In Praise of editors: an interview with Lin Webb, Senior Editor, Bluemoose Books.

My new book, Saving Lucia, is out on 30th of April with Bluemoose books. My editor there has been Lin Webb and I have so enjoyed working with her. Look what we made, as part of a team at Bluemoose.

It occurred to me it would be fun to interview Lin, reflecting on the editing process for me, but also because I knew she would be full of advice and ideas and we thought these things might be really useful for a new writer – or perhaps any writer. I have asked her both general and specific questions, including those to highlight the particular challenges we faced on my own book. Finally, I wanted to draw attention to the role of an editor on a book. They are vital and you can learn so much. There is a degree of self-editing you do when preparing your manuscript for submission – and I hope you may find tips for this stage if that is where you are now – but when that book is accepted it is the skill of the editor which brings it to press: they see things that, perhaps, you do not and, with a firm hand if necessary, your book has a chance to be polished; to shine. It is vital, therefore, that you work with and not against them. I have had a few rocky writing and publishing experiences to date and I am sure most people do, but working with Lin has restored a sense of fun and self-belief, too: I will always be grateful to her. You will see, also, that Lin shows you how she is part of a team, for example referring to going back to Kevin and Hetha at Bluemoose and particularly Hetha (another very experienced editor as well as co-director of the press) on the thorny issue of punctuation in this particular book. Now that brought us to some tremulous then rather wonderful changes…read on.

TEN QUESTIONS WITH LIN WEBB, SENIOR EDITOR AT BLUEMOOSE, DRUMMER, WOODWORKER, AND ALL-ROUND GOOD EGG.

What do you enjoy most about editing?

I enjoy the whole process: familiarising myself with the text, getting onto the writer’s wavelength, and working with them to shape, smooth and polish their manuscript. Seeing the book go out into the world buffed up to a shine is deeply satisfying.

Building a rapport with ‘my’ authors is a bonus which enhances the editing process and has led to some lasting friendships. I’m very fortunate in working for a small, independent publisher that adopts writers into the Bluemoose ‘family’. The editor/writer relationship can be very different, depending on the context. Some editors make only two or three passes through the manuscript; I‘ll go through it dozens of times, getting to know the work as well as the writer does. The big publishing houses employ different editors for each level of editing, whereas I’m likely to see the work through from start to finish, albeit with back-up from other editors if needed and fresh eyes at the proof-reading stage. I believe that this makes for a better experience for the author, as well as a satisfying one for me.

Could you describe any particular challenges for you as an editor? That is, in general terms, what are the trickiest things about editing a book?

The aim of editing is to make the book the best possible version of itself (while preserving the author’s voice, of course), but some authors think that their book is already the best it can be and may be resistant to cutting or changing any of their carefully-chosen words. If I say that a sentence is unclear or over-complex and the writer retorts, ‘That’s just your opinion’ or ‘Nobody else has complained’, I know it’s going to be an uphill struggle at first. Eventually, one hopes, they will accept that I’m working on behalf of their readers, as well as with the writer and for the publisher, and become more receptive to suggestions for improvement.

As an editor of some years’ experience, might you comment on pitfalls for authors – perhaps about structure of narrative? I understand that there is a degree of subjectivity here!

One of the most common pitfalls is cramming in too much information too soon: an interesting opening is followed by a surfeit of explanation and a history lesson. The writer needs to know all the back-story, but readers need a lot less detail, and the essential elements should be dished out in small helpings.

Do you have any pet hates? Appalling things that your authors do. For example, sloppy speech punctuation, non-English words placed in italics, strange crimes against apostrophes – you name it!

I do wish that writers would check their default language setting in Word and change it, if necessary, from US to UK English before they start on their manuscript. I can change the submitted work to UK English, but I have to spend time checking for US spellings and punctuation differences. My other pet peeve is finding that writers have moved to a new page for a new chapter by pressing Enter repeatedly. (Anna’s note: WHO WOULD DO SUCH A THING?) This means that any changes to the text will move the start of the chapter, so I have to go through and delete the multiple returns and insert page breaks instead. If writers know how to insert page breaks, it saves my time for more important editor-y matters.

Other than these time-sinks, I don’t have a problem with people’s peculiarities of punctuation, spelling or grammar – although I’m sometimes surprised by new strange crimes against apostrophes.

Any advice for writers in terms of looking back critically at your own manuscript? Tips and things to watch out for?

Reading your work aloud is invaluable, as Nicola Morgan explains in Write to be Published (which I highly recommend). As well as listening for errors and repetitions, she says: ‘I imagine that my audience consists of a group of potential readers who would far rather be doing something else. My job is to hold them there. So, I’m honing my prose to ensure that each sentence, phrase and word works hard. If it doesn’t, it goes.’

Reading aloud is also the best way of checking that your dialogue sounds natural and that the speech tags aren’t obtrusive. There’s no need for variations like ‘he gruffed’. Some writers worry about using ‘said’ too often, but readers barely notice it. A further benefit of reading aloud is to hear the rhythm of the phrasing, plus the variations in sentence length and construction. Or the lack of rhythm and variations.

Beware of over-writing! It gets in the way of the story and covers the beauty of it with frilly bits. Over-descriptive passages can give an inflated idea of the significance of a place or person in the story; over-written description can also tempt the reader to skip past it. Look very closely at paragraphs you’re particularly pleased with and ask yourself if they could be improved by judicious pruning. Have you overdone the adjectives or the adverbs?

Might you tell us about highlights of your editing career – other than the fun we have had together and the fact that SL* is your favourite Bluemoose title to date? (*Joking.)

The highlights depend on when you ask me, since it’s always the most recent project. Every writer is different, every book is different, and with each one I learn something new; each one feels like the best so far. So yes, at the moment you and Saving Lucia are my favourites…

May I ask you about my own book, Saving Lucia, and a little specific insight here? What were the challenges you and I faced as we worked on this book, would you say?

It was important to ensure that the book is accessible to readers who, like me, aren’t familiar with the work of Joyce and/or Beckett, without losing the essence of it, leaving the influences visible to those in the know.

We had to rein in your fondness for obscure words, didn’t we? I think it’s ok to use unusual words as long as they don’t bring the reader to a halt, and if the context permits readers to bypass the unfamiliar words and look them up later. Repetition is not recommended, though. Another challenge was that there were so many passages in foreign languages that it looked rather like showing off. We had to cut those back.

Still on Saving Lucia, what about decisions we made on the book – for example, things we were hesitant about but pleased with later?

We ran into problems with nested single and double quotation marks when, for example, Lucia was reporting Violet’s telling of Bertha’s story, which included quotations. It looked messy, especially where closing speech marks were clustered. I asked Hetha’s advice and she suggested cutting out some of the quotation marks. I’ve never been in favour of unconventional punctuation, and it went against the grain for you, too, but we agreed to give it a try. Cutting away one level of speech marks made the pages a lot cleaner and, while I was going through the proof and finding strays that I’d missed, I started to wonder if we could get away with removing them all. Greatly daring, I marked up all the remaining quotation marks for deletion and tweaked the text slightly where necessary. When the typesetter sent the fresh proofs back, I was stunned at how much better it all flowed and I emailed it to you with a warning to take off your English teacher hat. Your unexpectedly enthusiastic response was a great relief, I must admit. I don’t think either of us expected the punctuation change to improve the book so much. Hetha and Kevin are also pleased with the finished result.

What next for Lin?

I’m editing Heidi James’s new book, The Sound Mirror, which will be out later this year.

And finally, tell us about books you like to read?

I like humour: I have lots of books by Patrick Campbell, Alan Coren, Bill Bryson, Carl Hiaasen and Terry Pratchett; only one by Brian Bilston, as yet. I hadn’t realised it before, but my fiction bookshelves are full of strong female characters, from Peter O’Donnell’s Modesty Blaise collection andAlexander McCall Smith’s Number 1 Detective Agency series, via Sue Grafton’s ‘Alphabet’ books, Anne Cleeves’ Vera Stanhope and the Kathy Reichs ‘Bones’ novels, to all of Dana Stabenow’s Kate Shugak books. I’m also a fan of Val McDermid and of Joanne Harris, whose short stories I’m currently reading, and I should have mentioned Dorothy Parker earlier.

Recent non-fiction purchases include Dreyer’s English for dipping into, and Tom Cox’s The Good, The Bad and The Furry because it’s cats.

Thank you Lin. It has been a tremendous thing. xxx

Epigraph of The Life of Almost

For Ned. Because Almost is also a love story: Seren, Mfanwy, Perfection, Mammy, the sacred headland and the mermaids. And you are my story and my song. x

This is what it says at the beginning of my next book, The Life of Almost: wish me luck, as it has gone, by kind request, out to an agent who liked the writing in Killing Hapless Ally; the ms has also gone to a press; later in October, it is going out elsewhere and, to my utter surprise, a really lovely person at one of, you know, the big five, said they would look at it just to be helpful. I said it wasn’t really, as far as I could see, a commercial proposition, but then it is the next story I had in me. I know it’s ambitious and I do know about Peter Carey’s Jack Maggs. Ah, but bear with now. This one now is comical, I hope; indebted to Dickens and to Dylan Thomas; to generations in Pembrokeshire and beyond; to the coffin hatch in my own house; to the dead, who are legion and all around; to mermaid lore; The Mabinogion; Celtic Magic, Gwyn Williams, Danny Abse, the earliest Welsh poems, the Southern Gothic I married, books on sex, embalming and death practice, John Donne and Dickens again. And don’t you want to know who or what Almost is? How mermaids love? Why a child was found sleeping on a headland gravestone? Why moss creeps and sucks at your feet as you dare to tread? How a love story happens over the embalming table and how Almost feels, when he meets Derian Llewhellin, both fear and happiness and a blurring of his edges and how it is he begins to understand what he is capable of. The story begins this squalid summer, June 2016, but oh…it is old, old, old.

 

THE LIFE OF ALMOST OR,

A LIFE OF VERY LITTLE EXPECTATION

Anna Vaught

Disclaimer: this is a work of fiction, I swear on The Mabinogion and the sacred headland. Characters in this book are fictional, although I have drawn upon the history of my own Welsh family and diaspora and many things which to me seem normal and maybe which, to you, do not. I make no apology for references to the political situation in the summer of 2016 while a cunning clown and cohorts and a tide of rage pushed through the always unexpected rain. Real places named in the book are at least partly fictionalised and the dead and undead are somewhat mixed up. But enough: don’t you want to know about Almost? He was mine; now I am giving him to you.

All poems (unless otherwise attributed, but out of copyright) are by the author.

Lewis, the Younger, who went away

When I was a kid, Lewis took his own life.

I heard them say he took it, but where it went,

I couldn’t say or wasn’t told. Perhaps it had

been drained, in The Sloop, with all his pints,

or thrown gladly off Stack Rocks with a shout

that he married well and was a man they liked,

but I don’t know. For once, though I was very young,

I saw a look from out the corner of his eye as he shipped

off, went laughing with the pot boys and his girl:

that look it said, I think, that Lewis wanted rescuing,

but no-one came, as the sea foam danced in Cardigan Bay.

“Look’ee here, Pip. I’m your second father. You’re my son—more to me nor any son.”

Abel Magwitch, Great Expectations, chapter thirty nine.

 

Not the Booker, 2016

So…if you have read and liked my debut novel, Killing Hapless Ally, and it meant something to you; if it made you laugh; you thought it had weight; if it made you fall madly in love with Albert Camus or understand what mental health problems or mental illness might be like (my publisher makes it clear at the beginning of the book that I drew on many episodes in my own life; if you like semi colons, Dolly Parton, poetry and laughing at the dark things…go on, vote for it. The article that follows is from ‘The Guardian’ and below is the link you need to click on, register with ‘The Guardian’, then offer your vote. Actually, there should be two votes, but you need only comment on one of the books.

And look at all those indies! What follows, then, is from ‘The Guardian’; just underneath it, I’ve copied my votes.

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Not the Booker prize (very) longlist 2016: votes, please!

If you felt this year’s Man Booker selection was not broad enough, get a load of ours. And help decide which books make the shortlist

Composite: Authors Julian Barnes, Don DeLillo, Kei Miller, Sarah Perry, China Miéville and Lionel Shriver
A very small sample of the authors on our longlist … (clockwise from top left) … Julian Barnes, Don DeLillo, Kei Miller, Sarah Perry, China Miéville and Lionel Shriver. Composite: Alamy/Rex/Getty Images/Graham Turner/Graeme Robertson/Sarah Lee for The Guardian

Last week the Man Booker longlist was announced. A little surprising, right?

OK, I’m happy to admit that the main prize has a few things going for it. But I always feel that its longlist is just as notable for its omissions as the books that are chosen. This year was no exception. A few good books sometimes sneak on there – but dozens more don’t make it. And you know what? The Booker’s so-called longlist isn’t even that long. Not like the Not the Booker. As you will see below, our list really is long.

There are well over 100 books, making 2016 a record year already. So thank you to everyone who has contributed so far. And I hope you stick around as the real work begins. Because we somehow have to whittle this mighty list down to a manageable half-dozen books.

And how do we do that? We vote! If you want to take part, all you have to do is choose two books from the longlist, from two different publishers, and accompany those votes with a short review of at least one of your chosen books. It would also be very helpful if you included the word “vote”.

The review should be something over 100 words long, although as our glorious and shining Terms and Conditions state, we won’t be counting that carefully. Just make it look like you care.

It’s that simple. So let’s get voting. You’ve got just over a week. The deadline is 23.59 on 14 August 2016. The contenders are:

Megan Abbott– You Will Know Me (Picador)
Lesley Allen – The Lonely Life of Biddy Weir (Twenty7)
Deborah Andrews – Walking the Lights (Freight Books)
Louis Armand – The Combinations (Equus)
Kate Armstrong – The Storyteller (Holland House)
Jason Arnopp – The Last Days of Jack Sparks (Orbit)
Jenn Ashworth – Fell (Sceptre)
Chris Bachelder – The Throwback Special (WW Norton & Company)
Jo Baker – A Country Road, A Tree (Doubleday)
Julian Barnes – The Noise of Time (Jonathan Cape)
Shirley Barrett – Rush Oh! (Little, Brown)
Kevin Barry – Beatlebone (Doubleday)
Louise Beech – The Mountain in My Shoe (Orenda)
Claire-Louise Bennett – Pond (Fitzcarraldo)
Bill Beverly – Dodgers (No Exit Press)
Lochlan Bloom – The Wave (Dead Ink)
Lisa Blower – Sitting Ducks (Fair Acre)
Megan Bradbury – Everyone Is Watching (Picador)
Caroline Brothers – The Memory Stones (Bloomsbury)
Liam Brown – Wild Life (Legend Press)
Rowan Hisayo Buchanon – Harmless Like You (Sceptre)
Tom Bullough – Addlands (Granta)
Paul Burston – The Black Path (Accent Press Ltd)
Jackie Buxton – Glass Houses (Urbane Publications)
Louise Candlish – The Swimming Pool (Penguin)
Joanna Cannon – The Trouble With Goats and Sheep (The Borough Press)
Emma Chapman – The Last Photograph (Picador)
Anna Chilvers – Tainted Love (Bluemoose)
Dan Clements – What Will Remain (Silvertail)
Clár Ni Chonghaile – Fractured (Legend Press)
Chris Cleave – Everyone Brave Is Forgiven (Sceptre)
Emma Cline – The Girls (Chatto & Windus)
Paul MM Cooper – River of Ink (Bloomsbury)
Mark Connors – Stickleback (Armley Press)
Isabel Costello – Paris Mon Amour (Canelo)
Jack Cox – Dodge Rose (Dalkey Archive Press)
Justin Cronin – The City of Mirrors (Orion)
Rachel Cusk – Transit (Jonathan Cape)
Shelley Day – The Confession of Stella Moon (Contraband)
Don DeLillo – Zero K (Picador)
Ruth Dugdall – Nowhere Girl (Legend Press)
Sophie Duffy – Bright Stars (Legend Press)
Ken Edwards – Country Life (Unthank Books)
Jo Ely – Stone Seeds (Urbane Publications)
Guillermo Erades – Back to Moscow (Scribner UK)
Pamela Erens – Eleven Hours (Atlantic Books)
Lyn G Farrell – The Wacky Man (Legend Press)
Julia Forster – What a Way to Go (Atlantic Books)
Harry Gallon – The Shapes Of Dogs’ Eyes (Dead Ink)
Ruth Gilligan – Nine Folds Make A Paper Swan (Atlantic Books)
Jules Grant – We Go Around in the Night and Are Consumed By Fire (Myriad)
Guinevere Glasfurd – The Words in My Hand (Two Roads)
Garth Greenwell – What Belongs to You (Farrar, Straus and Giraux)
David John Griffin – Infinite Rooms (Urbane Publications)
Michael Grothaus – Epiphany Jones (Orenda Books)
Lee Harrison – The Bastard Wonderland (Wrecking Ball Press)
Adam Haslett – Imagine Me Gone (Little Brown and Company)
Noah Hawley – Before the Fall (Hodder & Stoughton)
Matt Hill – Graft (Angry Robot)
Catherine Hokin – Blood and Roses (Yolk Publishing)
Anna Hope – The Ballroom (Doubleday)
Michael Hughes – The Countenance Divine (John Murray)
Dave Hutchinson – Europe at Midnight (Solaris)
Amanda Jennings – In Her Wake (Orenda Books)
Elnathan John – Born on a Tuesday (Cassava Republic)
Anjali Joseph – The Living (Fourth Estate)
Avril Joy – Sometimes a River Song (Linen Press)
Mireille Juchau – The World Without Us (Bloomsbury)
James Kelman – Dirt Road (Canongate)
Claire King – Everything Love Is (Bloomsbury)
Hannah Kohler – The Outside Lands (Picador)
John Lake – Amy and the Fox (Armley Press)
Jem Lester – Shtum (Orion)
Ashley Lister – Raven and Skull (Caffeine Nights Publishing)
Carol Lovekin – Ghostbird (Honno Welsh Women’s Press)
PK Lynch – Armadillos (Legend Press)
Martin MacInnes – Infinite Ground (Atlantic Books)
Kevin MacNeil – The Brilliant and Forever (Polygon)
Seraphina Madsen – Dodge and Burn (Dodo Ink)
Brooke Maganti – The Turning Tide (W&N)
Ayisha Malik – Sophia Khan is Not Obliged (Twenty7)
Michael J Malone – Bad Samaritan (Contraband)
Iain Maloney – The Waves Burn Bright (Freight Books)
Sarah Ladipo Manyika – Like a Mule Bringing Ice Cream to the Sun (Cassava Republic Press)
Alex Marwood – The Darkest Secret (Sphere)
Colum McCann – Thirteen Ways of Looking (Bloomsbury)
Tiffany McDaniel – The Summer That Melted Everything (Scribe)
Ian McGuire – The North Water (Scribner UK)
Elizabeth McKenzie – The Portable Veblen (Penguin Press)
Wyl Menmuir – The Many (Salt)
Sarah Meyrick – Knowing Anna (SPCK Publishing)
Dan Micklethwaite – The Less Than Perfect Legend of Donna Creosote(Bluemoose)
China Miéville – This Census Taker (Del Rey Books)
Kei Miller – Augustown (W&N)
Alan Moore – Jerusalem (Liveright and Knockabout)
Alison Moore – Death and the Seaside (Salt)
Claire Morrall – When the Floods Came (Sceptre)
Yelena Moskovich – The Natashas (Serpent’s Tail)
Sarah Moss – The Tidal Zone (Granta Books)
Sylvain Neuvel – Sleeping Giants (Del Rey Books)
Carl Neville – Resolution Way (Repeater Books)
Suzy Norman – Duff (Patrician Press)
Claire North – The Sudden Appearance of Hope (Orbit)
Barney Norris – Five Rivers Met on a Wooded Plain (Doubleday)
Edna O’Brien – The Little Red Chairs (Faber & Faber)
Paraic O’Donnell – The Maker of Swans (W&N)
Maggie O’Farrell – This Must Be the Place (Tinder Press)
Harry Parker – Anatomy of a Soldier (Faber & Faber)
Sarah Perry – The Essex Serpent (Serpent’s Tail)
Cherry Potts – The Dowry Blade (Arachne Press)
Laura Powell – The Unforgotten (Freight Books)
Christopher Priest – The Gradual (Gollancz)
Lucy Ribchester – The Amber Shadows (Simon & Schuster UK)
Mary-Jane Riley – After She Fell (Killer Reads)
Adam Roberts – The Thing Itself (Gollancz)
Lou Rowan – A Mystery’s No Problem (Equus)
Amanda Saint – As If I Were a River (Urbane Publications)
James Sallis – Willnot (No Exit Press)
David Savill – They Are Trying to Break Your Heart (Bloomsbury)
Anakana Schofield – Martin John (And Other Stories)
Helen Sedgwick – The Comet Seekers (Harvill Secker)
Lionel Shriver – The Mandibles (The Borough Press)
Karin Slaughter – The Kept Woman (Century)
Ethyl Smith – Changed Times (ThunderPoint Publishing)
Francis Spufford – Golden Hill (Faber & Faber)
Sarayu Srivatsa – If You Look For Me I Am Not Here (Bluemoose)
Elizabeth Strout – My Name Is Lucy Barton (Viking)
Emma Claire Sweeney – Owl Song at Dawn (Legend Press)
M Suddain – Hunters and Collectors (Jonathan Cape)
Graham Swift – Mothering Sunday (Scribner UK)
David Szalay – All That Man Is (Jonathan Cape)
Jonathan Taylor – Melissa (Salt Publishing)
William Thacker – Lingua Franca (Legend Press)
Yusuf Toropov – Jihadi: A Love Story (Orenda Books)
Anna Vaught – Killing Hapless Alley (Patrician Press)
Dan Vyleta – Smoke (W&N)
Natasha Walter – A Quiet Life (The Borough Press)
Simon Wan – Love and a Dozen Roast Potatoes (Urbane Publications)
Eleanor Wasserberg – Foxlowe (Harper Collins)
Jemma Wayne – Chains of Sand (Legend Press)
Aliya Whitely – The Arrival of the Missives (Unsung Stories)
Chis Whitaker – Tall Oaks (Twenty7)
Hugo Wilcken – The Reflection (Melville House UK)
Matt Wilven – The Blackbird Singularity (Legend Press)
Charlotte Wood – The Natural Way of Things (Allen & Unwin)
James Yorkston – Three Craws (Freight Books)

I’ll be back here on 15 August to post the results – and no doubt feeling slightly frazzled from all the counting. Let’s go!

 

https://www.theguardian.com/books/booksblog/2016/aug/02/not-the-booker-prize-very-longlist-2016-votes-please#comment-80656904

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And here are my two votes:

annaVaught

My two votes. PK Lynch’s Armadillos (Legend). Aggie’s voice clear as a bell and has stayed with me; excellent, sustained narrative. Admittedly I did find elements of this difficult to read because of experiences I share with Aggie, but I am glad I kept going. One of the biggest compliments I can give to this book is that she has (and I want to qualify that I am a huge Faulkner fan and of Southern literature in general plus it’s my second home and I’m married to A Georgia Boy!) pulled off the voice, the vocabulary and the nuance, which is no mean feat and something I have seen done poorly elsewhere. The settings are haunting and there are elements of joy and humour in the blackness. It reminded me of a book that is too little known – Erskine Cauldwell’s God’s Little Acre – with its grisly portrayal of the characters PK has as ‘subs’. I think Armadillos is a skilfully written book and its prose is spare but allusive. At least, that is how it seemed to me! I felt I knew all along what the ending would be. Knew it inchoately. Didn’t spoil my enjoyment of the story at all. A familiar -oh yes- and beautiful book.

Book two. Duff by Suzy Norman (Patrician Press). Skilfully done; restrained prose; funny; love the journey and the landscape – its sweep of places, visited and remembered. It is sweet, sad and moving. I felt the rhythms of Dylan Thomas, prose and poetry, moving within it.

I’d love to discuss both these books with their authors. Both are debut novelists. Right, I am off to read A Country Road, A Tree, Solar Bones, The Blackbird Singularity and Sometimes a River Song…I am only sorry I cannot nominate more books. It has, for example, been such a brilliant year for smaller presses!

Anna

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To keep going…

 

I am crying a little bit here. But read on. It’s fine, really.

Do you know, I am nominated several times for ‘The Guardian’ Not the Booker prize, I am entered for the Goldsmith’s Prize, the new Republic of Consciousness Prize and The Wellcome Book Prize. I also put in a poetry pamphlet for ‘Mslexia”s annual competition.

Do I have a shot? Naaah, not really.

Well, frankly, only a tiny one, at best.

I’m small fry; I’m a newbie and pretty unrefined, still. I blundered into this in the same naive way I have blundered into most things in my life! I sort of…had a go when theoretically it wasn’t supposed to be possible with all my other commitments. I’m a hard worker because, I think, I have had so much experience compromised by mental health problems, illness and bereavement that it has made me more imaginative and keen to seize the day in case we are hit by an asteroid or I go bonkers again (which I am not planning to, obviously). If this is you too, be collected; be encouraged: you would be amazed what is possible and at the way which can be made from no way and from despair.

AND SOMEHOW

In two years, I have written and published a novel, a poetry pamphlet, guest blogged, authored ten articles or so and at this point I am approximately two thirds of the way through a second novel and have poetry and short story publication this autumn and in the spring. So HOLY F*** three kids and a day job and the volunteer stuff. I have to keep going now, don’t I?

On, blunder on. xxx

Anna Vaught's photo.

‘Yes, Mfanwy: in the midst of life we are in death and here with the Dead Dears it is fair to say that we are in love.’

From The Life of Almost as I draft it…

  And there was another book that had only been seen by its owner.

Evans the Bodies wrote poems. Often for the Dead Dears who had no-one and whose lives must, he thought, be recorded for posterity. So the timid lady from the post office, who had customers and bread but no friends and a mother who would have tossed her out with the peelings for the pigs, became a cowslip in a warm meadow and drank deep of the sun and was happy; so a coarse and crooked man, who lived in the last house before St Brides Bay and whose children hated him but sang like larks for his money, was limned as a quiet man, skimming stones on the beach and smiling into the auroras of a coastal morning when no-one knew. But Evans the Bodies was a watcher for the sad and lonely. He was a dresser of bodies, to be sure, but he also had a talent for the sad soul and the lonely. And alongside his careful stitch and suture and his eye for the sick at heart, he had always loved Mfanwy: when she was someone else’s, as she laboured for and lost her child, when both times he bought her milk-white lilies and she said, ‘Evans, there’s a soft man you are’ and he cried with his back to her, as he did when she lost her husband. He put poems in the book for her, too. Imagined he was taking pictures of her, watching her written into the world all around and, as he watched the frosty lines on the windows in his cold parlour and saw the feathers and curlicues of winter, he scratched her monogram in the frost and rime and, again, he cried, and saw himself at a window as the beautiful ship Mfanwy his Love sailed away and thus he wrote again.

I had seen the rapture and the writing called ‘Mfanwy’, of course, though he did not know. I had learned it by heart and whispered it into the Pembrokeshire night, whose kind tendrils carried it to her and caressed her, then softly laid waste to sadness and silence and made her think clearly about Evans the Bodies, who loved her and always had, just so.

No shame; no stigma. An event for you.

I realise this is very much a UK and west country event, but if you are in the area, do please come! Or let me just show you what I’m up to. x

For the BOA fringe this year, I am hosting an evening at The Three Horseshoes pub, Frome Road, Bradford on Avon Wiltshire. It’s called ‘No shame; no stigma’ and its focus is mental health. That’s a key theme of my debut novel, Killing Hapless Ally, which was published in March this year and has been featuring in the national press. I have also written a series of articles around its key themes for various publications and stepped up my engagement in mental health campaigning and advocacy. A subject close to my heart, this.

Do please come along. I’d love it. Thursday 7th July, from 8 pm. I will be speaking frankly. Ask me anything! Also, some readings from the book and, with the book as a starting point, a lively extended discussion about mental health, well-being, anxiety, depression and other tricky things. What it means to be ill; what it means to be well, maybe. The language we use and that which is unhelpful. How we challenge taboo. All sorts. Being me, I am not straying away from dark humour  (and the novel is a black comedy rooted in real events) so I hope it will be entertaining for you too. And it’s free. Buy a drink at the bar and come through to the marquee. We’ll stay until we get chucked out. Copies of my book, Killing Hapless Ally, are on sale locally at Ex Libris and Mr B’s in Bath, but you could also order from Amazon, Waterstones and so on, or get a copy from me on the night

No shame; no stigma. 

Do come.

Anna x

Here’s the link to buy at Amazon. https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=killing+hapless+ally

 

 

http://www.fringeboa.co.uk/

Latest Goodreads review…

I enjoyed finding this review of Killing Hapless Ally this morning. I should love to think that someone would re-read the book and think that it would bear re-reading.

 

This is a wonderful book. It’s not one that readers of ‘chick lit’ will take to easily. Nothing is spoon fed to the reader. And yet it is expertly written by someone who not only knows their craft, but enjoys it as well. The author has a habit of placing powerfully upsetting lines, lines that make you want to physically jerk when you read them, in the middle of laugh-out-loud funny scenes. The effect is powerful, making the both the humour and the shock support each other with a sort of literary alchemy few writers can achieve.

I feel like the central character Alison is, if not a friend, someone I know inside out now. The book will bear re-reading (several times over I expect) so I am looking forward to meeting her again.’