publishing climate do you feel that it’s important for writers to be this diverse? You’ve never had to use a pseudonym for your books as many other writers have had to do. Was this something your publishing houses and agents decided or did you want all your work under your name?
K – I’m not at all sure that its a good idea to be as diverse as I am. The accepted wisdom is find your niche and stick to it.
I’m not very good at doing that, though. I love to read so many different genres of writing and I don’t see why I can’t write in all different genres too. I hate to be confined in any way. I also love new adventures. I like to stretch myself, and challenge myself. And mastering a new genre is one way to do that. Also, I need to say that I don’t choose what I’m going to write next with an eye on what the market is doing, or what publishers want. I get a new idea for a story that utterly electrifies me, and then the story tells me what it wants to be. The story determines its own shape.
In fact, I have risked a lot to write the stories I wanted to write.
For example, I had a big early success with writing epic fantasy novels for adults and it was a big risk for me (and my agents & publishers) for me to then choose to write for children and then to move to historical fiction. In fact, my US publishers told me that they would gladly continue to publish me if I kept on writing fantasy fiction for adults, but they would not publish me if I changed. So when I wrote the books I wanted to write, it was with the full knowledge that I was losing my US publishers and may not be able to find another (happily, I did!) It was not a marketing decision at all! I always have to write the book that is burning a hole in my imagination. I don’t choose the story, the story chooses me – and then I just try to do the very best I can. I’ve just been very lucky that the big gambles I’ve made have paid off.
FULL FATHOM FIVE KATE HUMPHREY
And in regards to pseudonyms, my novel Full Fathom Five, the contemporary family drama/murder mystery that I wrote in my 20s, was originally published under my maiden name Kate Humphrey, at the suggestion of my publisher who was worried that my fantasy fans would find it too different. However, it has since been re-published under my married name Kate Forsyth (and a new title Dancing on Knives) because what we have discovered is that readers will follow an author they really love and trust. However, if I was to do something really different, I may well decide to use a pseudonym in the future, if I thought it would give me greater creative freedom.
US cover of The Wild Girl

US cover of The Wild Girl

J – How tightly do you plot your books? Are you somebody who likes to free-fall into the story and allow it to come through you; or do you prefer a more tightly-plotted book?
I like to have a vivid sense of the shape of my story and of my characters and setting before I start writing a single word. I like to see it, hear, it, smell it. I take a long time to daydream about my story, and research it, and plot it, and then I write quite swiftly and strongly. I always leave space for new ideas and new flashes of inspiration, while still being in control of how the story develops. This is one reason why I can be so productive. I never get myself in a tangle (or rarely anyway!)
The beast's Garden High res
J – Do you prefer to draft on paper or computer? Do you like to read on kindles or paper books?
K – I write all my ideas and questions and flashes of inspiration and research notes and early plans in my notebook … and continue to use my notebook as the story grows and changes. However, I generally write straight into the computer. (There are a couple of exceptions to this. I write poetry longhand and any sentence which is giving me trouble, I’ll write and rewrite longhand until I get it right).
I prefer to read paper books for a multitude of reasons, but I travel so much that I do a lot of reading on my ipad. Before I go away, I load up a dozen books so I have a choice of what to read. If I really love a book I’ve read in e-book format, I often buy it in p-book format when I get home.
One of Kate's notebooks from The Wild Girl

One of Kate’s notebooks from The Wild Girl

J – There’s so many things I admire about you Kate, and one in particular is how hard you work at publicising yourself. You seem to be at every Writers’ Festival, every library event, book club meeting and anything literary related. Is it
important for writers to be entrepreneurs, market themself and what tips and advice can you share in this area? You’re a Gemini who loves communication and so what advice do you have for more introverted types?
K – I do think its very important for writers to be the engine of their own success. I often hear writers moaning about their editors or their publicists or whatever, and it makes me a little uncomfortable. You need to be very aware of how the industry works, and how you can best work with it to maximise your success. You need to think: what do I know, what can I do, to help give my book wings?
It is true that I am a Gemini and I love to connect and communicate … but one half of me is very much an introvert, and I often find it hard to leave my peaceful green study and go out and face the world. So I try and think, what can I give today? Who can I help today? What amazing connection might I make today? What I have discovered is that every small effort I make often creates ripples beyond what I could ever have imagined. And so I’m encouraged to keep on working, keep on trying, keep on reaching out … and then wait to see the astonishing rewards I reap.
Wild Girl notebook

Wild Girl notebook

J – I know how uplifting your public-speaking is and I’m longing for the day you start your marketing courses for writers. Your public speaking never fails to elevate and inspire me no matter how many times I hear you speak. Your public speaking skills are even more impressive as you’ve been afflicted with stuttering since you were very young. How did you find the confidence and strength to keep going to become the acclaimed public speaker you are?
K -That is such a lovely thing for you to say! Thank you.
It is true I was afflicted with a stutter for most of my childhood – and it still can trip me over today. It was a very hard battle that I fought. My mother was incredible. She invested a lot of money into speech therapy for me when she was a struggling single mother … and she invested a lot of time into encouraging me to read aloud – poetry and Shakespeare, mainly, because I seemed to stutter less when I read them. Mainly I overcome my stutter by avoidance – I won’t utter a sound that I know is likely to trip me – I find other words, other ways to say what I mean. I also learnt to control my breathing better, and slow down, which I think has really helped me in my public speaking. Sometimes I get a faint sing-song quality to my voice, particularly when I’m telling a story, which comes from the speech therapy. We were taught to sing what we could not say.
The other thing I have come to realise is that most people are very forgiving of my stutters and stumbles – they lean forward, urging me to recover, wanting me to go on. My vulnerability makes me easier to connect with. At least, that is the feeling I get.
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J –  How do you feed your Muse? And what does your Muse look like?
I daydream a lot. I love the shadowy space between sleep and wakening, as I get so many ideas then. I love to walk and think in silence, taking in the beauty of the world. I read poetry, and listen to music, and watch ballet and theatre and films. I love to travel, to imagine lives unlike my own. I love to listen to people tell their life stories – and people do! Often complete strangers will confide the strangest things to me. I write in my journal most days, as you know, and that is a wellspring of constant inspiration and refreshment to me. I read a lot, across all genres, including non-fiction. I never know when an idea will be sparked for me.
What does my muse look like? Like me, I suppose, only a shadowy green-dark version like an image in a deep well or an old silver mirror …
Where the magic happens.

Where the magic happens.

J – If you need to have the hide of a rhinoceros and the soul of a rose to succeed in the arts: how do you see your rhino hide as being? What are the qualities that have kept you going and where do you think you have gained those qualities from? And also – how would you see yourself as the soul of a rose? What are your more sensitive qualities?
K – I don’t think I have the hide of a rhino. In fact, I think its very important that creative artists remain sensitive and open to the world and alive to possibility. To encase ourselves in a hard carapace is to lose what makes us so gifted as creative artists – the ability to feel intensely.
What I do have is utter determination. No matter how many times I’m knocked over, I pick myself up and keep on going. To allow myself to be broken would be to deny my true destiny (I know, I know, but that’s how I feel, truly). All I want to do is write. And so I have to somehow find the strength of will to never give up, and to never admit defeat.
 
Thank you, Kate. xx

Josephine Pennicott and Kate Forsyth

Josephine Pennicott and Kate Forsyth

You can find Kate at her glorious website HERE
If you have enjoyed this post, please share with kindred spirits. Love and Light Josephine xx

Anna Romer and The Eye of the Rhino

Hello, Happy New Year Greetings. With all the traumatic events happening globally I’ve felt in need of creative and soul inspiration, and so I’ve begun a new series on Tale Peddler called The Eye of the Rhino. It’s from Stella Adler, who said success in the arts requires ‘the skin of a rhinoceros but the soul of a rose’. IMG_1671   One observation I’ve made with my creative friends is they are tenacious. Creative success seems to involve a synthesis of Talent, Timing, Tenacity and Luck and it’s the tenacity aspect that interests me. What inspires some individuals to pursue their dreams despite inevitable disappointments along their path? I say inevitable as I’ve observed that even among my more successful creative friends, they have still had to overcome obstacles that you would never hear about on their social media accounts. I hope you enjoy this series and get as much inspiration from it as I do. First up is Anna Romer. ANNA ROMER   I’ve known Anna for many years. I thought she’d be an interesting artist to begin with as she had a long apprenticeship until her success with her book Thornwood House, an Australian Gothic mystery published by Simon and Shuster in September 2013. Thornwood House broke though Anna’s years of writing in oblivion and was a bestseller. Anna was a graphic artist and has travelled widely. In an alternative career path she’d have made a powerful energetic healer as she does unforgettable massages (personally experienced). Anna’s a highly individual person and one of the more interesting authors I’ve met. Shunning a lot of technology, she prefers the rhythm of her own imagination and the pulse of the bush that permeates her writing. Lyrebird Hill (her second novel, also an Australian Gothic mystery) was released in September 2014.  Anna and I share a love of communicating by letters, Spirituality, Joseph Campbell. I’m delighted Anna accepted my invitation to discuss her creative inspirations for Eye of the Rhino.

J – I know your writing path wasn’t a smooth trajectory. You spent many years working on another project which hasn’t yet been published. Can you talk about how it felt to work on that project and what it was like to cross over to the new genre you are working in with Thornwood House and Lyrebird Hill?

You’re quite right, my writing path was long and winding – and there were times I was convinced it was leading nowhere. Luckily for me, I’m utterly addicted to the writing process, and that’s what kept me going.   One of my great passions along the way was a historical novel I worked on for many years. It was an adventure story set in a time when people were restrained by archaic traditions and strict social laws. My favourite thing about writing this story was developing characters who were feisty and strong-willed, who flouted those laws and went their own way.   The research for this project was intensive. I spent years losing myself in books and pictures and movies, drawing maps and diagrams and timelines and, even dreaming about my characters until they felt like dear old friends. I was totally obsessed!   Sadly, the plot was very flawed. In my mind’s eye I could see a beautiful, richly-layered adventure story, but I didn’t have the skills back then to pull it into shape. My agent suggested I set the story aside for a while and work on something with less demanding research. So I dumped my beloved project in the bottom drawer with all my other rejects, and went back to the drawing board.   I decided my next novel would be set in Australia – a simple mystery story about a woman who inherits an abandoned house. I would throw in all the elements I loved: forgotten old letters, a buried diary, an overgrown garden, and a star-crossed love story. Most importantly, I’d keep my research minimal.   Famous last words. Before I knew it, my story had grown convoluted roots that reached back to the 1940s. Suddenly I had a mountain of memoirs and war diaries and biographies to read!   I wasn’t really fazed about tackling a completely new genre. Early on I’d attempted to write a horror-thriller (while I was under the thrall of Stephen King), and when that bombed I tried my hand at romance, crime, fantasy. Each of the seven novels in my reject drawer is a different genre!   But thanks to the lessons I learned from all my failed projects, I developed a much better grasp on how to structure a novel. I learned that each genre has its own specific requirements; romance focuses on the relationship, while a thriller constantly threatens the hero’s life.

Joseph Campbell

Joseph Campbell

  And yet the core of any story is the same. I’m a huge fan of Joseph Campbell’s “Hero’s Journey” which explores the idea that all stories – myths, fairytales, and legends – share the same basic components. A troubled character embarks on a quest to solve her problem; she undergoes a series of tests that ultimately transform her; by sacrificing what she wants, she achieves what it is she most needs – and in the process, she becomes whole. THE HERO'S JOURNEY   This theory sounds formulaic, but I found it wonderfully freeing. Once I started working with it, all other elements specific to genre fell into place. Suddenly my plot was holding together. The characters were making sense. The story had purpose, and because I now knew where I was going, the process became much more fun. JOSEPH CAMPBELL BOOK J – What has kept you going throughout all the years you have worked away in solitude on your books? What helped to foster your own self-belief in your talent and enabled you to have a rhinoceros skin?

I’d always loved romantic adventure stories that changed the way I thought or felt – and that’s what I wanted to write. But my early attempts made it clear how much I needed to learn! The thing that kept me going all those years, was the challenge of somehow achieving my vision. It was like a carrot dangling just ahead of me, always out of reach – but soooo delicious-looking. I wanted to do justice to the stories I could see in my head, and the only way to do that was to develop my storytelling skills.   I embarked on a mission, reading every how-to book I could lay my hands on, trying every technique. More importantly, I wrote and wrote. And whenever I looked back over my work and found even the tiniest improvement, a fresh rush of excitement would spur me on.   I was never under the illusion that I was a particularly good writer. My self-belief fought a constant battle with my self-doubt. But I really loved learning about plot and structure and character development … I still do! Concepts such as Joseph Campbell’s Hero’s Journey were endlessly fascinating to me. I was like a drug addict, continually seeking my next fix of story know-how. Even if I’d wanted to stop, I couldn’t have.  

J – Love of the Australian bush permeates Thornwood House. To me, the book really  throbs with nature cycles. How important is it to you as an artist to live in the bush in the solitude you obviously enjoy? Could you have written Thornwood House in a city? 465       I’m a huge fan of Diana Gabaldon who wrote the immensely popular Outlander series. Her first book is set in Scotland in the 1600s, and it grippingly evokes the life and culture of that time.

Diana Gabaldon

Diana Gabaldon

  I was fascinated to learn that Diana wrote her first book in the series without ever having visited Scotland. I read about how she listened to folk song recordings to hone her ear to Scottish accents. She quizzed experts, and no doubt used her own formidable researching skills to make her story world so believable.   This taught me that it’s possible to write convincingly about any location or historical period or life experience – if you do enough research.   But for me, as with most writers, immersing myself in a location brings additional insight and depth to that research. I love to sit and observe. I love to drink in the smell of wildflowers, or walk through the bush at night without a torch, or fire off a few rounds from a double-action revolver, or pick up an eastern brown snake so I can confidently describe the fine velvety nap of its skin. EASTERN BROWN SNAKE   Besides all that, I’m the sort of person who thrives in a natural environment. If I spend a lot of time in town I get frazzled; there’s too much sensory input. My brain likes wide open spaces, and the sound of wind in the trees, and the pebbly smell of the river. I need to be among those nature cycles to understand them and allow them to permeate me. I know I sometimes get carried away with my descriptions, waffling on about leaves and flowers – but that’s how I write. Without the energy of the natural world flowing through my stories, I would quickly lose my excitement for them. IMG_3192   J – Do you have any advice or insight for anybody who is contemplating changing their career and embracing a more creative path? Go for it! For me, the best advice regarding creativity comes from Joseph Campbell: “Follow your bliss.” FOLLOW YOUR BLISS     If you hanker to paint, then paint; if you yearn to tell stories, then do that. If you want to knit, or cook, or lose yourself in the garden – then embrace your creative yearnings with a full heart. Invest a lot of love into what you do, and don’t worry if you have to spend years working other jobs to support it. Walking a creative path is not always easy, but it’s a worthy challenge. Your life will be all the richer for it. And if it makes your soul sing, what is there to lose?

Anna Romer, Josephine Pennicott and Anna's sister Sarah who looks after her social media presence. Lucky Anna!

Anna Romer, Josephine Pennicott and Anna’s sister Sarah who looks after her social media presence. Lucky Anna!

  J – I know you don’t have a very active online presence; although you’re blessed with a sister who maintains your Facebook page. What is your take on social media for artists?     I’m certainly blessed with a wonderful sister! In fact I have two wonderful sisters who rave about my books to everyone they meet – lucky me! Sarah saves my poor old brain cells by managing our social media page, which allows me to focus more on my writing. I find the energy of the Internet disrupts my creative flow. I get jittery when I’m online, and afterwards my thoughts feel quite scattered. For inspiration to flow, I need to be relaxed and centred.   As an artist, you have to weigh up the benefits of spending time promoting your work on social media, against the advantages of using that time to develop and layer your work. For me, my stories are simply more important. I don’t consider myself a natural-born talent at writing. I have to work ridiculously long hours, drafting and re-drafting and editing my stories into shape before I’m satisfied that they’re ready to present to my readers.   I’m always acutely aware that for a reader, a book is an investment. Not just of money, but of many hours of their time. I want to give my readers my very best, and this requires that I sacrifice nonessentials such as social media. I’m also a strong believer in word-of-mouth – if you hone your craft and put your heart and soul into creating an entertaining story, then there’ll be readers who will utterly love your books … and that’s really what it’s all about, isn’t it? THORNWOOD HOUSE   J – Thornwood House has a dark mystery at its foundations. How tightly do you plot your books? Are you somebody who likes to free-fall into the story and allow it to come through you; or do you prefer a more tightly-plotted book? How did writing Lyrebird Hill differ from the first book? I start any project with an enormous amount of brainstorming, researching, and planning where I want the story to go. By the time I’m ready to begin, I have a tightly plotted outline. But when I’m writing I tend to lose myself in the story. I forget all my well laid plans and get carried off by the adventure. Sooner or later I hit a brick wall, which sends me scurrying back to my outline. I replot, work out how to tie up the new loose ends I’ve created, and then freefall back into my characters’ lives. LYREBIRD HILL   Lyrebird Hill was a very different writing experience to my first book; with Thornwood House I had the luxury of time. Years, in fact. The tight deadlines on Lyrebird Hill gave me no choice but to knuckle down and get the story written as quickly as possible. I didn’t have time to stop and agonise over the plot, or waffle off on tangents. I wrote only what I believed was necessary, and as a result went through a huge learning curve. It was crazy, daunting, obsessive … and bucket-loads of fun! And I think the story is better because of it. ANNA SIGNING BOOKS     J – Are you a notebook person, or a writing online type of person? Do you prefer to draft on paper or computer?

I’m very much a notebook person. I usually have several notebooks per novel, which I refer to constantly. I love the tactile feeling of writing on paper – scribbling over words and rewriting, cutting out bits and moving them somewhere else, gluing in photos, drawing maps and diagrams and charts… bliss! Being a visual person, I love the chaos and colours of my notebooks and find working in them a very relaxing way to let the ideas flow.   I seem to be sensitive to electronic equipment, and because I spend so much time staring at a computer screen – drafting or transcribing my handwritten notes or editing – by the end of the day I end up feeling very drained. Breaking up my computer time with other activities such as drawing maps or filling out charts in my notebook helps to keep my mind fresh. GHOST MUSE J – How do you feed your Muse? And what does your Muse look like? I know we share an interest in spiritual matters and so do you use that element of yourself in your writing process?  I imagine my muse to be a sort of wild ghost-like creature in photo-negative form. I feed her on a varied diet of books: biographies, history, how-to manuals, as well as  fiction – classic, popular, and sometimes downright trashy. She regularly feasts on films and a smorgasbord of music. She responds well to a hot bath, a walk in the bush, a river swim, or some therapeutic opp-shopping! She’s also fond of conflicting emotions, arguments, love gone wrong, betrayal and disappointment – so occasionally I let her binge on one of these as well.   I believe that our creative selves are very much grounded in the spirit. For me, writing a book is a magical sort of experience. It requires a lot of trust in yourself to embark upon such a huge task and commit to finishing. And it also requires that you set aside your fears and expectations, and surrender to the process.  I spend a lot of time reading books about how to improve the craft of writing, how to strengthen my weaknesses and hone my skills. But I think the success of any creative project really relies on less tangible elements. Instinct, impulse, intuition. It’s exhilarating to connect with your spiritual self and allow it to guide you; to follow those improbable threads of thought that you know will eventually weave something special into the story.   I find that when I let go of all the writerly rules that I’ve learned in my how-to books, and instead focus on the pleasure my writing brings me, I can relax and enjoy the process. I trust my muse to guide me, and that’s when the magic really begins to happen. 

J – If you need to have the hide of a rhinoceros and the soul of a rose to succeed in the arts: how do you see your rhino hide as being? What are the qualities that have kept you going and where do you think you have gained those qualities from? And also ? how would you see yourself as the soul of a rose? What are your more sensitive qualities? THE HERMIT   I’m probably the opposite – with the hide of a rose, and the heart of a rhino! I seem to absorb everything around me, as if there’s no filter between me and the outside world. Sights, sounds, smells … are all vibrant and mesmerising, and all too often overwhelming. I pick up other people’s moods, and I’m sensitive to vibes between others. That’s why I’m such a hermit – I need to remove myself from the fast pace of the world so I can reflect and channel my energies into my work. If I don’t, I burn out very quickly.  I suppose my rhino hide is really a cloak of determination. It’s the one quality that’s kept me going. Whenever the cold winds of doubt or disappointment begin to blow, I draw my cloak more tightly around me and march on. Determination is a quality I’ve learned from the women in my family – my granny, my grandma, my mum. Incredibly resilient women, who forged on no matter what. I’m blessed to have been close to all three, and the qualities they passed along to me are among my most treasured possessions. STRINGYBARK BLOSSOMHAKEA FLOWER   Jo, I love your image of an artist’s soul resembling a rose … but mine doesn’t feel very rose-like. I’d say it’s closer to a stringybark blossom or hakea flower – thrives in the bush, is quietly productive, and mostly drought-hardy!

Thank you, Anna Romer for sharing your inspiration with us.   Thank you Jo, it was my pleasure.

And so I hope you enjoyed the inspiration from this post. Thanks again Anna for your generous sharing and if you did enjoy, please share with your social media friends who may also benefit. Look out for my next Eye of the Rhino post with another special guest. Anna Romer’s  website is HERE Love, Light and Peace, Josephine xx

This interview with Anna is part of my Australian Women Writers Challenge for  2015.2015 AWW badge

quote joseph campbell

Meet my Character

Thank you to Sandi Wallace for inviting me to play Meet my Character for a blog hop. MEET THE CHARACTER Answer these questions about your main character from a finished work or work in progress:   1.) What is the name of your character?   Ginger Lawson. In the 1940s thread of the book, she’s a sixteen-year-old feisty and naive redhead who goes to the Blue Mountains to pose for a notorious artist, Rupert Partridge. In the year Ginger is at his home, Currawong Manor, Rupert’s family suffers a triple tragedy: his wife, Doris is killed by a train, his daughter, Shalimar drowns and Rupert vanishes. Ginger knows the real truth of what happened to the family. In the present day thread when she’s in her seventies, she’s finally ready to reveal her secrets.

Inspiration shot from my Pinterest board I used for the young Ginger

Inspiration shot from my Pinterest board I used for the young Ginger

2.) Is he/she fictional or a historic person?   Fictional, but I was inspired by Pearl Goldman, who was one of painter Norman Lindsay’s favourite muses and models between 1938-1945. I was fortunate to hear Pearl  speak at the Norman Lindsay House in Springwood just after starting the book and was really impressed by Pearl’s vivacity, glamorous flamboyance and being so active in her 90s. She added a lot of spark to Ginger.

Josephine Pennicott with Pearl Goldman at Springwood Blue Mountains

Josephine Pennicott with Pearl Goldman at Springwood Blue Mountains

3.) When and where is the story set?  In the Blue Mountains in the fictional upper mountain village of Mt Bellwood between the 1940s and present day and the surrounding bushland of Owlbone Woods. The Blue Mountains is an area I’ve lived in and I’m constantly drawn back to. I love its mysterious valleys, misty landscapes, creative people, gothic atmosphere and changing seasons. 425   4.) What should we know about him/her?  Beneath the seeming confident and self-obsessed facade of Ginger is a young girl willing to do anything to escape her mother’s fate of being one of the ‘Surry Hills rats’ of the 1940s. And not to believe Ginger’s version of events too closely…

Rose and Norman Lindsay inspiration shot for Ginger

Rose and Norman Lindsay inspiration shot for Ginger

5.) What is the main conflict? What messes up his/her life?  By not revealing what really happened to the Partridge family in the Blue Mountains. Ginger’s had to live with a lot of guilt and anguish over the years. She made two choices back in 1945 that affected many people and she has the burden of the consequences of her silence. swingagain     6.) What is the personal goal of the character?  The goal of Ginger in the 1940s thread is to escape the drudgery of Molly (her mother’s life) and to become an independent earner. She represents women in Australia in the forties who entered the workforce with the male population away in World War II – and the impact of that transition upon the women of Ginger’s generation. In the present day thread, her goal is to reveal to Rupert’s surviving relatives the truth of what happened to Rupert and his family on the 9th November 1945.

Ginger inspiration from Pinterest board for Currawong Manor

Ginger inspiration from Pinterest board for Currawong Manor

7.) Is there a working title for this novel, and can we read more about it? The working title and the title are one and the same – Currawong Manor.

Albert Tucker photo used as inspiration for Currawong Manor

Albert Tucker photo used as inspiration for Currawong Manor

8.) When can we expect the book to be published or when was it published? Currawong Manor was published by Pan Macmillan Australia in June 2014. efffe4bf441a146a40bc48da3f1a06e2 I hope you enjoyed this brief instruction to my character and now it is my turn to tag two writers. I have tagged: Kim Wilkins who also writes commercial women’s fiction novels under the pseudonym of Kimberley Freeman. Kim’s an award-winning writer in children’s, historical and speculative fiction. She has an Honours degree, a Masters degree and a PhD from The University of Queensland where she is also a senior lecturer. You can read more about Kim HERE KIMBERLEY FREEMAN And I’ve also tagged Karen Brooks who is the author of nine books, an academic of more than twenty-years experience, a newspaper columnist and social commentator, and has appeared regularly on national TV and radio. Before turning to academia, she was an army officer for five years and prior to that, dabbled in acting. You can read more about Karen on her website HERE KAREN BROOKS If these writers choose to accept their tags, you’ll be able to read about their chosen charcters on their websites the following Thursday 27th November. Love and Light, Josephine

Secret Gardens, Mantras and Monsters

Leura is one of the prettiest Blue Mountain villages and Spring is the perfect time to visit, when the mountain air feels enchanted from the cherry blossom and jacarandas trees. As I said in my previous post, we’ve recently introduced our daughter to The Secret Garden book and film and so we enjoyed a family day out at the Leura Garden festival. A few photos below.

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We came away with plenty of ideas for our Secret Garden journal. Definitely a must in my Secret Garden is gatepost rabbits.

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A wishing well, sacred bells, Madonna figures and a drystone wall.

 

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I’ve been working on my current book, another mystery novel set in Tasmania. So far the characters are materialising beautifully and all the twists and main plot seem strong. I’m at the stage where I want to find out what happens and how it evolves which is the best place for me to be in. When I haven’t been writing, I’ve been catching up on reading. I’m working my way through the large pile of books in my TBR pile. I’ll do a separate post on a few I enjoyed over the holiday break.

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Along with my family I completed a course at the Transcendental Meditation Centre in Sydney. The TM centre is located in the striking AWA building in the CBD in York street. The communications tower was designed in 1937-1939 by architects Morrow and Gordon. It has a geometric art-deco design and also features symbols of communication such as a winged Pegarsus. The tower has been featured in the movie The Matrix.

 

BIGFISHONETOUSE

 

I’ve been meditating regularly for many years now but have always been intrigued by TM and the effects on the creative brain after reading David Lynch’s Catching The Big Fish (highly recommended book on creativity and abstract thought).

 

I’ve only been practising for a couple of weeks, but it has exceeded my expectations on how deeply you can transcend in twenty minutes. I was surprised by how effortless and easy the process is. I’ll write more on meditation and the effects on my creativity when I’ve been practising TM for a few months.

 

In Australia, we have celebrated the seasonal Beltane, but being Scorpio and fascinated by death and transfiguration, I view the 31st of October as the Day of the Dead – we enjoyed All Hallows at a friends in the inner-west suburb of Tempe.

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I volunteered to walk the children around the streets for a couple of hours which was surreal and dreamlike. In the darkened streets I passed witches, zombies, a live python, and excited children claiming the streets on the night the veils are thin and mayhem rules.

 

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Thank you for visiting me. Please share this post if you know of anyone who would be interested.

In Love and Light,

Josephine

The very British Kate Mosse and her amazing platform shoes

In 2013, I saw Kate Mosse speak at the Sydney Writers Festival.  I found her sparky and passionate and I loved her funky platform shoes. She reminded me of a pretty English mistress from an Enid Blyton boarding school book. The following is taken from my scribbled notes; as so much time has passed since I wrote them (due to me being busy with my own Currawong Manor), I may be paraphrasing her a little, but what she said really resonated with me. I know from comments from other audience members of the audience that she inspired them too.

Kate Mosse at Sydney Writers Festival signing my books 2013

Kate Mosse at Sydney Writers Festival signing my books 2013

She spoke about her love of the old-fashioned adventure story and how she  enjoys having women as the hero of her tales.

  kate mosse adventure

She is not very modern and is British to the core.

Kate at Buckingham Palace with her OBE

Kate at Buckingham Palace with her OBE

 

She sees the shadow of the past as being everywhere.

  KATE MOSSE GHOSTS

She spends about three quarters of her writing time on research and a quarter on writing the book.

When researching and writing, she reminds herself that real people died and that she’s telling their story. That we are part of a common bond and link of humanity.

  THE MISTELTOE BRIDE

To her the best fiction comes from lack of control rather than having a cast-iron control over the work. And she has to learn to let go.

For Citadel, she spent four years in research.

She described how her characters get her to follow them.

It’s love that matters in the end. Her father taught her this lesson from when he was away at war and his relationship with his family.

The lead character in her book is always the landscape.

KATE IN LANDSCAPE

She experienced an almost psychic experience once in a vision and eight years later, the character that appeared to her then came to her through a manuscript. But it took that length of time until the character was ready for Kate to write the story.

Fishbourne which inspired Kate's current literary gothic thriller The Taxidermist's Daughter via the Independent

Fishbourne which inspired Kate’s current literary gothic thriller The Taxidermist’s Daughter via the Independent

She does about three drafts of each of her books.  Because she writes parallel time-lines she does  one strand of the history line and then works on the other. With the second draft, she plaits them together.

Kate in her platform shoes

Kate in her platform shoes

 

I was so engrossed in her talk that I didn’t take as many notes as I would have liked. Which is always a good thing.

HERE is a link to an interview with the Sydney Morning Herald that she did when she was here for the Writers Festival.

And a link HERE where she discusses how landscape influences her writing

And another link HERE where she discusses her writing process in a fascinating conversation with writer Denise Mina.

And a link HERE to an interview with my writer friend Kate Forsyth.

Thanks for visiting me. Please share this post with your social media friends if you think they might be interested.

The thing about The Taxidermist’s Daughter is people think it’s a big departure, but I quote the American writer Willa Cather at the beginning of the book ‘Let your fiction grow out of the land beneath your feet’ Kate Mosse.

Love and Light,

Josephine

The Light Between Oceans – Review

I nearly didn’t read this book. It received so much acclaim and hoopla that I didn’t think I’d find it interesting. If a book or film is very hyped, I have a bad habit of losing interest. I’m an inverted snob in such matters.

light between oceans

 

I sent it to my mother-in-law and after reading it, she returned it saying she thought I should reconsider as she knew I’d love it.

Thankfully, I obeyed her instructions. I found this a terrific read, which left me longing for as many people as possible I knew to read it, so we could discuss it. Luckily it was one of my Magic Hat Book Club choices this year.

The cover tag line is: ‘This is a story of right and wrong and how sometimes they look the same.’

light between oceans two

 

We enter the world of a young lighthouse keeper, Tom Sherbourne and his wife, Isabel, on a remote island off the Western Australian coast. They decide to keep a baby found alive on ‘The Day of the Miracle’ with its dead father in a boat. Isabel has suffered three miscarriages and the baby appears to be a gift from God: there can be no harm in keeping her…

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This is the clever and intriguing set-up of an engrossing story which weaves between the ‘The Day of the Miracle’ (27 April, 1926) to the emotional final scene in 1950. The book describes the consequences of the decisions of keeping the ‘miracle’ baby.

couple vintage light between oceans

 

Throughout the narrative we are introduced to some vivid characters:

Tom Sherbourne the lighthouse keeper, with his measured outlook on life and his beautiful handwriting. His sense of decency and his moral code. An ex-army man with experience in Egypt and working in Morse and international code. Tom is suffering the trauma of his war experiences from one of the most grisliest of wars: a lighthouse posting seems the perfect change to escape his  memories. By steamer boat on his way to the lighthouse from Sydney to Perth, he rescues a young woman from a lecherous ex-soldier, a chance meeting pivotal later in the book:

 

Being over there changes a man. Right and wrong don’t look so different anymore to some.” – Tom Sherbourne.

 

In Port Partageuse, a small coastal community where a fresh granite obelisk lists the men and boys who will not be returning to the community. The town’s scars are raw. In this community, Tom meets and falls in love with defiant, sparkling Isabel Graysmark, the only daughter of the headmaster Bill, and his wife, Violet, who lost both sons to the war.

lighthouse australia

 

The nature cycles of the island and Port Partageuse, are hauntingly portrayed. And the real life ghosts of the living, still mourning so many lost, are also wonderfully captured. The Australian phrases, increasingly also lost to American slang, are resurrected in bold splashes which contrast well against the more lyrical descriptions. You ache for all the characters. Even very minor characters who barely appear such as Frank, the baby’s father, become important. Septimus, the grandfather, is also beautifully sketched and an entire book could be devoted on his story.

The character’s roles are superimposed against the lighthouse itself, the great light illuminating to protect the sailors, but also revealing the deeper shadows that are lurking within every member of Port Partageuse. People are getting on with life – but the war has taken so much.

M.L. Stedman

 

The Light Between Oceans is a book that should give inspiration to all writers who think they may have left their run to late to start. It is Stedman’s debut full-length novel, written in her mid-sixties. I was most fascinated by her writing process which is very similar to my own using visual imagery and a method of ‘free falling’ into the story, allowing the visual images to guide you. She worked a lot from original material in the British Library, reading war-time diaries and journals which she said ‘brought her to sobbing many times’. This first-person research shines through. The two images of the ocean used above were both taken by Stedman when she was working on the book.

I feel that with a different cover design, it might have reached more of a male audience. My partner began reading the book after hearing my enthusiastic appraisal of it and is really enjoying it. He would never have picked it up on its cover normally.

book

 

Thankfully, many people did. Nine international publishing houses bid on the rights for the book. In Australia The Light Between Oceans was:

Winner of three ABIA awards for Best Newcomer, Best Literary Novel and Book of the Year Winner of two Indie Awards for Best Debut and Book of the Year Winner of the Nielsen BookData Bookseller’s Choice Award for 2013 Recently voted Historical Novel of 2012 by GoodReads’ reading community

Stedman

 

The names of the miracle child in the story, Lucy, means Light and she represents the Hope of the story. I also took the Light Between Oceans to represent the break between the two World Wars. Ultimately, I saw this as a book about the ripple effects of war. A story of right and wrong and the different shades of grey in between – a tale of forgiveness and redemption. Janus Rock, where Lucy washes up, represents the Ancient God of Doorways – transitions and beginnings. Janus presided over beginnings and endings of peace and conflict. As a transitional god, he had a role in birth and exchange as well. Janus also represents a middle ground between barbarism and civilisation.

Janus

If you are interested to read more about M.L Stedman’s writing process, there is an interview HERE

This review is for my Australian Women Writers Challenge for 2014.

Australian Women Writers Challenge