tag:blogger.com,1999:blog-11897712689902836912024-03-14T01:40:52.373+00:00The Candy Jar BlogUnknownnoreply@blogger.comBlogger300125tag:blogger.com,1999:blog-1189771268990283691.post-83563447467613027462021-03-22T23:13:00.004+00:002021-03-23T12:25:22.546+00:00INTERVIEW WITH FAB FOOLS AUTHOR!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ug4B4Jzn_wY/YFkkCR9qclI/AAAAAAAACoM/pma6jMZxSlg3TlYGdV5RS5Z4xQpvenq1wCPcBGAYYCw/s2048/2BJNH6M.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1471" data-original-width="2048" src="https://1.bp.blogspot.com/-ug4B4Jzn_wY/YFkkCR9qclI/AAAAAAAACoM/pma6jMZxSlg3TlYGdV5RS5Z4xQpvenq1wCPcBGAYYCw/s320/2BJNH6M.jpg" width="320" /></a></div><p class="MsoNormal"><br /></p><p class="MsoNormal">We are very excited to be publishing Jem Roberts’ Fab Fools,
an exciting comedy book about The Beatles! The book will be released on the
29/04/2021 but you can pre-order your copy now on our website!</p>
<p class="MsoNormal">Jem Roberts is an accomplished author with excellent
research skills and a flare for writing comedy books. He previous work has had
positive responses from several different successful comedians including
Stephen Fry. </p>
<p class="MsoNormal">We decided to ask Jem a few questions so we can get to know
a little more about his writing process and about the inspiration behind Fab
Fools!</p><p class="MsoNormal"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3l4KfSHomlU/YFkkJVnJJ-I/AAAAAAAACoQ/w6CJZHLbqv4-8g2Ji3E74_iSxB8oou_PwCPcBGAYYCw/s2048/CJ_Fab_Fools_Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1371" height="320" src="https://1.bp.blogspot.com/-3l4KfSHomlU/YFkkJVnJJ-I/AAAAAAAACoQ/w6CJZHLbqv4-8g2Ji3E74_iSxB8oou_PwCPcBGAYYCw/s320/CJ_Fab_Fools_Cover.jpg" /></a></div><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><u>Q&A WITH JEM ROBERTS</u></p>
<p class="MsoNormal"><b>Would you mind telling us a little bit about yourself?</b></p>
<p class="MsoNormal">I was born in Ludlow in 1978, and studied English, Film
& TV in Aberystwyth. I started out in magazines, while writing children’s
stories and performing comedy, and all sorts of obsessions came together when
Barry Cryer suggested to me that I write the official I’m Sorry I Haven’t a
Clue guide, back at the very height of Humphrey Lyttelton’s powers. The Clue
Bible led to my greatest comedy obsession, with The True History of the Black
Adder, and then I was commissioned to become the official biographer of Douglas
Adams, with The Frood. More authorised japes came with the official Fry &
Laurie story Soupy Twists in 2018, and the year after, my first slab of
straight-up storytelling was released, with Tales of Britain – the first
British folktale anthology of the 21st century.</p>
<p class="MsoNormal"><b>Beside from The Beatles, what was your inspiration behind
Fab Fools? What made you decide to write it?</b></p>
<p class="MsoNormal">Throughout most of the above, telling the story of Beatles
comedy was a constant resolve for me. As a Beatles worshipper, my bookshelves
were heaving with Beatle books, and I swore off buying any more. But then,
immersed in Blackadder lore as I was at the time, the sudden realisation that
nobody had ever <span style="mso-spacerun: yes;"> </span>explored The Beatles
story from a comedic POV – and the double realisation that that included The
Rutles, and Neil Innes, one of my greatest heroes who had never received enough
recognition – compelled me to begin researching, and trying to find a home
for the book. We’re talking about one of the greatest edifices in British
cultural history, seen from an entirely new angle. But it still took over a
decade, and a lot of ignorant publisher rebuffs. And now, thanks to Candy Jar,
positively the last Beatles story worth telling is now a reality.</p>
<p class="MsoNormal"><b>What was the writing process like? How did it compare to the
other books you’ve written?</b></p>
<p class="MsoNormal">I learned very early on that it’s impossible to write a
non-fiction book unless you’re sincerely obsessed with the subject matter,
because it becomes your life, for years at a time. And so, Fab Fools drew on a
whole lifetime of passionate research, years of notes, which meant that it
flowed very naturally. The main difference from previous books was that it was
the first time I was writing entirely off my own back, with no advance, powered
by an insistence that the story needed to be told, and hopefully a whole year of
poverty would be repaid one day.</p>
<p class="MsoNormal"><b>You must have done a lot of research for Fab Fools, what was
your favourite thing you discovered about The Beatles?</b></p>
<p class="MsoNormal">Learning about The Beatles is a never-ending life-long
process, at least while Mark Lewisohn is out there doing his thing. Fab Fools
is packed with interesting nuggets of comedy history, like George’s Dad being
instrumental in getting Ken Dodd’s career kicked off, or George, Ringo, Neil
and Eric Idle all partying together, discussing the possibility of teaming up
as a Beatles/Rutles hybrid, The Bootles.</p>
<p class="MsoNormal"><b>What’s your favourite chapter in the book and why (without
giving too much away!)?</b></p>
<p class="MsoNormal">All my books have favoured gigantic chapters, with many
sub-headings along the way, but one of the most intense sections arrives around
halfway through, in the ‘Summer of Love’, and the twin tragedies of Joe Orton
and Brian Epstein. Researching Up Against It, Orton’s rejected Beatles
screenplay, at Leicester University was a real highpoint, nobody had ever
examined his first draft and written about it, I was chuffed to even be able to
pass my research onto Lewisohn.</p>
<p class="MsoNormal"><b>What do you think makes Fab Fools stand out amongst other
books about The Beatles?</b></p>
<p class="MsoNormal">There’s a real plague in the world of Beatle books –
desperate, gimmicky books clearly made for a quick buck, authors who write more
about themselves and their Beatle experiences than the actual Fab Four
themselves, and nasty, gossipy cash-ins aplenty. Fab Fools finds a pretty much
unique area of virgin snow in Beatleology, and it’s a story which must be told.
Not least as it has, sadly, had to become a tribute to the wonderful Neil Innes
as well as partly his story.</p>
<p class="MsoNormal"><b>What’s your favourite song by The Beatles?</b></p>
<p class="MsoNormal">Not possible – but in terms of this book, the best solo
Beatle song would have to be John Lennon’s Serve Yourself – ideally the
Anthology version. It’s pure snarling nastiness, and I love it.</p>
<p class="MsoNormal"><b>What has been your favourite thing about writing this book?</b></p>
<p class="MsoNormal">Looking back, it will always be Neil’s support, getting him
to back me up in this decade-long battle. Bitter-bittersweet though the story
turned out to be.</p>
<p class="MsoNormal">If you could ask The Beatles any question you want, what
would it be?</p>
<p class="MsoNormal">“WHY SUCH FERVOUR?</p>
<p class="MsoNormal">Do you want to know more about Jem and his book? Check out
his Fab Fools Twitter page @FabFools or check out his blog at <a href="http://jemroberts.com/" target="_blank">jemroberts.com</a>!</p>
<p class="MsoNormal">To pre-order Fab Fools follow this link: <a href="http://www.candy-jar.co.uk/books/fabfools.html">http://www.candy-jar.co.uk/books/fabfools.html</a></p><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-32757457298328299892021-01-12T22:53:00.001+00:002021-03-22T23:14:34.254+00:00JELLY BEAN SELF-PUBLISHING RECOGNISED AS LEADING WELSH SELF-PUBLISHER<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-b3_Bq3awP4E/YFkfy-8dlJI/AAAAAAAACns/2bbSED4YbgUJGyADSaCtuFNnXu_us8n0ACLcBGAsYHQ/s544/UK-Enterprise-Awards-Logo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="193" data-original-width="544" src="https://1.bp.blogspot.com/-b3_Bq3awP4E/YFkfy-8dlJI/AAAAAAAACns/2bbSED4YbgUJGyADSaCtuFNnXu_us8n0ACLcBGAsYHQ/s320/UK-Enterprise-Awards-Logo.png" width="320" /></a></div><br />Candy Jar imprint, Jelly Bean Self-Publishing is delighted to have been awarded
Self-Publishing Company of the Year at the 2020 Welsh Enterprise awards.<p></p>
<p class="MsoNormal">The Welsh Enterprise awards recognise the contribution of
small to medium sized businesses to the Welsh economy.</p>
<p class="MsoNormal">Since its inception in 2013, Jelly Bean Self-Publishing has
provided a range of publishing services to independent authors all around the
world. Head of Publishing Shaun Russell is delighted to have received the
commendation:</p>
<p class="MsoNormal">“Self-publishing has grown enormously as an industry over
recent years. Thanks to the Internet, the rise of eBooks, and the refinement of
Print on Demand technology, it is now viable both economically and practically
for independent authors to find engaged readerships in an incredible variety of
ways.”</p>
<p class="MsoNormal">“It’s this flexibility that is at the heart of
self-publishing’s ever-increasing success, and it is something that we have
always put at the heart of what we do. We never try to pigeonhole our authors
or force them into a one-size fits arrangements. We tailor our work to an
author’s needs, budgets and ambitions.”</p>
<p class="MsoNormal">“And whatever the services they require, we provide them to
the same standards as we do for our award-winning traditional imprint Candy Jar
Books. Not only is this, of course, only fair to the author, it’s an investment
in the long-term viability of self-publishing as an industry.”</p>
<p class="MsoNormal">“We are delighted SME News has recognised our efforts to
provide a quality self-publishing service. We see it not only as recognition
for ourselves, but a testament to the many companies around the country that
are working so hard to establish self-publishing as a viable route to
readership for independent authors, as part of the wider publishing
environment.”</p>
<p class="MsoNormal">“Mark my words, thanks to these efforts, in the coming years
you will read more and more about authors finding success through
self-publishing.”</p><p class="MsoNormal">If you want to publish your book click <a href="http://www.jellybeanselfpublishing.co.uk/self-publishing/">here</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-17303365076182411952020-09-10T23:03:00.002+01:002021-03-22T23:08:13.794+00:00100 OBJECTS OF DR WHO<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vUfYYeRPdWg/YFkinOHkfwI/AAAAAAAACn8/mJK3mzmIjpg5C0lFgv2TrxNtpG4zX7E3QCLcBGAsYHQ/s455/100-Objects.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="455" data-original-width="316" height="320" src="https://1.bp.blogspot.com/-vUfYYeRPdWg/YFkinOHkfwI/AAAAAAAACn8/mJK3mzmIjpg5C0lFgv2TrxNtpG4zX7E3QCLcBGAsYHQ/s320/100-Objects.jpg" /></a></div>Candy Jar Books is pleased to announce 100
Objects of Dr Who. Written by Philip Bates,
the book collects together facts and opinions
from all fifty-seven years of the best
science-fiction series in the world. <p></p><p>Objects of interest include the Space-Time
Visualiser, the sonic screwdriver, a talking
cabbage, the Revenge of the Cybermen
VHS, River Song’s diary, the BBC Sound
Effects No. 19: Doctor Who Sound Effects
vinyl, the 1996 Series Bible, a Bubble Shock
bottle, the Seal of the High Council of
Gallifrey, and a mouldy old Slitheen. </p><p>Philip Bates currently runs the Doctor Who
Companion website (the popular successor
to Kasterborous), and has previously written
for Candy Jar. His ‘10 Objects of the Brigadier’ piece was featured in non-fiction book The Brigadier: Declassified. </p><p>Candy Jar Head of Publishing, Shaun Russell, says: “When Philip
submitted his piece for The Brigadier: Declassified I was blown away by
the quality of writing. His take on the series was unlike anything I’ve read
before. His writing reminds me of Doctor Who: The Completely Useless
Encyclodpedia from 1996 by Chris Howarth and Steve Lyons. I am truly
excited that we have been able expand beyond ten objects.” </p><p>100 Objects of Dr Who tells the story of the series in a rather
unconventional way. It’s not a straight chronology of the series, but more
a temporal quide, jam-packed with fascinating information for the
distinguished Doctor Who fan. Philip says: “My book does feature the
behind-the-scenes trivia you would expect, but I wanted to go one
further. So, I’ve included sections on the live events not everyone’s been
lucky enough to experience, asked the question how Christ the Redeemer
relates to Doctor Who, as well as looking at the bizarre world of fake merchandise. I basically wanted to go off the beaten track, jumping
backwards and forwards in Who history.” </p><p>The cover has been lovingly produced by Martin Baines, who recently
completed the art for Candy Jar’s hardback edition of the Downtime
sequel, Child of the New World. Martin says: “I really enjoyed working on
this book. I wanted to emulate the look of 1970s comics such as
Scorcher, Valiant or TV Comic. Added to this, I’ve always loved Doctor
Who Weekly and it was great to pay homage to this as well.” </p><p>Philip really likes the cover and feels it sums up his book perfectly. Philip
continues: “When Shaun sent me Martin’s cover I thought, wow! You
don’t need me to tell you how brilliant it is: feast your eyes! Spotting the
small details is a joy, but the most impressive thing is how evocative the
piece is. There's a warmth and playfulness about it. The yellowing page
surrounding instantly brings to mind that wonderful smell that
encompasses you when you enter a second-hand book store – a reminder
that all these stories have been experienced by previous generations.
Suffice to say, I love it.” </p><p>Blurb: </p><p>"So, all of time and space, everything that ever happened or ever will:
where do you want to start…?"</p><p> 100 Objects of Doctor Who is a celebration of everyone’s favourite sci-fi
show. Perfect for fans, no matter your mileage – whether you’ve just
started your journey through all of time and space, or have lived through
the highs, the lows, the Wildernesses, the Androzanis, and the Twin
Dilemmas. </p><p>Inside, you’ll find: A terrifying army of three Daleks! Death’s Head's head!
A really quite astonishingly heavy door! Dinosaur fossils! A framed piece
of wall! </p><p> And much, much more! </p><p>This is a book about Doctor Who. But probably not the one you’re
expecting</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-7782941716607065262020-05-18T16:04:00.001+01:002020-05-18T16:04:40.865+01:00THE LUCY WILSON MYSTERIES: LOCKDOWN!<a href="https://1.bp.blogspot.com/-2iN6W4MGaWE/XsKggvRWyfI/AAAAAAAACko/djCSRqFPrVAk3GPDFLqvXNnOGPE9vlptACLcBGAsYHQ/s1600/lucy_wilson_mysteries_lockdown_cover_may_2020.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1030" height="320" src="https://1.bp.blogspot.com/-2iN6W4MGaWE/XsKggvRWyfI/AAAAAAAACko/djCSRqFPrVAk3GPDFLqvXNnOGPE9vlptACLcBGAsYHQ/s320/lucy_wilson_mysteries_lockdown_cover_may_2020.jpg" width="206" /></a><span style="font-family: inherit;">Candy Jar Books is pleased to announce that a collection of lockdown-inspired <i>Lucy Wilson </i>short stories is now up for pre-order, and will be released in two weeks. The royalties from sales will be donated to NHS charities and Candy Jar will double this amount.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Head of Publishing, Shaun Russell, says: “At the start of isolation I asked Jonathan Macho, the author of the most recent <i>Lucy Wilson</i> book <i>The Serpent’s Tongue</i>, to write a short story about Lucy being stuck at home, and we received some very positive feedback. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Jonathan says: “When Shaun asked me to write ‘Copy/Paste’ as a free download story, I was really grateful for the opportunity to make a small, positive contribution for young readers. When he got back in touch to let me know about the book, I was over the moon. The chance for me to play my part means a great deal, and I really appreciate Candy Jar making my story a part of it.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Shaun continues: “Around about the same time, Andy Frankham-Allen (the range editor of the <i>Lethbridge-Stewart </i>books) contacted me with an idea to send Lucy back to the 1974 dinosaur invasion. Of course, I thought this was too good of an idea to pass up. I was intrigued by how Lucy would cope knowing she could be infected with the coronavirus, but not wanting to pass it on to the Brigadier, or potentially change the past! So, in collaboration with Tim Gambrell, Andy made a start on the story. After this things just fell into place and we soon had eight stories.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Tim Gambrell, who previously wrote <i>The Brigadier & the Bledoe Cadets</i>, is honoured to be a part of this collection. He says: “There’s a real sense of shared experience between the writers and the characters, and it feels special and personal to be able to give something back to the NHS in this way. Added to this, the brief was something I could not refuse. Lucy in an empty London during <i>Invasion of the Dinosaurs</i>! My immediate thinking was not to do the <i>Doctor Who</i> story over again. The biggest gap in the TV story, for me, was the lack of consideration for the poor dinosaurs, scooped up from their homes and plonked into London. There was also little appreciation, by the characters on TV, of the sheer beauty and size of the dinosaurs. So those were my starting points. ‘The London Invasion’ came together incredibly quickly after that, within the framing scenes which Andy had developed.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The collection is aptly entitled <i>Lockdown</i> and contains eight short stories. Aside from Andy and Tim, the other authors include John Peel, Tom Dexter, Alan Stott, Cherry Cobb, Paul W Robinson, Adrian Sherlock and Shaun Russell.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Shaun says: “I really enjoyed working with Adrian on ‘Repetitive Strain’. He is such an imaginative writer and it was a pleasure to collaborate with him on his <i>Groundhog Day</i>-type escapade.” </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Adrian says: “For most of us our daily routine under lockdown is extremely repetitive, so I thought what if Lucy experienced a lockdown day over and over again? I always loved <i>Sapphire and Steel </i>and <i>The Twilight Zone</i> and these series often did stories such as this, so when Shaun approached me about contributing something to the book my imagination was fired.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Candy Jar also released ‘Sweet Revenge’ by Paul Robinson as a free download story. Publishing co-ordinator at Candy Jar, Keren Williams, is excited to showcase Paul’s talent. She says: “When we asked Paul to contribute a short story he immediately understood the tone we were after and delivered a cracking adventure for all of us who are stuck at home.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Our only female writer for this collection is Cherry Cobb, who successfully contributed to last year’s <i>Christmas Crackers</i> anthology. She says: “When Shaun asked me to write ‘Flower Power’ for this book I leapt at the opportunity, firstly because I can’t think of a better cause than raising money for the NHS and, secondly, I know that lockdown is proving a challenge for many children and adults. Reading is a great way to relax and escape from reality for a time, and with Lucy Wilson by your side you can be sure of so many great adventures along the way.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The next story, ‘The Edge of Glory’, is written by Alan Stott, the author of the anarchic children’s book <i>Those Kids Next Door</i> (due to be released by Candy Jar in the autumn). Keren says: “Last year we previewed <i>Those Kid’s Next Door</i> at our summer pop-up shop and Alan was like a magnet to children. They really loved his energy and couldn’t get enough of his slapstick humour. Aside from this, his books sold really well, so when I needed a safe pair of hands to contribute to this collection he was my first choice.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Another consummate professional is John Peel, the author of many classic <i>Doctor Who</i>, <i>Star Trek</i>, <i>Quantum Leap</i> and <i>Lethbridge-Stewart</i> novels. Shaun says: “John previously wrote the brilliant Lucy Wilson book <i>The Midnight People</i>. I wanted a story where Lucy and Hobo were trapped in the pages of fiction, so I approached John and within a couple of days he emailed ‘Get Lost in a Good Book’ back to me, and it was exactly what I’d asked for.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><i>Lockdown</i> concludes with a scary romp written by Tom Dexter. Shaun says: “When we started the <i>Lethbridge-Stewart</i> range Tom wrote two short stories for us: ‘The Fright Before Christmas’ and ‘The Black Eggs of Khufu’. Since then we’ve tried, on many occasions, to get him back, but Tom is always very busy. Thankfully isolation has slowed him down a bit. His story ‘Home Invasion’ really rounds off the collection with its heart on its sleeve, and includes a fantastic tribute to all the nurses, doctors and NHS staff that are helping us get through these difficult times.”</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Blurb for <i>Lockdown</i>:</b></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><i>Earth is in lockdown. But for Lucy Wilson, staying home doesn’t mean staying safe.</i></span><br />
<i><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Dinosaurs, killer plants, even Meme Lords – some enemies just don’t respect social distancing. So Lucy and her brainbox sidekick Hobo have no choice but to come to Earth’s defence again – although never forgetting to stay two metres away from each other!</span></i><br />
<i><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In this collection of short stories, Lucy finds herself contending with the challenges of a pandemic, while continuing to rise to the mantle of her legendary grandfather, Brigadier Alistair Lethbridge-Stewart. </span></i><br />
<span style="font-family: inherit; font-style: italic;"><br /></span>
<span style="font-family: inherit;">The Lucy Wilson Mysteries <i>is a </i>Lethbridge-Stewart<i> spin-off adventure inspired by characters created for </i>Doctor Who <i>by Mervyn Haisman and Henry Lincoln.</i></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><i>The Lucy Wilson Mysteries: Lockdown</i> is available <span id="goog_2010398741"></span><span id="goog_2010398742"></span><a href="https://www.freewebstore.org/candy-jar-store/The_Lucy_Wilson_Mysteries__Lockdown/p676602_20468419.aspx" target="_blank">HERE</a>!</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="color: red; font-family: inherit;"><b>The royalties from this book will be donated to NHS charities. Whatever is raised Candy Jar will double. This book is available exclusively through Candy Jar. It will not be available via any other retailers.</b></span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.1790951.323433500000014 -3.5018135 51.639728500000011 -2.8563665tag:blogger.com,1999:blog-1189771268990283691.post-13427608709352026962020-05-07T17:22:00.000+01:002020-05-07T17:22:08.475+01:0075TH ANNIVERSARY OF V E DAY<br />
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<a href="https://1.bp.blogspot.com/-iQKUsDjrh_8/XrQzMclwkGI/AAAAAAAACjw/5CIYBzVl92M_mSwWAa2ySjYNBOBKpjBYwCLcBGAsYHQ/s1600/CJ_The_Flaming_Soldier_Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="501" data-original-width="327" height="320" src="https://1.bp.blogspot.com/-iQKUsDjrh_8/XrQzMclwkGI/AAAAAAAACjw/5CIYBzVl92M_mSwWAa2ySjYNBOBKpjBYwCLcBGAsYHQ/s320/CJ_The_Flaming_Soldier_Cover.jpg" width="208" /></a><span style="font-family: inherit;">To celebrate the 75th anniversary of VE Day Candy Jar Books is giving away free kindles over the bank holiday weekend. <span style="font-family: inherit;"> </span></span></div>
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<span style="font-family: inherit;">One of the titles included is Christopher Bryant’s The Flaming Soldier, a Lethbridge-Stewart spin-off novella very much inspired by the late Eileen Younghusband. Shaun Russell, head of publishing at Candy Jar, says: “Eileen worked in the Filter Room, the top secret hub of Britain’s air defence, and tracked the first V2 rocket into the country! Before she died, I had a brief conversation with her about our Lethbridge-Stewart series. We joked about her being the first person to track an alien rocket into the country and this sparked an idea. Her sad death prompted us to include her in The Flaming Soldier and happily she has since been a star character in other titles in the Lethbridge-Stewart range.”</span></div>
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<span style="font-family: inherit;">Veteran World War II hero, Eileen Younghusband, and author of the popular One Woman’s War saw her children’s memoir, Eileen’s War, as her ‘legacy’ book. Before her death in 2016, she said: “It is my hope that all children will read my book. I think it is really important to engage with young people about World War II. It’s a pivotal moment in our history. If my story can live on from generation to generation this will be wonderful.”</span></div>
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<a href="https://1.bp.blogspot.com/-i-_JY8gtFkc/XrQzMce0uSI/AAAAAAAACjs/Z-WwVOIcdNoapCcR1pBxlzANoBus5asowCLcBGAsYHQ/s1600/9780993519222.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="515" data-original-width="336" height="320" src="https://1.bp.blogspot.com/-i-_JY8gtFkc/XrQzMce0uSI/AAAAAAAACjs/Z-WwVOIcdNoapCcR1pBxlzANoBus5asowCLcBGAsYHQ/s320/9780993519222.jpg" width="208" /></a><span style="font-family: inherit;">With the country still on lockdown, celebrations for VE Day will be very different this year, but there are still many ways to celebrate from the safety of our homes.</span></div>
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<span style="font-family: inherit;">Traditionally held on a Monday, this year’s May Day has been put back to coincide with May 8th. This was originally to give as many people as possible the chance to remember and honour the heroes of World War II, but with the lockdown still firmly in place the majority of VE Day celebrations have been postponed. There are, however, still many ways to mark the occasion and honour our heroes, one of which is through reading...</span></div>
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<span style="font-family: inherit;">Packed full of history, Maureen Mullally-Clarke’s Old Clothes and Porridge tells the story of a childhood spent against the backdrop of the Depression following the collapse of the American stock market, the launch of the Queen Mary, the Jarrow march, the abdication of King Edward VIII, the coronation of George VI, six years of war and the victory celebrations when war ended.</span></div>
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<a href="https://1.bp.blogspot.com/-Jq_lDCbDQGU/XrQzQiqbdtI/AAAAAAAACkA/h_Mh67PGAM8GwuIqRPGC8whHho-f2aQbACLcBGAsYHQ/s1600/Old%2BClothes%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="326" height="320" src="https://1.bp.blogspot.com/-Jq_lDCbDQGU/XrQzQiqbdtI/AAAAAAAACkA/h_Mh67PGAM8GwuIqRPGC8whHho-f2aQbACLcBGAsYHQ/s320/Old%2BClothes%2BCover.jpg" width="208" /></a><span style="font-family: inherit;">In a recent interview, Maureen was asked if she would encourage others to write down their life stories. She stated: “Yes I would and I have. I know one woman who used to be a war correspondent and one man who had a military career. People have fascinating lives and they should be documented.”</span></div>
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<span style="font-family: inherit;">As our heroes gradually age and pass away, many of them taking their memories with them, it is vital to document and learn as much as we can about their extraordinary lives. Gavin and Claude Parr’s A Seemingly Ordinary Man details Claude’s account of growing up and living through the tumultuous first half of the twentieth century. Following his yearnings to become a sailor, Claude began his career as a steward on a cruise liner before eventually working as a member of the gun crew aboard the doomed RMS Laconia, which was torpedoed by the Nazis in 1942. Miraculously surviving the sinking, Claude was then captured and taken prisoner by the Vichy French.</span></div>
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<a href="https://1.bp.blogspot.com/-km1BciL1lL8/XrQzMWlaF5I/AAAAAAAACj0/4E835Phh8iIDDYpr8C8FV-LoQwad-KFYACLcBGAsYHQ/s1600/A-Seemingly-Ordinary-Man.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="278" height="320" src="https://1.bp.blogspot.com/-km1BciL1lL8/XrQzMWlaF5I/AAAAAAAACj0/4E835Phh8iIDDYpr8C8FV-LoQwad-KFYACLcBGAsYHQ/s320/A-Seemingly-Ordinary-Man.jpg" width="208" /></a><span style="font-family: inherit;">Gavin Parr, co-author of A Seemingly Ordinary Man, says: “Each year when VE Day falls upon us once more I cast a special thought back to my Grandad and how surprised and “chuffed” he would be that so many people have enjoyed reading his life story. We spent many years recapturing his experiences, from losing his friends during the infamous sinking of the Laconia and his imprisonment at a POW camp, through to the moment that they answered the threat of death from their German captives with a good old fashioned raspberry. Through it all, he managed to capture not just the common man, and his tragedy, but humour in the face of adversity. That pretty much sums up the spirit of the book, and the man.”</span></div>
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<span style="font-family: inherit;">As well as real-life stories, World War II fiction is also vital, especially to help children understand what life was like for their relatives. In particular, Cherry Cobb’s Will’s War and Anthony Ormond’s Tommy Parker.</span></div>
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<a href="https://1.bp.blogspot.com/-KE2h_D2jiIA/XrQzMyKCTEI/AAAAAAAACj4/Yb8WwrEvT0IyTX1LH0O85nbxco8Dh0C2QCLcBGAsYHQ/s1600/Candy_Jar_TP_Book_Wrap_PBP.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="549" data-original-width="363" height="320" src="https://1.bp.blogspot.com/-KE2h_D2jiIA/XrQzMyKCTEI/AAAAAAAACj4/Yb8WwrEvT0IyTX1LH0O85nbxco8Dh0C2QCLcBGAsYHQ/s320/Candy_Jar_TP_Book_Wrap_PBP.jpg" width="211" /></a><span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Tommy Parker is the story of a seemingly ordinary schoolboy, worried only about football and homework, until his grandfather reveals a massive secret that will change Tommy’s life forever – a pen that enables the user to time travel into their memories. Tommy must face numerous adventures and along the way is thrown into the midst of World War II Britain.</span></div>
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<span style="font-family: inherit;">Alongside this Will’s War introduces the twenty-first century child to their World War II counterparts – literally! In Cherry’s book, the eponymous Will, a young boy from modern-day Britain, is magically transported back to London during the height of the Blitz. With two boys he befriends amongst the rubble, he is then evacuated half-way across the country. Despite the strangeness of the world around him – rabbit pie? the cane? – Will finds his way back to the twenty-first century, along the way learning all about the lives of children during the war.</span></div>
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<a href="https://1.bp.blogspot.com/-a7yDgt5OU1A/XrQzM25bKFI/AAAAAAAACj8/-5-mwZ2FQ24-wi31Ue5M6ywwrUBamlsVACLcBGAsYHQ/s1600/wills%2Bwar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="400" height="320" src="https://1.bp.blogspot.com/-a7yDgt5OU1A/XrQzM25bKFI/AAAAAAAACj8/-5-mwZ2FQ24-wi31Ue5M6ywwrUBamlsVACLcBGAsYHQ/s320/wills%2Bwar.jpg" width="205" /></a><span style="font-family: inherit;">Cherry says: “I don’t think it’s reasonable to expect modern children to just ‘get’ evacuation. They’re from a different world. One hundred miles now is much less of a distance than it was in the 1940s; and being apart from mum and dad then meant a far greater level of separation than it does in the modern day. But at the same time, no matter how much changes, some things stay the same. And one of those things, in my opinion, is a kid’s ability to adapt. I tried to reflect that in Will. And as he learns, the readers learn too.”</span></div>
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<span style="font-family: inherit;">Starting on Friday the 8th and ending on Tuesday the 12th of May, readers will be able to download the following titles free from Amazon: </span><a href="https://www.amazon.co.uk/Old-Clothes-Porridge-Maureen-Mullally-Clarke-ebook/dp/B086V8W8N9/ref=sr_1_1?dchild=1&keywords=OLD+CLOTHES+AND+PORRIDGE&qid=1588768425&sr=8-1" style="font-family: inherit;" target="_blank">Old Clothes and Porridge</a>, <a href="https://www.amazon.co.uk/Seemingly-Ordinary-Man-Claude-Parr-ebook/dp/B00XA08DEM/ref=sr_1_1?dchild=1&keywords=seemingly+ordinary+man&qid=1588768566&sr=8-1" style="font-family: inherit;" target="_blank">A Seemingly Ordinary Man</a>, </div>
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<span style="font-family: inherit;"><a href="https://www.amazon.co.uk/Eileens-War-Eileen-Younghusband-ebook/dp/B01HOUZC42/ref=sr_1_4?dchild=1&keywords=eileen+war&qid=1588768641&sr=8-4" target="_blank">Eileen’s War</a>, </span><a href="https://www.amazon.co.uk/Lethbridge-Stewart-Flaming-Soldier-spin-off-novella-ebook/dp/B07MZ97C42/ref=sr_1_1?dchild=1&keywords=the+flaming+soldier&qid=1588768693&sr=8-1" style="font-family: inherit;" target="_blank">The Flaming Soldier</a>, <a href="https://www.amazon.co.uk/Wills-War-Cherry-Cobb-ebook/dp/B07P8TCBS5/ref=sr_1_4?dchild=1&keywords=wills+war&qid=1588768505&sr=8-4" style="font-family: inherit;" target="_blank">Will’s War</a>, and <a href="https://www.amazon.co.uk/Tommy-Parker-Destiny-Will-Find-ebook/dp/B00KLIMAYU/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1588768463&sr=8-1" style="font-family: inherit;" target="_blank">Tommy Parker</a>.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-68816381912202471662019-12-13T12:00:00.000+00:002019-12-15T22:31:23.268+00:00INSPIRATION BEHIND THE OSCAR BOOKS<div style="text-align: left;">
<a href="https://1.bp.blogspot.com/-NcMqp16CJ0Q/XfIstfqFtHI/AAAAAAAACiQ/StjRKTs9V-Ece4ansyIt4HyuCEOQ2LraACLcBGAsYHQ/s1600/Oscar%2Bthe%2BFerry%2BCat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #b00000;"></span><br /></a><span style="font-family: inherit;">Hope and friendship can be found in the worst of situations. Things don’t always go to plan. Sometimes things go wrong. Sometimes we get lost and we can’t find our way back. Often this leads to unexpected meetings, friends, adventures, and a brand new life. </span><br />
<span style="font-family: inherit;"><br />The wonderful children’s book<i> Oscar the Ferry Cat </i>written by the talented Molly Arbuthnott, is heart-warming picture book that explores how we come to terms with loss and the positives that can be gained from this. </span><br />
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<a href="https://1.bp.blogspot.com/-NcMqp16CJ0Q/XfIstfqFtHI/AAAAAAAACiU/q6JlNt7CSyIzdsxlSmnzdAJ2NVph_FxvwCEwYBhgL/s1600/Oscar%2Bthe%2BFerry%2BCat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="299" data-original-width="260" src="https://1.bp.blogspot.com/-NcMqp16CJ0Q/XfIstfqFtHI/AAAAAAAACiU/q6JlNt7CSyIzdsxlSmnzdAJ2NVph_FxvwCEwYBhgL/s1600/Oscar%2Bthe%2BFerry%2BCat.jpg" style="cursor: move;" /></span></a><span style="font-family: inherit;">Loss is an unpleasant part of life that people don’t want to talk about, especially with children. As a primary school teacher, Molly Arbuthnott feels this is a missed opportunity. Loss is inevitable, we will all experience it. </span><br />
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<span style="font-family: inherit;">But how we cope with it will make a difference to how it will shape the rest of our lives. She says: “I wanted my pupils to be able to read something that would help them understand the realities of life. And to teach them that hope, love, belonging, and friendship can always be found.” Her books achieve this in a masterful and light-hearted way that makes it very easy for children to understand. </span><br />
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<span style="font-family: inherit;">Oscar is a Siamese cat with an adventurous streak. When he runs away from his family to explore, he loses his way and realises that he may never be able to get back. Although upset, he tries to make a new life for himself and meets lots of fantastic and interesting characters along the way. In the next part of Oscar’s tale, he and his new found friends explore the beautiful Hebrides and find themselves risking everything when they notice a girl in danger on a beach. </span><br />
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<span style="font-family: inherit;">This daring book series challenges the concept of the ‘happy ending’ with a rewarding outcome. Molly Arbuthnott teaches children and adults alike that life takes some unexpected twists and turns. You may not end up where you wanted, but you will always find your way. Her exploration of loss is a beautifully crafted piece of work full of emotion, inspiration and hope. </span><br />
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<span style="font-family: inherit;">Molly has written and published three Oscar books so far through Jelly Bean Books. These are <i>Oscar the Ferry Cat, Oscar the Hebridean Ca</i>t and <i>Oscar the London Cat. </i>Molly Arbuthnott is currently working on her next book, the anticipated Angus the Robin, which will prove to have just as much depth, insight and meaning. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span style="font-family: inherit;">If you like to publish a picture book with us and take control visit: <a href="http://www.jellybeanselfpublishing.co.uk/">www.jellybeanselfpublishing.co.uk</a></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-27030956577125303052019-12-13T09:00:00.000+00:002019-12-15T22:30:17.659+00:00THE BEES KNEES! PASS THE KLEENEX!<div class="separator" style="clear: both; text-align: center;">
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<a href="https://1.bp.blogspot.com/-GYXpyL6qSJQ/XfI7iSUTKEI/AAAAAAAACio/sOXZ5Go7ixw1AjuMeEB63Ft5xYDTjjO4gCLcBGAsYHQ/s1600/BeesSneezeCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1558" height="320" src="https://1.bp.blogspot.com/-GYXpyL6qSJQ/XfI7iSUTKEI/AAAAAAAACio/sOXZ5Go7ixw1AjuMeEB63Ft5xYDTjjO4gCLcBGAsYHQ/s320/BeesSneezeCover.jpg" width="311" /></a></div>
<a href="https://1.bp.blogspot.com/-NcMqp16CJ0Q/XfIstfqFtHI/AAAAAAAACiQ/StjRKTs9V-Ece4ansyIt4HyuCEOQ2LraACLcBGAsYHQ/s1600/Oscar%2Bthe%2BFerry%2BCat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">As of 2019 bees are currently at a higher risk of extinction than ever before. Pesticides appear to be the main culprit for this growing issue and with her new book <i>Little Bee’s Sneeze</i> Nerys Beattie hopes to send an important message to children and adults alike. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Nerys has taken time away from her three-year-old son, husband and small pack of dogs, to write and create her first ever short children’s fiction book. It follows the journey of a small bee with terrifyingly allergies to flowers. This means she cannot take part in day-to-day bee life, subsequently isolating her from the rest of the hive.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Having always wanted to write, but never having had the time before, Nerys was finally emboldened to start her labour of love after deciding to prioritise the idea she had been holding onto for as long as she can remember. She says: “Once I had thirty minutes to myself and I sat down at my desk, all of the ideas came spilling out. I started at 1pm and by 8pm I had written the entire book!”</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Her first venture into children’s fiction is a real treat, shining light upon the trials and tribulations children may face, up against the backdrop of a walking, talking bee hive. Having always suffered from hay fever herself, Nerys wanted to incorporate this into her story. She also tackles issues such as bullying, running away from home and feeling excluded. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Nerys continues: “I wanted to include issues that were integral for parents to talk about with their children, but can often be tricky to handle. This book will hopefully help start the conversation. I also wanted to include bee poison as a representation of the pesticides that are killing bee communities, however, it needed to remain subtle and flow well within the storyline.” </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Her collaborator on this project has been Inge Van Der Ham. Inge is a fellow colleague from over twenty years ago who reconnected with Nerys after the author posted her elation at finishing <i>Little Bee’s Sneeze.</i> Inge reached out and offered her skills as the illustrator for the book, and the pair then began to work alongside to bring the story to life. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Little Bee’s Sneeze</i> is an adorable short rhyming story that shows children how our differences make us special. Nerys Beattie invites us to follow the story of a small bee who, by realising her potential, can achieve miraculous things. It is the perfect read for your children during this run up to Christmas. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">If you like to publish a picture book with us and take control visit: <a href="http://www.jellybeanselfpublishing.co.uk/">www.jellybeanselfpublishing.co.uk</a></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-40609889538486455452019-12-12T15:10:00.000+00:002019-12-15T11:22:18.994+00:00HOME SWEET HOME? OR MAYBE NOT...<div class="separator" style="clear: both; text-align: center;">
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-family: inherit;">Gemma Greening never had plans to become a published author. It wasn’t until a string of funny poems she had scribbled over birthday cards to her husband; mainly for the amusement of her two sons, Alfie and Oliver, snowballed into an idea for a children’s fiction book, and all of a sudden ‘Messy Dad’ was born.</span><br />
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<span style="font-family: inherit;">Having always had a way with words; often writing short poems when she found the time, Gemma struck gold when she started stringing together silly and satirical rhymes about her frustration with her partner Ben’s lack of initiative when it came to housework. </span><br />
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<span style="font-family: inherit;">Gemma says: “It all started as a joke to be honest. My eldest, Alfie, really likes getting involved. After showing the ideas of <i>Messy Dad</i> to some close friends, I gained the confidence, but I needed to decide to share it with an audience.” </span><br />
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<span style="font-family: inherit;">Messy Dad is a cheeky and brassy short rhyming story, with silly anecdotes. Illustrator Matt Prewett successfully heaps on the comedy, matching each verse to an equally wacky cartoon, tying the book together as dessert for your eyes. The story follows our leading man Messy Dad who happens to have some rather questionable hygiene habits and struggles to hold down the fort whilst his wife is at work. </span><br />
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<span style="font-family: inherit;">Gemma continues: “Having such a close bundle of kids in my life; with my three nephews, two nieces and of course my own two boys, I became inspired to create something that they could read and enjoy whilst at the same time pushing me out of my comfort zone. Although the idea came from a real life scenario, I was experiencing with my partner, he knows it’s quite exaggerated and has been really supportive throughout the process.” </span><br />
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<span style="font-family: inherit;">Gemma is already working on new material that continues to shine light on her lovable, funny family and hopes to have two new <i>Messy Dad </i>books out next year. Messy Dad will surely face challenges far trickier than just juggling the kids and the broken dishwasher. Will he succeed and become ‘Super Dad’ full-time, or will ‘Messy Dad’ prevail?</span><br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;">If you like to publish a picture book with us and take control visit</span> <a href="http://www.jellybeanselfpublishing.co.uk/">www.jellybeanselfpublishing.co.uk</a><br />
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</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-50645836637306837252019-11-19T11:49:00.000+00:002019-11-19T16:39:04.595+00:00HELPING YOU UNDERSTAND DEMENTIA<br />
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">We
need to talk about Dementia! The illness has long been misunderstood and
stigmatised. Despite millions of people being diagnosed or impacted by it every
year we do not talk about it. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">Enter
Sally Flint. In her children’s picture book <i style="mso-bidi-font-style: normal;">I
Love My Grandpa!</i>, Sally has approached the subject of dementia in a heart-warming
and educational way. She aims to eliminate the stigma of the illness. She says:
“There is still a lot about dementia that people don’t understand. We need to
talk about it. Dementia is not as simple as forgetfulness.” <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">In
the book, Sally’s explores how dementia affects all those involved, most
particularly children. Her beautifully illustrated and poignantly written story
tackles this issue with sensitivity, intelligence and love. </span><br />
<br />
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">She continues:
“When a family member is diagnosed with a type of dementia, such as Alzheimer’s
or Lewey Body, the change to normal family life can be overwhelming. My story
is about a boy, Chris and his grandpa. Despite Grandpa's dementia they have a
loving relationship. The story explores the coping mechanisms of dementia,
while being entertaining, uncomplicated and thoughtful.”<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-jaS2uRIjNos/XdPVJXfuzQI/AAAAAAAACh8/tZ4K1NQvuu0WIVG2wdMODChP3_8V_du4ACLcBGAsYHQ/s1600/11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1600" height="299" src="https://1.bp.blogspot.com/-jaS2uRIjNos/XdPVJXfuzQI/AAAAAAAACh8/tZ4K1NQvuu0WIVG2wdMODChP3_8V_du4ACLcBGAsYHQ/s320/11.jpg" width="320" /></a></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">The book has been
published by Jelly Bean Books. Head of Publishing, Shaun Russell, says: “<i style="mso-bidi-font-style: normal;">I Love My Grandpa!</i> has gorgeous
illustrations by artist Terry Cooper. Alongside the sympathetic text by Sally
Flint, it is humorous and offers a fresh perspective on the illness. You don’t
need to have experienced dementia to read the book. Its overriding message is
that family is important and love will conquer.” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">I Love My Grandpa! i</span></i><span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">s
a sincere, insightful, and uplifting story that everyone needs to read. The
message is clear! Those diagnosed with dementia are still human and have so
much to offer.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif; line-height: 115%;">To
order the book click <a href="https://www.sallyflint.com/shop.html" target="_blank"><span style="color: #1155cc;">https://www.sallyflint.com/<wbr style="display: inline-block;"></wbr>shop.html</span></a><span style="font-size: x-small;"><o:p></o:p></span></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-59226736081788385142019-11-11T16:14:00.000+00:002019-11-11T16:14:40.684+00:00A MOTHER MURDERED, A CHILDHOOD LOST – AND HAPPINESS FOUND<!--[if !mso]>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">“When
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Incredibly,
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Both adults were
physically abusive, both to the children and each other. They took no
responsibility for feeding the brothers. Chris recalls that without school
dinners, and the charity of their neighbours, they would probably not have
survived.<a href="https://www.blogger.com/u/4/null" name="_GoBack"></a></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">When Chris was eight, his
father returned to jail – for battering his partner nearly to death.
Tragically, Chris was once again witness to the aftermath of the attack:</span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">“Blood everywhere, up the walls, on
the bed, the floors, all over the room. </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">I thought she was dead and he was out
getting rid of her. I thought, ‘He’s killed her, locked us in the house and
he’s getting rid of her.’ ”</span></i></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">For the rest of his
childhood, Chris was in care. He left school at sixteen, and found himself an
honest job in the local steelworks. The year was 1981, and months later he was
made redundant – along with 18,000 others in the Port Talbot area.</span></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">At seventeen-and-a-half,
Chris moved to live with his eldest sister in the midlands. There, he soon
found himself in the world of petty crime and casual drug abuse. After eight
wild years, and the death of a close friend to overdose, he was given a
lifeline by an employer he met down the pub. </span></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Now in his fifties, Chris
is happily married, a father of two, and working for Jaguar-Land Rover. He has
broken the cycle of abuse. He has built a life to be proud of. As such, it was
to his surprise when he felt the urge to return to the traumas of his past, and
to write them down in a book.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-zRxChcAysIk/XcmGzWFenrI/AAAAAAAAChk/k6ybZsBn09EFp7KEZN8pFDnOPZp9b8irgCLcBGAsYHQ/s1600/DBSC.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="342" height="320" src="https://1.bp.blogspot.com/-zRxChcAysIk/XcmGzWFenrI/AAAAAAAAChk/k6ybZsBn09EFp7KEZN8pFDnOPZp9b8irgCLcBGAsYHQ/s320/DBSC.jpg" width="211" /></a></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">As Chris explains: </span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">“Of course you move forward, but these
things are always with you. They’re part of who you are. The fear of being
hungry that I had from childhood has stayed with me all my life. To this day,
if I’m hungry and I don’t have something to eat, I get in a panic. As I grew
older I began to wonder if there was something I could do to excise the ghosts.
That was the start of writing my novel, </span></i><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">A Dish Best Served Cold?<i style="mso-bidi-font-style: normal;">.”</i></span></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">As could be expected,
“excising the ghosts” brought up a lot of unresolved emotions for Chris. Soon
he realised, although the narrative of his book remained close to HIS own
experiences, a rather different ending was called for.</span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center; text-indent: 0cm;">
<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">The main character, Sonny is me but not me.
He’s eighteen but he has witnessed murder, violence, crime... But where our
stories diverge is our reactions. Where I broke free, Sonny hits back. He tries
to take revenge. I didn’t go down Sonny’s path – but I understand his reasons
for walking it. The title of my book is </i>A Dish Best Served Cold?<i style="mso-bidi-font-style: normal;"> I added the question mark to emphasise the
ambiguity in this statement. For Sonny, revenge is actually a dish best served
‘hot’.”</i></span></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Although the abuse,
tragedy, and poverty of Chris’ own upbringing is all to be found in his book –
as well as violence depicted with shockingly visceral sense of reality – Chris
is keen to point out that the story is also one of hope. At the core of the
narrative is a heartfelt love story, and Chris’ own young hope of breaking free
and raising a family inspires Sonny too.</span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center; text-indent: 0cm;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">“Against the odds, my life today is
infinitely better than I could ever have expected as a child. And that’s
because of my fantastic wife; her son, Tom; and mine, CJ. Sonny – an angry,
desperate young man, is the kind of character some people might cross the road
to avoid. But I wanted the reader to know that behind Sonny’s troubled
exterior, behind all his rage, he’s the same as everybody else – all he needs
is to be loved, and a place to feel safe.”</span></i><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<br /></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span><a href="https://www.freewebstore.org/candy-jar-store/A_Dish_Best_Served_Cold/p676602_20101125.aspx" target="_blank"><i style="mso-bidi-font-style: normal;">A DishBest Served Cold</i></a><span style="mso-bidi-font-style: italic;">, by Chris Kinsey,</span><i style="mso-bidi-font-style: normal;"> </i>is released on the 31<sup>st</sup>
October 2019, by Candy Jar Books<i style="mso-bidi-font-style: normal;"> </i></span><a href="http://www.candyjarbooks.co.uk/"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">www.candyjarbooks.co.uk</span></a><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">-END-</span></b></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">For
all enquiries, please contact Shaun at shaun@candyjarbooks.co.uk</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<a href="http://www.candyjarbooks.co.uk/"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">www.candyjarbooks.co.uk</span></a><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-36637449256788234682019-10-21T11:54:00.000+01:002019-10-21T11:58:32.177+01:00Advice From The Cannibal Chicken<div style="text-align: left;">
<a href="https://1.bp.blogspot.com/-xnzYvzJErEI/Xa2HORpMw6I/AAAAAAAAChM/DuWXUc3RpukvBUyJ_I9026h-oo-4p7F8ACLcBGAsYHQ/s1600/Dr.%2BSeuss.%2BGreen%2BEggs.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="499" data-original-width="365" height="320" src="https://1.bp.blogspot.com/-xnzYvzJErEI/Xa2HORpMw6I/AAAAAAAAChM/DuWXUc3RpukvBUyJ_I9026h-oo-4p7F8ACLcBGAsYHQ/s320/Dr.%2BSeuss.%2BGreen%2BEggs.jpg" width="234" /></a>Do you suck at spelling? </div>
<div style="text-align: left;">
Need to improve your writing skills?<br />
Here is your No.1 Hack - <b>READ!</b></div>
<div style="text-align: left;">
<br />
As a now published author, I was nearly kicked out of teaching college because my spelling was so poor. To fix it, I read books and the words stuck!<br />
</div>
<div style="text-align: left;">
So, what to read is the question. Honestly, read what you love. It could be...</div>
<ol>
<li><b>Horror</b>: <i>Frankenstein</i> by Mary Shelley is my favourite. A story of love and family.</li>
<li><b>Fantasy</b>: <i>The Hobbit</i> by JRR Tolkien... crazy ideas, he is a master.</li>
<li><b>Comedy</b>: <i>The Twits</i>, or any book, by Roald Dahl... insane fun.</li>
<li><b>Picture books</b>: <i>Alexander and the Terrible, Horrible, No Good, Very Bad Day</i>... how is your day really?</li>
<li><b>Information</b>: <i>Everyone Poops</i>... honest and hilarious.</li>
<li><b>Poetry</b>: <i>Green Eggs and Ham</i> by Dr Seuss. Dr Seuss is another master of writing.</li>
<li><b>Enchanted</b>: <i>Harry Potter and the Philosophers Stone</i> JK Rowling: my kids just <b>loved</b> it!</li>
<li><b>Life</b>: <i>The Rainbow Fish</i> by Marcus Pfister. How can one give more?</li>
<li><b>Feelings</b>: <i>The Red Balloon</i> by A Lamorisse. </li>
<li><b>Wild Adventure</b>: <i>Revenge of the Cannibal Chickens</i> by Gavin Lihou. Dead set greatest book of all time!</li>
</ol>
<div style="text-align: left;">
<a href="https://1.bp.blogspot.com/-bvpcy4_vIY8/Xa2F7PJjLqI/AAAAAAAAChA/hGiznPKCN3Mdb-M5vXEw0i3r8LtsCL4HwCLcBGAsYHQ/s1600/Twits.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="307" height="320" src="https://1.bp.blogspot.com/-bvpcy4_vIY8/Xa2F7PJjLqI/AAAAAAAAChA/hGiznPKCN3Mdb-M5vXEw0i3r8LtsCL4HwCLcBGAsYHQ/s320/Twits.jpg" width="196" /></a>Let us look randomly at No. 3. Roald Dahl and <i>The Twits</i>! Roald Dahl really does bend the mind of his readers. His use of alliteration and similes is second to none. Ahhhh... but what is alliteration? Here you go my friends, this is writing hack number 2!</div>
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<br /></div>
<div style="text-align: left;">
<u>Alliteration</u> is the repetition of the same letter or sound of words. Like... <b>She sells sea shells by the sea shore</b> (a great tongue twister). Or... <b>Three grey geese</b> (Mother Goose).<br />
</div>
<div style="text-align: left;">
But Dahl is very smart... he writes:</div>
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<br /></div>
<div style="text-align: left;">
<b>'squiggly spaghetti' </b>(s and as).</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b><i>'</i>Bogus and Bunce and Bean, one fat one short one lean.'</b> (carries the 'b' for Bogus and Bunce and Bean and even the Bean for lean) from <i>Fantastic Mr Fox.</i><br />
</div>
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Roald Dahl also uses similes, but what are similes? This is writing hack number 3!<br />
</div>
<div style="text-align: left;">
A simile compares one thing to another:<br />
</div>
<div style="text-align: left;">
<b>'Mr Twits beard was like a hairy jungle.'</b></div>
<div style="text-align: left;">
<br />
<b>'He was among the saucepans and machines like a child amongst Christmas presents.'</b> – <i>Charlie and the Chocolate Factory</i>.</div>
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<br />
In order to write well, these are two literary devices* that we should use.</div>
<div style="text-align: left;">
<br />
* literary devices: writing talk for stuff we should use in our writing. Make a list of them and add them to your writing and it <i>will </i>improve. Trust me, I am the Cannibal Chicken after all!</div>
<div style="text-align: left;">
<br />
So... young paduans (<i>Star Wars</i> reference) I am your Jedi of writing. Follow me and become great writers and change your writing for the best! One book at a time. The Cannibal Chicken will help you to make your writing better, but practice you must have, my young paduans. So your list is…</div>
<ol>
<li><b>Read.</b></li>
<li><b>Add alliteration to your writing.</b></li>
<li><b>Add similes to your writing. The more personal the better.</b></li>
</ol>
<div style="text-align: left;">
And remember to…</div>
<div style="text-align: left;">
<br />
<b>WRITE,<br />IMAGINE,</b></div>
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<br />
And most importantly...</div>
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<br />
<b>DREAM!</b></div>
<div style="text-align: left;">
<br />
From<br />
The Cannibal Chicken<br />
<br />
Wait for my next writing hack and stay tuned…</div>
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</div>
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</div>
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<a href="https://1.bp.blogspot.com/-F40i6NJ7eoA/Xa1_2t3hPRI/AAAAAAAACg0/iuV6iY7Rud0IbMIWOFq9Pdc3kV_TeAVhwCLcBGAsYHQ/s1600/chicken.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="492" height="200" src="https://1.bp.blogspot.com/-F40i6NJ7eoA/Xa1_2t3hPRI/AAAAAAAACg0/iuV6iY7Rud0IbMIWOFq9Pdc3kV_TeAVhwCLcBGAsYHQ/s200/chicken.jpg" width="155" /></a></div>
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<div style="text-align: left;">
If you would like to see for yourself what all of this 'Cannibal Chickens' nonsense is about please follow<a href="https://www.amazon.co.uk/Revenge-Cannibal-Chickens-Gavin-Lihou/dp/1912535289/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1571655184&sr=8-2" target="_blank"> this link</a>!</div>
Unknownnoreply@blogger.com0Australia-25.274398 133.77513599999997-75.0662695 51.157948499999975 24.517473499999998 -143.60767650000003tag:blogger.com,1999:blog-1189771268990283691.post-54065821050939078572019-05-22T12:30:00.000+01:002019-05-23T11:40:15.651+01:00THE END IS NIGH!<a href="https://1.bp.blogspot.com/-Zv9GD4N9jas/XOZ4BFTibzI/AAAAAAAACgA/QYvJHjW8HuAtz6TOs2ZqnSxeKbPqAqH3QCLcBGAs/s1600/blog%2B16.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1201" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-Zv9GD4N9jas/XOZ4BFTibzI/AAAAAAAACgA/QYvJHjW8HuAtz6TOs2ZqnSxeKbPqAqH3QCLcBGAs/s320/blog%2B16.jpg" width="320" /></a>If you’ve reached the point where you’ve needed to consider how to end your piece of writing then congratulations are in order; you’ve nearly finished that labour of love which has taken hours, weeks or sometimes even years to complete. Yet this seemingly rewarding part of the process can actually cause no end of trouble for writers as they struggle to find a ‘fitting’ end which is worthy of themselves, the characters and the readers. Why do we struggle so? Put simply, we’re artists aren’t we, and that last flourish of the brush upon the canvas needs to invoke thought and admiration in equal measure. However, if we revive the ‘author is dead’ argument then we can never be certain what effect, if any, has been left on the reader and we certainly can’t control it once the work has been disseminated. It is actually a small grace given that the misinterpretation of a writer’s intentions would be hugely frustrating and their confidence or pride may be dented as a result.<br />
<br />
Traditional novel endings are concerned with resolving problems arising from the plot. This was a common feature of novels in the Victorian period as they would restore order to the chaos within the plot, much to the satisfaction of the readers. If you have spent a long period of time reading about the characters involved in the world of a novel then it may be upsetting to learn that an innocent child is not restored to prosperity.<br />
<br />
The physical form of a novel is also a giveaway as to when the story will end as the reader can anticipate this judging by how many pages are left. A short story, despite it also being limited in its physical form, is not hindered in the same way. A short story is capable of picking up and ending a story, without even reaching a conclusion, at any point it so desires. So, today, we will consider a piece of my own writing which I have made available alongside this week’s blog; if you’ve not read it yet then now is the time to do so before proceeding further.<br />
<br />
Click <a href="http://www.jellybeanselfpublishing.co.uk/the-test/" target="_blank">HERE</a> to read <a href="http://www.jellybeanselfpublishing.co.uk/the-test/" target="_blank"><i>The Test</i></a>. <br />
<br />
Back already? I hope you’ve enjoyed the story but how do you feel about the main characters? Do you feel the story is resolved and, if so, why? If not, what threatens your belief in that? If the story was to continue beyond its ending, what do you think would happen? Consider once more the final paragraph below:<br />
<br />
<b>‘An hour passed. Adrian sat alone in the grey room staring at his laptop, broken, his hand on the mouse. His index finger resting gently on the left button. He looked outside, the sound of rain now falling against the window seemingly compounding his misery. He thought of the lost image of Angeline and how happy he felt standing on that balcony, a whole other world within his grasp. One simple click and he could have everything, one simple click and he could lose it all. Closing the laptop, for now, he got up to grab another coffee. There would be another test this afternoon.’</b><br />
<br />
The first issue to be addressed is of course the moral dilemma; Adrian has resisted the urge to send the email which no doubt restores order for a lot of people who may have been uncomfortable reading the full story and as a result did not wish to see him successful in his pursuit of Rosie. He agonizes over the decision but it could be argued that this action – or lack thereof – was chosen to satisfy readers. This is, however, juxtaposed by the bookending of the ‘grey room’ and miserable scenes seen through the windows as Adrian returns to the same unhappy state we find him in at the beginning of the tale. If empathy for a lost love is viewed only as a lost lust then that may not stir too many feelings of sadness in a reader, but, when you compound his misery by the daughter he had envisaged then it is clear that the whole scenario potentially had much deeper, intimate and genuine feelings associated with it.<br />
<br />
There is a ‘whole other world within his grasp’. The whole other world does in fact refer to the dream sequence he has about his life with Rosie and Angeline, and acts as a macrocosm of his whole world which is encapsulated within the microcosm of these two girls. The dream sequence, if you do decide that is what it is, adds yet another layer. <span class="tL8wMe EMoHub" dir="ltr" id=":4k.co" style="text-align: left;">The
vision Adrian has is perhaps a premonition much like Ebeneezer
Scrooge's: an understanding that he has his fate in his own hands.</span> The vision of a couple very much in love, a family even, challenges the closely held belief that Adrian’s actions in making the initial contact with Rosie are immoral. The sequence provides a premature ending to the story prior to the actual ending even though a time-shift has taken place, this provides the reader with an opportunity to choose for themselves how the story is resolved after Adrian closes his laptop. After all, the ‘whole other world’ is ‘within his grasp’, and one click of the mouse resting underneath that hand is all it will take to turn the fantasy into a reality. The hand that closes the laptop is still the hand that can open it once he returns for the afternoon session and send the email. And yet, there is still the test this afternoon. This is once again ambiguous as it could be a test of another group of candidates or a test of his own resolve. Even so, if the reader so chooses, it could be read as Adrian faces a similar ‘test’ every time he meets a new group of exam candidates and that he is the poor quality of character initially thought to be.<br />
<br />
Ultimately, it is all for you as the reader to decide. As a writer I know what I intend for the characters but it is much more fun to offer something – an experience – to you. You may find your early impressions from the text shape your desired outcome, or it may be that your personal life experiences contribute somewhat to how you read and resolve the ending. Either way, a ‘whole other world’ of fiction was within my grasp and the only way to produce it as something to be shared was to begin the process of writing. I hope that you’ve enjoyed the short story and found this week’s blog intriguing.<br />
<br />
Please feel free to post your own stories below. Happy writing!<br />
<br />
<span style="font-size: x-small;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white;">A blog by Steve Marshall</span><br style="background-color: white;" /><span style="background-color: white;"><br />--</span></span></span></span> <br />
<br />
<u>Resources / further reading:</u><br />
<br />
Lodge, D. (2011) <i>The Art of Fiction</i>. London: Vintage. Pp. 3-8.<br />
Marshall, S. (2019) <i>The Test</i>. Unpublished.<br />
Mullan, J. (2006) <i>How Novels Work</i>. This edition published 2008. Oxford: Oxford University Press. Pp. 9-39.Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-5206479754624442742019-05-08T00:30:00.000+01:002019-05-08T12:43:03.687+01:00SYMBOLISM<div style="text-align: center;">
<a href="https://3.bp.blogspot.com/-IfjRjsYBDLg/XNK4O7ICjII/AAAAAAAACfk/jnoL6vRdxJEKXXrjRrwxs4IrQESzfSuYQCEwYBhgL/s1600/blog%2B15.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="252" height="320" src="https://3.bp.blogspot.com/-IfjRjsYBDLg/XNK4O7ICjII/AAAAAAAACfk/jnoL6vRdxJEKXXrjRrwxs4IrQESzfSuYQCEwYBhgL/s320/blog%2B15.jpg" width="201" /></a><span style="font-size: small;"><span style="font-family: inherit;"><i>Yet it was watching him, with its beautiful marred face and its cruel smile. Its bright hair gleamed in the early sunlight. Its blue eyes met his own. A sense of infinite pity, not for himself, but for the painted image of himself, came over him. It had altered already, and would alter more. Its gold would wither into grey. Its red and white roses would die. For every sin that he committed, a stain would fleck and wreck its fairness.</i></span></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"> <span style="font-size: xx-small;">(The Picture of Dorian Gray, 1891, p. 89.)</span></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"><br />The ‘it’ being referred to in the extract above is the portrait of Dorian Gray. It is of course referred to in the title and is hugely significant throughout the novel as the supernatural element upon which the plot hinges. Yet it remains that the painting means much more than that, it is a symbol utilised by Wilde for much of what he wanted to say. For those who have not read the novel, it is full of value in an aesthetic nature. If Wilde was against ‘art for arts sake’ then a painting of an individual, particularly one which is celebrating the artist at having excelled in his occupation, was a natural choice. </span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="tL8wMe EMoHub" dir="ltr" id=":4k.co" style="text-align: left;">This work receives special praise, despite the
painter not having taken any new approach. The acclaim is due to the image of Dorian,
a subject of such beauty that it is tantamount to artistic inspiration.</span> After being blessed </span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;">–</span></span> or cursed </span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;">–</span></span> the painting then begins to bear the marks of Dorian’s age not to mention the scars caused by his sins. The painting becomes a symbol of his conscience, hidden away from the world in a locked room high up in the building; the same could be said of his mental state, motivations and the truth behind his actions which are located solely within his own mind.</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br />As the ‘blue eyes meet his own’ it could be that the painting / conscience acts as a mirror too. Many writers like to use their writing to hold a mirror up to society and in this sense it could be that Wilde is offering a criticism of the aesthetic nature of upper classes as being no better than other classes; that true beauty is located within the soul and the pursuit of betterment in every way possible, not just by the way of physical beauty or academic achievement. Finally, it may also offer a similar criticism to Roland Barthes in that the author is dead and that a text is autonomous. In the novel, the painting continues to change long after Basil has finished his masterpiece and continues to change further still even after his actual death. From a biographical standpoint, this may mean that Wilde was already preparing a defence for the arguments or, in this case, the evidence that was to be levelled against him in court.</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br />Whether or not you agree with my own theories or have more of your own to offer is not of importance, what is undeniable is that the novel employs symbolism in the form of the painting. John Mullan suggests ‘Symbolism in a novel is risky because it presses meaning on the reader. It gestures beyond events to their greater significance, detecting what is essential or eternal in the particular’ (2006, 295). <b>It can be a particularly effective tool adding more layers to the text as in the case above but only if their meaning is translated by the reader. </b>Generally speaking, ‘you can spot the symbols because the characters themselves draw attention to them’ (Mullan, 2006, 295).</span></span><br />
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<span style="font-size: small;"><a href="https://1.bp.blogspot.com/-vqKgYO0LttM/XNK8GmeqMsI/AAAAAAAACfs/xMmznZM2S90sX9NVOX2JdLMhVRQdVGplQCLcBGAs/s1600/1535528609530_jb_adnsc_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://1.bp.blogspot.com/-vqKgYO0LttM/XNK8GmeqMsI/AAAAAAAACfs/xMmznZM2S90sX9NVOX2JdLMhVRQdVGplQCLcBGAs/s1600/1535528609530_jb_adnsc_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1056" height="320" src="https://1.bp.blogspot.com/-vqKgYO0LttM/XNK8GmeqMsI/AAAAAAAACfs/xMmznZM2S90sX9NVOX2JdLMhVRQdVGplQCLcBGAs/s320/1535528609530_jb_adnsc_cover.jpg" width="211" /></a></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">An example from contemporary literature can be taken in the form of a hair band in Chris Kinsey’s upcoming novel <i>A Dish Best Served Cold?</i> Before the lovers Sonny and Rhian part for what could be the last time, she ‘slipped a hair band onto his wrist, to leave something of her with him’ (2019, 122-3). This was touching yet subtle and was not too overt or crude in its placement at this stage of the novel. Unsurprisingly, but pleasingly, the hair band reappears later in the novel. Sonny visits his beau in hospital after she has been attacked by the very person hunting him down. As she was in a coma, Sonny needed to let her know that he'd been to visit her before trying to put an end to matters once and for all. How did he do this? Well, of course, ‘he took the hair band from his wrist and looped it twice around the wedding finger’ (2018, 152). David Lodge summarises symbolism neatly by stating <b>‘If a metaphor or simile consists of comparing A to B, a literary symbol is a B that suggests an A, or a number of A’s' </b>(2011, 139). An inanimate object – in this case the hair band </span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;">–</span></span> was present at the moment they both lost their virginity becoming a reminder of that tender memory, a commitment to each other and a promise of a future together. Furthermore, hair bands stretch until both ends are further away from each other but through their strength and resistance are able to return to their previous state. The word commitment here is also particularly important as it is Sonny’s commitment to his task, his education and his partner that ultimately sees him succeed over the course of the novel.</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br />In the process of writing your short story, poem or novel try to spare some time to think about important <b>symbols</b> which would be relevant to the text. A relationship can be captured by an item shared between the couple, a memory can be captured by a photograph, a traumatic event can be evidenced with a scar. However, <b>what really makes symbolism work is the journey or transition that the symbol itself makes throughout the plot.</b> Taking the scar as an example, it could have originally been a reminder of a past event which prevents the protagonist from taking risks and is eventually corrected with cosmetic surgery and skin grafts. Later on, as their character and resolve becomes stronger, it could be that it becomes a symbol of strength and bravery and the individual then risks repeating the injury, or worse, in the climax of the plot. <b>Think about the journey your main characters or antagonists are going on and explore some examples which highlight, mirror and compliment these arcs.</b><br /> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">Happy writing and as always, if you have any questions we are here to help!</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white;">A blog by Steve Marshall</span><br style="background-color: white;" /><span style="background-color: white;"><br />--</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white;"> </span></span><br /><u>Resources / further reading:</u><br /><br />Kinsey, C. (2019) <a href="https://www.amazon.co.uk/Dish-Best-Served-Cold-Featuring-ebook/dp/B07KX4MSG5/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1557313284&sr=8-2" target="_blank"><i>A Dish Best Served Cold?</i></a> Cardiff: Candy Jar Books.<br />Lodge, D. (2011) <i>The Art of Fiction.</i> London: Vintage. Pp. 3-8.<br />Mullan, J. (2006) <i>How Novels Work.</i> This edition published 2008. Oxford: Oxford University Press. Pp. 9-39.<br />Wilde, O. (1891) <i>The Picture of Dorian Gray.</i> This edition published 2003. London: Penguin Classics.</span></span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-80909642453631661212019-05-01T12:30:00.000+01:002019-05-03T12:24:00.079+01:00THE BEGINNING<a href="https://3.bp.blogspot.com/-ia-rLn2dQwY/XMwcIv7xHoI/AAAAAAAACfU/Jy8fTnBiMs4rtOgPsU0MLtw5oWRP-EmIQCLcBGAs/s1600/blog%2B14.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1300" data-original-width="861" height="400" src="https://3.bp.blogspot.com/-ia-rLn2dQwY/XMwcIv7xHoI/AAAAAAAACfU/Jy8fTnBiMs4rtOgPsU0MLtw5oWRP-EmIQCLcBGAs/s400/blog%2B14.jpg" width="263" /></a><span style="font-family: inherit;">‘In the beginning was the Word, and the Word was with God, and the word was God,’ or so it seems according to John 1:1 of the King James Bible. If you were to read Genesis it states: ‘In the beginning God created the heavens and the earth.’ Now, I am not a religious person but, nevertheless, this seems slightly contradictory to me. What actually came first, the Word or the creation of heaven and Earth? Does it depend on which text was produced first? I’m no doubt aware that the argument would be that God is the Word so therefore the creative acts by God constitute ‘the beginning’, but this still does not account for the fact that the first word is in fact ‘In’. Although, maybe I’m being pedantic...</span><br />
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<span style="font-family: inherit;">Maybe another way of considering <b>the beginning of a text</b> is to think about it in terms of a slightly different question, such as <b>when does your holiday begin?</b> Is it the moment you get to wave your all-inclusive wristband at a bartender to order that first ice-cold San Miguel? Is it the instant you feel the jets roar as you begin take-off? Maybe it is when your suitcases are clamped shut, the daily ritual of the countdown each day in work, the final payment for the holiday? Go even further back and the adventure could begin when you book it, earlier still when you flick through the sun-kissed images of the brochures or even the conversation when you decide you need a holiday. Further still, it may be a holiday you’ve dreamed of for years ever since Dave and Sue (from next door, they’re always bloody going away) returned from theirs and couldn’t wait to show off their tans. The point here is that a journey of any sort </span><span style="font-family: inherit;"><span style="font-family: inherit;">–</span> whether it be taking a holiday or indeed writing a book </span><span style="font-family: inherit;"><span style="font-family: inherit;">–</span> has a starting point and <b>it is certainly occurring before your pen reaches the paper</b>.</span><br />
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<span style="font-family: inherit;"><b>So, what of the beginning of a novel?</b> What is it that a writer must do to ensure that the reader stays the course? Numerous challenges are presented to readers which can be problematic as writers are unable to discern the literary ability of their readership. Readers are already presented with lots of new information regarding names of characters, social circles, family, personality traits (some of which are hidden); they also have the problem with getting used to a writer’s chosen style. As David Lodge argues: ‘However one defines it, the beginning of a novel is a threshold, separating the real world we inhabit from the world the novelist has imagined. It should therefore, as the phrase goes, “draw us in” '(2011, 4-5). Depending on the reader this may only allow for their interest to be maintained across the opening few chapters while some may read the first page before returning it to the book to the shelf.</span><br />
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<span style="font-family: inherit;">Some writers are able to summarise a key theme within the first sentence alone. Jane Austen’s opening sentence to <i>Pride and Prejudice</i> (1813) begins: ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife’ (p. 5). The issues of women’s purpose in society at the time coupled with the popular institution of marriage, not least the desire for it, meant that this single sentence captured the tensions of all the events which followed thereafter. Presented as a statement, it also points out, rather ironically, that this is a truth as opposed to a socially constructed convention. Another example, cited in John Mullan’s <i>How Novels Work</i> (2006), reviews the example provided by George Orwell in <i>Nineteen Eight-Four</i> (1949) which is: ‘It was a bright cold day in April, and the clocks were striking thirteen.’ Mullan observes that ‘The statement is made as if it were natural and already we are made to inhabit the logic of dystopia’ (2008, 36). </span><br />
<span style="font-family: inherit;">Such succinct sentences may not be appropriate for use in every novel, but a few lines or sometimes even the first page can provide guidance to the reader for what lies ahead. Read the opening paragraph to Dickens’ <i>A Christmas Carol</i> (1849, 33):</span><br />
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<b><span style="font-family: inherit;">Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’ name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.</span></b></div>
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<span style="font-family: inherit;">The first three words present a simple statement: ‘Marley was dead’. This is, after all, a ghost story so the reader is given the identity of the first ghost that they will later be introduced to. It is presented as fact, having been witnessed and signed to by a number of people who would have overseen the funeral, Scrooge himself was there to witness his old friend lying in the coffin. He was, as Dickens re-emphasises, ‘dead as a door-nail’. So why would a writer go to such lengths to insist on making this point? As the well-known story goes, this is a tale of the supernatural so Dickens was preparing his audience to set aside their grip of reality and lend their imagination to the story which lay in wait. Dickens, later on the same page, even overtly makes this point: ‘There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate.’ He wants the readers to embark on the journey and suspend their beliefs. A secondary theory may be because Victorian society could have been shocked or outraged as they were at other Gothic tales; by reiterating the fact that it was simply a story – of community and goodwill – he not only represents the supernatural as entertainment but he is also able to continue offering a critique on the plight of the unfortunates living in London at such a time of festivity.</span><br />
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<span style="font-family: inherit;">The essence of characters can also be captured in these opening lines. One good example is of the laissez-faire attitude of the – sort of – self-titled character in Geoff Dyer’s <i>Jeff in Venice, Death in Varanasi </i>(2009) as if he couldn’t even be bothered to think of an original name, very clever indeed. The attitude of the character Jeff, who is a writer himself, is humorous and engaging from the beginning, but he is tired of writing about mundane topics and things which he does not find interesting. This defeatist and frustrated monologue is embodied by a single line he types out on an email to his editor and it simply reads: ‘I just can’t do this shit any more. Yrs J.A.’ Yes, he couldn’t even be bothered typing it out fully such was his contempt for the piece of writing which he had been commissioned to do. Furthermore, after mulling over whether to send it, he then deletes the draft and goes for a walk! This attitude towards other people and situations he finds himself in is consistent throughout the novel unless he finds something intriguing or exciting but, as a reader, you cannot help but appreciate that you’re reading about a writer who is writing about writer who doesn’t want to write. Alright?</span><br />
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<span style="font-family: inherit;">Now that we’re past that tongue-twister we can have a look at the last example from Nathan Filer’s <i>The Shock of the Fall </i>(2013) which focuses on narrative. I’ll review narratives properly another time but this example is certainly worth a look as it’s one I’ve always remembered, the opening lines read: ‘I should say that I am not a nice person. Sometimes I try to be, but often I’m not. So when it was my turn to cover my eyes and count to a hundred – I cheated’ (2013, 1). Does this first person self-evaluation mean that he is not a nice person? Not necessarily, but you would be led to believe that this is indeed the case. It’s also somewhat comically that the example he drew upon is cheating in hide and seek. What is important though is the reliability of the narrator and these opening sentences are for the reader’s attention so that they can think about these things as they move forward. Without wishing to spoil too much of the story I believe that these statements he makes are in fact true – to him – but his mental state is not one which can determine accurate events from his youth. He believes these things and relays them faithfully but that does not necessarily mean they are true. You’ll have to read the novel to find out more.</span><br />
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<span style="font-family: inherit;">As a reader myself I once recall attempting <i>We Need to Talk About Kevin</i> (203) by Lionel Shriver and being blown away by a saturation of elevated language. My initial experience was not one that flowed so I was unable to get caught up in the text until a good four or five chapters in. The vocabulary was challenging so ‘Google define’ was my best friend, the epistolary to an absent reader was as yet unappreciated and I had not been able to warm to the narrator. I’m sure these challenges will come around again in future when I attempt a new author but - and I’m not ashamed to say it - I could have put the book down. I didn’t. It turned out to be one of my favourite of all time and I have recently found it in a classroom being taught to A level students which pleases me. How close was I to missing out on such an experience though?</span><br />
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<b><span style="font-family: inherit;">The journey of every multi-selling novel out there is the same; in the beginning they start with just one reader: you. You are the words and, while you may not necessarily create them, you breathe life into them and create something in the process.</span></b><br />
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<span style="font-family: inherit;">Happy writing.</span><br />
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<span style="font-family: inherit;"><span style="background-color: white;">A blog by Steve Marshall</span><br style="background-color: white;" /><span style="background-color: white;"><br />--</span></span><br />
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<u><span style="font-family: inherit;">Resources / further reading:</span></u><br />
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<span style="font-family: inherit;">Austen, J. (1813) <i>Pride and Prejudice</i>. This edition published 2003. London: Penguin Classics.</span><br />
<span style="font-family: inherit;">Dickens, C. (1843) ‘A Christmas Carol’ in <i>A Christmas Carol and Other Christmas Writings</i>. This edition published 2003. London: Penguin Classics. Pp. 27-118.</span><br />
<span style="font-family: inherit;">Dyer, G. (2009) <i>Jeff in Venice, Death in Varanasi</i>. This edition published 2015. Edinburgh: Canongate Books.</span><br />
<span style="font-family: inherit;">Filer, N. (2013) <i>The Shock of The Fall</i>. This edition published 2014. London: The Borough Press. </span><br />
<span style="font-family: inherit;">Lodge, D. (2011) <i>The Art of Fiction</i>. London: Vintage. Pp. 3-8.</span><br />
<span style="font-family: inherit;">Mullan, J. (2006) <i>How Novels Work.</i> This edition published 2008. Oxford: Oxford University Press. Pp. 9-39.</span><br />
<span style="font-family: inherit;">Shriver, L. (2003) <i>We Need to Talk About Kevin</i>. This edition published 2011. London: Serpent’s Tail.</span><br />
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Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-18828354499587269452019-04-24T12:30:00.000+01:002019-04-26T13:45:24.238+01:00WHERE DOES A STORY BEGIN?<span style="font-family: inherit;">So far we’ve identified how to create a productive and supportive writing environment. We’ve also met the challenge of what to write about by utilising our often neglected experiences to help inspire our writing and call forth minute details from our lives which may be of benefit to the story in progress. Our final look at this little trilogy of complaints from students will focus on <b>‘where’ to start their story.</b></span><br />
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<span style="font-family: inherit;"><b><a href="https://1.bp.blogspot.com/-8y3GFyEFyTI/XML9NWhsAaI/AAAAAAAACfI/liWL3UK1OdIy90RRDfQk1agA_AUpPS4VgCLcBGAs/s1600/blog%2B13.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1300" data-original-width="1485" height="280" src="https://1.bp.blogspot.com/-8y3GFyEFyTI/XML9NWhsAaI/AAAAAAAACfI/liWL3UK1OdIy90RRDfQk1agA_AUpPS4VgCLcBGAs/s320/blog%2B13.jpeg" width="320" /></a></b></span></div>
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<span style="font-family: inherit;">The word ‘where’ in this question can be interpreted in a number of ways: <b>a physical place</b>, <b>a setting</b> for the story and <b>how to structure</b> a story. In looking at the first problem we can consider the writing environments discussed in the blog two weeks prior. We may also look beyond that to the planning for writing, so exactly <b>where is our starting point?</b> It may be the first time we put pen to paper, the planning for our writing environment, a brainstorm for a character, a story board for the action, bullet points of the spine of the story, an idea you had on your way</span><span style="font-family: inherit;"> to work or maybe it all comes back to a life experience which after years of waiting leaps forth with a refreshing point of view on something unchallenged. This may have echo back to the question of when writing begins, to which I agree, but where do these activities take place? Mobile phones are capable of documenting notes and short lists while any device with access to Word will enable you to start the story, or planning of it, in any manner of places. A note pad is equally effective if you have a half hour break at work but – personally – the best time for me to do most of my thinking is when I’m driving. When I’m sat in traffic for two hours a day I can drift off for a few minutes at a time, high above the cars queueing bumper to bumper on the A470 and far away from the daily monotony of ‘rush-hour’. Once you’ve reached your destination you can document any important notes on your phone to revisit at a time that suits you. With the technology that’s now available writer’s need not be chained to a desk or lock themselves away in a room of one’s own. Thinking about your writing, particularly in the early stages of development, <u>can take place wherever you have freedom of thought.</u></span><br />
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<span style="font-family: inherit;">The second and slightly more pertinent element of this question is <b>where to stage the story</b>. This comes down to one simple equation as to how much research you will need to engage with in order to be successful. If you grew up or lived in the place where you wish to set your story then you can draw from your own experiences (see last week’s blog) to add detail to the setting thus enhancing the reading experience for the reader. You may still wish to take photographs of the area and research some of the history but it will still be benefitting from your touch of warmth – or negativity </span>–<span style="font-family: inherit;"> which accompanies each description. </span><br />
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<span style="font-family: inherit;">Another important consideration to account for is <b>whether the chosen setting is relevant to the theme of your story</b>. Notable examples from the past include the use of Venice for <i>Othello</i>, the Yorkshire Moors for <i>Wuthering Heights</i> and London for <i>The Adventures of Sherlock Holmes</i>. The ‘where’ in this context means that the chosen setting should embody characteristics of the main protagonist or antagonist, or should emphasize key themes or sub-plots of the story. A shadowy tale of people not being true to themselves or others, holding secret meetings in dark alleys alongside some particular virtue being gradually worn away until it is sunken without trace, would certainly play out better in Venice than it would in – for argument’s sake – Marseille.</span><br />
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<span style="font-family: inherit;">The final ‘where’ is concerned with <b>how to structure a story</b> and there are a variety of points which can introduce your reader to the action. Biographical or autobiographical novels generally start at the beginning of the main characters life or certainly pick up from their formative years. Other novels really can introduce the reader at any point the author wishes; novels such as Helen Fielding’s <i>Bridget Jones’ Diary</i> and Nathan Filer’s <i>The Shock of The Fall</i> focus very heavily on the main protagonist and open by subtly introducing the reader to some of the character’s main flaws through an introduction from the character themselves, often at a low point of embarrassment or tragedy. Lionel Shriver’s <i>We Need To Talk About Kevin</i> starts its journey after the tragic events which hang ominously over any nature versus nurture debate carried out throughout the reading of this wonderful novel. Likewise, Margaret Attwood’s <i>Alias Grace</i> and Alice Walker’s <i>The Color Purple </i>both begin their narrative after the main event (e.g. murder / rape) have taken place. Emily Bronte’s <i>Wuthering Heights</i> is a framing narrative which starts in the present day, Nelly Dean then relays the tale of the house and family’s history before returning once again to the present day. At this point I could reel off numerous examples of different author’s carefully chosen entry points to novels but it really does depend on what your story is and how you wish to tell it, basing your chosen structure on how best to relay the tale and which option would create the biggest effect on the reader. For example, a thriller may begin at a moment of high tension, just before the explosive ending, but may go back in time and relay the tale in a chronological order until it reaches, and then resolves, the mystery / tension from which it began. <b>You’re the author</b> <b>so it is always your choice</b> but you must at some point think of the effect on the reader.</span><br />
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<span style="font-family: inherit;">At this point it is also useful to tie in any proposed storyline with a review of your <b>character.</b> As we have already discussed in an earlier blog, you can build your character from scratch and think about literally dozens of traits, such as their likes and dislikes, which will dictate their choices and provide a framework from which you can check for consistency as you move along. However, if you have decided upon your story and where it will begin you can work it in reverse order to shape your character. For example, if you had decided upon a failed bank robbery as the defining moment of your story then there are a number of questions you could think about in relation to your character: what has driven them to commit the crime, who they know who could assist them, the circles they move in, their experiences with weapons, what planted the seed of thought to do it, where else in their past they’ve displayed a failure to plan properly, and so on. You could continue asking yourself question after question and keep working it backwards until you find or create role models, shaping events and social circles which eventually lead your character to this moment. By building these layers you are – one would hope – left with a highly detailed background story filled with anecdotes or historical events which will also contribute to your novel or short story in their own way.</span><br />
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<span style="font-family: inherit;">This blog, along with the two entries prior to it, were all pretty much the result of a number of conversations with students. As I write these blogs each week I always try to be flexible and embrace a wide range of questions or challenges that all new writers may face. I am now looking forward to returning to a little more technical analysis and will spend the next few weeks looking at a variety of approaches to the novel. Writing is a particularly individual endeavour so <b>continue writing</b>, <b>continue challenging yourself</b> and <b>continue to have faith in your own ability. </b></span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">As always, please do feel free to leave any comments you have below. Happy writing!</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="background-color: white; font-size: 13.2px;">A blog by Steve Marshall</span><br /><span style="font-family: inherit;"><span style="background-color: white; font-size: 13.2px;"><br /></span><span style="background-color: white; font-size: 13.2px;">--</span></span></span><span style="font-family: inherit;"><br /></span>
Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-72817805023129877372019-04-17T12:30:00.000+01:002019-04-26T13:07:37.674+01:00WRITE WHAT YOU KNOW, RIGHT?<a href="https://1.bp.blogspot.com/--ZXArAi_Pvc/XLiNdt7bK_I/AAAAAAAACe0/jJpcZXBFQEk4R8L5YpkQ7WMDz4QqL9R6QCLcBGAs/s1600/blog%2B12.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="212" src="https://1.bp.blogspot.com/--ZXArAi_Pvc/XLiNdt7bK_I/AAAAAAAACe0/jJpcZXBFQEk4R8L5YpkQ7WMDz4QqL9R6QCLcBGAs/s320/blog%2B12.jpeg" width="320" /></a><span style="font-family: inherit;"><span style="font-size: small;">Last week we discussed creating the right environment within which students can write creatively. I also documented two other concerns which students raised when faced with the challenge of writing creatively which was <b>what to write about</b> and <b>where to start</b>. </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><b>What to write about </b>is what I hope to address in this week’s blog. These concerns no doubt present themselves to writers across the spectrum of experience, but those who have been writing for a while have more experience in reading and writing which will aid them. The other big difference is that the more you write the more confident you will be at starting the process. For younger or less experienced writers the lack of reassurance and validation of their work can prevent them from committing to a task. As an advocate for various disciplines of English I always refer to reading as the key to unlocking or improving a variety of skills such as vocabulary, punctuation, sentence structure, etc. Others may choose to disagree but what is without doubt is that reading - if coupled with proper analysis of literary techniques - can help students of writing to identify, mimic and even attempt to emulate a range of styles and approaches. Nevertheless, there are ways which we can help to get young writer’s brains whirring and their pens dancing across the page.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><b>‘I don’t know what to write about.’</b> Not a problem. Let’s start with the basics which would be to <u>write what you know</u>. This could be a day at the seaside, a recent holiday or a concert that you attended. This is all well and good and if you were to ask a class to write about what they know the majority of the students would engage with the task, but simply reporting a series of events in detail would not get them thinking creatively, this is merely ‘reporting’. Maybe, in these circumstances, would be better to suggest the use of a sentence alongside their experiences, such as: ‘It all went horribly wrong when...’ or ‘But we had no idea what was just around the corner...’. The use of these sentences may generate creativity and prevent them from straying from a more factual path. You may still receive a few comments which state that they haven’t been on a day out, a holiday or to a concert so still have nothing to write about; in these instances I would suggest that they choose a destination or concert which they would like to visit or attend and write about that instead. Not only are these students actually thinking creatively about the task but if they need further support allow them to carry out research on their subject which is a valuable part of the process for creative writers. Some have lots of experiences to draw upon while others don’t – or claim they don’t – but I don’t see either as a problem. </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">A further argument to ‘write what you know’ is provided by Nathan Englander, the critically acclaimed author of <i>What We Talk About When We Talk About Anne Frank</i>. Englander says that “write what you know” is one of the best and most misunderstood pieces of advice, ever. It paralyzes aspiring authors into thinking that authenticity in fiction means thinly veiled autobiography. If you’re a drunken, brawling adventurer, like Hemingway, no problem. But Englander, who grew up in the Orthodox Jewish community of West Hempstead, New York, says he spent a lot of his childhood watching TV, playing videogames, and dreaming about being a writer. So if it doesn’t mean authenticity, what does the phrase mean? Englander goes on to suggest that what you know are in fact<b> emotions</b>. <b>If you have felt love or loss, hatred or fear, or anything on life’s kaleidoscope of emotions then write about them and the readers will feel it. </b>While I actually agree with this it still strikes me that the reader will be experiencing or sharing in something authentic unless these emotions are harnessed in order to produce something completely new.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Personally I think that <b>everyone has a story to tell</b> but this doesn’t mean that every person’s autobiography would be a thrilling read. What I do mean is that everyone has a number of life experiences which are unique to them and some of these have shaped the way that they have reflected on a particular event and their view of the wider world on an ongoing basis. Rather than write about ‘these’ places, people or scenarios they can simply provide the nucleus of an idea from which other stories can be told. If you’re writing about a night out in a foreign country it may be that you found your bar straight away but walked past an intriguing doorway from inside of which you could hear music thumping. For the purposes of your story you now suddenly recall these details as your character stumbles down some dark alleys in the vain pursuit of a particular person when upon locating them finds that they have entered this run-down underground club covered in graffiti with burly, somewhat sinister looking doormen outside, and yet when you got inside you quickly realised that this underground club was not one which welcomed you. It could be that you spent a night at a small gig and watched as one of the women in front of you was unable to take her eyes off the woman beside her. This observation can take on a life of its own as you imagine her ignored fixation as the woman beside her obliviously dances and talks to the woman standing in front of her. </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Rather than write about any of the things you actually witnessed in a matter of fact fashion, they may simply provide elements of your story. For example, you may recall details of the concert venue and use some of these features to create a setting for part of your story. The surroundings which you have witnessed first-hand then lend themselves to describing something in greater detail than you may perhaps have imagined. Equally, these same girls in front of you could inspire a whole new plot. The woman fixated on the other could be a psychopath or an old friend, or it could indeed be a scene of unrequited love.</span></span><span style="font-family: inherit;"><span style="font-size: small;"> As always, these are simply random suggestions but the point I am making here is that <b>small observations from real-life experiences can contribute to or help shape your story and characters.</b><br /> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">If these glimpses of our past can contribute to the creation of stories then so too can TV programmes, inanimate objects and our general understanding of the world which we can thank our family, friends and enemies for. We all know someone ‘like that’ and we can all ‘remember when’ so let’s use every day we’ve had on this earth and create something new, something only you with your unique history and personality would be able to create. Rather than ‘write what you know’ maybe the phrase better employed for new creative writers is to <b>‘use what you know to inspire your writing’</b>.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />As always, happy writing!</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br />
<span style="font-family: inherit;"><span style="background-color: white; font-size: 13.2px;"><br /></span><span style="background-color: white; font-size: 13.2px;">--</span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><u>Resources:</u></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />Gots, J. (2012) ‘“Write what you know” – the most misunderstood piece of good advice, ever.’ in Big Think. 1st March 2012. Accessed online at: https://bigthink.com/think-tank/write-what-you-know-nil-the-most-misunderstood-piece-of-good-advice-ever<br /><br /><br /></span></span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-87712462695702109912019-04-13T17:37:00.001+01:002019-04-13T17:37:25.043+01:00LUCY WILSON UP FOR SCRIBE AWARD!
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<span style="color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">Candy Jar Books is
pleased to announce that <i style="mso-bidi-font-style: normal;">The Lucy Wilson
Mysteries: Curse of the Mirror Clowns</i> by Chris Lynch has been nominated for
the prestigious Scribe Awards.</span></div>
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<span style="background: rgb(253, 253, 253); color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">The Scribe Awards, from
the International Association of Media Tie-In Writers, acknowledge and
celebrate excellence in licensed tie-in novels and audio dramas based on TV
shows, movies, and games.</span></div>
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<a href="https://3.bp.blogspot.com/-wz_xIVLZRAc/XLIPMlqcdLI/AAAAAAAACeg/J0fkuudMCJUWEfsT5148mLRE7bg9HtRrACLcBGAs/s1600/Scribe%2Baward.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="183" data-original-width="174" src="https://3.bp.blogspot.com/-wz_xIVLZRAc/XLIPMlqcdLI/AAAAAAAACeg/J0fkuudMCJUWEfsT5148mLRE7bg9HtRrACLcBGAs/s1600/Scribe%2Baward.gif" /></a><i style="mso-bidi-font-style: normal;"><span style="background: rgb(253, 253, 253); color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">The
Lucy Wilson Mysteries</span></i><span style="background: rgb(253, 253, 253); color: black; font-family: "Verdana","sans-serif"; line-height: 125%;"> is a licensed <i style="mso-bidi-font-style: normal;">Doctor Who</i> spin-off novel and features the granddaughter of the Doctor’s
best friend, Brigadier Lethbridge-Stewart. Based in Ogmore-by-Sea these YA
sci-fi books </span><span style="color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">tackle prejudice
against differences and promote diversity, self-confidence and acceptance for
young people. </span></div>
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<span style="background: rgb(253, 253, 253); color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">Three books have already
been published by Sue Hampton (<i style="mso-bidi-font-style: normal;">Avatars of
the Intelligence</i>), Chris Lynch (<i style="mso-bidi-font-style: normal;">Curse
of the Mirror Clowns</i>) and John Peel (The Midnight People), with two more on
the way by Wink Taylor (<i style="mso-bidi-font-style: normal;">The Bandril
Invasion</i>) and Tim Gambrell (<i style="mso-bidi-font-style: normal;">The
Brigadier and the Bledoe Cadets</i>).</span></div>
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<a href="https://4.bp.blogspot.com/-8y-30r3Xiyw/XLIPyWS0gzI/AAAAAAAACeo/Z_cVSRyo8CUtWzZTjESmen7oHISr5n-YwCLcBGAs/s1600/9781912535101.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="345" height="320" src="https://4.bp.blogspot.com/-8y-30r3Xiyw/XLIPyWS0gzI/AAAAAAAACeo/Z_cVSRyo8CUtWzZTjESmen7oHISr5n-YwCLcBGAs/s320/9781912535101.jpg" width="221" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">Curse of the Mirror Clowns</span></i><span style="color: black; font-family: "Verdana","sans-serif"; line-height: 125%;"> by Cardiff-based film and comic writer Chris
Lynch is fighting its corner against some of the biggest TV and film franchises
in the world including <i style="mso-bidi-font-style: normal;">Star Wars</i> and <i style="mso-bidi-font-style: normal;">Small Foot</i>, as well the New York Times
bestselling author, Jonathan Maberry. Chris says: “I was delighted to discover
I’d been nominated for this award. I’m certainly in illustrious company!
Hopefully my clowns are up to the challenge.”</span></div>
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<span style="background: rgb(253, 253, 253); color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">Originally created by
Shaun Russell and Andy Frankham-Allen, the first Lucy Wilson novel was brought
to life by YA author Sue Hampton. Shaun says: “Sue’s instinct with the first
book <i style="mso-bidi-font-style: normal;">Avatars of the Intelligence</i> was
spot-on. She got the characters straight away and delivered a book reminiscent
of the popular <i style="mso-bidi-font-style: normal;">Sarah Jane Adventures</i>,
also based on <i style="mso-bidi-font-style: normal;">Doctor Who</i>.”</span></div>
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<span style="color: black; font-family: "Verdana","sans-serif"; line-height: 125%;">Sue really enjoyed working on the first book. She says: “Lucy is
dauntless, loyal and whip-smart. She’s a modern girl with strong values and
opinions, which means that she feels the injustices in the world even more
strongly than most and always stands up for what’s right. I wish Chris good
luck with the awards.”</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-48134878731946618712019-04-10T12:30:00.000+01:002019-04-10T17:18:39.431+01:00CLASS ACT<a href="https://3.bp.blogspot.com/-Er--VWYrQvs/XK4UKF936tI/AAAAAAAACeU/0e7g3ZT7QUst8EtED__3Qcw9aI2BrgeRACLcBGAs/s1600/writing%2Bblog%2B11.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://3.bp.blogspot.com/-Er--VWYrQvs/XK4UKF936tI/AAAAAAAACeU/0e7g3ZT7QUst8EtED__3Qcw9aI2BrgeRACLcBGAs/s320/writing%2Bblog%2B11.jpeg" width="320" /></span></a><span style="font-family: inherit;">The other day I found myself in a situation no doubt familiar to lots of tutors of creative writing who, when offering a group of students time to write something creative, was greeted with a chorus of ‘I don’t know what to write’. Rather than viewing this solely as a resistance to doing work or a lack of creativity I see it as a challenge to myself and as an opportunity to challenge them. <b>So, what were their real concerns?</b></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><u>Firstly</u>, the environment within which they were working – a secondary school – can, without making any apologies here, be more intimidating and less conducive to a supportive atmosphere giving genuine constructive feedback.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><u>Secondly</u>, students complained that they wouldn’t know what on earth to write about which, if you have read my very first blog, should not be a concern to anyone with any life experiences to call upon.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><u>Finally</u>, as some murmurs never made it to my ears, it was the difficulty of knowing where to start which made the task a little overwhelming. It is these very concerns along with the advice I gave them which I wish to reflect upon and I will tackle the first of these issues today.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The environment within which students produce writing and indeed share it is a pressing one. Students of literature and / or creative writing at A level or beyond will appreciate that sharing their creations with the rest of their group in order to obtain feedback is a <b>valuable part of the process</b>. The early days of creating the right environment to do this is a delicate process to manage so that nobody feels unable to share their work; this could be heavily influenced if the tutor sets class rules for feedback or sets the class the task of setting the ground rules themselves. Still, some pupils may be shy and may not wish to read their poetic lyrics aloud, so what then? A whole class approach could possibly be broken down into smaller groups or even, if it is the best way to build confidence, separating everyone into pairs which may seem less threatening. Yet another approach could be to set up a space within which students can upload their work and then students – if individual accounts are created – can provide feedback while taking responsibility for their responses. Ultimately, it may take a few weeks of positive feedback from a tutor before someone is willing to accept that they do in fact have talent, so a further step for the initial weeks with a group of new students may be one to one feedback. However, always be aware that the writing produced may be deeply personal so while the individual has drawn upon a real experience to inspire their writing it may be that they are not quite ready to share it with a wider audience just yet.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Creating a space that allows people to write is also of the highest importance; light, heat and writing resources must all be available as must the ability to work in peace for any period. This does not necessarily mean peace and quiet as some writers may find working to music or background noise easier so this also needs to be carefully considered. Although the process of writing and learning to improve one’s writing is a collaborative effort, the act of writing is a particularly individual process so an appreciation that one size does not fit all is required.</span><br />
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<span style="font-family: inherit;">If you are a student reading this then I implore you to continue writing and to start, or continue, sharing your work without fear. There are a great many ways that you can improve your writing.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><u>The first</u> of which is to <b>read</b>; read a lot but, most importantly, read a variety of authors and genres. The various skills and techniques that can be found in one author may be different from another, you must also appreciate that to subvert a text or genre you must first understand it’s ‘rules’ and that will not happen without reading.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><u>Secondly,</u> you must <b>challenge yourself</b> to write in a variety of voices, tenses, narration styles and genres as the only way you will be able to reflect on these skills is by reviewing what you have actually produced. In addition to this, writing in a variety of styles will enable you to put into practice many techniques that you have identified in other authors and will allow some of the greater influences to flow through your own work in your own inimitable way.</span><br />
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<span style="font-family: inherit;"><u>Finally,</u> <b>share your work</b> with others even if it only starts with friends and family before including your lecturer and classmates. A word of warning though: you are likely to hear ‘good’ and ‘nice’ quite a lot. Your peers and particularly your lecturer will have considerably more experience in reading and creative writing so will be able to provide much more valuable feedback with which you can revisit your first drafts.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Receiving criticism – no matter how constructive - is a painful experience and the more of your soul that reaches the page the more painful it is to hear that is not a ready-made best seller; however, if you want it to be then you need this <b>feedback</b>. Not everyone will appreciate your style and not every reader will understand the deeper meaning of your text, but if you want to publish in your career then at some stage you will have to declare that last edit as final and send it off for the scrutiny of publishers. You may be surprised that your peers and college or university staff are just as supportive and hungry for you to succeed as you are for them to enjoy that very same success.</span><br />
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<span style="font-family: inherit;">Read, write and share. Happy writing!</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br />
<span style="font-family: inherit;"><span style="background-color: white; font-size: 13.2px;"><br /></span><span style="background-color: white; font-size: 13.2px;">--</span></span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-37057157508912120542019-04-03T12:30:00.000+01:002019-04-04T14:37:54.418+01:00FROM THE MOUTHS OF BABES<div style="text-align: center;">
<span style="font-family: inherit;"><b>‘Heil Hitler,’ he said, which, he presumed, was another way of saying, ‘Well, goodbye for now, have a pleasant afternoon’ (2007, 54).</b></span></div>
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<span style="font-family: inherit;">Wow. That’s a brave opening even for me and yet a nine year-old boy had no trouble at all in uttering this phrase. Why? Well, put simply, he had been brought up to believe that such a phrase and the salute which accompanies it was actually polite. The boy in question is young Bruno from a fantastic novel which I have only just got around to reading John Boyne’s <i>The Boy In The Striped Pyjamas</i> and, at the time of me writing this, the film was showing on Netflix as well. While the film has received praise from all quarters we are of course here to discuss literature… and the book is far better anyway. What did intrigue me about this book were the various techniques used to display childhood innocence, which is the topic of today's blog.</span><br />
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<span style="font-family: inherit;">Having worked with children for a number of years as well as having a child of my own I am forever amazed by the way that they see the world before they are influenced and, just like in this book, it would put many of us to shame. As we have seen from the example already provided, imitation is one way that children try to learn new things and fit in with their peers or seek approval from their guardians. This places a huge responsibility on the person(s) guiding these young minds, but unfortunately this can lead to the </span>transferal<span style="font-family: inherit;"> of bad habits as well as good habits.</span><br />
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<span style="font-family: inherit;"><b>‘Yes, but they’re different aren’t they?’ said Shmuel.</b></span><br />
<span style="font-family: inherit;"><b>‘No one’s ever given me an armband,’ said Bruno.</b></span><br />
<span style="font-family: inherit;"><b>‘But I never asked to wear one,’ said Shmuel.</b></span><br />
<span style="font-family: inherit;"><b>‘All the same,’ said Bruno, ‘I think I’d quite like one. I don’t know which one I’d prefer though, your one of Father’s' (2007, 127).</b></span><br />
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<span style="font-family: inherit;">If we look at the extract above, Bruno does not actually commit to whether he would prefer the Star of David or a swastika on his armband. The simple reason for this is because the influences upon this decision are equally great. It would be an assumption to guess which one he would choose but it is safe to say that he is probably drawn to both due to the fondness for the two people who wear them. Choosing one would mean risking disappointing the other party.</span><br />
<span style="font-family: inherit;">Before Bruno, or any child, commits to a decision he may decide to ask questions first:</span><br />
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<span style="font-family: inherit;"><b>‘Can I ask you something?’ he added after a moment.</b></span><br />
<span style="font-family: inherit;"><b>‘Yes,’ said Shmuel.</b></span><br />
<span style="font-family: inherit;"><b>Bruno thought about it. He wanted to phrase the question just right.</b></span><br />
<span style="font-family: inherit;"><b>‘Why are there so many people on that side of the fence?’ he asked. ‘And what are you all doing there?’ (2007, 115).</b></span><br />
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<span style="font-family: inherit;">There are many other reasons why children ask questions (and don’t stop) but that is to satisfy their quest for knowledge about a particular subject and to enhance their understanding of the world around them. As a reader, we see through Bruno’s eyes as he looks through his bedroom window catching his first glimpse of the concentration camp. An education in history and our own understanding of the world means that we immediately comprehend the environment in which he now inhabits and the one which he observes, but we are in a unique position compared to the young narrator. The world in which he has been brought up in means that he has no concept of segregation and children simply while away the hours playing games together. The fence itself is alien to him as are the striped pyjamas and many other differences he is discovering between himself and Shmuel, highlighted even more so by the fact that they share the same birthday which, to Bruno, means they are almost identical.</span><br />
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<span style="font-family: inherit;">One of the reasons for this lack of comprehension is because children are often sheltered from the truth. This is usually done to protect them from the corruption and harsh reality of the world while coupled with a belief that children are incapable of processing the truth; in light of the topic we are discussing it may well be that children may have been able to highlight just how absurd and inhumane the displayed behaviours actually were. Boyne recognises this and plays on this, this is seen in one instance when Bruno decides to keep Shmuel a secret from his family: <b>‘Bruno was of the opinion that when it came to parents, and especially when it came to sisters, what they didn’t know couldn’t hurt them’ (2007, 132). </b></span><br />
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<span style="font-family: inherit;">Boyne also plays with the children’s lack of comprehension in terms of the language that they employ. Both Bruno and Gretel refer to Auschwitz as ‘Out-with’ and the Fuhrer as ‘The Fury’. As young children learn language they often go through a stage of word replacement for anything they can’t quite pronounce but these examples bring remarkable connotations with them; 'Out-with' could easily be read as comparable to the Nazi’s attempt at culling those of the Jewish faith (amongst others) while ‘The Fury’ brings to mind words such as ‘rage’ or ‘anger’ rather than the literal translation of ‘leader’.</span><br />
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<span style="font-family: inherit;">In addition to making sense of language, children make sense of their surroundings by supposing upon what is going on around them. This is not unique to children and examples can be found in literature of ancient civilisations attempting to seek meaning and reason in the events of nature. In <i>The Epic of Gilgamesh</i> and <i>Homer’s Odyssey</i> there are a number of narratives which explain the world around them as acts of the Gods, the Romans and Pagans also sought to rationale their environment by relating events to acts of deities. There are further examples to be found in modern society and literature as scientists seek to discover, evidence and explain anything which remains a mystery while writers, such as Mary Shelley, play on scientific discovery through their writing, and in Shelley's case her most famous novel: <i>Frankenstein</i>. </span><br />
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<span style="font-family: inherit;">In attempting to explain away Shmuel’s father’s absence, Bruno says: <b>‘I imagine the men were taken to work in another town and they have to stay there for a few days until the work is done. And the post isn’t very good here anyway. I expect he’ll turn up one day soon’ (2007, 195).</b> This response between adults would be seen as a mature response to make the other person feel better or, at best, blind optimism, but this example – viewed through Bruno’s eyes </span> –<span style="font-family: inherit;"> is a genuine rationalisation of the circumstances presented.</span><br />
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<span style="font-family: inherit;">If you are in any doubt as to the differences between an innocent narrative compared to a world-weary response then look no further than the following example. This extract is taken from Martin Amis’ <i>The Zone of Interest</i> and occurs when a solider describes a truck-load of bodies being ferried past a new set of prisoners when, unfortunately, some parts become visible:</span><br />
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<span style="font-family: inherit;"><b>'He said that about half a dozen of them half flopped out over the railboard; he said that it made him imagine a crew of ghosts being sick over a ship’s side. With their arms swinging. Not just any old corpses either. Starveling corpses. Covered in shit, and filth, and rags, and gore, and wounds, and boils. Smashed-up, forty-kilo corpses’ (2015, 37).</b></span></div>
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<span style="font-family: inherit;">It doesn’t leave much to the imagination does it? Yet no-one questions it. Who were those people? Why are they dead? What will happen to them now? Are they dead? Will they go to hospital? The prisoners who witnessed this certainly knew what this scene meant for them which is why panic ensued.</span><br />
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<span style="font-family: inherit;">The reason I have brought up this topic is to highlight that <b>innocence</b> is an equally powerful way of highlighting ignorance and horror. The graphic depiction above is most certainly effective but I would like you to consider the stories you are writing once more and consider these questions:</span><br />
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<ul>
<li><span style="font-family: inherit;">Are there characters who would inhabit these spaces who would have a completely different view of events than the one your narrator is sharing? </span></li>
<li><span style="font-family: inherit;">If so, what would their understanding of events be and does that add anything to the text? </span></li>
<li><span style="font-family: inherit;">Is it consistent with any of your themes to have an innocent yet unreliable narrator? </span></li>
</ul>
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<span style="font-family: inherit;">These are all important things to think about, but I would suggest re-writing one scene from a short story or novel that you’ve produced through the eyes of someone slightly removed from the social sphere, level of intelligence or rank of the setting or characters in which it is taking place. Otherwise, simply read <i>The Boy In The Striped Pyjamas </i>and see if that inspires you. </span><br />
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<span style="font-family: inherit;">Don't forget, we are all trying to make sense of the world around us. Happy writing!</span><br />
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<span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; font-family: inherit; font-size: 13.2px;"><br /></span><span style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">--</span><br />
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<span style="font-family: inherit;"><u>Further reading:</u></span><br />
<span style="font-family: inherit;"><u><br /></u></span>
<span style="font-family: inherit;">Amis, M. (2015) <i>The Zone of Interest</i>. London: Vintage.</span><br />
<span style="font-family: inherit;">Boyne, J. (2007) <i>The Boy In The Striped Pyjamas</i>. London: Definitions.</span><br />
<span style="font-family: inherit;">Lodge, D. (1992) <i>The Art of Fiction</i>. London: Penguin Books.</span><br />
<span style="font-family: inherit;">Mullan, J. (2006) <i>How Novels Work</i>. Oxford: Oxford University Press.</span><br />
<span style="font-family: inherit;">Sebald, W.G. (2011) <i>Austerlitz</i>. London: Penguin Books.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-15751411239851454082019-03-25T14:08:00.000+00:002019-04-04T14:38:50.116+01:00STRONG FEMALE VOICES AT THE COMIC GURU: MEET THE AUTHORS!<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">Candy Jar Book shelf at The Comic Guru</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">As we approach the end of this turbulent decade strong female characters have begun to take centre stage across all film, comics and TV drama, most especially sci-fi. Both DC and Marvel have had enormous successes with Wonder Woman and Captain Marvel respectively.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">One such organisation to embrace this change is the Comic Guru, now located in the Queen Street arcade.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">And to celebrate this, the Comic Guru is partnering with another staple of Cardiff’s sci-fi scene, award-winning independent publisher Candy Jar Books.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">To coincide with the recent release of Captain Marvel, the first woman-led instalment in Marvel’s cinematic universe, the Comic Guru is hosting its first collaborative event with Candy Jar, an author meet and greet showcasing just a few of Candy Jar’s strong female authors. Fans will get a chance to meet Alyson Leeds, an author from the Doctor Who spin-off Lethbridge-Stewart series, as well as children’s sci-fi authors Cherry Cobb and Michelle Briscombe.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Owner of the Comic Guru, Kristian Barry, says: “Both the DC and Marvel comic and film franchises have been at the catalyst of change. They have always embraced diversity and championed equal rights. Captain Marvel shows that women can be superheroes too. At the Comic Guru we want to celebrate this, and with Mother’s Day coming up we thought it was an ideal opportunity.”</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Candy Jar’s range of titles spans everything from children’s fiction to war memoirs. It is perhaps best known, however, for its Lethbridge-Stewart series, a fully licensed collection of novels about the adventures of the classic Doctor Who character Brigadier Lethbridge-Stewart. As one of the only non-BBC official Doctor Who products out there, the series has attracted an international readership, and it is currently in its sixth series.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />Michelle Briscombe’s novel, The House on March Lane, contains two brave female protagonists, one from the modern day and the other from the Victorian era. Both characters are free thinkers and despite being separated by one hundred years they become unlikely friends.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />Cherry Cobb, author of Will’s War, a book about a boy who time travels back to World War Two London, focuses mainly on male characters. Cherry says: ”My dad was eleven when he was evacuated from Plymouth. He often used to tell me stories about how they lived and I think this is why it felt more natural to me to write about the experience of a boy. Although Will’s War has a lot of male characters, I did not aim it at boys, but as something to be enjoyed by everyone.”</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Shaun Russell continues: “We’re proud of the stand sci-fi has been taking recently. We’ve tried to make our statement with our authors, as well as our Lethbridge-Stewart spinoff, The Lucy Wilson Mysteries. Sci-fi is for everyone, boys and girls, and this event has something for the whole family. Not to mention, as it takes place the day before Mother’s Day, it might be just be the perfect opportunity to pick up a last minute gift.”</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Publishing Co-ordinator, Keren Williams, elaborates: “Alongside author meet and greets, there will be a chance to get your hands on some free books, and if you are interested in becoming an author yourself, Candy Jar’s team will be available to chat throughout the day.”</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />And just for balance, Terry Cooper, author of the sci-fi comedy Kangazang! Small Cosmos, and director of the Welsh independent film, Offworld, will also be signing at the Comic Guru. He says: “I have two daughters myself and do recognise the importance of strong role models for girls. Despite my book being a laddish adventure story, it is the female character that ultimately saves the day. Equally in Offworld it is the female spaceship Captain that takes centre stage in my story.”</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />Kristian Barry continues: “I’m really looking forward to welcoming this group of talented authors into my shop, it is sure to be a stupendous start to many more Comic Guru events.”</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />The event will take place on March the 30th beginning at eleven o’clock through to four thirty.</span></span><span style="font-family: inherit;"><span style="font-size: small;">www.candyjarbooks.co.uk</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">For more information, please contact keren@candyjarbooks.co.uk </span></span><br />
<span style="font-family: inherit;"></span><span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>Unknownnoreply@blogger.com0Unit 7 Queen's Arcade, Cardiff CF10 2BY, UK51.481241399999988 -3.177258100000017325.959206899999987 -44.485852100000017 77.003275899999991 38.131335899999982tag:blogger.com,1999:blog-1189771268990283691.post-28599807708445616912019-03-20T12:30:00.000+00:002019-04-04T15:50:56.563+01:00THINKING ABOUT FOOD<br />
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‘Look at our apples</div>
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Russet and dun,</div>
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Bob at our cherries,</div>
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Bite at our peaches,</div>
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Citrons and dates,</div>
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Grapes for the asking,</div>
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Pears red with basking</div>
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Out in the sun,</div>
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Plums on their twigs;</div>
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Pluck them and suck them, Pomegranates, figs.’</div>
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(Excerpt from Goblin Market, L 352-61)</div>
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Are you salivating yet? An abundance of fruit just inviting you to have
a taste. Last week I gave you food for thought as we considered how, in
writing, the act of eating can reflect status or social interactions. I now
want us to think about food some more, focusing in particular on some of the
figurative associations of eating.</div>
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Close read the extract above. What are you first thoughts? To suck, to
lick; even saying these word aloud can engage your tongue and ignite your mind.
What about the shapes of the fruits themselves, each bearing a resemblance to
parts of the body? The goblins who are attempting to entice Laura to taste
their goods are like the sirens who lure sailors to their doom.</div>
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<a href="https://2.bp.blogspot.com/-l__FHBugFCk/XJUGi5G9kpI/AAAAAAAACdo/B8o9UNjE0YYWaiaMn4j6ehbfNRTq8IBVQCEwYBhgL/s1600/pexels-photo-922705.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://2.bp.blogspot.com/-l__FHBugFCk/XJUGi5G9kpI/AAAAAAAACdo/B8o9UNjE0YYWaiaMn4j6ehbfNRTq8IBVQCEwYBhgL/s320/pexels-photo-922705.jpeg" width="213" /></a>Paying heed to Rossetti’s religious background, we can also read the
poem as a fable of sorts. If we see the fruit which the goblins are trying so
hard to sell as ‘forbidden fruit’, the goblins themselves as a snake and Laura
as Eve, we are transported into the Garden of Eden. Laura ‘sucked and sucked
and sucked the more / Fruits which that unknown orchard bore’ (L 134-5); could
this passage in itself be referring to the tree of knowledge? Inferences could
be made about the poem serving as a warning to women not to engage in sexual
acts with men: sexual knowledge will bring their downfall.</div>
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There are many other explorations of the figurative significance of
eating in literature. To take Bram Stoker’s Dracula as an example: there are
many readings which centre around the act of the vampire feeding off of others.
These readings highlight patriarchy, phallogocentrism, the contemporary
practice of using blood transfusions to reduce madness caused by bad blood,
taboo subjects such as menstruation and, yet again, sex. Yes, the act of
phallic shaped incisors piercing a woman can be interpreted as an act of
penetration. Likewise, early in the novel, Jonathan Harker watches in a
trance-like state as no less than three of the Count’s mistresses attempt to
feed on him. There are many sexual references to ‘red lips’ and
‘voluptuousness’, and a description of one of the women ‘on her knees…
[arching] her neck… lower and lower went her head… then the skin of my throat
began to tingle’ (1897, 45). The whole feeding frenzy reads as a scene not
unlike that found in a romance novel, and yet it is describing a female vampire
feeding on a human male.</div>
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Through the sexualisation of female vampires and their degeneration to
an almost animalistic state, it could be argued that links with sex and
religion can again be found. Lucy’s state is altered from each transaction – as
it were – making her less and less wholesome. Indeed, her transformation from a
respectable woman into a heinous devil-incarnate could be viewed as a warning
to women: if left to ‘survive’, she would eventually act like the
aforementioned female vampires we have just discussed. After a stakeout at the
tomb, Lucy is now described somewhat differently: ‘The sweetness was turned to
adamantine, heartless cruelty, and the purity to voluptuous wantonness’. (1897,
225).</div>
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At the time of writing it is rapidly approaching Valentine’s Day, when
food becomes the language of love. Nigella Lawson has made a career out of
sexualising food, so let’s give it a go ourselves. Treating the food
allegorically, try describing the act of eating. Use verbs in the present tense
to engage the reader’s senses. Employ alliteration to emphasise the ‘mouthfeel’
of your words, rolling them round on your tongue before giving life to them.
The aim, of course, is for your reader to salivate at the thought of the images
you’ve conjured, whetting their appetite to read on.</div>
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Any more for any more? Happy writing.<br />
<br />
<span style="background-color: white; font-family: inherit; font-size: 13.2px;"><br /></span><span style="background-color: white; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;"></span><span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br />
<span style="background-color: white; font-family: inherit; font-size: 13.2px;"><br /></span><span style="background-color: white; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;">--</span></div>
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<u>Further reading:</u></div>
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Lodge, D. (1992) <i>The Art of Fiction</i>. London: Penguin Books.</div>
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Mullan, J. (2006) <i>How Novels Work.</i> Oxford: Oxford University Press.</div>
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Rossetti, C. (1995) <i>‘Goblin Market’ in Selected Poems of Christina
Rossetti.</i> London: Wordsworth Editions Ltd.</div>
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Stoker, B. (2003) <i>Dracula</i>. First published 1897. London: Penguin
Classics.</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-40749240004558812542019-03-13T12:30:00.000+00:002019-03-14T10:04:45.323+00:00FOOD FOR THOUGHT<a href="https://2.bp.blogspot.com/-f4DxVfBDzNs/XIkTeoRWxyI/AAAAAAAACdE/bLTSll_mo2MfOEl2SCK1Yc03x4xZX5-GQCLcBGAs/s1600/food%2Bfree%2Bimage%2Bpexels.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="627" data-original-width="940" height="213" src="https://2.bp.blogspot.com/-f4DxVfBDzNs/XIkTeoRWxyI/AAAAAAAACdE/bLTSll_mo2MfOEl2SCK1Yc03x4xZX5-GQCLcBGAs/s320/food%2Bfree%2Bimage%2Bpexels.jpeg" width="320" /></a><span style="font-family: inherit;"><span style="font-size: small;">Food for thought or, rather, let’s think about food. What I mean is that we should think about how <b>food can add something to your writing</b>. It may be the case that you’ve read many passages about a splendid banquet, arguments at the dinner table or lunch in a small café as an inconspicuous meeting place, <b>but have you given any thought as to why these scenes have been included within the writing?</b> I’ve no wish to patronise experienced readers and writers but in order to think about how we can use food or the practice of eating in our writing it is important to consider how those before us have employed it. In today’s blog we will have a look at Charles Dickens’ <i>A Christmas Carol</i> (1843) alongside a new novel by Alistair Moore entitled <i><a href="https://www.freewebstore.org/candy-jar-store/The_Release/p676602_18752318.aspx" target="_blank">The Release</a></i> (2018). </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">The first and probably most obvious link to make is that eating is a social behaviour. As much as we all like to sit down with our dinner in front of the TV from time to time there is still something satisfying about a cooked meal at a dinner table where everyone is together and sharing the experience. For those of us who rarely partake in this habit it is fair to say that Christmas Day is such an occasion when we might buck the trend, we may actually refrain from locking ourselves in a dark room all day with nothing but a mobile phone and Netflix to pass the time and leave that for the other 364 days of the year. On such an occasion we could be the tight-knit family unit so often portrayed in films and on TV or could even be like the Cratchit’s who, despite their poor fortune, all pulled together:‘The compound in the jug being tasted, and considered perfect, apples and oranges were put upon the table, and a shovel-full of chestnuts on the fire. Then all the Cratchit family drew round the hearth, in what Bob Cratchit called a circle’ (1843, 81-2). It is not a mad rush to the dinner table to get a larger portion of food than their sibling that is being displayed here, but <b>food preparation as a social activity</b>: ‘Mrs Cratchit made the gravy (ready beforehand in a little saucepan) hissing hot; Master Peter mashed the potatoes with incredible vigour; Miss Belinda sweetened up the apple-sauce’ (1843, 80). It's scenes like these throughout the novel that really show the reader who the Cratchit's are. Indeed, this was a family portrayed as one that worked hard for each other, appreciated their lot in life and enjoyed their modest pleasures together.</span></span><br />
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<a href="https://3.bp.blogspot.com/-AojeJTKS3XU/XIkUPE4PzfI/AAAAAAAACdM/X5MlqjyxZnEzqKak2_deoHiFyjx1euhvACLcBGAs/s1600/release%2Bgiveaway.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1349" data-original-width="1080" height="320" src="https://3.bp.blogspot.com/-AojeJTKS3XU/XIkUPE4PzfI/AAAAAAAACdM/X5MlqjyxZnEzqKak2_deoHiFyjx1euhvACLcBGAs/s320/release%2Bgiveaway.jpg" width="256" /></a><span style="font-family: inherit;"><span style="font-size: small;">The same could be said in relation to the use of food in texts and negative social interactions. In witnessing the phenomenon that was Marley’s ghost, Scrooge was understandably quick to dismiss it as a trick of the mind but did so by arguing 'You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There’s more of gravy than of grave about you, whatever you are!' (1843, 45). In <i>The Release</i>, Moore dedicates an entire page to <b>his character’s disdain </b>for using the shared kitchen in his bedsit by rather poignantly opening the passage by comparing it to the feeling of trespassing (2018, 81). The café where Bennie prefers to eat and spend time is the setting for a number of scenes; at first it provides a certain anonymity but as he becomes part of the furniture he – uncomfortably at first – communicates more with them, he even avoids frequenting the establishment too much for fear ‘of losing those warm associations’ (2018, 82). On this occasion he visits a different place to eat and finds that the atmosphere is more intrusive, even though he was privy to more information he ‘tuned out of the conversation’ (2018, 84). The negative environment and the lack of social interaction in this instance went hand in hand. Likewise, Sanders – the father of the deceased – in struggling to describe the premature and tragic loss of a child turns to food to illustrate his point: 'You’re never the same again. Nothing’s the same,' he says. 'Even food tastes different to how it used to. I wouldn’t wish it on anybody.' In this respect, <b>a link has been made between food and memory but, moreover, memories which are linked to relationships and social interactions or the lack thereof</b>.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">A final consideration of <i>A Christmas Carol</i> allows us to compare this with other Dickensian novels</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"> which are all concerned with poverty and the division of the classes. This particular tale is no different and several examples can be found which promote sharing of wealth and providing for one’s fellow man; it is at the dinner table where further evidence can be found. It is fair to say that more wealth buys more food and larger sums of money can buy larger turkeys or more expensive birds (e.g. turkey as opposed to goose). Everything is relative and the Cratchits do not seem to mind but Bob Cratchit perhaps stretched his point by asking his family to toast the ‘Founder of the Feast’ aka Scrooge. At this point, Mrs Cratchit’s frustration boils over at the perceived injustice and imbalance of wealth, arguing that 'I’d give him a piece of my mind to feast upon, and I hope he’d have a good appetite for it' (1843, 83). At first it seems like an obvious use of food metaphors but it serves to draw attention to the very point I have been making about how <b>the differences between poor and wealthy households could actually be found on the dining table.</b><br /> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">In closing, John Mullan supports my argument by summarising as follows: ‘A meal is never just food. Novelists have long known what anthropologists discovered recently: social eating means something’ (2006, 204). <b>Sight, sound, taste, smell, touch</b>. The five senses are present in preparing, eating or even disposing of food. Whilst skilfully describing these things can make a particular piece of your writing create a scene I hope you are now considering your character and the characters that share their social space. An isolated person would invariably eat alone. A sense of loss can be compared by a family dinner scene both before and after the bereavement. If you are writing about a group of people who rarely come together then it may be that buffets at weddings or funerals are the only place to have them interact face to face (just don’t opt for four of one and only one of the other, it’s been done). </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">This week try to write and share a short story, a story which is solely set at the dinner table. I thought of a number of directions to provide, but on this occasion I really am interested in what people produce as you can all <b>draw on personal experience </b>for this piece. As always, sharing is caring so please respect everyone else’s submissions and only provide constructive feedback. <br /> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Happy writing, or maybe I should say, happy eating!</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; font-family: inherit; font-size: 13.2px;"><br /></span><span style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">--</span><br /><br /><u>Further reading:</u><br />Dickens, C. (2003) First published 1843. ‘A Christmas Carol’ in <i>A Christmas Carol and Other Christmas Writings</i>. London: Penguin Books.<br />Lodge, D. (1992) <i>The Art of Fiction</i>. London: Penguin Books.<br />Moore, A. (2018) <i>The Release</i>. Candy Jar Books: Cardiff.<br />Mullan, J. (2006) <i>How Novels Work</i>. Oxford: Oxford University Press.<br /><br />NB. You may purchase <i>The Release</i> on Candy Jar’s website by following <a href="https://www.freewebstore.org/candy-jar-store/The_Release/p676602_18752318.aspx" target="_blank">this link</a>!</span></span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-83920725482875742672019-03-06T12:30:00.000+00:002019-03-07T10:53:51.152+00:00PRO-FANITY!<span style="font-family: inherit;">Swearing in writing. This is something of a taboo. None of the children’s books you read growing up will have contained any swear words; it is un-Christian (and blasphemy in any religion is </span><br />
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discouraged), it is socially unacceptable, it is age-inappropriate, it would plant words into the vocabulary of children which are unacceptable in school environments. As you grew older the books or magazines you chose to read would have been edited with the age of the audience in mind or they wouldn’t have been allowed on the shelf. Books selected by schools for the curriculum would have had your level of learning and appropriateness of age as well.<br />
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<span style="font-family: inherit;">Swearing in speech. Now this is something which, with each passing generation, the social standards seem to be slipping on. Language fit only for the dock yard or a building site is now part and parcel of everyday speech for some people and it is not uncommon to hear it frequently in the presence of children. While I have read arguments that the use of swear words demonstrates a lack of intelligence, a poor command of vocabulary and further evidence of a degenerative society I would like to argue that is has become part of our cultural heritage. Indeed, swearing often adds impact to what we are trying to say and I believe in some parts of the country an emphatic statement can only be made in certain social environments by including such colourful language. Given the full power of the entire English dictionary, one would not make their message – and the strength of one’s sentiments – entirely clear if speaking the Queen’s English. Furthermore, if communication is only effective when a message can be transferred successfully, efficiently and cohesively from one person to another then surely it is of the utmost importance to use language that the receiver can understand and therefore decipher. Language is after all, in its simplest form, a set of codes to be communicated and understood. </span><br />
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<span style="font-family: inherit;"><b>'Nobody move! That lassie got glassed and no c**t leaves here ‘til we find out who what c**t did it.' </b>– ‘Franco’ Begbie, <i>Trainspotting</i> (1996).</span><br />
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<span style="font-family: inherit;">There are a few things to note regarding the statement above. <b>Firstly</b>, I have quoted it as I heard it in the film - the link is at the bottom of the blog for those interested - as Welsh’s <i>Trainspotting</i> is often written in the accent being put across (more information on this can be found in last week’s blog). <b>Secondly</b>, the line is delivered with aggression as Begbie is actually spoiling for a fight having thrown the glass which injured the girl himself; that said, it is also delivered in a humour of sorts as he is looking forward to the fight that follows knowing full well he is the perpetrator of the offending act. <b>Thirdly</b>, while the sentence may appear disjointed and grammatically incorrect to us it is anything but to anyone from within that social environment who has shared his cultural background. Swearing can therefore not only be socially acceptable but in some cases it may be imperative to use swearing in order to be accepted socially. <b>Finally</b>, while films have to be rated for the appropriate audience prior to being made public this blog is under no such obligation. It is therefore my own editorial choice to have censored the swear words for the benefit of the readers – in this instance, yourselves – as well as the publisher. If we were to have referred to blasphemy of Shakespeare’s time by quoting ‘S’blood’, which is of course short for ‘God’s blood’, I doubt I would have censored it at all whereas this particular swear word still offends large groups of people and I have no wish to unnecessarily offend anyone. </span><br />
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<span style="font-family: inherit;">This brings us to the writing element of the use of swearing and that is the editorial process. David Lodge quotes Mikhail Bakhtin as stating that ‘For the prose artist the world is full of other people’s words, among which he must orient himself and whose speech characteristics he must be able to perceive with a very keen ear. He must introduce them into the plane of his own discourse, but in such a way that this plane is not destroyed.’ (1992, 128). So when considering your novel or short story ask yourself: <b>does the inclusion of cursing add to the dialogue or detract from the quality of it? </b>Perhaps there are other ways to illustrate a character’s frustration which would reduce the use of swearing as the sole vehicle of frustration and anger. It could be that perhaps a fists slams against a door, tearing at one’s own hair, kicking an object or – if swearing was used to highlight despair – the character may slump to the ground. These are of course choices for you to make and there are many others besides the few proposed here. Ultimately, what I want you to think about is that if swearing is employed to make a particular character seem angrier or a situation appear more tense then when is the best time to use it for dramatic effect. Once you have decided, <b>use it sparingly to make your writing of these passages better and not to dilute the quality of your work.</b></span><br />
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<span style="font-family: inherit;"><span style="white-space: pre;"></span>The other scenario when swearing is used is in speech and we have already discussed a few factors which contribute towards this. John Mullan states that </span><b style="font-family: inherit;">‘Swearing tells us of the real world of emotions out there.’</b><span style="font-family: inherit;"> (2006, 153) and while this is true it does not account for people who censor themselves; it is undeniable however that in some circles swearing is an everyday occurrence in language. This is one of </span><i style="font-family: inherit;">Trainspotting’s</i><span style="font-family: inherit;"> charming factors. The novel is heavily laden with cursing and yet the characters would not be authentic without it. I made reference in last week’s blog that fiction </span>smooths<span style="font-family: inherit;"> speech so maybe Irvine Welsh included more swearing than was natural for that social environment, maybe he made Begbie’s line of enquiry above more comical and maybe, just maybe, he removed language which would not have ‘travelled well’ in order for the novel to reach a wider audience. Whatever he did, the series of novels following these characters are hugely successful and it would be worth reading at least one in order to identify some of the techniques used and choices made.</span><br />
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<span style="font-family: inherit;">Rather than invite a plethora of profanities onto Candy Jar’s website I would prefer you instead to <b>think creatively about this topic</b>. Therefore, if you have already produced some writing which contains a lot of swearing it may be beneficial to revisit an extract of it and revise your work to try and replace some of the phrases containing swear words with descriptive phrases which tell us of the character’s frustration or anger instead. If you haven’t yet written anything containing curses it might be an idea to document some phrases which are particular to your or your kin when you are frustrated or angry (no need to share this just yet). </span><br />
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<span style="font-family: inherit;"><b>Finally, if you wish to see a topic discussed which you haven’t seen yet then please let me know and I’ll include it at some point. </b></span><span style="font-family: inherit;"><b>Happy writing!</b></span><br />
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<span style="background-color: white; font-family: inherit; font-size: 13.2px;">A blog by Steve Marshall</span><br style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;" /><span style="background-color: white; font-family: inherit; font-size: 13.2px;"><br /></span><span style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.2px;">--</span><br />
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<span style="font-family: inherit;"><u><b>Further reading:</b></u></span><br />
<span style="font-family: inherit;">Lodge, D. (1992) <i>The Art of Fiction</i>. London: Penguin Books.</span><br />
<span style="font-family: inherit;">Mullan, J. (2006) <i>How Novels Work</i>. Oxford: Oxford University Press.</span><br />
<span style="font-family: inherit;">Welsh, I. (1993) <b>Trainspotting</b>. Secker and Warburg: London. </span><br />
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<span style="font-family: inherit;"><u><b>Video link:</b></u></span><br />
<span style="font-family: inherit;">https://www.youtube.com/watch?v=_3reLyBB6ms</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1189771268990283691.post-54111335917191874252019-02-27T12:00:00.000+00:002019-02-27T12:10:40.994+00:00SHE'S FROM THE NORTH<span style="font-family: inherit;"><b>'Mummy! Mummy, I can’t understand what she’s saying?!'</b></span><br />
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<span style="font-family: inherit;">This is the cry from the daughter following an introduction to a Geordie child-minder who referred to her and her brother collectively as ‘you’s’ and ‘tykes’. For anyone unfamiliar with Catherine Tate, you can view this particular sketch by following the link at the bottom of the page. If you are already familiar with her ‘posh mum’ character then watch it again anyway as it is a light-hearted look at language differences by location and / or class which may help to illustrate a few points being made in today’s blog.</span><br />
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<span style="font-family: inherit;">As budding or skilled writers, or even as members of society, I would no doubt patronize you if I were to tell you that there are different dialects which ‘belong’ to certain parts of the country. The United Kingdom, being an island, has played host to many invasions from Vikings, Germanics, Romans and the French to name but a few. This is not to mention that the Welsh, Irish and Scottish have all infiltrated the heart of England bringing with them their own particular – or peculiar – linguistic habits. The differences between language and spelling across the country was so much so that a number of dictionaries were developed in the 16th and 17th centuries; these would help standardise the rapidly increasing English language in grammar schools and printed materials burgeoning as a result of urbanisation.</span><br />
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<span style="font-family: inherit;">The dictionary was also an attempt by the powers that be in London to bring together one way of speaking and writing the English language, their way. <b>Language has always had a way of separating class, education and power.</b> From the Greek scholars, Latin found in legal documents, French words adopted in the courts after William the Conqueror successfully took the throne and finally the differences between rural and urban inhabitants; language separates people. Shakespeare recognised this and employed poetry or prose depending on the status of the character speaking in the play; this was perhaps most ironically exemplified in <i>Othello</i> when the title character addresses the Senate by starting his tale with ‘Rude am I in speech / And little blest with the soft phrase of peace’ (1.3.82-3) despite his good grace in doing so. Thinking on this though we encounter another problem which is that Othello was of African descent, was living and working in Venice yet speaking in elevated English. </span><br />
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<span style="font-family: inherit;">So why is it that, generally speaking, if we watch a film with a Frenchman in it they do not speak French but converse instead using standard middle-class English in a French accent? Why is it that the Daleks attack in <i>Doctor Who</i> by shouting ‘exterminate’ instead of employing some unintelligible alien language? It is because we as viewers would not understand it and the whole illusion created for our entertainment would dissipate in an instant or, as John Mullan puts it, ‘Fiction smooths speech. It also often translates it’ (2006, 129). Similarly, we cannot expect a writer to present a foreign language in anything other than our native tongue without extensive and exhaustive foot notes at the bottom of each page. Whilst we may expect competent writing to express some aspects of a character’s personality there are a number of excellent examples of how <b>skilled writers can capture a character’s culture in these exchanges</b>, thus encapsulating their background as much as their present and giving the reader access to so much more information. <b>But how exactly do they do it?</b></span><br />
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<span style="font-family: inherit;">The evidence is all to be found in the dialogue and can be identified in a number of ways. Can you guess where I am from? Probably not as this blog does not contain any colloquialisms, any references to specific places where I grew up nor any queer phrases specific to a country. Even so, you would presumably guess that I am from the UK due to my use of the English language and the location of the blog itself. You’d be right. If we turn our attentions to characters such as Mr Douglas from Arthur Conan Doyle’s <i>Valley of Fear </i>we may for a time break out our magnifying glasses, like Sherlock Holmes himself, and carefully examine the dialogue. Among the few words spoken by Mr Douglas in the first section of the mystery there are certain phrases such as ‘there was trouble coming’ indicative of an American drawl (1915, 82). There is also use of a unique metaphor in ‘like a hungry wolf after a caribou’ (1915, 82), which would have only been widely used among those familiar with an environment which spawned such creatures. We also know he is American because we are informed of it earlier in the novel but every great detective needs evidence, don’t they?</span><br />
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<span style="font-family: inherit;">Staying in America for a moment during the early decades of the 20th century and there are examples to be found of working class language in John Steinbeck’s <i>Of Mice and Men</i>. The main body of characters are working class white men and in addition to common phrases of the land they also have some particular common habits in their speech; one such example of this would be to drop the ‘g’ at the end of words such as ‘showing’ or ‘keeping’ (29). In this instance all of the characters including Curley’s wife and the stable Buck George have their own speech patterns perfectly captured in one short sentence by Crooks the stable buck: 'Well, s’pose, jus’ s’pose he don’t come back' (71). It looks awful when typing it but it appeals to the aural senses when it is read aloud and this was, after all, created as much as a play as it was a novella.</span><br />
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<span style="font-family: inherit;">If we now consider the speech in <i>A Color Purple</i> we can also see how the purposeful inclusion of poor grammar as well is just as relevant to creating an authentic African-American female voice in the time, place and social environment within which it was set. Though there are numerous examples on every page the one I will pick out is ‘She muse. He not undernourish, she say. Who ain’t? I ast’(56). Girls such as Celie were not encouraged to go to school and so did not learn in the traditional way, they learned much of what they knew from in the home and so their technical knowledge of language was restricted almost solely to the aural tradition. While the novel has so much to offer in terms of attitudes towards education, education for girls, religion, treatment of women and attitudes towards ethnic minorities, Alice Walker must also be admired for writing a novel in the format of a written epistolary which still brings with it the clarity and authenticity of Celie’s voice among others.</span><br />
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<span style="font-family: inherit;">As we began our journey of this blog in Britain I cannot for a second ignore two important texts on the very same topic: </span><i style="font-family: inherit;">Trainspotting</i><span style="font-family: inherit;"> by Irvine Welsh and </span><i style="font-family: inherit;">Wuthering Heights</i><span style="font-family: inherit;"> by Emily Bronte. Irvine Welsh captures perfectly the Scottish accent and the language employed (so to speak) by the underclasses, what is also significant is his use of obscenities and it is for this reason that I would like to leave his work to discuss in another week. Bronte’s </span><i style="font-family: inherit;">Wuthering Heights</i><span style="font-family: inherit;">, however, is set in rural Yorkshire and is the habitat for working class locals such as Joseph. It was one of my earliest experiences of reading a novel when I came across the bizarre use of English that follows: ‘Hareton, thah willn’t sup thy porridge tuh neeght; they’ll be nowt bud lumps as big as maw nave’ (141). The copy of the text I had even came with a comprehensive notes section at the back to translate Joseph as some of the words or phrases he used were too difficult to decipher! You only have to read a few pages filled with uniquely and carefully constructed phrases such as these and before you know it you’ll feel like a local. It can, however, accurately reflect the people of a given place or time and, done correctly, can add to the reading experience which is what we are all – as writers – trying to achieve; but, as with any skill, it requires practice.</span><br />
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<span style="font-family: inherit;">This week’s task is about research and experimentation. <b>Which of your characters have a distinct accent or verbal identifier?</b> If you know the answer to this question then you need to ask yourself how well you know the accent, did you grow up in that environment or do you know someone who speaks in this way? If you do not know the speech patterns intimately this may present a significant challenge to you and I would advise carrying out considerable research using YouTube or regionalised TV shows to pick up on the subtle differences employed. If you are familiar with the speech patterns then it would be a useful exercise to write down a number of commonly used words and phrases which may be affected, give them to a friend to read and see if an authentic voice comes across to them. Ultimately, the challenge is two-fold: <b>are they able to understand what has been written and does the target sound authentic?</b> As the author, you’ve no obligation to write in this phonetic style at all so decide carefully as it should not detract from the quality of the text itself. </span><br />
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<span style="font-family: inherit;">Keep uploading your work, keep sharing constructive and supportive feedback and keep writing what you know. </span><span style="font-family: inherit;"><b>Happy writing!</b></span><br />
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<span style="font-family: inherit;">A blog by Steve Marshall</span><br />
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<span style="font-family: inherit;"><b><u>Further reading:</u></b></span><br />
<span style="font-family: inherit;">Bronte, E. (1995) <i>Wuthering Heights</i>. First published 1847. Penguin Books: London.</span><br />
<span style="font-family: inherit;">Conan-Doyle, A. (1981) <i>The Valley of Fear</i>. First published 1915. Penguin Books: London.</span><br />
<span style="font-family: inherit;">Kinsey, C. (2019) <i>A Dish Best Served Cold? </i>First published 2018, to be re-released this year. Candy Jar Books: Cardiff.</span><br />
<span style="font-family: inherit;">Lodge, D. (1992) <i>The Art of Fiction</i>. London: Penguin Books.</span><br />
<span style="font-family: inherit;">Mullan, J. (2006) <i>How Novels Work</i>. Oxford: Oxford University Press.</span><br />
<span style="font-family: inherit;">Shakespeare, W. (1997) <i>Othello</i>. First published circa 1600. Arden: London.</span><br />
<span style="font-family: inherit;">Steinbeck, J. (2000) <i>Of Mice and Men</i>. First published 1937. Penguin Classics: London. </span><br />
<span style="font-family: inherit;">Walker, A. (2017) <i>The Color Purple</i>. First published 1983. Weidenfeld & Nicolson: London.</span><br />
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<span style="font-family: inherit;"><b><u>Video link:</u></b></span><br />
<span style="font-family: inherit;"><i>She’s From The North</i> can be found on YouTube at the following URL: https://www.youtube.com/watch?v=UE6p6YCyjwo</span><br />
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Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738tag:blogger.com,1999:blog-1189771268990283691.post-77858838799722193112019-02-20T12:00:00.000+00:002019-02-21T16:44:18.370+00:00GOOD TIMING<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"><a href="https://4.bp.blogspot.com/-BK8Zis4YA08/XG2IBEpNIuI/AAAAAAAACcE/B5IAyt4aW6slJ03dyEqnvcezsJdlxSSkwCLcBGAs/s1600/blog%2B5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="848" data-original-width="564" height="320" src="https://4.bp.blogspot.com/-BK8Zis4YA08/XG2IBEpNIuI/AAAAAAAACcE/B5IAyt4aW6slJ03dyEqnvcezsJdlxSSkwCLcBGAs/s320/blog%2B5.jpg" width="212" /></a><i>It’s a few days into the New Year and I’m sat at the table with my laptop; it is the sort which comes apart at the touch of a button to become an even more portable tablet and an increasingly useless keyboard. It’s not new. It used to be but like everything, myself included, it gets old and the once-shiny black cover on top is now showing signs of age. I receive frequent reminders to increase my cloud storage capacity and, when I was using it recently, I even suffered the humiliation of being chided about how small the laptop was...</i></span><br />
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<span style="font-family: inherit;">Before the first of those words leapt onto the screen I was sat on the sofa with legs outstretched and a cuppa down by the side of me. It sounded great when I pictured it, it still felt great when I was in that moment right up until the point when I tried to type on a tablet and… well, I just couldn’t. It was so uncomfortable. Maybe it was just me that was uncomfortable due to a week or so of consuming (throwing away) lots of vegetables, drinking (drowning in) alcohol and having one or two (tubs) of Celebrations. And so, it was with a bellyful of indigestion (regret) that I sat down to continue the series of blogs that I hope you are finding enjoyable and challenging.</span><br />
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<span style="font-family: inherit;">No sooner had I sat down I was thinking about time and the passing of it. The new calendar heralds a New Year and an opportunity for change but what intrigued me is the relation that time has to writing. For instance, the publisher may post this particular piece in April thus rendering the spirit in which I produced this article redundant. Alternatively, the blog could be posted tomorrow but may only be found and read twenty years later by someone searching on the publisher’s website. Or, there is always the possibility that the blog is never disseminated at all and it is left to a family member to read over, just some rubbish his or her great-grandfather produced years before. George Orwell’s <i>Animal Farm</i> was too politically volatile to be published until many years later while Margaret Attwood challenged herself to set her writing a century prior to the time when she actually produced it in <i>Alias Grace</i>. In George Orwell’s case, such was the inability of people in power to change their ways the novel was – and still is – just as relevant today whereas a quick glimpse of the housekeeping methods in Attwood’s novel will illustrate just how much other things can change over the years.</span><br />
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<span style="font-family: inherit;">My point here, to paraphrase Roland Barthes, is that writing is completely independent of the author and that ‘the passing of time’ can have untold effects on not only the writing but on the critical thoughts applied when reading a text. The attitudes shown towards <i>Othello</i> for his race in 16th century Venice were more subtle and less shocking than those in <i>To Kill A Mocking Bird</i> or <i>A Colour Purple</i>. Despite these novels being produced 300 years or more later it is the social environment in which they are set which dictates the views of the people occupying these habitats. Reading these novels today it is extremely frustrating to believe that the attitudes towards education of ethnic minorities, education of women and the general treatment of ethnic minorities could be so ignorant in such a recent time.</span><br />
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<span style="font-family: inherit;">Society and language are forever evolving; phrases, housekeeping processes, methods of transportation, means of communication, clothes, fashion, music… the list is endless. Let’s revisit the first paragraphs of this blog, what do we know? Its a few days into the New Year thus establishing the time of year. I possess a laptop which would certainly date this as being within the last 40 years, the last twenty if we consider whether they are widely used or not, or even the last ten years if we think about the type of laptop it is with its removable keyboard. I even told you that it was a few years old so an educated guess would place the laptop between 2-8 years old. From the information above you could probably come up with a reasonable estimate as to what year this piece has been produced. Writers do this all the time, maybe unconsciously at times. The changing of seasons, description of a child’s growth or a character’s signs of aging can certainly keep the reader up to date with any changes to the timeline which have been applied by the author.</span><br />
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<span style="font-family: inherit;">This week I would like to ask you to look around your home, look into your daily habits and look at the people around you happily going about their daily business. What do you see that you wouldn’t have seen twenty years ago? What do you see now that makes you happy or sad that it is a part of modern culture? What do you see that you don’t think will be around in twenty years time? Now try writing a piece which:</span><br />
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<span style="font-family: inherit;"><b>a) Laments the loss of something taken for granted today.</b></span><br />
<span style="font-family: inherit;"><b>b) Imagines a best or worst case scenario following an increased reliance on one particular piece of technology / social habit.</b></span><br />
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<span style="font-family: inherit;">Happy New Year (whenever you read this) and happy writing!</span><br />
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<span style="font-family: inherit;">A blog by Steve Marshall<br />-- </span></span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;">For additional writing advice and tips, visit Jelly Bean Self-Publishing at http://www.jellybeanselfpublishing.co.uk/ </span> </span>Unknownnoreply@blogger.com0Cardiff, UK51.481581000000013 -3.179089999999973851.323433500000014 -3.5018134999999737 51.639728500000011 -2.8563664999999738