feedback

The Bone Dragon book cover

Reviews, reviews: thank you to all the lovely reviewers!

All traditionally published writers will be more or less familiar with getting ‘feedback’ by the time their book comes out, but reviews are different thing altogether.

Feedback from family, friends, colleagues, friends of friends who are in the book industry, agents, editors, and other people at your publishing house comes in so many different forms that you start to ask yourself ‘how different can a review be?’ The answer is very different, especially in terms of what reviews feel like.

The big difference between a review and feedback is that reviews are generally formal: they look and sound official. Usually, they’re carefully crafted and well-edited. They’re pieces of writing in and of themselves.

Feedback, on the other hand, is often spoken, jotted down or written purely as information. Moreover, feedback is generally geared to unfinished/published work: there’s a sense that the purpose is to inform the writer about your thoughts while there’s still time for this to have an impact. For this reason, feedback given after a book is published usually looks forward to the author’s next book.

The critical thing is that the purpose of written feedback is to communicate with the writer. The purpose of a review is to communicate with the reviewers’ readers. So reviews have a life apart from, though closely connected to, the work they critique. Feedback doesn’t seek to led a separate existence or appeal beyond its usefulness to the book and/or the writer’s other work.

It’s only when I read my first review that I realised how different receiving reviews feels to receiving feedback: how different it is to hear what people think of a book that is done, printed, bound, published and ‘out there’ for strangers to see. It’s certainly more daunting, but with good views there’s enormous confidence to be gained from the fact that they feel permanent because they’re about the finished product. Feedback often feels transient because it relates to a particular incarnation of a work in progress, so it’s harder to decide whether you should store it inside your head to bring out on days when Nothing Works and Everything You Write is Cr*p.

Also, feedback is usually provided by someone with a vested interest in you and/or your work: even freelance editors are not entirely dispassionate, and certainly your agent and editor won’t be. In all three cases, their investment is professional and their feedback is grounded in how they think you book will do: something which will affect their own careers to a degree – at least in as far as their judgement proves correct or incorrect. But reviews are often written by complete strangers. And of course these strangers have their own vested interests in books and literature and all sorts of things – but usually those interests don’t relate directly to the writer. So they feel independent, though they aren’t really any more objective because reviewing is, ultimately, a highly subjective business.

Feedback is invaluable. It’s what makes a writer a better writer. It’s what helps you improve and learn and develop. It’s how you write the best book you can. It’s how you fix problems with a flawed draft that could be a great book. It’s what keeps you going.

But reviews are what you measure your work against. Have I suceeded in writing the book I wanted to write? Did I really communicate the things I wanted to? Have the key issues and questions come across? Has the book worked? Do people like it? Feedback gets you to the point where reviews can give you the answers.

So here, with huge, enormous thanks to the wonderful people who took the time to read my work and write down their thoughts, are the initial reviews for The Bone Dragon. Thank you all ever so much.

Read the first 15 pages at Sugarscape or Wondrous Reads.

The Bone Dragon is in the running for the First Book Award from the Edinburgh International Book Festival and eBooks by Sainsbury’s. If you like it, please vote here by 14 October 2013. If you want to hear more first, why not come along to hear me speak with the brilliant Tim Bowler at the Festival: 25 August 7-8pm.

The Bone Dragon is on the Financial Times Summer Books Guide! “… Beautifully written, poetic and haunting, this is a superlative debut.”

Edinburgh International Book Festival: “…The Bone Dragon is a modern dark fairytale that straddles Adult and Young Adult genres of fiction and has garnered significant praise from literary critics. … The Bone Dragon is a novel that thrives on ambiguity, and Casale is extremely proficient at using it as a literary device. The nature of Evie’s abuse is alluded to but not immediately explained, leaving the reader’s imagination to run riot with what she might have suffered. Similarly, it remains unclear whether the dragon has really been magically brought to life or whether Evie’s active imagination and internalisation of her trauma is responsible. Perhaps the Dragon is just a manifestation of her desire to be brave and take control of her pain. Either way, it is an excellent method of driving the plot forward and allowing Evie to grow, plus the addition of a fantastic supernatural guide steers the novel away from angsty, kitchen-sink tales of teen abuse and into far more poetic and surprising territory.”

Geraldine Brennan, The Observer (The Guardian) reviewed The Bone Dragon alongside Malorie Blackman’s Noble Conflict, Emily Murdoch’s If You Find Me, and Natasha Farrant’s After Iris in the Summer 2013 Teen Books roundup, calling it “a striking debut novel”: “The metaphor is not overlaboured and the dragon breathes fire into the fantasy adventure episodes, which have a flavour of Alan Garner.”

Suzi Feay, Financial Times (5th May 2013): “In a beautifully crafted narrative that constantly confounds expectation – her friends are kind, her foster parents are saintly – the final act is anything but comforting. Sometimes anger and vengeance aren’t just understandable but essential tools for survival.”

Michael Codron: “A work of startling imagination, that holds you to the last page.”

Wendy Cooling: “Loved The Bone Dragon, gentle and wonderful and hard to put down.”

Lindsay Foley, Weekend Editor Sugarscape: “Absolutely hypnotic”

Mary Byrne, Hay Festival’s Children’s Programmer: “[Alexia Casale] writes beautifully – a complete pleasure to read”

BookTrust: “There are numerous young adult novels dealing with dark subjects such as bereavement, illness and abuse, but The Bone Dragon stands apart from the crowd. Bold, brave and often unsettling, this tale of a teenage girl profoundly affected by a past that she cannot talk about – even to herself – is also both understated and beautifully-written. As well as dealing with challenging issues, with its positive and thoughtful depiction of adoption and adoptive parents, it is a tribute to unconventional families and friendships of all different kinds. An intriguing blend of psychological thriller and fantasy, this is an impressive and unusual debut.”

Sugarscape: “If you like a book that’ll make you think then The Bone Dragon is definitely one for you. Unsettling and at points uncomfortable, this clever novel gives insight into the bruised mind and makes you ask the question; where does reality end and fantasy begin? … Chilling and utterly hypnotic, this will leave your mouth wide open and every bone in your body tingling as it reaches its chilling conclusion.”

We Love This Book, review by Tracy Eynon: “This powerful opening scene is the beginning of Evie’s acceptance and understanding of her past. … This book is the debut of an exciting and mature young writer who shows real skill in writing about the little details of life, bringing a realness to her characters and making the situations she writes about so very believable. The Bone Dragon is a story that combines escapism with the acceptance of reality; of coming to terms with the past by embracing the future. Intriguing, compulsive and wholly absorbing, Evie’s tale is beautifully told and is ultimately warm and uplifting. Written by a young writer who has struggled with dyslexia it is also extremely inspiring, and a rewarding read for both young and older adults.”

Luna at Luna’s Little Library: “The Bone Dragon is wonderful, magical, touching, mysterious, fantastic, unique and so many other words I could use. I love this book. It will be a story that will forever have a special place in my heart. … there is so much about Alexia Casale’s book that is truly outstanding. I feel I should be filling pages of how effective and beautiful her writing is. … Evie is a rare gem in narrator, both lovable and true. … The Bone Dragon is special. Read it.”

The Bone Dragon is among Luna’s ‘Top Ten Books I’ve Read So Far in 2013’ and was also Luna’s Book of the Month #12. And it has lovely mentions on Stacking the Shelves #40 and is on the VIP Bookcase. Luna also talked about The Bone Dragon in her Around the World post at Falling for YA. Luna was the first person to read and comment on The Bone Dragon and has been so amazingly generous in telling people about the book and giving it space on her blog and in guest-posts for other blogs. Thank you *so* much.

Michelle at Fluttering Butterflies picked The Bone Dragon as her Book of the Month for June! “I absolutely loved this book. It’s been a long time since I’ve read a book that had such an emotional impact on me. I loved that while The Bone Dragon does contain some darker elements to it, it is still very much a book about healing and about love. I loved how fantasy and reality twined together in this story, I loved all of Evie’s relationships with friends and family, I loved that I was able to connect to it in such a fierce way. I really recommend that you find yourself a copy of The Bone Dragon by Alexia Casale sooner rather than later…”

In a recent guest-post introduction, she also provided a further ‘snapshot’ review: “I can say that without reservation, The Bone Dragon by Alexia Casale is my *favourite* book that I’ve read all year. I loved it wholly and completely and I absolutely fell under its spell.  I thought it was emotional and beautiful and I really do recommend that you go out and immediately and read it.”

Jake Hope, Lancashire Libraries: “I read it in one sitting and found it utterly captivating and beguiling. The manner in which juxtaposed issues of abuse, neglect against those of family, friendship and belonging were deeply impressive and highly affecting. The dragon which Evie carves with the help of Uncle Ben feels an excellent analogy for the level of meticulous detail and craftsmanship within the story, with its careful interplay between gritty realism and magic.  It feels like a fable for our time, highlighting the way in which our pasts continue to exert influence over our present. I’m going to recommend it to our Virtual Schools team who look after the education of children who are looked after in residential care, a lot of the experiences and feelings that Evie undergoes will resonate particularly with these young people and I think it could definitely help to contextualise their own lives and pasts.”

Katie at Storytellers, Inc.: ” won’t explain how a rib becomes a dragon, or how it opens up the nightscape to Evie, who is so often crippled by pain in the daytime but comforted by the sharp feelings of being alive and awake in a world that should be confined to dreams. The dragon is more important to Evie than it is to her story. And that’s sort of what makes The Bone Dragon that much more interesting that other books that deal with this subject – ‘this subject‘ being domestic abuse – because really we learn very little about what Evie has been through. Casale doesn’t even think about dwelling on the details in that uncomfortable way that those ‘tragic life stories’ so proudly advertise (surely more sick lit than any John Green!). Yes Evie has had a traumatic time but she doesn’t want to talk about it, to her friends or to us, the reader. It’s a brave move that might leave some readers feeling a little (wrongly) mystified; but for me it’s the stand-out feature. Evie is a sweet narrator, honest and endearing and she doesn’t ever really sound like a victim because she’s constantly reminding herself how loved she is now, firmly putting the past behind her and trying not to let it ruin the life in front of her. She’s also wonderfully youthful, which sounds a strange thing to say about a 14 year old and of course may well be a side effect of the abuse she has suffered but she’s in no hurry to grow up and that is so refreshing. … Phee and Lynne have their own serious problems too so it’s unfair to write them off as sideline airheads and Evie wants (needs) their friendship more than she initially realises. Again this is a smart underplaying of a serious topic; Casale’s simple subtlety speaks volumes. Overall, it’s an impress debut and I’m already looking forward to seeing what comes next. For a book so full of ‘issues’ it comes less like a punch in the face and more like a slow creeping presence. The Bone Dragon enters quietly in a dignified puff of dream-like smoke and the gentle pull of his unusual tale might curl around your consciousness for days after you’ve finished reading.”

Laura at Sisterspooky: “I utterly adored this book because it gave me a way of understanding what it’s like to struggle with issues as big as these without ever having experienced them personally.  That’s a real credit to the writing ability of Alexia Cassale.  She’s a hidden gem of writing and I’d be surprised if this book doesn’t get continual praise upon its release date.  It really did break my heart at times seeing Evie struggle so much even after all she’s been through.    The fantasy element really is such a clever way of discuss issues that are so difficult to approach because they are just that awful to even think about.  A truly wonderful book that has the power to make you wish for a bit of magic to exist in the world for those that need it.”

Chrissi Reads: “I was really impressed with The Bone Dragon. It’s such a great debut novel, it felt like Alexia had been an established writer for years. Her story-telling skills are so impressive. I didn’t expect to be moved as much as I was by this story and particularly Evie. The Bone Dragon is a raw and powerful story which for me, could’ve easily been longer and I would’ve still loved it. It’s got a wonderfully magical element which really works. … Alexia Casale has created such a wonderful, interesting character with Evie. She makes the reader really take Evie into their hearts. I’m so surprised at how much I loved Evie. I felt like I knew her. She had that much depth and credit has to be given to Alexia’s talented writing skills because of this! The Bone Dragon is a perfect mix of mystery, magic, pain, loss and truly lovable, relatable, real characters. I wholeheartedly recommend it.”

Betty Maguire at INIS: “The story’s opening, with Evie awakening in hospital after having a section of her ribcage removed, immediately grips the reader and draws them into the plot. Throughout the novel the author makes excellent use of the narrator’s voice, while the other characters are distinctive and realistic. … One of this book’s strong points is that not all of these questions are resolved at the end and the reader is left to ponder and to try and resolve some of those issues … Difficult themes are tackled in this story such as abandonment, abuse, betrayal, bullying and  vengeance, which is skilfully reflected  through occasional references to Hamlet. This is not an easy read, but it is a very worthwhile one.”

Annabelle Hammond at Read, Write and Read Some More: “The Bone Dragon is such a powerful debut novel. …I wasn’t expecting such a raw and powerful story with such a strong main character. Alexia Casale has shown that she is a talented writer who can pack such an emotional punch in her prose. The Bone Dragon left me wanting more, I couldn’t believe when it ended, I wanted the novel to continue so I could learn so much more about Evie. It’s an emotional ride that’s mixed with mystic and magic, set against the vivid backdrop of the fens.  … I am still surprised at the sheer depth to the character and how real she felt. It really feels like I know Evie after reading this book. She is an unforgettable character and one that will stay with me for a while yet. … The Bone Dragon is… There are so many ways I can start this sentence but none of them seem to fully fit the emotion and power this novel has hidden in its pages. You have some incredible characters that are all so realistic, each with their own little flaw.  I particularly liked how Evie could tell by certain things that her adoptive parents were lying. It’s these small details that add to the depth of the storytelling and make it even better. If you’re looking for a promising new writer, then Alexia Casale is the one you want. The Bone Dragon has the correct mix of mystery, pain, adventure, happiness and of course an enchanted dragon. It’s a book that, not only will you enjoy, but it will also stay with you for a long while. So there you have it, I don’t even want to say goodbye but this review is already long. The Bone Dragon is simply a book that you should all read.”

BookBabblers: “The Bone Dragon is an outstanding debut novel by Alexia Casale. It is a dark, magical story about fourteen year old Evie who has to undergo major surgery and have a rib removed. … It is an absorbing plot that blurs reality and fantasy, I was completely hooked. Friendship is also an important aspect of the novel and the relationship between Evie and her two close friends Phee and Lynne is prominent throughout the book. This is a beautifully written book that is full of mystery, suspense, friendship and hope. It is a powerful read that is like a modern day coming of age story. I did not want to put it down and can’t stop thinking about it now that I have finished. I loved the cover of this book, it’s one of my favourite covers of the year so far.”

Children’s book of the week, Dudley News & Worcester News (25th May), review by Lynley Myers: “The Bone Dragon is an enchanting young adult novel steeped in mystery, and will keep young readers guessing until the very end.”

Emily Gale at Readings (Australia): “Evie’s voice convincingly navigates us through both her wisdom and her anguish. At 14, she’s suffered more pain than many of us will in a lifetime, but this is no misery memoir. Through her dream-like visions and the difficult conversations she has with those trying to help her adjust, we learn just enough of her past to understand what she’s up against. However, the focus is on dealing with the present. … While the dragon is a regular fixture, overall the story is fairly light on the magic realism elements, leaving just enough room for the reader to interpret what is happening.”

Editor’s Choice: Trinity Hall College (Cambridge)

Lauren Smith at Violin in a Void [SPOILER ALERT!]: “At first glance, The Bone Dragon looks like a fantasy novel, but in truth it’s more a psychological drama that walks a fine line between fantasy and realism. … It does however, make The Bone Dragon one of the most sophisticated and psychologically compelling YA novels I’ve encountered. As I read, and then as I went through my review notes and re-considered the story, I was increasingly impressed by the psychology of Evie’s character. … I was struck by how dark this novel. It’s not something you notice at first glance. After all, it’s not bleak. Evie is strong, she’s recovering, she’s got a wonderful family. The plot isn’t depressing: there are many happy moments with Evie’s friends and family, we see her work through her problems, and of course she has her magical dragon. And as I mentioned, you don’t relive the abuse with Evie. But there are grim, brutal things that very quietly crawl in under your skin. … Then there’s the ending, which I think would could spark and interesting discussion because that’s where the issue of the dragon’s reality becomes the most important. I think these things creep up on you because it’s not a dramatic book. It just calmly gets on with its very serious, painful and even shocking subject matter, while making room for the positive, heartwarming stuff too. And then it stays with you for a while after you’ve finished. I like Evie more than a lot of YA characters I’ve read, even though she scares me a little. The Bone Dragon is also a more mature and emotionally complex kind of YA than the kind I normally find myself reading, and I appreciate that. Not that I necessarily prefer all my books to be grim, but it’s good to see the genre handling something with such gravity too.”

Catriona Morrison, Waterstones: “An outstanding and heartwrenching adventure What a wonderful, magical and touching book. Evie is a character worth remembering forever.”

Waterstones Picadilly Circus, in-store review: “A magical story about love, friendship and survival. Absolutely Spellbinding..”

Another Waterstones Bookseller review: “How dark is The Bone Dragon?! I was completely taken aback by how well written this is; the descriptions of Evie’s midnight walks with the dragon are stunning. A really unique blend of fairytale and brutal real life. I love that teen fiction is getting a bit more serious”

George Hanratty, Tales on Moon Lane Bookshop: “Alexia Casale’s debut novel is powerful, compelling and moving. I couldn’t put it down.”

The Bone Dragon was also a Staff Pick at Dubray Books for the week June 24-June 30.

Hive’s Recommended books to read this month: “is it for the young adult or the adult? Well I truly don’t know. … [I] feel quite justified in endorsing this as a credible read for both. Evie is 14, she is adopted and her adoptive parents are loving and kind but, and this is a big but, they also have a tragic back story and this is what makes this such a great read – is it a fantasy/fairy tale, is it a psychological thriller, is it about being a teenager and rebelling? It’s all three plus a lot more. … I hope you will read this, as one of many debut writers for 2013, Alexia Casale, has written a most unsettling and challenging novel and deserves success.”

Bibliobeth: “This was a stunning, gripping piece of work that I couldn’t believe fell into the realms of YA, as it’s been a while since I’ve read a YA book with such passion and beauty. The magical undertone I’m always a bit of a sucker for, but it was the style of writing and the blend of both the information you are given and that which you have to work out yourself, that had me hook, line and sinker. My favourite characters were Evie, her Uncle Ben and the Dragon (obviously!) which were beautifully realised and completely compelling. … [a] rich and captivating tale. Would I recommend it? But of course!”

Droplets of Ink: “Unsettling, revelatory and reflective in equal measure, this is a carefully plotted and reflective debut novel by a talented new author who is definitely one to watch.”

Victoria Park Books: “very unpredictable and v edgy. U don’t which way she’ll jump.”

The Bone Dragon selected as one of the top YA reads in May for Mr Ripley’s Enchanted Books Blog

Emma Carroll (author Frost Hollow Hall): “I couldn’t wait to read this book, and it didn’t disappoint. Right from the first page, I knew I was reading something special. The first person narrative powers along, making you feel Evie’s every twinge. Yet don’t be fooled- this is not a straightforward redemption narrative. Evie’s viewpoint is dangerous, often warped by the trauma she’s experienced. At times it’s difficult to trust her; there were moments in this book where I felt genuinely scared for the other characters. The language is poetic, yet for me the most moving parts were where Evie battled to articulate the complexity of what she felt. Oh, and I LOVED the final pages. A very memorable book.”

GoodReads (various), including Karina: “Strange and beautiful and fierce and dark, this is a wonderful twist on the coming of age narrative. Just brilliant – go read it!”

Amazon (various), including Lysistrata [mini SPOILER ALERT]: “This is an astonishing book, life-enhancing and beautifully written, ostensibly for Young Adults but with the power to enchant and move older adults as well. … The nature of the horrors Evie has been through are never spelled out but their consequences are. … It is totally original and does not follow the trend for vampires or dystopias. It is much more frightening. It shows the raw emotional power of a very angry young woman who is right to be angry with a world which has colluded in mistreating her. There is a spectacular and satisfying ending … The psychological depth of the book will intrigue adults; younger readers can revel in the fantasy of owning a Dragon.”

and bookmoviefantatic: “Never judge a book by its cover or title. This is good book but a sad story of a teenager thats suffers horrific abuse.”

and MissFusspot: “This is a very interesting and compelling story, with some almost magical moments. I am not a big one for fantasy/mystical type stuff but this somehow crosses the boundaries for those of us who are a bit sceptical about that kind of thing. Some of it is set at night time in the Cambridge fens, and after reading it you almost feel like you have been out there yourself. It reminded me how amazing it can be to be around nature and to just let yourself experience what’s around you without the usual everyday distractions. There is enough room for you to use your imagination with this story, and some of it feels almost cinematic – but certainly not too in-your-face. I could really believe in the main character, Evie, and wanted to know how things turned out for her and how she would deal with all that was happening in her emotions and her life. It also had plenty going on with other people and events aside from Evie’s inner life, which helped drive the plot and keep you turning the pages. I found the ending pretty pleasing, and while you don’t find out everything, there is enough of a punchline to make you feel satisfied, and it is quite a witty conclusion. I would definitely recommend this book, and I may well read it again. I am 43 but I didn’t really feel like I was reading a book for teenagers. It is a book with a teenager in it but anyone can enjoy it. … PS Don’t buy the kindle version, the actual book is beautiful…I regretted getting the kindle version when I saw the actual one!!”

and A Philosopher: “The Bone Dragon, by Alexia Casale, is an expertly crafted page-turner. At first pass it appears to be a modern day coming of age story about a fourteen year-old girl coming to terms with the abuse she suffered in the past, aided by a feisty magical dragon. But The Bone Dragon is so much more. As an adult reader, I found much in this book to stimulate reflection and discussion. … The author’s clever use of layers of meaning and subtle hints (e.g. the meaning of flowers) blurs the boundaries between reality and imagination. … I rarely keep books of fiction but this is one I will find a space for and come back to read again as I think I will find new insights with every reading. I will also buy copies of this book for my younger friends”

Buy it now from Waterstones, WHSmith, AmazonUK, AmazonUSA (Kindle only for now), the Telegraph bookshop, Sainsbury’s e-books, Lovereading4kids, Barnes & Noble (USA, Nook only for now) and of course don’t forget your local independent bookstore (click here to find a bookstores near you in the UK or here for the USA).

The Bone Dragon Blog Tour graphic

The Bone Dragon Blog Tour

The Bone Dragon goes on tour! A whole range of posts, interviews and even the first 15 pages, hosted by amazing bookbloggers, magazines and book organisations. Thank you so much for giving me these wonderful opportunities to connect with people to talk about books and witing!

On May 13th, Jo Stapley interviewed me on Once Upon a Bookcase.

On May 14, I discussed whether characters should be consistent with BookBabblers. BookBabblers also reviewed the book here.

On May 15, Laura at Sisterspooky hosted me talking about how photography helps me to write. She also reviewed the book here.

On May 16, INIS interviewed me about The Bone Dragon, how many script-consultant work influences my writing, and about what I’m working on now. Betty Maguire also reviewed the book here.

On May 17, Jenny from Wondrous Reads made the first 15 pages available to read for free: a nice alternative to Amazon’s ‘Look inside feature’, especially for talking to independent bookshops about the novel! Read it here.

On Monday 20, Meg from The Book Addicted Girl hosted me discussing whether themes such as abuse and violence are ‘too mature’ for the YA audience. Look out for Meg’s review too, coming soon.

On Tuesday 21, Julie and Lanna from Bloggers [Heart] Books hosted a writing-advice post on when to get feedback: ‘I don’t want your opinion yet!’

On Wednesday 22, Vivienne from Serendipity Reviews let me join in the fun of discussing books I loved as a teenager as part of her ‘YA from my Youth’ series. Do check out the other fab posts in the series too!

On Thursday 23, BookTrust hosted me discussing how I think difficult themes like abuse and violence are best handled when dealing with a YA audience. There’s also a review here.

Thank you so much to all the wonderful book people who hosted the stops along the tour. Thanks also for all the lovely reviews! It’s been so much fun working with you all. Hope to do it again soon!

The Bone Dragon Blog Tour graphic

Autumn leaves

NaNoWriMo?

Recently, one of my students asked about whether she should give NaNoWriMo a go. My answer: yes.

There was, however, a significant ‘but’. My take on NaNoWriMo is that anyone who is interested should give it a go but, in doing so, it’s best to focus on enjoying yourself. Don’t worry about whether you’re producing something that will be publishable. Just produce as much as you can. Practice your craft.

I’ve never done NaNoWriMo, but I have written several full-length drafts in a month. It is doable. Whether it’s a good idea will depend on the writer and on the project in question. But for anyone at the start of a career, it’s a great idea for one key reason: it involves producing lots of material. 

I am always amazed when people ask me to explain what I’m talking about when I refer to the many, many ‘practice novels’ I wrote (and those I started but abandoned) from the age of 10 through my teens. I’ve wanted to write since before I can remember, but I always figured that if a pianist wouldn’t play a piece all the way through for the very first time at her big concert, then why should a person trying to become a novelist think that their first attempt at producing a book would result in anything publishable? It works out for some people… But not for most.

In any case, even if you do have the natural talent needed to pull it off, developing your skill and craft through practice and hard work is only going to improve what you can achieve through instinct. As I tell my students, don’t worry about whether you’re talented. There’s nothing you can do it about it. Focus on what you can change: your mastery of technique and craft.

When I teach writing, I try to show my students that the very best way to learn is to via an apprenticeship approach. 

  • Write.
  • Get feedback.
  • Use the feedback to write something better.
  • Get new feedback…

Practice doesn’t just apply to sports and music. It should apply to writing too. So even if what you produce during NaNoWriMo is rubbish, don’t think of it as wasted time. Think about it as practice.

Just don’t expect one novel to be enough practice. It may seem like an awful lot of work, but is it? If you were a musician, would the number of hours you put into the book have been enough to make you a professional?

Writing is so subjective that you can’t expect practice to make you perfect. But it will make you better.

I wrote over a 1 million words worth of practice projects before I tried to write my first novel for publication. Why?

  • Because I’m a obsessive workaholic, over-achiever. Maybe I’ve got talent, maybe not. Nothing I can do about it. But I can – and do – choose to be a hard worker. 
  • Because I figured writing a publishable novel would be hard enough without also having to learn the technical skills needed to write something of that length.

Just writing a coherent story that spans 300 pages is a huge task. Do you really want to have to master the basics of that while also trying to write amazing prose, create a compelling plot with a solid build to an intense climax, and also figure out how to develop your characters? Well, maybe you do and fair enough, but I certainly didn’t. I wanted to know how to write a functional narrative and decent, functional prose before I worried about creating anything good enough to be published.

Practice will be you a decent writer. Graft and talent will make you a good writer. All of that and a bit of luck will make you a published writer.

You can’t control luck, just as you can’t control talent. So work on what you can control: how hard you work.

dragon symbols

Beyond the proofs

Somehow, we’ve ended up here, in October and my work on The Bone Dragon is nearly done.

The second proofs are being prepared. The big new thing is the addition of a special scene-divider symbol in place of the basic *. My wonderful project editor, Lucie, said she’d come up with several to discuss and I asked if – pretty, pretty, please – a dragon could be one of the options. The Wonderful Lucie sent me these.

dragon symbols

dragon symbol

I can’t wait to see the new proofs with all the dragons in them!

At this stage, it should just be a matter of checking through to be absolutely sure that no weird computer glitches have introduced errors since the last proof… and to double-check-squared that there aren’t any little mistakes. No other corrections are permitted. Which is a relief. I am ready to move on. I’ve done all I want creatively with The Bone Dragon. It’s time for a new project.

… Actually, it’s proven time for several. I’m re-writing several ‘old’ manuscripts and I’ve also started something completely fresh. But more about that in a separate post.

For now, I need to sit tight until the second proofs arrive and then check them as quickly as possible because after that… copies for early review will be printed. I was equal parts excited and terrified about this but all of a sudden I can’t wait for people to read my wicked little book. Whatever anyone else thinks or says, I’m happy with it. It’s even better than the book in my head – the first time I’ve ever felt that with a manuscript. It’s exactly what I wanted to write.

And of course I want people to love it, but I’ll be OK if they don’t so long as they’re not nasty about it. If someone points out legitimate flaws, then I’ll learn from that. If they just don’t like something, then fair enough. But if someone doesn’t judge the book on its own terms, I’ll find that really hard – mostly because reviews aren’t a conversation. They’re rhetorical statements: authors aren’t expected to reply.

So what do I mean by ‘judge the book on its own terms’… It’s easier to explain with reference to non-fiction. When you submit an article to a peer-reviewed journal, all identifying info is removed from the article and then it’s sent out to three or more specialists in the area to see what they think. They write a review to say whether the journal should publish the article. As a journal editor, I know all too well how often reviewers disagree – and disagree dramatically. But the thing I found hardest as an author wasn’t rejections based on flaws in my work, but the one review where the ‘specialist’ basically said ‘You like orange and I think green is better’. I was writing about dyslexia. It’s a tricky field as no one agrees on what dyslexia is. I was using one of the ‘industry standard’ definitions… But it wasn’t the one the reviewer preferred. The reviewer believed that dyslexia is a reading disability – I don’t agree. I believe dyslexia results in reading disabilities, but I see those as a consequence of more basic, cognitive processing differences.  Uta Frith has done some fantastic work about rhythm, sequencing and insensitivity to the frequency of vowel sounds as the root of phonological deficits.

Anyway, my research supported my views about what dyslexia is. Unfortunately, the reviewer wasn’t interested in the substance of my work. Instead of pulling apart my methods, results and conclusions to show how I was wrong and he was right, he used the review to criticise my approach to studying dyslexia – even though my approach was more inline with the bulk of the literature than his. I am still furious about the review because I didn’t feel like the reviewer judged the article on its own merits.

And that’s the one thing I’m really worried about review-wise with The Bone Dragon. But there’s one big difference between that experience and this. The article was rejected on the balance of that review. All the other reviews had suggested the article be accepted with corrections or revised and resubmitted (for further review). All the other reviewers made legitimate criticisms about the article, which I then corrected when I submitted elsewhere. Unfortunately, by the time that happened the research was in danger of getting out of date so I chose to submit it (now in the form of two linked articles) to my university’s online journal (read article 1 here and article 2 here). A lot of participants had given up their time to the research: I had to get the findings published, even if it wasn’t in my ideal choice of journal. The big plus side was that my work supported the launch of a new open access journal. I’m a big believer in open access publishing for academic work, though I do concede that finding sufficient funding is a real challenge: the EHRR, the journal I edited, was also open access, so it was nice to support that movement as an author.

The point here is that, even if I do get what I feel is an unfair review, I’ll be able to hold on to the fact that it’s a review of a published book. My published book.

And maybe they’ll be good. I love my wicked little book… And I now have an agent and publisher who love it too, so maybe – just maybe – other people will love it too.

But I guess we’ll just have to wait and see. Fingers crossed! Wish me luck.

multi-coloured plant leaves and shoots

Copy-editing 101 for Authors

Just realised I gave a lot of detail about the copy-editing process, but not much about the big picture. So…

Copy-editing means slightly different things to different people. However, as a rule, it includes both proof-reading (checking for grammar and punctuation errors, logical inconsistencies and awkward/ambiguous phrasing) and formatting using a house style (i.e. a document specifying how different things should be formatted and how ambiguous grammar issues should be dealt with) or an established style (e.g. Harvard referencing, AMA, etc.).

Most publishers have their own house style, which will be broadly in line with one of the major styles of formatting, especially as regards referencing (if this applies).

So, Faber prefers ‘Sonny Rawlins’s pen’ rather than ‘Sonny Rawlins’ pen.’ Also, Faber would prefer ‘it twitched and twisted as if she was trying to be funny’ rather than the traditional rendering of the conditional subjunctive ‘it twitched and twisted as if she were trying to be funny’ (I have a strong preference for the latter so we went with that in the end). Some of the hyphen issues I mentioned before may also be partly house style issues, though it looks to me that it’s a strict adherence to the Oxford English Dictionary rules (the industry standard) for the most part.

Basically, the copy-editor smoothes and tidies in terms of grammar, punctuation, formatting AND content. It’s a pretty tall order.

The tricky bit is how much a copy-editor should comment on content. While I do the odd little bit of copy-editing (if a client asks me to format a reference list or make sure an article is broadly inline with a journal’s house style), most of my work involves more in-depth editing… So it’s expected that I’ll delve into the content quite a bit. But, to be fair, I find it hard not to anyway.

My take on editing of any sort is that if you tell clients and students everything you think could change, then they can examine the possibilities… all the possibilities. All the ways things could be different. Of course, they’ll accept some changes and reject others, but they’ll have had the opportunity to double-check more of the decisions that went into the writing of their work. And I think that’s always a good thing. A comment challenges the way you’ve done something. It makes you think again about whether it is the best way. And why it’s the best way. And that may help you improve other elements of the book or article or whatever the document is.

One of the things that really impressed me about Eleanor was what a light touch she had with her copy-editing. She picked up a lot of little things… but she was very respectful of the book and seemed to have a strong sense of my aesthetic and when I’d make an unusual choice that was entirely intentional. Punctuation is a good thing to look at here because there are rules, but they’re not as rigid as people sometimes think, especially in fiction. For instance, in fiction, it’s fair enough to have sentence fragments.

Amy’s voice. Soft and warm, like the blankets, like the bed.

Amy, not Fiona.

A sigh. My own. The air is hot and sharp with the smell of chemicals.

This could be punctuated in various ways. There are things that can’t and won’t work – though students often think that in fiction you can break all the rules of punctuation, rather than just bending some of them – but there are also plenty of acceptable options.

Before the copy-editing process started, I was worried that my copy-editor would want to change some of these things to other, acceptable options… But Eleanor didn’t touch anything that fell into this category. And I really appreciated that.

Ideally, the copy-editing process should involve dialogue between the copy-editor and author, plenty of compromise and some negotiation. If there’s a rule about something, and there isn’t an acceptable alternative, then don’t fight a change to uphold the rule. If the copy-editor thinks you haven’t been clear, maybe you really haven’t. But just occasionally there will be something you don’t agree on that you think is important, and then you just have to say ‘Please can we keep it as is.’ If you’ve not been difficult, and if there isn’t a true error at stake, it shouldn’t be a problem.

On the whole, though, I’d assume that most comments merit a change, even if it’s not exactly what the copy-editor is suggesting. Maybe she has spotted an error, but the correction just doesn’t sound right to you. So correct the error in a different way. But do correct it.

And there you go. My take on ‘Copy-editing 101 for Authors’.

How about you? Have your experiences been similar or have you had the bad luck to have a heavy-handed copy-editor?

butterfly and lavender

Everyone should have a project editor

When is it? Ah… I see. It’s the very last day of July. And the universe (via Faber) has brought me a present for the new month: my very own project editor.  (Well, not brought in an I-now-own-this sort of way, but I have a project editor none the less.)

Everyone should have one. They’re wonderful. They organise things. Many, many things.

I have been especially lucky with my project editor, Lucie, who – [fast forwards a few weeks] – has arranged for the amazing Eleanor to copy-edit my book brilliantly and very, very quickly.

So, we’re… er… mid August? Yes, something like that. Somewhere in the second half of August and not only do I have a project editor and copy editor, I have a copy-edited manuscript.

Eleanor has cowed Microsoft Word into submission and made the formatting behave throughout the entire document. I am suitably impressed by this feat alone. But there’s more.

She’s also sorted out my hyphens. I didn’t realise how bad I was at hyphens. I swear it wasn’t quite this bad not so long ago. Perhaps it was. Or perhaps this is one of the things I ‘lost’ when I had the latest rib taken out. Every anaesthetic I lose a few very precise things from my memory (the time before it was Latin flower names and things to do with architecture). It’s not that I forget these things, they’re just gone: no memory trace whatsoever. Anyway, I don’t know quite whether to hope I ‘lost’ my hyphens or whether I was just rubbish at them all along. Perhaps I’ll compromise with myself and just say ‘it’s one of those things that’s hard to spot in your own work’. That seems like a happier way of putting it.

Eleanor has also found a horrid number of sentences with repeated words. I’m generally so good at spotting these when I edit for other people… how can I have missed quite so many in my own work? On the bright side, Eleanor has spotted them so I can now sort them out before quite so many people see.

Hm… typo… typo… Wow, how did I miss that one?

Interesting: a three page allergy to the definite article. (What was going on there? Perhaps I don’t want to know… moving along, moving along…)

Ah… I see how that might sound a little odd to other people. But I hear it like that. Maybe it’s some dyslexic-ness in terms of the weird way I perceive language rhythms, but that’s how that sentence sounds to me. Even if it is a little dyslexic-weird, maybe non-dyslexic people will find it interesting anyway. After all, that’s how I hear it: that’s part of my voice. And I am careful not to go overboard with my weird way of hearing things. The majority of sentences need to appeal to a wide array of readers: a writer should only keep the odd one that exactly represents the stranger bits of her inner voice. But this sentence is *me*. This represents exactly how I hear things. This one I get to keep.

An awkward sentence. Yes, it most definitely is. All change, please!

In or into… Should theoretically be in, but into is acceptable and I like how it conveys motion, whereas ‘in’ is static.

Tenses, tenses… Some tricky ones here. A recounted story that includes a note about a general personality characteristic of someone still alive. Should that be in the same tense as the rest of the story-within-the-book, or does it go in the tense of the main narrative because the character is still alive and still likes flowers? As for some of the others… the book deals a lot with the fact that the past and present aren’t always that separate… For me, that needs to bleed into the grammar. But making sure that the grammar serves the story and doesn’t confuse when there’s a slip in time, and so in tense, is not easy.

This bit of reported speech doesn’t repeat the original bit of dialogue… Nope. But it *is* intentionally different. The change in the reported version is quite telling. At least I hope it is.

With my Uncle Ben or with my uncle Ben? I’m a traditionalist. The former it is because the latter, for me, would require a comma before ‘Ben’ and I don’t like it like that.

What else? Oh… a flaw in the time line. A great big one.  I *knew* something wasn’t quite right there. Fixed. With surprisingly few changes.

A nice little bit of logical inconsistency. Possibly it’s not good for the soul. Let’s see if we can’t make that make sense.

Oh, and a nice dash of ambiguity…

And a nice little lack of clarity… Where are we in this scene? Oh, yes. There we are…

Hm… is this bit of dialogue forced? I think it won’t be if I just push a little harder here, make it clear to the reader that there’s meant to be some awkwardness by making it even more awkward. Yes, I think that works. And I love the characterisation of the bit-character now that I’ve brought all that awkwardness into the light.

Oh dear. People are spilling things left, right and centre. Or rather I’ve spilled lots of spillings into a single page. I’d better start cleaning up.

And now the manuscript is looking so clean and tidy! Hyphens all neatly in place. Repetitions scrubbed away… But there’s one change I just can’t even consider. It’s to one of my favourite lines in the whole book. And I *do* see how other people might find the phrasing a bit odd, but I love it. It  says exactly what I mean about something quite hard to describe. Sometimes it’s good to be able to say  ‘I am the author. I outrank you!’ Actually, I don’t say anything at all beyond ‘Please could I keep it!’ because I don’t have to… (and because I don’t know if Eleanor is familiar with The Producers, so don’t want to risk offending her if she doesn’t recognise this as a quotation.)

Every author is bound to find there are one or two changes that they just don’t want to make. The key is to know when something that might not work for all readers is important enough to you to assert your rights over. Think about it as having a handful of ‘free passes’ – a handful of times you can just say ‘no’, even when you acknowledge the merit of your editor/publisher’s comment. Often the comment is right in the broader sense of what will work best for the largest number of readers… But it’s still your book. If there are a few little things you love, and you haven’t been difficult about taking editorial advice, then no one will have a problem with it.

So what was my much-loved lined?

As soon as she says it, we both realise how unexpected the words are: oddly tender, wistful, as if she is lonely for kindness.

What do you think? Do you like it or are you with Eleanor, who would have preferred ‘hungry for kindness’?

White and black butterfly

Are we there yet?

Where were we? I’m having real trouble keeping track of when now is and when it should be. I seem to keep ending up somewhere in the middle. But I suppose that’s better than believing we’re in September (and late September at that), as everyone else seems to think (and I thought I was having bad when-am-I? issues).

Anyway, today is a day in July. Um… Early July. Say the 4th of July, because that’s meant to be a good day for Americans (and part Americans presumably get a pretty good day too). Anyway, it’s the 4th or the 5th or the early-something-th of July and I’ve got a lovely email waiting in my in-box…

Rebecca has reviewed the revised manuscript and… she likes it! She’s happy with the changes!

I scan frantically through her notes to see how much there is still to do…

Change a few words here and there, mainly where words are repeated within the same sentence or in neighbouring ones. I never have any trouble spotting these when I’m editing for other people, but I can NEVER see my own work clearly in this regard.

Hm… here’s a line of dialogue to change. Oh, and one other. This I can cope with! If only it’s just this level of stuff that’s left now…

What’s this? Something to clarify. This I can do! (In about 10 minutes, what’s more.)

Ooooops. Typo!

Ah… The answer to one of my questions… To footnote or not to footnote: that was, indeed, the question…. And now it is answered. (Not to footnote – use your Author’s Note at the end.)

A word that doesn’t work in this line of dialogue.  Another in that. Fair enough.

This new line in the revised manuscript needs some further work: not clear enough. Hm… How can I say it better?

Ah, a nice little slip of logic there: people are seeing things with their  eyes closed. Which would be fine if this were a fantasy novel, but not quite so great in a psychological thriller… Probably they need their eyes open for this.

Oh, and here is a nice little bit of unattributed dialogue. Now who does it belong to? Probably worth specifying since I hate it when other writers aren’t clear (one of my little quibbles with Hilary Mantel’s wonderful Wolf Hall – curious minds want to know, so authors should beware of withholding).

To italicise or not to italicise this one word? Who cares? Whatever way Rebecca likes it is fine with me: she’s the one who has enough distance from the book to see these little things clearly. It’s not like dropping the italics on this single word is going to make a blind bit of difference to anyone’s enjoyment of the book.

Excellent! My character has just skipped out in the middle of the school day for no apparent reason. Or at least that’s the unintended implication. Better make it clear that the chat with the headmistress happens right at the end of the day so she can poddle off afterwards without it being strange that no storm ensues.

Lands instead of alights? I really like alights. Please, please can I keep it?

The American in me is fighting to get out. Run for cover! Garbage invasion! Where’s some good British rubbish when you need it?

Look out! The Inner American is taking charge. Beware the frightful parking lot! Save our car parks!

Ah… This is interesting. A three word phrase that might just give the game away two pages too early. It gets so hard to tell after a while from the ‘inside’ of the book. This is exactly why brilliant editors are needed to tell you (as the writer) how to strike the right balance in terms of giving readers enough information… but not too much.

And there we have it… A few hours worth of work and the book will be done… I hope. Cross fingers!

(BTW, I know the photo has nothing to do with the post but I just really like it… It’s a happy post. It’s a happy sort of a photo. Will that do as a connection?)

So that was my experience of second-stage revisions with my publisher… Is it about par for the course, beyond Rebecca being especially lovely and brilliant? Any horror stories out there?