Showing posts with label Linda Newbery. Show all posts
Showing posts with label Linda Newbery. Show all posts

Thursday, 2 August 2012

'Oh, my Daddy, my Daddy!' - Words that move in older fiction

by Addy Farmer

The blog that never ends. More choices of words that move from me and you... 
Behind the tired old words, Tog heard the harsh grate of fear and loved Allanza even more for his stupid bravery, even though the prat had got them into this mess. J.P. Buxton - I Am The Blade
I love this book and I love these words. Here, we arrive just at this point when our hero, Tog realises what lengths his friend will go to for him - even if the action is idiotic.What is bravery if not the act of doing something which scares you witless? And then when you do that something brave for a friend - well then, then it becomes so moving.

Thursday, 26 January 2012

Planning and Researching your novel, with Linda Newbery

Linda Newbery is an author of many talents. She started off writing books for young adults, winning the Costa Children's Book Prize in 2006 with Set in Stone. She has now published more than thirty books for children and young adults, including picture-books, and books for early readers and older children. She has twice been shortlisted for the Carnegie Medal, with The Shell House and Sisterland, and Catcall won a Nestle Silver Award.

Here are some of her thoughts on the all-important planning and researching process…


1. I would never choose to plan in a hurry. When I start to have an idea, it needs to settle, and other ideas gather around it. It takes time to see the possibilities of a story.

2. Depending on what you're planning to write, spend time reading, visiting galleries, watching films, going for walks, visiting special places - it all helps to make the world of the story begin to feel solid.

3. Enjoy this stage! I often don't make any notes at all while an idea is fixing itself in my mind - that comes later. But I do start filling a noticeboard with pictures and words, and keep adding to it.

Linda's research noticeboard


4. But don't wait till you've done all your research before you start writing - you might never start. Eventually you have to take the plunge and just begin. You can find out other things you need to know on the way - or afterwards.

5. Writers work in different ways. Some wouldn't start without a chapter-by-chapter breakdown, but that doesn't work for me. Often I start writing when I'm happy that I've got promising ingredients. Planning is very different from writing - more logical, more reasoned - but it can only get me so far. I know that my best ideas won't come until I immerse myself in the writing. I prefer to have an idea of "stepping stones" - important marker-points in the plot - and to see what happens in between.


Linda’s new book, The Treasure House, will be published in May by Orion Children's Books.

Wednesday, 9 November 2011

Bloodied and Bandaged: My Arvon Experience

by Jo Wyton

Last week I attended an Arvon Foundation course in the rainy depths of Shropshire, and I will just say up front that it was fantastic!
My course ran at the John Osborne centre at the Hurst
For those unfamiliar with Arvon, it’s a charitable foundation set up in 1968 by John Fairfax and John Moat, both close friends of Ted Hughes. They have a number of houses dotted around the UK, all in the middle of nowhere in the beautiful and mercifully remote countryside. Their courses cover everything from Writing for Beginners to Writing for Games and Writing Poetry. Each course is led by two or three (if you’re very lucky) published authors, with the occasional visiting author popping up during the week.
See - middle of nowhere!
In this case, Linda Newbery and Celia Rees were our Writers in Residence, and Gillian Cross was the visiting author. (Excuse me whilst I steady myself.) Each morning consisted of workshops, with one-to-one tutorials in the afternoon and various discussions (and sing-a-longs, for that matter) in the evening. Our group ranged from 17 to, well, that would just be rude, wouldn’t it?

The lovely Celia Rees (left) and Gillian Cross (right)
Now it’s a strange kind of place, an Arvon centre, where everyone takes it in turns to cook and wash-up, you find yourself sitting next to Linda Newbery at dinner, and the toilets are sponsored by Dame Maggie Smith. (No, really.)

Arvon Centre folk get imaginative as often as possible!

On the inside of the downstairs toilet...
(thanks to Becca Beddow for the above photos!)
Most people arrive at an Arvon course a little bit bloodied in some sense of the word – it might be that they’ve had writers block for a year, or that their lives have drastically changed and they’ve decided to pick up a pen (or a laptop) for the first time. It might simply be that their plot or first chapter isn’t working.

Whatever ailment people arrived with on day one, I am certain that by the time we all left, they were a bit closer to fixing it. My own particular ailment is confidence in my writing, but to be honest I mostly just wanted to learn some new tricks and meet some new people.

The bloomin' brilliant Sheena Wilkinson (whose debut novel Taking Flight is scooping up the awards!) and Philippa Francis (writing as KM Lockwood)
Becca Beddow trying to concentrate despite me taking photos of her!
It’s safe to say that new tricks a plenty were offered up and gratefully received, and I did indeed meet plenty of new people, many of whom I will definitely stay in touch with. But mainly I just came back feeling ready to tackle anything!

Arvon provides the chance to surround yourself with writers, every one at a different stage in their quest to transform into the Lesser Spotted Author, and maybe to rediscover what it is that makes them love what they do. It also, coincidentally, gives you a peaceful week away from your emails, telephone and the general rigmarole of daily life.
No e-mails here, thank you very much!

I picked up some great tips and advice during my Arvon week – from everybody, I think. Gillian Cross spoke of the serendipity of writing a novel on Wednesday night, and then the following evening another guest provided me with my own serendipitous moment. Linda Newbery listened with patience whilst, with great ineptitude, I tried to explain my plot, and somehow she even managed to follow what I was saying enough to help. Celia Rees welcomed me to my tutorial with the words, “Well this is all good, but THIS is a prologue. You don’t need it.” So at least one darling was murdered this week.
Celia said something else that I’m certain is going to stick with me. She said, “Don’t just write a novel. Write your break-through novel.” (Or something to that effect. I was generally thinking ‘Oh my god, I’m sitting next to Celia Rees’ and trying not to hyperventilate at the time.)

Celia Rees (left) and Linda Newbery (right) planning our next punishment. I mean, workshop.

The tutors were all more than generous with their time and experience, as were the other people on the course. Everyone was so supportive, which isn’t unusual for children’s writers, but it is unusual to experience it for almost a week!

By the end, the atmosphere in the house had descended into friendship, and our last night was full of people reading their work and singing folk songs over a glass of wine. For me personally, it was also full of a trip up the stairs, a couple of bags of frozen peas (one of which ruptured on the stairs – apologies lovely Arvon people), and the wonderful Gita, who bandaged me up.

Just in case you needed to see evidence...

Arvon courses mean different things to different people. But everyone went away with something new, something to work on, and I reckon everyone’s writing will be all the better for it.

Sign me up for next year.



Slushpilers go to Arvon:



Thursday, 23 June 2011

School Visits: It's Not all Wizards and Cake

by Addy Farmer


You know how it is. The Hogwarts School of Witchcraft and Wizardry rings you up (again) and says please can you come and do your spellbinding session on muggle stories.



They'll pay a hefty 1000 galleons, a complimentary set of Gryffindor robes and as many packets of Hob Nobs as a house elf can carry.


No?

Well, maybe you arrive un-noticed at a school and find that you're doing a free workshop on the fun of physics for 453 children while the staff drink strong liquor and plan a train robbery.



Not exactly?

So what is the Truth about school visits? I asked a few uber authors for their views.

Now, these writers - Linda Newbery, Penny Dolan, Katherine Langrish, Jane Clarke - LIKE school visits. They recognise the importance of them.

Jane Clarke writes Dinosaur Cove and Puddle the Naughtiest Puppy.
Photo: Dennis Oberg

Jane puts it succinctly:

On paper, school vists account for around15% of my income as a writer - but in real terms this is likely to be more as school visits keep me in touch with my target market and promote sales of my books. They're great fun, too!


But anyone with an inner Trunchbull may find them ... a challenge.



Linda Newbery says:

Not everyone likes school visits, and it's a bit odd, really, that someone who's written a novel should be expected to stand up in front of year 9 for an hour and keep them interested.

Linda Newbery, award-winning author of LOB


Do it 'cos you get paid, you get out of the house and you love it. As Katherine says:

I get such a kick out of it, every time. I love doing it. I love telling stories.

But let's first hear what Linda has to say about having cake and not eating it ...

(No Cake sticker from Red Bubble)
I've been doing school visits for about twenty years, and have had a huge range of experiences: bad, funny and wonderful. Visits can vary tremendously, depending on the enthusiasm of the librarian or teacher in charge.

Most visiting authors have a fund of anecdotes about being ignored and belittled. My favourite (many years ago, but I'll never forget it) is the time I was sitting in a primary staff-room at break-time, apparently invisible - no one spoke to me, asked what I was doing, or offered me coffee.

It was someone's birthday, and three home-made cakes had been brought in. These cakes were cut up and passed round on plates, someone actually reaching across me to the person on my other side. It wasn't that I wanted cake ... but I did get up to make myself a coffee (still ignored).

Shame on them! But Linda goes on to say that:

But I mustn't get side-tracked from the wonderful visits ... Really enthusiastic staff ... eager children ... great preparation ... loads of questions - the sort of visit that makes me appreciate the privilege of working with children. Book sales were good, too, though that is a bonus and not something I necessarily expect on a visit.

Katherine Langrish. Photo: Helen Giles

Katherine Langrish of Troll Fell fame, gives her take on school visits:

I usually talk to Years 6, 7, and occasionally 8: but from Year 7 on, kids tend to be less well-organised: their parents and teachers are beginning to try and get them to organise themselves, so the all-important letter home ('Visiting Author; bring money for books!') often gets left in the bottom of the bag.

Plus, peer pressure and coolness points make it less likely that they'll arrive at my sessions /expecting/ to want to buy books. So I may not sell all that many.

But by the end of my sessions the kids usually wish they'd brought their money. My priority for a school visit is that it has to be fun.

I'm not there to teach them, I'm there to entertain them. If they don't have fun, why on earth would they want to read my books anyway? I write historical fantasy based on folklore and legends - rural and urban myths which have been passed down the centuries because people enjoy them!

So that's what I do - tell stories, throw some riddles and a bit of drama, do anything to get them interested in the stories shut up between the front and back covers of not only MY books, but any books.
Penny Dolan
Penny Dolan says it's important to find your own school visit way of doing things
Why do I do school visits? I meet children as they are now and not as I remember them from my earlier teaching life or my own childhood, which is useful when I'm working on a story.

I also love interesting the children in reading and in books, both mine and in general.

I try to show them that writing is a kind of making, an art form not a worksheet exercise.

My sessions are fairly fluid. Although I might use some of the same books, I will talk about the material differently for each age group. Over a long session, it’s important to vary the pace. My pattern might include telling stories, using the occasional prop, making up story with the children and being a bit funny at times, because that ‘s what suits my style. When I’m doing writing workshops, I use a much more serious approach.

I feel it’s important to become confident in your own type of "visitor" personality. It can be off-putting to hear that so and so is a really great performer, or comes with bells and whistles.

Go and see authors in action if you can, but learn to work to your own strengths. A quieter, reflective style can have long-term impact too!

And please forget fame and recognition! Schools are busy places. I don't even expect the children to know my name when I arrive. However, by the time I go, I hope they’ll remember it."


Let's not forget that we love to write. As Penny says:

The money has often been essential, but school visiting absorbs writing time. physical and creative energy. One can complete a busy “out there” year only to discover no books in the pipeline. It’s important to get the right balance in your life.

And A final word from Cliff McNish :

The secret is keeping them down to one or two a month, then they're fine.

Cliff winning the Salford Book Award in 2007 with Breathe

No, Cliff, I'm not jealous, not jealous at all. Write long and prosper.

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