A QUESTION OF HISTORY

Hello, hello, hello Dear Readers! A couple of bits of business to take care of this morning before we get to the main point of the post.

Over on US Amazon The Swan Kingdom is available in Kindle format for the first time (it's been out over there for eight years, believe it or not) and as an eBook in various other formats, so if you're a USian and you've wanted to get hold of the digital version, behold, your wish has come true.

On UK Amazon, Barefoot on the Wind - my Beauty and the Beast retelling set in fairytale Japan - is now available for pre-order (and presumably it's available other places too, but I haven't looked). It's due out on the 1st of September this year, and I'm hoping that I'll have a cover to share soon. Snap it up right now if it takes your fancy, my lovelies.

Onto Other Stuff! Today's reader question comes from a young person whose name I have stupidly lost - sorry, whoever you are! - but never mind, I can answer their query anyway, and hopefully they will still see it.

I'm struggling with including back-story in a lot of my stories as I like to get straight to where the action is, otherwise I lose interest and move on to something else. So how can I make writing about a character's background more interesting?

A very good question and a topic that I've struggled with in various ways through my own writing. Hopefully this means I can give some practical advice on the topic. Hopefully.

So!

The thing about the term 'backstory' is that it has an inherently negative sort of sound to it. Like something unnecessary bolted onto the back of the real story, but which isn't really part of that story in its own right. And that's just not true, as we shall discuss below. So instead of talking about backstory, let's talk about HIStory. Because that's what 'backstory' really is: the history of your characters and your world.
 
Phrasing it that way gives us the big clue as to why filling in the background of your characters can be a tricky thing. History is traditionally considered a bit dry and dusty (and I say that as someone who loved history in school, for the record) and no reader really likes the forward momentum of a thrilling story to suddenly grind to a halt for a chapter while they are given a history lesson instead.

Some characters don't need much of their history to be depicted for everything to work. If you give your readers a contemporary setting and a thirteen-year-old protagonist who is the middle child in a normal middle class family, they will not require a detailed history of this person's life so far in order to fill in the gaps. You can concentrate on showing that the kid's unhappy at school and doesn't get on with her siblings right now and the reader will be happy for the story to move forward from there.

If you hate filling readers in on background information then these are the kinds of characters whose stories you may chose to tell.

But let's say your goal is to present your readers with a scarred, one-eyed mercenary who can kill five men with a pencil in under a minute and has a mysterious glowing tattoo and a soft spot for Airedale terriers.

If you *don't* want to share that person's history with the reader... well, why on earth did you come up with that character in the first place? Because everything about them has clearly been shaped by a very interesting and possibly traumatic history, we will *want* to know what their backstory is. What's more, it'll be very tough to care about them in the present until we learn more about it.

Of course, somewhere between those two extremes - the ordinary thirteen year-old and the battle scarred, glowing mercendary - is where you'll find most people's writing. But what you have to get into your head, Dear Reader, is that history is what makes a character who they are. It's not a separate thing from the story you want to tell. It *is* the story, every bit as much as dialogue and descriptions and action are.

Even in a contemporary world with an 'ordinary' main character? You may not need to fill in the blanks of history for the reader, but nevertheless the reader's understanding of or assumptions about the history of the world and the character shape their perception of everything you write.

You, the writer, really need to be clear on each character's background and what major events and choices have formed their personality and priorities. You may not chose to share all of this information with the reader, but if you don't know it then there's a strong chance the person on the page will seem flat and one-dimensional, without a coherent personality and with no spark of inner life.

Take the time to think about this. Work out these histories. Work out who your fictional people are. THEN you can decide what is vital to share about them, and what the reader can work out for themselves.

Some techniques to consider:

You can try to do what many young adult and genre authors do, which is to kick your story off at the very moment that the protagonist's life actually becomes interesting - the moment that it all goes to hell in a handbasket, basically. An example of this would be Shadows on the Moon, where the first line of the book is: On my fourteenth birthday when the sakura was in full bloom, the men came to kill us.

Nothing that has happened to the character in their past can compare to that, so the reader is happy for the story to grow from that point.

That's a bit difficult to manage for every kind of book or story though. If it just won't work for yours, you could chose to focus very much on who your character is now - making them particularly intriguing or charismatic - so that it is less important to the reader to know where they came from and what shaped them, and more important to find out exactly how their character works now, what they will chose to do next, and how those choices may shape the story.

This is going to take some skillful work, because you need to still give the readers the impression that this person *has* a past, and an inner life. They still need to feel nuanced and human and real. But their past must be something that the reader is willing and able to fill in for themselves because their present is more interesting.

For instance, you could create a famous safe-cracker whose past career is a thing of legend, hinted at in whispers by other members of your cast. This person chooses to live in isolation in a tiny cabin in the woods miles from anywhere and, once coaxed out of retirement, constantly expects betrayal and refuses to get close to anyone. If that same character turns out to be able to change a baby's nappy and sing them to sleep without turning an eyelash, the reader can guess even more about their past. Doing so will give them a sense of satisfaction because it's a story we're all familiar with - and although it's clearly tragic, we'll be more keen to know what's going to happen next, especially if the other characters around them come to their own conclusions about this person's history too.

The reader might still wish they could learn a bit more about this person's past. But if you carefully shape the story in such a way that the action in the present is illustrating this person's character - lets say that the story is about whether or not this person will be able to work with the others in order to pull off a thrilling heist that will lead to the defeat an intergalactic army - then THAT is what we will care about, not the specific details of how the mysterious safe-cracker came to be the way they are.

You don't have to offer us much background in this case because you've actually put it in the foreground via your choices about what to show in the present.

Doing it this way also means that you can give us a character who is capable of plausible change and development during the course of your story.

But let's say this all sounds too complex. It's not the only way to escape having to fill in the character's background in detail. Some characters are presented to us exactly as they are, and we can learn everything that we either need or want to know about them within a few pages.

When you meet that funny little genius Hercule Poirot it's clear to see that the man is a tightly wound ball of eccentricities and tics created to keep the reader entertained while the whodunnit is gradually unraveled. We know he used to be a policeman, and we know that he's actually getting on in years, so he's had a whole life before he turns up in the pages of the first Hercule Poirot mystery. But we feel no need to penetrate the mysteries of his former career or know about his lost loves or why he decided to move to England instead of returning to Belgium after the war. In fact, showing us a young Hercule Poirot (or a young Sherlock Holmes, or Indiana Jones or Han Solo) actually spoils the mystique and makes the character somehow much less interesting than they were before.

For some stories, that's all you need. The readers will embrace the mysterious mercenary who likes dogs but will happily stab anyone who approaches her with a pencil and make up their own history for her precisely because so much is left unsaid. Clearly she is not a character that we are meant to know. She's a vehicle to carry us through the story.

However, this strategy of leaving the heavy lifting to the reader's imagination has drawbacks, too. You have to be careful that in presenting things this way you don't leave so many obvious blanks in the history of the character - traits that don't add up with each other, or that seem to contradict things we know about them in the now - that these blanks stop being a pleasant space for the reader to mentally play and become a puzzle. Because if you present the reader with a puzzle within your story world and then don't give them the solution? They will become very, very annoyed with you very fast. And you can protest that you did this on purpose because you wanted to leave it ambiguous all you want - the reader will feel that you have broken your implicit promise to them and they will not be placated!

What's more, this will only work if the character you are presenting this way has no significant development within the story that you're presenting. Hercule Poirot is always Hercule Poirot - he observes, he deducts, and he reveals, but he himself is left completely unchanged by any of the gruesome and extraordinary events that he witnesses. Indiana Jones is Indiana Jones and Sherlock Holmes is Sherlock Holmes. We don't need them to change - we don't want them to! Part of their brilliance is that they are unchanging and unchangeable.

So if you want to produce work in which your characters evolve and grow and change throughout the course of the book, then this method is out.

You can also try to look at your characters histories in a different way and see if that helps you to feel more enthusiasm for sharing them. You say that you want to get straight to the action. So get straight to the action, then! Don't give us any history to start with. Present us with your thrilling car chase or sword fight and show us who the characters are now, mysteries and all.

Continue to depict them in the story's now, hinting at their pasts and what they've been through. Make it clear to the reader that their history as intriguing and complex and fascinating, but don't tell them what it is. By a certain point both the reader and you, the writer, will find yourself desperate to finally get stuck into the truth of how this person can bake the best pain au chocolats in Paris, climb a building using only paperclips, and swear in five languages, but screams when they see a spider.

Hopefully, having done all this teasing, it will not feel like such a burden to delve into their past and illuminate it for yourself and the reader.

There are a number of methods you can use to do this. The person can decide to confide a bit about their history to another character - a character they are furious with, perhaps, or one they've begun to trust. This is a good way of doing it because it clearly deepens their relationship (yes, even if the truth is blurted out during an argument) and because seeing characters vulnerable inherently engages the reader's sympathy with them and makes them seem more real.

Alternately, they can have a flashback.

Don't panic! It can be a tiny one! For instance, as they prepare to climb the side of the Eiffel Tower using only a handful of paperclips, they suddenly recall the first time they climbed the walls of the Sisters of Bleeding Mercy Home For Wayward Orphans when they were seven years old in order to rescue the bird with a broken wing from the guttering. They remember the flutter of the bird's heartbeat against their palm and smile or sigh. Then they get on with climbing the Eiffel Tower. Boom, you're done.

Little flashbacks like this blend so well into current action that the reader doesn't feel the story has paused at all, and you can work quite a lot of them into the narrative if you do it carefully, meaning that the character's history seamlessly becomes part of the action of now.

If there's just too much history to fit into the narrative this way, you could go for a longer flashback - one that covers a key moment of the character's past and explains a few things about their strange and contradictory quirks at once. If you do this, however, you need to ensure that we already have our sympathies and interests firmly engaged with this character, and that the scene from their past that you chose to depict is both significant and fascinating in it's own right. The flashback is putting the story's present on hold, so we need to feel that this information is vital to understanding the story's present, rather than that it's just been shoe-horned in there randomly.

Finally, if a character's past is so vital to understanding their present that there's no way for the story to begin properly without some hint of it, you could try using the sort of technique I used in FrostFire, where you entwine the character's past and their present so that they feel of equal importance to the reader. You present them as dual narratives - perhaps distinguishing them by using a different font, or by announcing 'Ten Years Ago' or 'Present Day' when you switch to help the reader keep track. You ensure that both the past and present stands of the story have action and unfolding mysteries and changing relationships, so the 'past' sections never feel as if they're stopping the action. Instead, they are clearly part of the action.

FrostFire begins with a description of a recurring, terrifying dream that the heroine has suffered from all her life. We then get a scene from the heroine's childhood - a depiction of a moment when the heroine's young life seemed genuinely in danger... and then something very strange clearly happens. The scene ends before we can work out exactly what it is. We then see an older version of the heroine, searching for something which seems as if it might be linked to what happened to her as a little girl.

For the first half of the book, the mystery of the heroine's strange condition and her past unfolds side by side with the action of the present. Only at the midpoint does the past catch up with the present. Then, the reader understands all that there is to know about the heroine's past and her frightening magic, and the story can fully inhabit her future going forward.

Does all this seem incredibly complex? That's because it is! But it's all part of the craft of being a writer and eventually, if you try to view your characters 'backstory' as just another, potentially valuable part of the story that you're so keen to tell, you will learn how to use these techniques and even enjoy doing so.

And if not, you can always write about the next Hercule Poirot. After all, it worked for Agatha Christie...

ARE FAIRYTALES FEMINIST?

(Originally posted on PewterWolf's blog - revised 15/2/2017)

When the title of this post was suggested to me, I found myself a little conflicted. Can fairytales be Feminist, I asked? Or is this an unanswerable joke question, like whether Grumpy Cat has a Communist agenda?

Let’s just take a moment to remind ourselves what Feminism actually is – untainted by any of the wonky ideas that society may have about it, or any of the behaviour of individual people who reject or embrace the concept. It’s pretty easy:

Feminism
noun
“The advocacy of women's rights on the ground of the equality of the sexes.”

Basically, Feminism is the struggle to ensure that all sexes (there are more than two, FYI, but that’s a whole ‘nother blogpost) have equal rights. A Feminist individual is someone who believes in equality regardless of gender and hopefully works in whatever way they can to bring that about.

So... are fairytales Feminist? Maybe that's the wrong question. Maybe a better way to phrase it would be: Can fairytales be Feminist? Do they have the potential to embody Feminism? Or is that impossible?

Because the thing is, folklore and mythology from pretty much any society you care to name certainly seems to depict a lot of highly sexist attitudes, not to mention celebrationg the Patriarchal societies that spawn those attitudes. And this makes sense. Though initially fairytales were contemporary, evolving narratives, they began to be written down - and considered ‘finalised’ - in Western Europe throughout the 18th and 19th century. They reflect those historical modes of living which were prevalent during that time – when men wore trousers and girls wore skirts, and if they swapped at all it was for reasons of comedy or in order to preserve female virtue.

They haven't really been allowed to evolve since then. We consider those versions the 'originals' or the 'classics' rather than just one of many different possible iterations of archetypal tales. As such they’re filled with a lot of ideals that woman are still fighting against - hello, diametrically opposed innocent damsels (virgins) and wicked ambitious older woman (whores) all desperately hoping to snag a man! And there are an awful lot of young, aggressively heterosexual males rushing in to save the day... and the depictions of people of colour or non-Christian people is pretty awful. The depiction of non-straight people is nonexistent.

But fairytales – the ever changing, oral stories to which our current, sanitised, Disney incarnations are only distantly related – stretch right back to the time when humans were still figuring out what humans even were. When firelight was all that stood between us and the howl of creatures in the dark, and for all we knew a fairy, dragon or young God might be lurking around the next tree trunk any time we went out to cut wood. They contain archetypes, larger than life, fundamentally human characters and quandaries which, while they MAY be warped and stretched and manipulated to reflect the politics of whichever person or society promotes them, are still able to rise above – or sink below – cultural mores in order to share essential truths.

What are fairytales about after all? What questions do THEY ask US?

What is love? What is good – and what is evil? What does it mean to be brave? How should we react to injustice? How can we better our own lives, and what are the risks if we try? What makes a monster? What is a hero?

These questions are ultimately ageless. And a-political.

Our individual interpretation of fairytales, the prejudices and perspectives we ourselves bring to these archetypal stories, are what make them either positive or negative. And individual interpretations can vary, at last count... preeeetty much to infinity.

For instance, Cinderella may be a dutiful and obedient girl who never takes any steps to better her own life because her highest goal is the proper, 'feminine' one of attending a ball in a pretty dress – whose beauty is rewarded when she happens to be young and lovely enough to catch the Prince’s eye (marrying up in society being any woman's dream, of course).

OR... she might be a resolute and morally ambiguous young woman, who cunningly uses the ball to leverage her youth and beauty in order to gain the prince’s power for her own ends.

Beauty might be a dutiful and obedient girl who allows herself to be sacrificed in place of her father, and who, after being bullied or emotionally blackmailed into marrying the monstrous being who imprisoned her, is rewarded when he turns out not to be physically repulsive anymore (though his personality may still be in question).

OR... she could be a ferocious young hunter who goes after the Beast of her own free will in order to destroy him and the curse, and who chooses instead to save him, in the end, because he has proven to her that despite his beastly exterior, he is truly worthy of love.

But these Feminist ways of re-imagining our familiar fairytales – taken from my books Shadows on the Moon (Cinderella) and Barefoot on the Wind (Beauty and the Beast) – can be very controversial. Not just among Mans Right's Activists! Even from a Feminist viewpoint.

The recent Disney live-action Cinderella promoted itself with the motto ‘Have courage... and be kind’. You’d think this was a mild enough statement that no one would get cross about it, but you’d be wrong.

Online, many people rose up against the idea that a young woman suffering under injustice and abuse from her family ought to care about being kind – surely survival would be the order of the day? ‘They’re encouraging young women to be weak!’ was the battle cry. ‘Don’t tell them to be kind, tell them to fight!’

But before anyone could blink, an equally strong counter-argument blew up, stating that kindness was a Feminist virtue, that striving for some kind of unrealistic butt-kicking ideal of femininity that eschewed goodness and kindness for macho ideals of ‘strength’ was ignoring the real struggles of real women who had survived – and might still be living with – abuse. ‘Living in a bad situation you can’t get out of isn’t weakness!’ these people declared.

Who’s right? Who knows! Both, most probably.

The fact is that, just as with magic itself, fairytales can be used for good or evil. They have the potential to be both damagingly misogynistic AND empoweringly Feminist. Like most questions of story, the final interpretation is down to the reader themself to make.

THE NANO-CURSE STRIKES AGAIN!

Hello, Dear Readers - happy Thursday. I hope everyone's having a good week so far?

Today's big news is that as of right now the new SHADOWS ON THE MOON with extra content is officially on sale - so if you've always wanted to know what happens after the end of the story... get in there because this is your chance. And BAREFOOT ON THE WIND has not only been recommended on this amazing list of Spooky Reads For Autumn and Winter Nights from BookTrust, but shortlisted for the Highgate Wood School Book Award (in two different categories, no less) which is sweet and humbling at the same time.

Now, before I do anything else, I want to say a massive thank you to everyone who left comments, emailed, facebooked or tweeted me with mesages of support after my news about Finn. Each message meant something to me, and it did - and does - help.

With that in mind, I decided to let you all know that I eventually had to veto the idea of chemo for Finn. I was really desperate to try it - it's carefully calibrated to cause minimal side effects and might have offered Finn between another six months to a year of life. But then the vet brought up an issue which isn't negotiable - the treatment itself takes six months, during which time it's a rule that owners must 'avoid direct contact' with their pet, due to the toxic nature of the drugs involved. Which means: no stroking or cuddles, no letting them up on the furniture with you or to sleep on the bed, no kisses on the snout, no absentmindedly patting their ears when they lie with their head on your knee while you read. No bathing them or grooming them, even, unless you can do it with gloves on. 

Finn has literally never in his entire life been treated that way. Not when he somehow managed to roll in fox droppings three times in one day. Not even when he stayed with my mum for the first time and chewed the ears off her limited edition Steiff Teddy Bear. He sulks when strangers on the street don't stop to give him fuss. If I suddenly cut off 90% of physical contact with him, he can't be expected to understand why it's happening, and I honestly believe it would break his heart. It would definitely break mine. I can't bear the thought of turning away and refusing to give him the love and physical affection he'd desperately need during a period when he would feel very ill and anxious. I do want him with me as long as possible - but only if he's happy and feels safe and loved.

So instead, he's on strong steroids, which will help to manage his symptoms for now, and some painkillers. He's perked up considerably, is enjoying short walks again, and is generally waggy and bright-eyed, which is what I want his last weeks or months to be like. It's his favourite season, and when I was able to watch him snuffling cheerfully through the fallen leaves, and then rolling around on the kitchen floor while I was drying him with a warm towel (another of his favourite things), I knew I'd made the right choice. The vet says that there's no way, with this course of treatment, to know how long it will work. So I just have to keep a close eye on him and make sure his comfort is my top priority.

OK, now that's out of the way - another update, this one on NaNoWriMo. As many of you know from the blog and twitter, I was gearing up for a massive NaNo effort this year and basically wanted to use it to both get my mind off worrying about Finn AND finish my current project if possible.

But the NaNo-Curse (which in previous years took the form of the NaNo-Virus and the NaNo-Slipped-Disc) struck again on Tuesday when I woke up in the middle of the night with a blinding migraine. The migraine didn't begin to ease up until late on Tuesday, and I still had a horrible headache, funny vision, dizziness and the ever-delightful nausea when I woke up yesterday morning (and everytime I started thinking about the words I SHOULD have been writing, my blood pressure went up and my eyeball responded with the kind of warning throb that made me strongly suspect it might just explode if I pushed the issue).

I'm feeling a lot better now, but still fragile and light sensitive, which means that squinting at either a backlit screen or even my own crabbed handwriting in a notebook for hours at a time isn't going to be a good idea for another day or two. And that's pretty much put the kibosh on all my good intentions.

Realistically, I know that I could still catch up if I went Hell for leather and really pushed myself over the next week. But I also know that my migraines tend to increase in frequency and severity when I'm stressed out - and I'm pretty stressed out even before bringing NaNo into things. I don't really want to turn National Novel Writing Month into Zolah Tortures Herself And Has No Fun Month.

HOWEVER. I was already being a NaNo Rebel, what with working on a WIP rather than a completely fresh manuscript. So even if I can't get to the official finish-line of 50,000 in November, I figure I can still be a part of NaNo and just try to write as much as possible this month.

I'm going to begin afresh this weekend - and my new plan is to try something a bit different for me, and write non-linearly. I'll pick any scenes from my synopsis that strongly appeal to me (without regard to where they come in the plot) start wherever I want to and finish when I run out of things to write. If I end up with a whole bunch of random scenes that need arranging into order and stitching into a whole, fine. If I end up getting carried away and writing from the middle to the end, fine. If I end up with a bit of a middle, part of an end, and some other random chapters that I need to sort out, also fine. Just as long as I end up with a nice fat chunk of words by December 1st.

I know some of you guys were tempted into NaNo this year - how are things going for you so far? Let me know in the comments. I'll update you again next week and we can celebrate or commiserate as appropriate. Take care, and read you later folks.

NEW ARRIVALS!

Hello, my little macaroons! Happy Wednesday to everyone, and thank you for joing me today. I'm delighted to say that I have pretty pretty pictures to share - because in the last week not one but TWO delightful parcels have arrived for me bearing gifts.

What was in package number one, you ask? Why ask no further, because it was THIS:

 

 

The final volume of the Candlewick Press hardback editions of The Name of the Blade Trilogy! A rather lucious jade green this time, with a scale effect and copper typography - and matching green binding with copper foil and endpapers.

And yes, that's a jellyfish in the silhouette. If you've read the book you know why, and if not then you'll just have to buy this and find out won't you?

But even better than that!

Together at last. My fourteen year old self, if she could see this, would be actual-facts-ugly-crying. I nearly did myself. The trilogy is now officially completed and it's so beautiful!

But wait - there's more. ALSO in the post last week was THIS:

Yes, that's a glimpse of the long-awaited sequel/short story/epilogue of Shadows on the Moon, which I hope will satisfy fans of the book at last. But this book, too, is part of a set, so it seemed only right to do this:

Look what they did with the back covers there - isn't that clever? It's almost like the tangle of thorns transforms into a swirl of hair in the same gust of wind the sweeps the cherry blossoms across from one book to another. Gorgeous!

Frail Human Heart will be out in the US at the beginning of November. This new and improved version of Shadows on the Moon will be out here in the UK at the same time.

Once they're both on the shelves... I'm sure not what'll be next for me. I'm out of contract now - I have no new books due out for the first time in a decade. I'm still working on the book I got my Arts Council grant for, and I'm hoping to make a giant leap in progress during NaNoWriMo this year (yes, I'm going to give it another bash, no, I never learn, and yes, I will keep you all abreast of my progress - in fact, why not join up too and friend me here?) but I don't know when or if that will be published. I have some other news about my future which I'm hoping to share soon, but I need to get official confirmation first. Apart from that it's all wide open, which is both scary and exciting. 2017 is going to be an eventful year, I think!

Read you later, cupcakes!

NEW SHADOWS ON THE MOON PRE-ORDERS ARE LIVE!

Hello, Dear Readers, and happy Tuesday!

A very quick post today to share a nice piece of news - you've probably already guessed it from the blog title, but you can now officially pre-order the new edition of Shadows on the Moon from Amazon here. It's also available from The Book Depository here, Waterstone's here, and from WHSmiths here.

Not only does this reissue of the title possess that gorgeous new cover with so many wonderful deails from the story, which matches the cover of Barefoot on the Wind...

But it will also contain exclusive extra content, including a short story set after the events of the novel, which I'm seeing as a kind of prologue to Yue and Otieno's story, and hoping readers will love as much as I do.

The book is out on the third of November, so I haven't seen any real copies in the flesh yet, but I think it's going to be a very lovely item indeed.

And since we're talking about real copies... look what arrived in the post last week!

Matching nail polish entirely coincidental

The very, very first advanced copy of Barefoot on the Wind! I love the brush-effect on the font so much; it looks just as beautiful on the title page as on the front cover.

This one is out on the first of September, so less than a month to go - and of course you can pre-order this one from Amazon, The Book Depository, Waterstone's and WHSmith too, if you are so moved (you'd be doing me a favour, and you might get the book a few days early, so it's win-win).

Before I go, a quick reminder that my contribution to the YAShot Blogtour is still up at the lovely Luna's blog and that the giveaway for a complete signed set of the Name of the Blade trilogy is still active, so get on that while you can.

That's all for this week, my lovelies, but next week baring unforeseen circumstances I'll be tackling a reader question with regard to fairytale retellings. Read you later!

SHADOWS ON THE MOON COVER REVEAL

Hello, hello, hello, Dear Readers! Happy Wednesday - and happy cover reveal day, too!

Last week I showed you the luscious cover art for BAREFOOT ON THE WIND, the Japanese-influenced retelling of Beauty and the Beast which is coming out in September. The official page for the book is now up on my website, too. It's a companion novel to Shadows on the Moon, set in the same fairytale realm (although with no overlapping characters) so because of this, and because it's been half a decade - and wow that makes me feel old - since Shadows was first released in the UK, Walker Books have decided to publish a new edition of Shadows on the Moon.

This new version will have brand new cover art that complements the BAREFOOT ON THE WIND cover, which of course is super-exciting, and I'll get to that in a moment. But it also has other stuff: new bonus content which has never been available in print before, including something readers have been asking me for pretty much since Shadows hit the shelves back in 2011: a glimpse into Suzume's new life in Athazie.

Not only will the this edition of the book contain love poetry written and exchanged by Otieno and Suzume after the conclusion of the story's events - it also contains an exclusive short story which acts as a kind of 'epilogue' to Shadows on the Moon. I'm very proud of this story, and I hope it will be a satisfying little gift to everyone who loved the book.

The new edition is not available for pre-order yet, but as soon as it appears on Amazon/the Book Depository/Waterstones, I will link it, fear not. In the meantime... *Drumroll Please*

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So what do you think? It's beautiful, right? Again, there's so much detail here that comes right from the book - the cherry blossom motif, that kanzashi pin with its ominous drip of blood, the swirling hair, the iridescent effect on the font, like moonlight or the mother-of-pearl inlaid in a lacquer box... I think those who've read the book will recognise all of these things with a little secret thrill, but I also hope that new readers will be drawn to it's sheer beauty as well. And here's the full effect:

I hope you all love this as much as I do, Dear Readers, even though it's very different from the original version (with some significant things in common, of course). Let me know your opinions in the comments!

BAREFOOT ON THE WIND COVER REVEAL & MORE EXCITING NEWS!

Hello, hello, hello, Dear Readers! Apologies for the quiet period here on the blog - I've had a month of frantic mega-busyness, including a wonderful weekend as a speaker at the Bradford Literature Festival, where I met some of the most wonderful and fascinating people imaginable. Sadly all the rushing around (predictably) culminated in the herniated disc in my spine recurring and putting me on bed rest for a week (look after your spine, my children, you'll definitely miss it when it's gone).

But I'm back today to share the thing I've been desperate to show you for weeks and weeks and weeks now - yes, you know what I'm talking about - it's the cover artwork for BAREFOOT ON THE WIND! Which, just to refresh your memories, is a Feminist re-imagining of Beauty and the Beast, set in a fantasy version of Feudal Japan.

BUT WAIT THERE'S MORE. Before you scroll down to feast your eyes on the undeniable loveliness of the artwork designed by Delightful Designer and the ThereIs artistic studio, I have more exciting news to share - about Shadows on the Moon.

So, BAREFOOT ON THE WIND is a companion novel to Shadows on the Moon, taking place in the same fairytale realm, Tsuki no Hikari no Kuni (although there are no over-lapping characters). As such, and because it's been five years since the original release, Walker Books have been inspired to reissue Shadows on the Moon in a brand-spanking-new edition which will not only have new artwork, but original bonus content written by yours truly.

The new edition of the book will be available just after BAREFOOT ON THE WIND's release (which will be the 1st of September). I'll be sharing the luscious new cover artwork for that next week, as well as giving you more details about the exclusive new material which will be in the reissue. For now, let me just say that it's providing something many readers have been asking me for since the book originally came out.*Eyebrow wiggle*

OK, OK, you've been good patient readers. I'll put you out of your misery - here, without further ado, is BAREFOOT ON THE WIND...

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Is that gorgeous, or is it gorgeous? I love it. Everything on this cover - the white, red and green colours, the frosty white thorns, the moths, the red butterflies and the falling snow - is symbolic (Google 'butterflies in Japanese mythology' for a hint) and comes directly from stuff that's in the story. I want to burble on endlessly about how much they nailed making the cover represent the book, but it's basically all spoilers so I'll just be over here quietly squeeing while you absorb this:

The full wrap, including a quote from legend L.A.Weatherly, who calls the book 'Hauntingly lovely'. Don't you love the way that the way the illustration continues all the way around like that? J'adore! J'aime! Also, note the brush-stroke effect in that lovely font - I suggested that! When I first got this I spent at least an hour just staring at it, taking in all the tiny little things that link the art to the story and make it totally unique and meaningful. Ack, so happy. If you're interested in cover design, here you can see the Pinterest board of story-relevant images that the designer asked me to put together to help inspire the illustrator.

Over to you now, Dear Readers. What do you think? Does this live up to your expectations? Make you excited to read the book? Sound off in the comments :)

FOUR THINGS ON THURSDAY

Hello, hello, hello Dear Readers - and Happy Thursday to all!

Today I've got a selection of random things to share. I hope you'll like some or all of them, so let's get started.

1) I could do without the large and annoying caption (and whatever you do, don't read the comments) but this little girl is amazing. Two separate people sent the video to me saying she reminded them very much of Mio, and since this is just how I imagined Mio fighting, it made my day.

2) Stuff for USian Dear Readers! The US edition of Darkness Hidden is officially available in hardback and ebook over there as of now, so if you've been patiently waiting for this moment - go forth! Also, my US publisher (Candlewick Press) have recommended 'Storm Clouds Fleeing from the Wind' - my Akira prequel story in the Things I'll Never Say anthology - for a James Tiptree Jr Award! This doesn't mean I'm actually in the running, that's up to the judges, but nevertheless, I'm thrilled. This award is about making people question their assumptions about gender and sexuality through fiction and I am 100% up for that.

3) The American School Library Journal are compiling a list of the 100 best Young Adult novels ever - and they're doing it based on a popular vote that anyone can take part in. Now, I don't know about you, but whenever a list of this type comes out I generally find myself torn between being amused, exasperated and infuriated because a good half of the books on it aren't YA or children's novels at all. They're classics written for adults that some people seem to think count as YA because... well, just because, you know, the leads are sort of youngish... and anyway kids should read them! Look, I love Pride and Prejudice, Hamlet, The Catcher in the Rye, The Great Gatsby and Wuthering Heights as much as the next person, and read most of them as a teen, BUT THEY ARE NOT YOUNG ADULT NOVELS JUST BECAUSE THE MAIN CHARACTERS AREN'T MARRIED YET DAMMIT. *Pants* Anyway, I headed right over there and voted for a raft of my favourite YA novels - and I hope you'll consider taking five minutes to do the same. If you happened to pop Shadows on the Moon (still my favourite of my own novels) into your list of faves that'd be brilliant too, but of course you don't have to! Just vote anyway.

4) Lately I've been making an effort to learn to cook lots of new (healthy) recipes and have been so impressed by my own efforts that I've been tweeting progress reports and pictures. By popular demand, I've decided to share one of those recipes here. I picked a nice simple one that's good for beginners but delicious enough for confident cooks. This recipe is actually all mine, so I hope everyone likes it! It's very healthy and has about two of your five a day in it. 

Healthy and Delicious Frittata

I make enough for two with this, so I can have leftovers the next day. If you only want one meal, half the amount of ingredients. If you want to feed four, double them. Simplez!

Ingredients:

Five large free range eggs
A splash of milk
A pinch of salt, a pinch of black pepper, and a teaspoon of dried oregano
1/2 of a red onion, thinly sliced
1 small bag of baby spinach leaves, washed
200g of boiled new potatoes, cut into 3cm cubes
200g of boiled sweet potatoes, cut into slightly larger chunks
A handful of crumbled feta cheese - about half of a small mug
A handful of sweet cherry tomatoes (Tomkin, Aromatic, Sunblush, whatever you like) cut into halves
A low fat cooking spray, or if you're not watching your weight, a teaspoon of butter and a tiny glug of oil to stop the butter burning in the pan
Optional: six to twelve thin slices of Chorizo.

First of all, cut up and boil your sweet and new potatoes. It should take about 20mins for the new potatoes - but only eight to ten for the sweet ones, so get the new ones in the pan first and then add the sweet ones later. When they're all cooked enough to slide off a knife or a fork when you stick it into them, but are still firm enough to hold their form, drain them and pop them aside in the pan, to keep warm.

Next, spray or butter/oil your frying pan and pop it on a medium high height. Wait until you can feel the heat of the pan when you hold your palm a few inches above the cooking surface, and then toss in the onions. You want to cook these until they're starting to go lovely and translucent and soft. It doesn't matter if they go a little brown but if they're starting to catch on the bottom of the pan before they look about done, tip in a little water - not too much! - it'll stop them burning and also generate some steam, which helps them cook faster.

When the onions are nearly done, empty in the baby spinach leaves. It's going to look like loads too much spinach - you'll think 'What have I done?!?' but don't worry. Another tiny glug of water into the pan and a few moments of stirring the leaves around and by the time the water has evaporated and the pan is dry again the leaves will have wilted down to about a quarter of their previous mass. When the leaves look shiny, dark and soft, all folded in on themselves, they're ready.

If you're quick at cracking and mixing eggs you can leave the pan for a second to do the next part. If you need a little more time or your hob is very hot, just take the pan off the heat for a moment. It's sensible at this point to make sure that the onions and spinach are evenly distributed around the pan because the eggs are going on top soon.

Crack your five eggs into a bowl, add the splash of milk, and the seasonings, and then whisk it all together until the mixture looks an even yellow colour. Then pour the eggs into the frying pan, and follow immediately with the sweet and new potatoes. Give them a nudge around so that they're evenly distributed across the pan as well. Then sprinkle the feta cheese all across the surface of the frittata (not putting a big chunk the section of the pan you've earmarked for yourself, because trust me, you won't end up getting that part and then you'll be sad. Fairness pays, kids!).

Leave the pan on the heat for a few minutes, watching it. When your frittata looks like this:

Eg. it's still a little gloopy and jelly-like on top, but a quick shake of the pan shows that the bottom has solidified, throw the cut up tomatoes on the top and then put the frittata under the grill (if your grill is slow to warm up, maybe put it on a few moments beforehand so it has time to warm up).

It should take four or five moments for the top of the frittata to solidify under the grill. Some people like to leave theirs under the grill until it goes really sizzly and brown on top, but if you do this chances are that the frittata will be solid in the middle. I like mine a little bit softer in the centre, more like scrambled eggs, so I take it out more quickly. This is just personal taste - do what pleases you.

Using a large spatula, cut the frittata in two and serve yourself and whoever is eating with you (or else fold the second half in two and put it in a Tupperware for tomorrow, which is what I do).

Voila!

Sometimes, if I'm in the mood for something a bit meatier, I'll pop five or six thin slices of Chorizo in the oven and let them crisp up while I'm cooking the frittata, then put them on top of it once it's cooked. The Chorizo is super crunchy and salty and goes brilliantly with the cheese and eggs, but watch out - depending on how hot your oven is they really only need a few minutes, and one minute too long in the oven and you end up with charcoal, so don't get distracted!

Let me know if you try this and how it turned out. I might post more recipes in the future, since lots of lovely Tweeps keep asking me to - register your protests in the comments if it's not your thing.

Have a great weekend, duckies. I'll read you next week :)

ONE SONG TO RULE THEM ALL...

Hello, Dear Readers! Happy Monday to you all, and thanks for joining me for today's post! What is our theme this fine morning, you might ask?

One Song to Rule them all, One Song to find them

One Song to bring them all and in the darkness bind them... 

OK, that sounds... a tiny bit sinister, but I promise it's not. What am I on about, you wonder? Well, the other day I was listening wistfully to my #BaBBook playlist (because it's probably the loveliest playlist I've ever made and I sort of miss it) and I tweeted a link to a particular track saying 'If you want to know what my Beauty & the Beast retelling feels like as a song, this is it.'

Then it occurred to me that actually, there's a song like that on the playlist for every book I've ever written, going right back to my very first YA novel that didn't even get published. One Song (if you will) that just summed up the atmosphere, the central character's struggle, the soul and feel of the thing for me. 

Sometimes I got this wrong in my initial playlist and then got stuck and had to re-think because that key track acts as a sort of story linchpin for me, drawing all the other songs, other moods, other characters in towards that unnameable, ineffable thing that I was trying to get at with this particular story.

This struck me as kind of cool. And once I'd realised that, I thought maybe it would be interesting for Dear Readers to able to listen to these One Songs and compare them? So I decided to do a post about it, and here we are.

First up is the One Song for BLOOD MAGIC, which was the very first YA novel I ever completed. I sent this to every single children's book publisher in the UK, and two in Australia, and was rejected by all of them - but it was this book which caught the attention of my first first editor when it landed on the slushpile of my current publisher Walker Books, and launched me on my publishing journey. So it served a very useful purpose in the end.

It was a high fantasy novel about a young noblewoman with a magical ability so terrifying that it would have led to her instant execution if she was found out (which of course, she eventually was). She ended up saving her country and her King's life with that talent, but the story had a bittersweet ending, with her and her lover spared their lives as a result of the King's gratitude, but at the cost of being banished from their beloved home country. Along the way the heroine - Rialenthe, Countess of Kefari (*snorfle*) - lost her father and her best friend. Really, it was quite dark and I think the One Song definitely reflects that! It's Elysium from the Gladiator soundtrack by Hans Zimmer:

The next book is my first published one THE SWAN KINGDOM, which was a retelling of the Hans Christian Andersen fairytale 'The Wild Swans'. The song is called Cumulus by Imogen Heap, but I always identified it so strong with my heroine's character and her journey through the story from tentative, unsure, and afraid, to strong, beautiful and confident, that in my head the song will always be called 'Alexandra'. There's so much in this song that links to the way I feel about the book, and when I listen to it I imagine clouds passing over the sun, ripples moving across the surface of deep green water, and tall rushes singing in the wind.

Next up is DAUGHTER OF THE FLAMES - the book where I took the 'lost heir' or 'lost prince' trope and tried to turn it on its head by having the lost conquering royal hero who must reclaim their throne and bring balance to the Kingdom be a biracial girl with facial disfigurement and an awesome, disabled husband. I used a lot of the Gladiator soundtrack for this as well, but when I think back to writing it, the song I know I listened to the most, and which summed up the epic, tense, high fantasy vibe I really wanted was The Host of Seraphim by Dead Can Dance:

I wrote all the fight scenes to that - I probably listened to it over a hundred times just writing the final confrontation between the heroine, Zahira and the antagonist alone. Incidentally, the singer, Lisa Gerrard, is the same one you hear singing on the track Elysium above.

My third book, SHADOWS ON THE MOON, is a Cinderella retelling set in a fairytale version of Feudal Japan, where the heroine witnesses her family murdered and discovers she has a talent for concealing herself with illusions when this talent is all that saves her own life. After the shocking discovery of whom was responsible for the attack that killed her father and adopted sister, she becomes ruthlessly fixated upon revenge and decides to try to win the Prince's favour in order to use his political power to destroy her enemy.

This book actually had two really significant linchpin pieces - I think because it's so long and took so long to write. The way the heroine exchanges identities throughout the book probably has something to do with it, too. I thought long and hard about which song to include, but eventually decided to go with the first one, because I think the second is more about the mask that the main character is wearing (playing the part of a beautiful courtesan named Yue) in the final part of the book than the person she really is inside (a frightened, bereaved young woman named Suzume). So you get The Meadow from the Twilight: New Moon score by Andre Desplat. It sums up Suzume's desperate search for a place to belong, an identity that feels like it's hers, a family that's worth of her. Weirdly this isn't on the soundtrack that's on Spotify - I had to link to YouTube instead:

The next one makes my dilemma over the One Song for Shadows look like cake, though. It's FROSTFIRE, the companion novel to Daughter of the Flames, another epic high fantasy, this time about a young woman named Frost who lives under a curse of berserker rage that can be triggered at any time and which has ruined her life. In her search for a cure she gets tangled up in the conflict left over after the events of the previous book, and comes to love two men whose lives hang in the balance of that battle.

Now, when I first began writing this book, Frost was a boy. Love interest #1 (Luca) was a girl, and the third person in their triangle was a boy called Arian. But then I realised Frost had tricked me. I knew Frost was a tall, very physically strong person with daddy issues who wielded their father's axe, so I assumed boy, but actually the character was a girl. But I didn't see why Luca should have to change. So I wrote a lesbian high fantasy. But that version just didn't work for my editor - not because of the sexuality of the protagonists, but because in my eagerness to get my first queer love story right I'd focused on that romance to the exclusion of everything else and the voice, pacing, plot, other characters... basically nothing else really worked. So I ended up making Luca a male character, threw out the entire first draft and started again from scratch (I still think of this book as a queer love story, btw, since my head canon is that Arian is bisexual).

Throughout this whole process of changing genders and writing new books with the same title and character names, I went through many, many, maaaaany tracks which I thought might be this novel's One Song. But I didn't find it until midway through writing that final, definitive version. You can imagine my relief! It's The Gravel Road from the score for The Village by James Newton Howard:

This song still makes me tear up a little - it speaks so poignantly about Frost's longing and loneliness, her romantic, loving heart. Plus, there's a certain series of notes within the piece (near the middle) that sounds like the distant call of a lone wolf to me, and that's a very important image in the book.

Now onto the NAME OF THE BLADE trilogy! This is my very first trilogy and also my very first urban fantasy story. It's set in contemporary Britain and is the story of a British-born Japanese teenager who 'borrows' a priceless ancestral katana (a Japanese longsword) from her family's attic and unwittingly unleashes the Gods and monsters of mythical Japan onto the streets of modern day London. The book has an all PoC cast and includes genderfluid and gay characters, plus unexpectedly badass parents, smexy fox spirits and all kinds of chaotic shenanigans.

For a while I was a bit stumped by how to pick a One Song for the trilogy, since each of the three books had a different playlist and a different One Song. And this post is already long enough! But then I whapped myself on the forehead for being so dense, because there's always been a single One Song that I've returned to again and again that just sums up everything I love about the trilogy, everything that makes it special to me - the fast pace, the Japanese influence, the modernity - and everything that makes the heroine Mio (who hangs onto her sense of humour grimly by her fingernails to the very end) a unique character. Long time blog readers have heard it before - it's Paprika from the Paprika score by Susumu Hirasawa (again, not available except on YouTube - whydo you hate me Spotify?):

Finally, it's the One Song that started it all, the track that sums up the essence of BAREFOOT ON THE WIND, my most recent fairytale retelling and the companion novel to Shadows, set in the same Japanese influenced fairytale world of Tsuki no Hikari no Kuni. 

This song sums up everything about my heroine, Hana. She's quiet and pragmatic, and just gets on with things - but underneath the matter-of-fact exterior there's such a painfully deep well of feelings which she's desperate to find a way to express. The narrative of the story and the deepening, changing relationships between her and the other central characters builds up inexorably towards a confrontation between Hana, a perfectly ordinary village girl who has only common sense, kindness, and determination on her side, and the monstrous magical forces aligned against her. This One Song really captures that sense of running out of control towards something that may be miraculous or fearful. It's Experience by Ludovico Einaudi and I love it:

I hope this has been as interesting for you to read and listen to as it was for me to write, Dear Readers! What a fun trip down memory lane. Read you later, honeys!

FOUR THINGS ON THURSDAY

Hello, Dear Readers! Welcome to Thursday - the weekend is almost upon us! Today I have a random sampling of things to share, beginning with:

1) The FRAIL HUMAN HEART Blogtour is about to begin! See the glorious banner to the right? Now this is super exciting not only for the usual reasons, but because I've actually written a bunch of extra content specifically for the blog tour - three 'deleted scenes' from the trilogy which are presented to you *exclusively* on these blogger's sites.

These extra scenes are juicy and spoilerific - I can't even really say what any of them involve (because that would be giving the game away) except to say that two of them star Hikaru and one is from the perspective of a character we've seen but never actually met before - so if you're a fan of the books then you NEED to tune in.

To help ensure you don't miss anything, I'll be posting a link to the requisite site here on the blog each day, and you can just click through to see what the day's offering will be. There are also tantalizing snippets from FRAIL HUMAN HEART (in case you haven't read it yet), a Q&A, and a long thinky piece on my inspiration for the series, looking back at how the idea came to be in the first place. Hurrah!

2) Remaining with the FRAIL HUMAN HEART theme, the book has been out for three weeks now and Amazon has two lovely reviews for it, both of which I'm terribly grateful for. But the first book - THE NIGHT ITSELF - has twenty-three reviews and even DARKNESS HIDDEN has eight. FHH is looking a bit lonely and unloved; and that's the kind of thing that keeps writers like me up at night.

So this is my appeal to you: if you've read the book, whether you loved it, liked it, or have salty comments to make, please could you take a few moments out of your day to pop onto Amazon and leave a review? I would appreciate it so much.

And there is something in it for you, too - if this appeal here yields some extra reviews, I'll randomly pick one of the Amazon reviewers and send them a package containing Delightful Mystery Stuff related to the trilogy. That winner could be you. But whether you review or not, I still love you and am eternally grateful to you, my Dear Readers!

3) SUPER EXCITING NEWS that I am not allowed to tell you sorry! Ahem.

I've been sworn to secrecy at this point by Wonder Editor, but something thrilling is set to happen, and it's related to the released of my Beauty and the Beast retelling - aka #BaBBook - which I can now tell you is set to come out in June next year. Remember that this is a companion novel to Shadows on the Moon, and is also set in the Moonlit Lands.

One thing I can reveal is that #BaBBook's real title is BAREFOOT ON THE WIND (this might still be subject to change, but I hope it won't because I love that title). More details when I get permission to share them - but be excited my lovelies! I am!

4) My friend C.J. Daugherty, author of the legendary (and bestselling!) NIGHT SCHOOL books has just become the first UKYA author with an official pop song dedicated to her books!

She very modestly dropped this into the conversation the other day and I was gobsmacked when I investigated and got a load of this amazing song by Betsa Collins, who is only seventeen! Good work Betsa - and congratulations CJ! The final NIGHT SCHOOL book is out now, by the way, in case you were in the mood to marathon some excellent UKYA...

How rockstar is THAT?!?!

And that's all from me for now, muffins - but I'll be back on Monday next week to kick off the blog tour. Have a lovely weekend!

MERMAID MADNESS

Hello, hello, hello, Dear Readers! I hope you've had a great week since you read me last. Thank you so much to everyone who reached out to me after my appeal in that previous post; I appreciate every single person who got in contact. I know that it probably wasn't easy for many of you to email a stranger out of the blue, and even though I've told you this individually in private, I think you also deserve to have your generosity, courageousness, and beautiful creative spirit acknowledged collectively and publicly here too. You're all amazing.

I'm not replying to comments on that post anymore because frankly the discussion there ballooned out of control in a way that the Blogger comment function is simply not designed to handle. Please consider emailing me if you'd like to get involved as well. I have now completed a detailed synopsis for Codename: DtH incorporating the spirit of as much of the advice I was given as possible, and sent that off to Super Agent. I'm waiting for her to get back to me about it, and then we'll hopefully pitch it to my publisher.

In the meantime I've been writing deleted scenes for the Frail Human Heart blog tour that's going to start at the end of the month (more on that when the details are finalised) but this was interrupted for a little while by a spate of what I've mentally dubbed The Mermaid Madness online, when I noticed a certain post on US author Maggie Stiefvater's Tumblr, made my own version, and then fabulous fellow UKYA author Keris Stainton took it to Twitter.

To say it caught on would be a bit of an understatement. For a couple of days there everything was mermaids and nothing hurt. The delirium seems mostly to have passed off now, but I thought it would be nice to share the results anyway. So first of all here's Mermaid Me:

The only thing that actually resembles me here is the hair - bit that is 100% accurate

Then Alexandra from The Swan Kingdom:

Zira from Daughter of the Flames (this is after she's crowned queen and has let her hair grow out a bit):

And Suzume - or rather, Yue - from Shadows on the Moon:

But the biggest demand on Twitter was for Mermaid versions of the Name of the Blade crew. So here's Jack:

 Hikaru:

And Mio and Shinobu:

Annoying that only the male mermaid had a weapons option, yes - but let's pretend it's Mio's day off or something!

Plus Mio by herself:

Yes, Mermaid Mio has more than one outfit. I couldn't give her a sword - there were no swords - so she got glowy magic instead

And as I type this, I realise I never did a mermaid version of Rachel, which doesn't seem fair? So I'd better go and get on that, hadn't I? Purely, of course, or fairness' sake...

*Skips away, cackling*