A Novel of Literary Distinction

J Bwye I Lift Up My EyesJaneBwye (576x1024)

I’m very pleased to introduce my friend, author Jane Bwye, on her novella, published by Crooked Cat. Jane’s first novel, Breath of Africa, gave a breathtaking insight into the formation of the nation of Kenya. This new work is something quite different, thought it shares the same delicate insight into human relationships and packs an equally emotional punch. Here’s Jane, on ‘I Lift Up My Eyes’.

Thank you, Yvonne, for having me on your blog today. I enjoyed your book, The Calgary Chessman, and your second one, The Book of Lismore, is burning a hole on my kindle.

But I have a dilemma concerning genre and readership.

My second book published by Crooked Cat last year is one you can read in a few hours. You get right under the skin of the characters, and it compels you to engage your emotions and to think. Its ratings are near-perfect, and you could even emerge a wiser person.

But where lies its readership?

Are you:
– One who enjoys involvement with a book
– Who admits to temptation
– Who has experienced problems within your family
– Who wants to escape
– Who hasn’t got time to read a full-blown novel
– Who appreciates a well-written, well edited read by a published author
– Who acknowledges there is something mystical in our crazy world

Have you any more ideas? Does the book remind you of another author? If you have a solution, I’d love to hear it!

Meanwhile, here’s an excerpt:

***

Ann lay flat on her back, grappling at the duvet with her legs. It always fell to one side if she turned over in bed, and she had been thrashing about more than usual. It was pitch black. The street light outside her room must have gone out.
Above her, an enormous vortex appeared in a dark swirl. It twisted through the ceiling, its core extending upwards and away, far away, beyond the height of the roof out into the vacancy of space. Then it turned in on itself, darker, its menacing core the colour of bruises penetrating closer and closer. Reaching the Earth’s atmosphere, it increased speed, the intense swirling giving birth to a solid black object turning, turning ever faster, boring relentlessly downward.
If she didn’t do something it would demolish her. Ann’s limbs were leaden, her eyes drawn magnetically to the relentless ball, held in its thrall.
She must do something before it reached her.
With a gigantic effort of will she flung her body violently away from the bed and landed in a tangled heap against the wardrobe. Her arm hurt. Dazed, she opened her eyes to look at the ceiling. The vortex had gone.
She knelt briefly in front of a chair to regain balance and settle her nerves, then clambered back into bed.
Robert – had something happened to Robert? She had to find out. She let her legs dangle from the bed and felt for her slippers, then pulled on a dressing-gown and fumbled out of the room.
There was a light under his door. He never closed it entirely. She pushed gently against it with a finger.
“Robert? Are you okay?”
The bed was empty.
She looked towards his built-in toilet, which appeared as a cupboard from the outside. The light switch was on.
“Robert?”
He was getting deaf.
Then she heard the toilet flush. Feeling slightly foolish, she crept back to her room, thankful for the newly-carpeted floor. He didn’t like to be fussed over.

***

You can find out more about Jane Bwye author of the award-nominated book, Breath of Africa, on her website: http://janebwye.com/ and you can follow her author conversations and travel diaries on her blog: http://jbwye.com/

I LIFT UP MY EYES, a novella, can be bought from:
Amazon UK: http://www.amazon.co.uk/I-Lift-Up-My-Eyes-ebook/dp/B00O4FFU5C
Amazon.com: http://www.amazon.com/I-Lift-Up-My-Eyes-ebook/dp/B00O4FFU5C
Smashwords: http://www.smashwords.com/books/view/482740

Learning to Write

writing manuals

Those of you who know me are already aware that my sense of humour is quirky (and a little black), that my stories all have a bit of a twist, and that although I’m conscientious and thorough in my work, I don’t always do it by the book. The same is true of the way I have learned (and am still learning) the writer’s craft.

I’ve always known I could ‘write’. Even as a very young child I was forever getting in trouble for ‘telling stories’, or drifting off into a fantasy landscape while my Mum was telling me off, or having my nose in a book when I should be ‘making something of your life’. It wasn’t until my thirties that I really understood the way writing is the glue that holds the rest of my life together, and it’s only now my youngest children are nearing the age of independence that I have time. Time to indulge in reading. Time to delve into the black maelstrom of my subconscious and let some of my stories finally tell themselves.

There are lots of good books to help you with grammar and syntax, layout and style, points of view and tenses. But there are also others – books that come at the subject slantwise, that prod your subconscious to create, that pull you up short and make you re-evaluate aspects of writing that you’ve taken for granted, or not really understood. And it’s those books that I find the most valuable. Here are my favourites:

Becoming a Writer by Dorothea Brande (published by G.P. Putnam’s Sons in 1934, reprinted 1981. The 1981 imprint is still in print.) Dorothea’s approach is wholly positive. She begins with an assertion that she sets out to prove: “There is a sort of writer’s magic… {but} to be ready to learn it you will have to go by a rather roundabout way.” She proceeds to take us on that way, with chapters such as “The Four Difficulties” (the One-Book author, the Occasional Writer), “The Advantages of Duplicity”, “On Imitation” (the value of mimicking others’ work, to learn how they do it). Her writing is clear and cogent, and full of humour. Read this book, and perform all the exercises she suggests, and that book you thought you might never write will become the project you have to write. It’s joyous reading and I love it.

Starting From Scratch by Rita Mae Brown (Bantam Books, 1988. Still available in the second-hand marketplace). I love Rita Mae’s writing, especially her novel set in southern USA, Six of One, and the murder-mystery novels starring her cat, Sneaky Pie Brown. Her advice is very direct, and very personal. She tells you what worked for her. There are no short cuts. There are certain tasks you must perform. Reading it, you feel a bit like Hercules at the beginning of his labours. I must learn Latin? You ask yourself, whining a little. But I don’t have time! Well, she says, you can still write, but your writing won’t be as good. Fair enough. I don’t always agree with her, and it’s pleasant to have those disagreements out with her, in the privacy of my own head. She may not be comfortable, but she gives a good argument, does Rita Mae. I had this book out of the public library over and over again in my twenties, and now I have my very own copy to delve into when I need a bracing dip in cold water, or maybe a bucketful of ice poured over my head. In other words, anytime I start to swell with my own self-importance and need taking down a peg or two. This is the most useful of all my writing manuals – because it forces me to think.

How Not To Write A Novel by Sandra Newman and Howard Mittelmark (Penguin 2008). This hilarious trawl through the vast array of mistakes writers make, with cringe-worthy examples, is worth reading for entertainment alone. If you’re still confused about what exactly ‘info-dumping’ is, or why editors don’t like POV changes in the middle of a chapter, this book will give you examplars of how not to do it. I’m a great fan of Sandra Newman’s work, and this book is no exception. On first reading, I spotted an even dozen ‘errors’ I’ve made in my published writing to date. I stand by some of them, but possibly not with quite so much conviction as when I wrote them. Improving your writing while having a laugh – what could be nicer? If you enjoyed this, you might like to try The Western Lit Survival Guide, also by Sandra Newman. A sweep through the entire Western canon at breakneck speed – a good way to spot gaps in your knowledge.

Steering the Craft by Ursula Le Guin (The Eighth Mountain Press, 1998). Ursula Le Guin is my favourite living writer; she’s the consummate author, writing beautiful fantasies and perfectly-crafted essays, creator of universes, true disciple of the word. There is much useful advice, and many pertinent exercises, here (“Being Gorgeous”, “Telling it Slant”). Much like her translation of the Tao, Steering the Craft is the kind of work that you can dip into, reading a few paragraphs or performing just one exercise, and it will rest and open your mind just as meditation and tai chi relaxes and realigns your body. “Writing… is a craft, a making. To make something well is to give yourself to it… To learn to make something well can take your whole life. It’s worth it.”

Creative Novel Writing by Roselle Angwin (Robert Hale Ltd, 1999). Roselle teaches writing, and she’s no mean poet and author herself. This book is still available, and you can get the link from her website, http://fire-in-the-head.co.uk/. This is the most traditional of my manuals. It gives lots of good advice about POV, characterisation, structure but also about inspiration, imagination, how to get started and how to drive the work forward – and how to identify whether your work has that extra factor, which sets it apart from other people’s writing and makes your story unique. In essence, all writers are alone, and it’s how we approach that solitude that determines how successful we will be in dragging our stories out of the darkness and committing them to screen or paper.

Stealing Fire From The Gods by James Bonnet (Michael Wiese Prodctions, 2006). It’s early days for this one – I only began reading it a few weeks ago. Like Rita Mae Brown, James Bonnet makes some assertions that I don’t completely agree with (although on flicking through it now I can’t quite spot any of them). This is a book about how the human mind works – how humanity has told itself stories, and how the writer can identify and employ the great archetypes of human storytelling to may his/her own writing more convincing. He progresses from potatoes to heroes, and along the way we visit Jungian archetypes, listen in on the fascinating thoughts of Joseph Campbell, and call in on all sorts of well-known writers and their characters to see how they did it, from Aristotle to Mel Gibson, Dracula to Frodo. This is a book for prospective film-makers as well as writers, and its approach is very visual. I’m not yet 100% sure this is going into my canon of classic writers’ manuals, but I think it will. It’s already challenged me to think.

NaNo or NoNo? How to Survive National Novel Writing Month

Is it really nearly NaNoWriMo time again? I promise I’ll do it this year!

Vanessa Couchman

Nano logo

Is it that time of year again? Well not quite, but it comes upon you before you know it. Having spent the past few months on paid work, my fiction-typing fingers are tingling and the ideas are flowing. I need space to write and I can’t do it with clients and deadlines snapping at my heels.

But now the next deadline is looming – National Novel Writing Month (NaNo for short). A recent, and timely, conversation in a Facebook group made me think about it.

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