Desert Island Books - Weirdstone of Brisingamen

A tale of Alderley

When Colin and Susan are pursued by eerie creatures across Alderley Edge, they are saved by the Wizard. He takes them into the caves of Fundindelve, where he watches over the enchanted sleep of one hundred and forty knights.

But the heart of the magic that binds them – Firefrost, also known as the Weirdstone of Brisingamen – has been lost. The Wizard has been searching for the stone for more than 100 years, but the forces of evil are closing in, determined to possess and destroy its special power.

Colin and Susan realise at last that they are the key to the Weirdstone’s return. But how can two children defeat the Morrigan and her deadly brood?

Amazon description

This (and Moon of Gomrath, the second book in the Alderley trilogy) has to be my all-time  favourite book from my childhood.  I remember arguing with my teacher Elizabeth Webster that Alan Garner’s stories were better than Tolkien’s.

What makes this so great is the authenticity of the stories – they are based on real localities (Alderley Edge) and local myths. They are fantasy, but their roots are in the hills of Cheshire and British mythology. Garner arguably gave me my first introduction to magic realism, the genre in which I write. I could have chosen other books by this writer – The Owl Service, Elidor and of course the great Red Shift, but Weirdstone was how I first experienced Garner’s work and so it holds a special place in my heart.

Whether the book had such a strong hold on me (which it retains) because it chimed with my vision of the world – history and myth woven in to the present – or because it informed my view is impossible to say now. But I read this book over and over again throughout my childhood, delighting in Garner’s wonderful descriptions – the account of Colin and Susan’s journey through the disused mineworkings of the Edge beats the journey through the Mines of Moria into a cocked hat.

After many years Garner has just published the sequel – a book for adults called Bonelands. It’s on the list of what I want for Christmas. That’s if I can wait that long.

My fox - World Animal Day Blog Hop

The first thing I do when I arrive back at my house in the Czech Republic, even before I unlock the door, is rub the muzzle of the fox door knocker. It is an old farmhouse on a hill called Liski  Dira (Fox Hole in Czech) and the house is just like a fox with its haunches buried into the earth. As I lie in bed at night sometimes I can hear a vixen calling in the orchards above. The village dogs respond with frantic barking, but you can hear the fox laughing at them. “You have sold your freedom for a bowl of meat,” she says. “I have the moon and all the dark spaces in the forest.”

When I first bought the house I didn’t see any foxes, perhaps I was too busy restoring the house. I certainly wasn’t writing, although I had bought the house as a writing retreat. One evening as a taxi brought me from the station a fox crossed the road in the headlamp beam. “Liska,” said the driver with a smile. The following day I walked down from the woods with a basket of chanterelle mushrooms, called lisky (foxes) in Czech. It had started raining as I picked them and now it was sheeting down, so my head was bowed. Then I looked up and there standing in the middle of the lane a few yards away was a large fox looking straight at me. It contemplated me for a while and then trotted off across the fields. When we lived in London we were used to the brazen nature of town foxes, and  even had a family of them sharing the garden with our cat, but in the countryside foxes are shy of humans. I told my Czech friend about the meetings with the fox. “That’s wonderful,” she said. “Foxes are lucky in this country, just like black cats in England. No wonder the taxi driver was pleased when a fox crossed your path. They are meant to be the familiars of witches, you know.”

After that sighting, the fox started to appear to me all the time and as it did so I began to write again. It seemed the fox was now my familiar and a bringer of words. Then during one stay in the house I didn’t see my fox at all and yet I still managed to write. My husband was visiting from the UK and as we stood in the back bedroom I commented on my fox’s absence. He grinned and said “Zoe turn round and look out of the window.” There, only a few feet away from us, my fox was strolling through the orchard. 

Toadstools - Photo Inspiration

How about these for classic fairytale toadstools? You can almost see one of the little people sitting on the top of them, can’t you? Fly agaric is the correct name. It’s not for eating, in fact a good rule is not to eat  red mushrooms. Fly agaric is a hallucinatory mushroom and eating it is said to give you the sensation of flying. It is a therefore part of many a shaman’s toolkit.

There are tales of reindeer eating the mushroom and staggering around trying to fly. Maybe Rudolf had eaten one too many!

Magic Realism Blog

Just after I had published Girl in the Glass I went to an alternative literature festival in Leicester. I was still incredibly green about publishing and was unclear what sort of story I was writing. I knew it didn’t fit neatly into the usual genre headings that one gets on Amazon. I had got as far as knowing that it was a) women’s fiction and b) not quite fantasy. I was having a soup for lunch when I got chatting to another writer, who asked me what I wrote. I gave a short description and he repled “Oh you write magic realism.”

“What’s that?” I asked.

“Well Terry Pratchett described it as fantasy for people whose friends went to Oxbridge.”

“Oh,” I said thinking that indeed many of my friends were graduates of Oxford or Cambridge.

I wrote the genre down on a piece of paper, stuffed it in to my handbag and continued eating. When I got home, I could not find the paper nor could I remember what genre he had said I wrote.

A month or so later I found a review of the book on Amazon. The reviewer Iain M. Grant said:
“Zoe Brook’s novel is a true magic realist story. Its setting is a world that is not ours but is nonetheless recognisable. It is a novel in which the almost magical and vaguely supernatural are an accepted reality. Reading it, I couldn’t help but be reminded favourably of other authors. The setting and Anya’s sprawling and occasionally grotesque family put me in mind of Gabriel Garcia Marquez. Having said that the harsh, epic landscape of the story and the fable-like quality of a narrative held shades of Paulo Coelho.”

Lawks a mercy me! Marquez’s One Hundred Years of Solitude is one of my all-time favourite books. Now armed with the name of the genre I did a Google search and discovered not only that I wrote magic realism, but that I had been reading it for years and not knowing it. There still seemed to be a lot ambiguity in my mind about what constituted magic realism, but I think this was because the term gets used wrongly. I decided that I would get to know my genre better. But how would this be achieved?

I knew that in order to do it properly I should set myself a task, one which is public and which I would feel obliged to complete. So I decided I would read one magic realist book a week for a year and that I would record my progress and what I found out about magic realism publicly on a dedicated blog. For the purposes of selecting books for the blog I chose the simplest definition I could find.

It’s now a month since I started and I’m loving it. I have drawn up a to-read list, following suggestions taken mostly from Goodreads, where there are at least two Magic Realism groups and several booklists. The books are very diverse – some literary, some for the popular market – which adds to my enjoyment. The requirement that I review what I read has proved extremely useful in solidifying my thoughts on the book and the genre.

So after all that work what is magic realism? I’m glad to say that the definition I chose is still remaining true: “Magical Realism is a literary genre that incorporates fantastic or mythical elements into otherwise realistic fiction.”

Please do visit the Magic Realism blog and check it out, better still join me in my challenge or at least part of it. It’s on https://magic-realism-books.blogspot.co.uk

Celebrating Women - A Special Lady

Today I am taking part in a blog hop celebrating women. I have chosen to write about a very special woman in my life – a teacher who was more than a teacher.

I have been blessed with having a series of inspirational women educators in my life, but the first and probably therefore the most important was Elizabeth Webster. Without her I doubt I would be writing, without her I would not have got in to Oxford University and without her I would not have met my husband.

Elizabeth or EMW as she was better known was a little red-head with a liking for brightly coloured scarves, who commanded any room she was in. She stepped into my life when I was eight and newly arrived at my junior school. She was the creative English and music teacher and although I did not shine at music, Elizabeth recognised the writer in me. On that first lesson she asked us to write a poem. I wrote about Queen Boudica dying of poison after her defeat by the Romans. Elizabeth loved the poem. She praised and encouraged me, recognising the need to feed my love of poetry and confidence in my abilities. She was no regarder of age: she believed that children should be encouraged to read the best, so I was soon sitting cross-legged under her grand piano reading Under Milk Wood and Murder in the Cathedral. The first Shakespeare play I saw was performed by ten and eleven year olds directed by her at the end of the school year.

When ill-health forced her to retire from school, she set up an arts centre for children and I followed her. First in a church hall and then in an old bakery she continued to encourage writing, acting and the visual arts for a further twenty-five years. The Children’s Arts Centre Cheltenham became the Young Arts Centre as we turned teenagers, but the motto remained the same: “Everyone is Someone.” Saturday morning was for the younger children, and Sunday afternoon for the older members to rehearse the next play we would perform. I was soon to act in Under Milk Wood as well as read it. But best of all was Tuesday evening, when the EOS group met. In a side room, seated on second-hand sofas and armchairs, we would shuffle the papers in our hands mumbling “I’ve got a poem, but it’s not very good.” before reading it to the rest of the group. Encouragement followed (Everyone is Someone) and discussion. I was for some time the youngest in the group, but there was no compromise for my age. I learned to hold my own with the others on subjects such as Milton’s interpretation of the devil. Not that I had read Paradise Lost at that point, but that didn’t stop me. Every year we would give at least one public reading of our poems together with those of published poets and in so doing learned not only how to read poetry but also how to speak in public.

Encouraged by Elizabeth, I entered national poetry competitions and won. I was published by the age of thirteen. At the same age I wrote a full-length verse play, which of course was performed at the Arts Centre. I had found what I was good at. How lucky is that? And that luck had a name: Elizabeth Webster. But I was not the only one – a number of my fellow Arts Centre members have gone on to enjoy successful careers in the arts. Others found their lives enriched in different ways by the experience: principles were established for life, friendships were forged and relationships begun. What a wonderful place to meet your first boyfriend (or in my case my last as I met my husband there).

And what reward did Elizabeth receive for this work? Nothing but the reward of knowing that every child in the Arts Centre realised they were someone. It is only now with writing this post, that I realise how the central character of Girl in the Glass is a girl who, unlike me, was told she was nothing. When at last she had to retire Elizabeth started a new career: that of a novelist. She used her books to give her predominantly female readers an insight into the lives of young people. Even in that I seem to be following her.

You will find a website commemorating the Young Arts Centre here.

How To Find A Good Book – Ask A Blogger

Over the past few weeks the press and internet have been full of stories of dodgy goings-on in the frantic world of “buy-my-book”. There was the scandal of 5 star reviews being bought on Amazon and that of well-known authors setting up bogus Amazon accounts in order to give themselves glowing 5-star reviews and (worse to my mind) vicious 1-star reviews to their rivals.

Too many people have as a result thrown the baby out with the bathwater, saying that you cannot trust the free-for-all of the internet and you should stick to traditional print reviews by professional reviewers. But how many books would you discover that way? I have a women’s fiction newspaper in which I pick up the best articles and reviews from across the web and I therefore monitor the major newspaper sites. What I have found is that they all review the same books.

How is this? Is it because the publishers only promote a very limited number? Is it that the reviewers act as a cabal? Is it that newspapers only review books by “established” authors? And dare I say it – does money exchange hands, just as it does to ensure that a book ends up on major booksellers’ three for the price of two tables or even just prominently displayed on the shelves? I’ve no idea, but what is certain is that the majority of books (and I am talking about traditionally published books as well as indies) never get reviewed by these professional reviewers.

What is worse is that the newspapers tend to review only literary fiction and not genre fiction. This of course has an implication for women’s books, which can be dismissed as chick-lit, romance or just women’s fiction. No matter that romance outstrips literary fiction and all the other genres in terms of sales.

Where then can you turn for reviews you can trust? Where can an author go for reviews? The answer is I believe the burgeoning phenomenon of the book blogs. Until I published my first book only six months ago I had only been slightly aware of the wonderful, selfless world of the book blogger. The proponents of the traditional professional reviewers would pooh-pooh the amateur book bloggers (and have done so in various comments I have seen). But they are wrong to do so. Yes, many, but not all, book bloggers have no qualifications (such as English literature degrees), nor do some professional reviewers for that matter. But what book bloggers do have is a love of books. They write reviews in order to share what they have read with you. And some of them clearly do nothing else than read and review. I have a magic realism review site and I just about manage a book a week.

How do you know which book bloggers to trust? Simple – look at their reviews. Have they liked the same books as you and better still for the same reason? Do they provide you with the sort of review you need to make a decision? If the answer to these questions is yes, then start following the blog.

But how do you find the right blogs in the first place? You have a number of options:

• Try a search with two book titles you like and the word “blog” to find a suitable blog.
• Use one of the book blog directories, such as http://directory.kaysbookshelf.com, and http://www.bookblogs.org/blog-list. If you are interested in indie writers try http://www.theindieview.com/indie-reviewers/
• Or you might like to join the book blogs forum on http://bookblogs.ning.com

This post is part of the Celebrating Bloggers Blog Hop organised by Terri Guiliano Long.

Notes from a Story Editor - Structure

This article was first published on the Indie Exchange website

What is a story?
Every story we tell is an adaptation. There is a great deal of discussion and several books on the subject of how many basic plots there. Suffice it to say there are a limited number to choose from. For my novel the Mother of Wolves I chose the revenge story form. But every story will be unique because we make choices in telling it – which characters to use, which events to come out of the underlying story world. But even these are adaptations.

The underlying story world
The underlying story world contains the context of your story – its past, present, and future. It also contains the seed(s) of that world’s potential destruction. The main character reflects this world and indeed has within her the seed(s) of her own potential destruction.

This seed, (which is often a lack), upsets the equilibrium of the world and the central character and in so doing initiates and drives the story. As an author I need knowledge both of my character and her world and of the why – why this story, why told by me, why now,  i.e. I must plant a seed of potential self-destruction in the story world. I need to know the best way of testing the main character(s) so that I can develop the why.

For example for my novel Mother of Wolves although it is a story about revenge, I was interested in the choices one makes and their consequences.

We need to examine the physical and emotional world of the story – the home of the story.
For this we need to choose the main character(s), and their goal(s), the place, the period, the society, the main source of conflict and opposition. To this we add secondary characters and their goals, secondary sources of conflict and so on, until we have people the world.
For example in Mother of Wolves I chose:
1)      to make Lupa, the wife of the King of the Roads, the central character and tell her story
2)      to make the story Lupa’s search for revenge and safety for her and her sons
3)      to place it in a fantasy landscape along a great river bordered by a forest
4)      to set it at in a historical time
5)      to create two societies – the tribal world of the People of the Roads and the settled world of the Others
6)      to make both societies patriarchal and prone to politicking and betrayal, additionally Lupa’s People are subject to persecution by the Others
7)      Lupa’s enemies are her husband’s uncle, who plotted his murder, the Newharbour Guards who carried it out and lastly the Rebel general and his army.

N.B. There is a whole blog post to come about the issue of the flaw/lack in the home world and the central character when I write about the protagonist/antagonist relationship, but for the time being we’ll stick with story structure.

The Timeline
We unfold what we have developed on to a time-line. This is what Hannah referred to as the “Ur Story”. This normally breaks down naturally in to a three-part structure (more of that in another post).
So for Mother of Wolves I decided to start the story with the murder of Lupa’s husband and end it with the defeat of the rebel army. The three parts are:

1. Lupa’s pursuit of revenge against the guards and Uncle and their attempts to kill her
2. Lupa’s pursuit of Jo and the decision whether to kill him
3. The consequences of that decision with the fight against the rebel army.

There are two important things to note. Firstly as writers we do not need to follow the Ur story timeline when we structure our book or film, we can jump around, move backwards and forwards, whatever is best for the narrative, but the underneath it is the Ur story. And secondly the Ur story, whilst being limited by the timeframe, also can contain relevant history and even future.

I find these concepts of establishing the underlying story world and the Ur story extremely useful when approaching a novel. As a result of working with Hannah, I find that I have a novel’s structure in my head before I ever set pen to paper or rather finger to keyboard. As a general rule I don’t find I need to do major structural reworking at second draft.