As good as it gets: writing romance is all about your understanding of love

A while ago someone asked if I could give some advice on writing romance. I sent a reply at the time, but I always planned to expand it into a full post. Here it is. (Of course, because I saved the original message in a safe place, I can’t find it. If you’re the person who inspired this post, please let me know! Also, thanks and hope you like it.)

For me, the key to writing successful romance – whether it’s a romantic novel or a romantic storyline in a thriller or fantasy novel – is thinking about what you, individually, find romantic.

Writers are told to forget the clichés, and this is especially important with romance. Do you find red roses romantic? Personally, I’d be far more touched by a man turning up with a wilting dandelion from the paving stone by his porch. Don’t get me wrong: I like roses, red or otherwise, but it’s not ‘as good as it gets’ for me. And romance in a story should be as good as it gets while still (for the most part) being give-or-take realistic.

So what would be better? Does the guy turn up with a whole rose bush because the girl or guy he’s trying to impress likes gardening? Does he bring a cutting from a bush he saw the object of his desires admiring? Does he bring a planter of different herbs because his love interest adores cooking? Or an orchid? Or plant feed because actually what the love interest wants is not to kill the plants he/she already has? Or perhaps he brings a plastic plant. Or a dried rose. Or his love interest has terrible allergies so he brings a DVD box-set instead.

Telling a good romantic story is like telling any other story: the characters are all-important. Who is the love interest? What sort of person is he/she? What would he/she experience as truly as-good-as-it-gets romantic?

BUT… you also have to think about the person bringing the flowers. Maybe this is a person who’s a player: if all he’s trying to do is make a grand gesture to get into the knickers of the object of his desire (because it’s desire not affection at stake) then maybe he’ll turn up with two dozen red roses after all, then treat this as payment for sex.

Or maybe he’s clueless. Maybe he’s never thought about romance and is just doing what he thinks he should and has seen in the movies. Or maybe he doesn’t know the object of his affections very well yet and buys tulips when all that does is make his love interest cry about a lost kitten.

So you may want your character to turn up with red roses. But if you do, your story will probably be fairly boring if the love-interest reacts with uncomplicated delight.

And here we’re into character = plot territory. What does Character A bring to Character B? Why? How does Character B react to the gift?

There’s one good cliché to remember when it comes to romance writing: “the course of true love never did run smooth”.

Maybe you’re writing about lust or temporary love rather than ‘true love’ – it doesn’t really matter. But if the course runs smooth you have no plot, no drama and no story. Or at least none that anyone’s going to care about reading.

What are the obstacles in the way? Maybe the roses are intended to help A get into B’s heart/knickers, but actually make that *less* likely than if he turned up empty handed. (BTW, I’m assuming A is male but that doesn’t have to be the case: I just don’t want to dodge two sets of pronouns in one post.)

Stories are all the better when Character A does something to achieve his goal, only for this to conflict with Character B’s goal… or at least Character B’s idea about how to reach that goal, if the goal is mutual. It’s even better if readers can see that what A is about to do is going to spectacularly misfire because they know that B will react badly. The gap between what the characters know and what readers know is critical to most good romance stories. A lot of the process of falling (or not falling) in love is about coming to understand the other person: when readers can see  misunderstandings coming before they happen on the page, the dramatic irony helps increase the pace and the level of conflict. It also helps readers emphasise with the characters. The urge to yell ‘Don’t do that! It’s totally going to backfire!’ can’t help but make us engage at a deeper level with the characters in question and the story as a whole.

So think about how your characters, as much as external forces, can stand in each other’s way. The best romance stories don’t see us wincing as Life and Fate and Other Things come between two people in love… the best stories occur when the two people in love (or in the process of falling in love) are their own obstacles.

So let’s come back to my key to writing romance: what makes romance ‘as good as it gets’ in your eyes? Just remember not to try too hard. Don’t sit there thinking ‘What is the weirdest thing Character A could bring Character B’ as a way to be different and unique. It might be a good way to be funny, but it isn’t a good way to the heart of romance.

Romance is ultimately about what you think the process of falling is love is. What really matters to you about falling in love and staying in love? What has experience taught you are the ways people succeed or fall down, and at what points? What are the secret highs and lows and joys and disappointments no one seems to talk about?

Everyone has their own secret list of beliefs about love – their own sense of hard-won wisdom – when it comes to love and romance. Use that as the heart of your story. What is the ‘as good as it gets’ version of that? How can you put obstacles in the path of that ‘as good as it gets’? How can you make your lovers their own obstacles? How can you show what you’ve learnt about love?

So forget the clichés. Think about what love and romance mean to you. Now write about that.

 

 

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World Building: Starting in the right place

I’ve been thinking about this for a while now, but Hot Key’s question today on Twitter pushed me to get on with writing about it, not least because I’m determined to start blogging more regularly again.

What Hot Key wanted to know was how you build a world. It’s not something I’ve done in The Bone Dragon or in MoB (i.e. Book 2). But it is something I’m doing in several of my upcoming novels so it’s been on my mind a lot.

It’s so easy, when you think about building a world, to start with place. That’s what a world is, at base, after all. Isn’t your first image, when you think the word ‘world’, a planet or a map or something of that sort?

It’s a lot of fun to let your imagination conjure up mountains, deserts and seas… vast cities and picturesque villages. What a lovely afternoon you can spend peopling them with fantastic creatures from myth and fairytale or just from your own mind.

But none of this is going to help you write a really good book. A good book starts with a good story. And story is not place. The setting may be hugely important, but usually because it’s almost a character in its own right.

And there’s your answer about where to start: character.

Build your world about the characters you’re going to write about. What sort of world explains who they are? What sort of world will challenge them in interesting and exciting ways, giving you your plot?

Are you doing it again? Are you thinking of your world as a place that will challenge your characters? Do you really want to write a book about people climbing mountains or surviving in the desert? That’s not much of a plot, is it?

Remember, your world is a character.

‘But how does that help?’ you ask. And the answer is… it helps when you remember that it’s only one character. One among many.

There’s the real key: the true place to start. Your world is how all the characters fit together. How does wealth work? How does your setting influence that? How does gender (or the equivalent) work? What are the axes of inequality? What gives people power? What are the social and inter-personal rules? What are the values and beliefs, traditions and norms that underpin these rules?

Those things will grow out of and through ‘place’ – the physical world of your story – but the most important elements of any world-as-story are the people and the structures that dictate how they relate to each other.

Whatever they do, characters are always acting in accordance with the rules or against them: even when characters break the rules, the rules are still there. Which means that whatever characters do, they’re making a socially meaningful decision. They’re inviting consequences and… Hey, presto! We have conflict and tension, risks and rewards, goals and desires, obstacles and aids… We have all the ingredients for a great plot. A great story.

Some of the rules you need to work out to build your world will be relationship rules and some will be social rules… But there are always rules between people: big ones and small ones. Ones for whole societies and sub-rules even within families.

That is the true world you need to build: the world that grows out of who your characters are and the story you want to tell about how they relate to each other.

So don’t start with a map. Start with characters and build your world outwards from them. Don’t ignore your setting, just treat it as one of those characters. But only one of them. Otherwise you’ll end up with a setting to graft a story on, not a setting that is an integral part of your story.

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).

Keep it simple, Stupid!

Before you get incensed, this comment is directed mostly at myself. It sums up a lot of my plot-related problems.

You know how sometimes you’re working on a book – maybe in your head still, and not even on paper – and you know there’s something magical there but the plot as a whole just won’t hang together? What do you do about it? How do you make this ‘not-quite-magical-but-could-be, I-just-know-it-could-be’ thing and make that leap?

For me, the answer is either (a) have the right idea, or (b) stop trying to make things so complicated. Basically, (b) translates into common English as ‘Keep it simple, Stupid.’

Quite often I’m sitting there trying to figure out Something Exciting That Can Happen Next when what I really need to do is ask myself ‘What makes this idea magical and how can I push that as far along the storyline as it can go?’

This is where (a) and (b) start to meld. Sometimes the right idea just won’t come. And it’s there: somewhere, there really is an amazing answer to your plot dilemna that’s as close to being The Right Answer as anything ever is in fiction… Quite often The Right Answer just refuses to present itself to me for months, if not years. This is why some ideas languish for years and years in my imagination, periodically resurfacing but then sinking again, before I start shaping them into anything that could be a book.

Usually, the main reason The Right Answer doesn’t stroll over and wave at me is because I’m looking in the wrong direction: I’m trying to make things complicated then fretting over how to make them believeable. Often The Right Answer is so simple you smack yourself in the face once you find it. But part of the reason it is The Right Answer is that it seems obvious (once you’ve captured it): it seems inevitable. Anything that seems both obvious and inevitable is probably right. Especially if we’re talking about your ending: the climax of your story.

So if you’re going in circles wondering how A can believeably lead to B and how on earth that could logically connect to C, maybe the problem is that you’re creating a long chain of unbelieveableness because you’re working on the wrong idea to begin with. The right idea is generally surprisingly simple.

Even if you’re writing a complicated mystery or thriller, often you’ll find that each element is simple within itself. The more complicated it gets, the harder it is to deliver it to the reader in a form anyone will enjoy. If it’s too complicated, not only will it be really hard to reveal it in a step-by-step way so that the reader eventually goes ‘Oh, of course! Why didn’t I see that all along?’ rather than ‘Urgh. So obvious!’ or ‘How could anyone possibly guess that?’ but the reader may have such a headache by that point that there’ll be little emotional satisfaction. Simplicity offers a more effective route to emotional satisfaction in about 90% of cases. And while some stories are fun just for the pure intellectual puzzle, a book that doesn’t also make me feel something falls short as fiction in my books (horrible pun thoroughly intended).

Just because something is simple doesn’t mean it has to be basic or boring. What makes a simple idea clever is the ways you find of revealing the idea (i.e. the truth of the story) to the reader without telling them outright. That’s not always simple at all. But it will probably consist of a chain of individually simple steps. The minute any one step gets convoluted, you’re probably heading in the wrong direction.

Just keep asking yourself ‘What is the truth of the story?’ – or, in other words, ‘What is this book really about?’ Then ask yourself ‘If the book is really about X, what would be the strongest expression of X I can offer the reader?’ That will give you the big ideas. For the little ones, just ask yourself ‘What is the truth about what’s happen here? What am I trying to get at with this element?’

So, in The Bone Dragon the early drafts had Phee and Lynne turning up intermittantly and not doing very much. I wasn’t worried about this because they worked as characters: each had a strong, individual voice and was believeable and interesting… But only while they were on the page. In between, I forgot about them. Eventually, I asked myself if readers would want to read about them on that basis. And the answer was ‘No’. So I started to ask myself why they were there. Not just ‘What are they doing in each scene to make the scene work because people are needed?’ but ‘What is the purpose of each of these people in the book? What does Phee DO in this story? What does her part in it SAY?’

I didn’t have an answer. So I thought about the book as a whole and what the main themes are. And then I thought about my main character and how her life reveals those themes. And all of a sudden it was obvious what Lynne and Phee, individually and together, COULD add to the book as whole. All of a sudden it was obvious what the book offered each of them as a reason for being. Ultimately, the answers were fairly simple – as was how to deliver new scenes to reveal those answers to the reader. But more about that once the book is published. I don’t want to go giving things away.

At the end of the day, it’s a delicate balance between leaving things foggy and vague and too simple, and making sure you don’t make them unnecessarily complicated. In other words, be focused, but keep it simple, and chances are no one will accuse you of being stupid at all.

From idea to plan: creating an effective climax

The Bone Dragon is my debut novel, but it’s far from being the first novel I wrote. First, I wrote a whole series of ‘practice’ novels. Then I wrote several novels I hoped to publish. Then I wrote the novel that no one seemed interested in but me (and my wonderful Aunty Pat, whose encouragement helped to save the day)… and now it’s getting published.

At the moment, I’m working on MANY books, but two particularly. The first (HoW) is one of the books I hoped to publish: I’m completely re-writing it now that I finally understand what is wrong with it. The other (MoB) is a new book. A very, very new book. Usually I live with book ideas for years before I do more than write the first chapter or so. But back in April, when I’d just signed with RCW and Faber, my amazing agent, Claire Wilson, got me thinking about what might be a good second book in terms of building a brand for myself as a writer. I write across a wide range of genres and that’s fine – when you’ve got a readership that is willing to travel across genres with you. But, to begin with, it’s good to show what you can do in a genre those first readers know they like.

So I sat down and rifled through the cluttered drawer of ideas that’s off somewhere in the far reaches of the leftside of my brain. And MoB clawed it way out of the mess and sat itself down on top and said ‘Me!’ I wasn’t sure about the whole thing, but, at the same time, I felt that this was the book that Claire would want to represent after The Bone Dragon and that readers would be most tempted to move on to. I waffle about it all in my Next Big Thing meme post.

So, decision made, I started to chip away at the idea: started to ask it questions about what happens in teh story. About who the people are and what they are like. About why real people would want to read the book. About how the story worked and what tugged on my heartstrings about it.

MoB isn’t a sequel to The Bone Dragon, but there’s a natural progression between the two so I also spent a lot of time thinking about how the books should be similar while ensuring that they weren’t too similar.

Usually my books develop from one or more mini-ideas about scenes that represent emotional highpoints. The first set of vague idea starts to turn into a book when I know what the key three emotional moments are going to be – from my perspective, though not always the readers. I found I already had the emotional drama needed for the climax and the emotional charge for the hook. But it took months and months and months to progress beyond that. The sticking point, as it so often is, was the climax. I thought I knew what it was. But I wasn’t quite right. I knew what propelled the story into the climax, but I hadn’t yet come up with a good enough Part II: The True Climax. That’s been the case for a lot of my books.

Quite often I have an idea for the climax but when I write it out (sometimes just in my head) it falls a bit flat. There’s plenty of action but not enough emotion, or vice versa. It’s just not quite satisfying. Most of all, these climaxes turn out to be a little too obvious: they’re inevitable to the point where there’s no real surprise. And I’m not talking about twists that come out of nowhere: those are generally a bad thing anyway. What I’m talking about is that little extra thing – that one final step – that takes the climax beyond the thing that is obvious and inevitable to the deeper truth. For me, a really great climax always has an element of revelation, as if the author is saying ‘Here! Here’s the real heart of the story.’ And the moment you read it you go, ‘Of course! Of course that’s it really. Why didn’t I think that little step further?’ So it’s not a twist, it’s just pushing the idea to the end of the line: past the bit where the reader has already thought up to.

The tricky thing about these types of climax is that it’s all about having the right idea. And there’s no formula or technique that’ll deliver it to you. After all, if the idea doesn’t surprise you when you first hit upon it, you’ll probably find it won’t surprise the reader either. Or not quite enough to be truly satisfying. For that reason, these ideas often require some major lateral thinking – not necessarily thinking outside the box, because you don’t want to end up with a twist that’s just a ‘twist for the sake of it’.

Take The Bone Dragon. I think the climax does all of these things, but it also does a whole bunch of things that pretty much every writing book tells you to absolutely never, ever do. There’s one incredibly important rule about writing a good climax that it ignores entirely. A rule most writers – even those that aren’t particularly bound by rules – would think it’s a no-brainer to follow. But breaking that rule is exactly what The Bone Dragon needed because it cuts to the heart of the story: the way the climax is delivered *is* the story.

MoB takes a different tack: a much more straightforward one in structural terms – and in terms of the big rules about creating effective climaxes. But because I wasn’t using structure to push the book to a unique climax, it was much harder to figure out what the climax should be. 

Although technique won’t give you the answers to the thorny questions about what ideas should lie behind your climax, there are things you can do to help coax the right idea out into the light and these things are all about good technique. First and foremost, ask yourself what the book is about… and keep asking. But don’t fall into the trap of thinking too much about themes. Think about your Controlling Idea (to use Robert McKee’s terminology). Think about the ‘Character does Action to achieve Goal with Result’ equation. What are your characters after? What do their attempts to achieve this goal actually result in? Then think beyond that: what does your version of the equation say?

I don’t believe in ‘message’ books but that’s not to say that I don’t think books can’t have a message. It just shouldn’t be didactic. Generally my message is ‘Look at this complex human problem and how it’s turned out in this case. Is the conclusion right and fair or wrong? How do you feel about it and is that feeling comfortable?’

So ask yourself ‘What does my book say about people and the world?’ That is what should drive your climax. Chipping away at my bag of ideas for MoB with that question firmly at the front of my mind finally showed me where I was going wrong. In my attempts to put in lots of action, I was thinking down obvious paths. ‘Let’s have a bit of this. Oooo and a pinch of that. And then they can do this and it’ll be REALLY dramatic.’ Only generally it isn’t, because that sort of thinking generally results in plodding action, even if it’s plodding involving gun battles and car chases. Above all, when you start focusong on what actions should go in and not what the truth behind the story is, you stop thinking about what the relevation is: what are you going to show readers at the climax that they haven’t realised is the truth behind the story all along? And I don’t mean truth as in a fact. I mean truth as in ‘this is how people work sometimes, and this is how the world works’.

It was only when I figured out what I was trying to say with MoB that I realised how the climax had to work. I have a good feeling about it, even though I’m a little nervous about whether or not it’ll work on paper. Sometimes things that seem great in my head don’t, but this feels like it’s one that will. It just feels right: for me, it’s a truly satisfying end that couldn’t push the truth behind the story any further.

Once I had the climax worked out, the rest of the book fell into place, as is so often the case. But more about that in my next post.

For now, the floor is open. So… How do you go about figuring out how your climax will work? When do you do it: at the idea-stage or the panning-stage or the writing-stage?

Planning and plotting

Before launching into a discussion of my favourite ways to plot and plan, a little word of caution… different things work for different people. The trick is to find what works for you, but it’s also good to know some other methods in case your usual ‘tried and tested’ approach snubs you on a particular project. So experiment. Try different things. After all, what works for you might change over time: it’s always worth learning a few new tricks, whatever stage you’re at, just in case.

Traditional approaches don’t work for me at all. Neither do most of the canonical texts about writing novels. What does work for me is script-writing theory. Almost all of it applies equally to writing a novel. I find that script-writing theory is much less vague than novel-writing theory. I’m often not at all sure how to put advice about novel writing into practice: most books by novelists and teachers are less than clear about how to apply the high-concept abstract theories they offer. Which is not to say that the theories don’t make sense or that they don’t have value, but few writers move on from explaining how they arrived at the theory to explore the nitty-gritty ‘now here’s how you break the theory down into basic building-block rules that you can adapt to whatever specific project you’re working on’.

Script-writing tomes tell you what to do – often in painstaking, endlessly repetitive detail (and that’s just the good books!). But it’s better to be crystal clear about the basics than not address them at all. And of course these sorts of books represent a hugely generalised set of bog standard rules… But that’s a great place to start. With any decent script-writing book you know exactly what the most basic format looks like in practice and how it works.

Robert McKee’s Story was a relevation for me. It’s a fantastic toolkit of technique and ways of thinking about structuring plot at the micro and macro levels. The material about ‘opening the gap’ is a far clearer explanation of how to respect the unspoken author-reader ‘contract’ while still delivering surprises, twists and turns – in dialogue as well as in the action – than any other I’ve seen. But this, like every other book of its type, is not a starting point for writing… It’s a starting point for thinking about how to apply technique to an individual writing project. It’s a set of options for figuring out how to make your plot work on a structural level.

So, how does it help me in practice?

Well, when I start a new book, the first thing I do is fill one side of A4 with notes, usually about each character’s role in the story. I then start writing scene summaries: these cover the key things that happen, the main info revealed and the key aspects of how the characters involved interact. Once I’ve written up the original set of A4 notes into a full series of rough scene summaries that outline the entirety of the plot, I spread out a clean sheet of paper and write a summary of the timeline as if the book were a script.

First, I summarise the hook in 8 words or less. Then I glare at what I’ve written. Is the hook interesting enough to make the reader want to read on? Does it happen early enough?

Next, I summarise the Act 1 turning point in 8 words or less. Again, I glare at the page. Does the turning point happen too early/late? Is it actually a turning point or just an action high-point?

Next, it’s time for the Act 2 turning point… but at this point I also summarise the Act 3 turning point (if separate from the climax), the climax and the resolution. Again with the glaring. Is the amount of time that elapses between the Act 2 turning point and the climax right? Is the resolution too long?

If I can’t pinpoint (in 8 words of less) each of these key plot-points and why they’re effective, then I don’t understand my plot. And if I don’t understand my plot, there’s no point in getting on with the actual writing because I’ll have to spend forever editing and rewriting when I could have thought longer and harder to start off with and then written a better first draft.

Now, some people just can’t work like that. They need to discover a book as they go along. I flounder when I try to do that. If I start writing before I know exactly what will happen – and why – in each scene, then I’m going to find the whole process ten times harder than it needs to be. I don’t like radically reshaping books after I’ve written the first draft, so it’s important for me to get the basic structure right from the beginning. With every book, I have a bit of retracing to do, but if it’s just a bit – one or two scenes, or one or two plot-lines – then I am fine. If it’s the whole structure of the book, I struggle to see other ways of telling the story: writing full draft tends to set things in stone for me. Well, not quite, but close enough.

Writing a book is hard enough if everything goes well. Knowing what is likely to be a problem – and doing what you can to avoid those things – is one of the keys to actually enjoy the process. And if writing is going to be your career, that’s pretty important.

For me, the key is planning and plotting using those key script-writing elements to test out whether the plot will hold up. The other thing I have to be able to do before I can write a decent draft is figure out how to summarise the book in one sentence (or two at the most). If I can’t do that, then I don’t understand what the heart of the story is and the book won’t work as a whole, however good individual bits are.

Books are big, complex things with lots of themes and important elements. But there should generally be one key thread running through the whole tapestry. The plot directs the path of this thread but the thread itself is not ‘what happens’. The thread is the thing at the heart of the book where the magic is most intense. If you think you have lots of threads, then you probably haven’t figured out what ties all of them together. Underneath all the little bits of magic there is one key thing. Wait until you find that and the book will come to life in a completely different way.

Or at least that’s how it works for me.

Does anyone else work in a similar way?

BTW, if anyone has any writing theory/technique book recommendations, I’d love to know!