Have You Been to Booktown?

Today I went to Clunes in country Victoria, where each May they hold a Booktown weekend. Over the past few years, more and more bookshops have opened in this old town, and during Booktown, many more come in and set up and sell (mostly secondhand) books. Kind of like a mini Hay. Clunes Booktown has the perfect venue, as there are many historic buildings that are "unrenovated" and they add to the feel of old books and historic happenings.

What the Booktown organisers have also done is add a variety of writers' events to the weekend, including soirees, master classes and talks. As I'd not been to a writing class of any kind for quite a while, I decided to sign up for the master class with Peter Corris. I've been a fan of his Cliff Hardy crime novels for a long time and was keen to hear what he had to say. I have to confess that I went along with some trepidation. Everyone has a different idea of what a "master class" should be, and we were specifically told NOT to bring manuscripts. Hmmm...

The limit for the class was 10, and in the end there were four of us, plus Peter. We settled in a circle of old armchairs and waited to see what he would say. It turned out to be over an hour of simply talking about the ins and outs of writing crime and historical fiction. Relaxed, informative, insightful and enjoyable! We all got to ask every burning question we had, we got to talk a little about our own trials and tribulations in writing our novels, but mostly we listened to Peter talk about how he does it (and isn't that what we always seek - the experiences of others who've been around longer than us and gone through it all many times?).

Some of the things I can share include: Peter never writes outlines - he starts with Cliff Hardy and a client with a problem, and goes from there. I was interested in how he perceives the PI novel, with a very simple structure I'll share with my class one day! He talked about pacing, how much information and characterisation to put in, and how he thinks the writer firstly charms the reader (with that stuff) and then grabs them with immediate action. He used to write a Hardy novel in about six weeks, and now it takes him 9-10 weeks (and he mentioned Simenon who wrote Maigret novels in 48 hours!).

It's easy to sum up the time with a few quotes, but I came away feeling as though I had received some great insights, and confirmation that really, when it comes down to it, we all have to write our novels in our own way. What counts most is finishing them, seeing your vision through to the end. Peter said he thought that whatever we are writing, it needs to matter to us, and I agree.
(How many books did I buy? Two. Must be a record for me!)

Where Are Ebook Sales in Australia?

Statistics are flying around the net at the moment, quoting large publishers such as Hachette and Random House as saying ebook sales are up to 22%. Of what? Or do they mean by? A Google search revealed nothing. But I suspect these kinds of figures are going to be flung around for the forseeable future until things settle down, and goodness knows when that will be. Every second day I seem to get an email from Barnes & Noble that wants me to buy the new colour Nook. Not much point really, as a lot of the books I might want are not published in Australia, and copyright laws prevent me from downloading them from US sites as an ebook.

Where does this kind of restriction leave us in Australia? Even if you have a Kindle, you still can't download Kindle books that don't comply with the copyright laws. It hardly matters if you want the latest bestsellers, but if you don't, it's easy to find yourself with nothing to buy. Back to "real" books then. I wonder how Australia is going to fare over the next 2-3 years. People are jumping onto ebooks with great speed, there's no doubt about that, wherever you get your statistics. And it's also hardly surprising that ebooks are taking over from hardbacks (traditionally how most books in the US get published first).

We don't do many hardbacks here. So our competition is between trade paperbacks (currently selling at $32-39 each) and ebooks, with ebooks still behind, I'd say. Although the iPad2 might change that. So what is happening here? You can get an "Australian" Kindle, you can buy an iPad2 or 1, there are various cheap ereaders around (that are pretty hopeless). But where do we get our ebooks? Do we download the software from Readings site and go with their platform? I would bet if you asked people what DRM is, hardly anyone would know (it's a formatting thing that supposedly is to stop you "stealing" ebooks).

At least if you want to self-publish an ebook, it's easy to do. Either on your own or through sites such as Smashwords or Bookbaby. It's the thing to do right now, especially if you think you can generate enough publicity and word-of-mouth to sell several thousand copies. Industry pundits are saying that the rush of self-published ebooks will fade as readers sort out the good from the truly awful. I'm not so sure - a visit to any large bookshop will soon show you how many books are being published the traditional way. How do we find these?

My feeling is that Australia is still way behind on ebooks, and not catching up. I looked up Cate Kennedy's new poetry book today - The Taste of River Water. It's available as a book for $24.95 from both Scribe and the Readings site, but also available as an ebook from Readings (but not Scribe) for $14.99. In fact, most Readings ebooks are around $15. But when I went and looked them up on various publishers' sites, many of the same books are only listed as paperbacks. Or, in the case of Random House Australia, their ebooks are listed as being available from Amazon.

It's all very messy really, and it'll be interesting to see if and how things change over the next year or two. Because if there's one thing you can guarantee, this is an area of huge change at the moment - the question is - change to what? And what will it mean to both readers and authors?

What Does a Board Book Do?

Over the past few years, my extended family has grown to include the next generation of littlies - my grand-niece and -nephew and two step-granddaughters. Naturally, I always want to buy them books! But when they're under two, what do you buy? Board books, usually. Those ones made out of thick, sturdy cardboard pages that can be chewed, dribbled on and thrown around the room. Not to mention read about 200 times. I don't think my niece has ever forgiven me for Moo Baa La La La (by Sandra Boynton). She said she could hear it in her head!

But what makes a good board book? Not just indestructability. I've stood in front of the board book section in bookshops for hours, pulling out one after another and despairing at how banal they are. Maybe I'm expecting too much, but maybe also some publishers are starting to realise they can do more than just present an array of farmyard animals or dogs or numbers. It's why I love Sandra Boynton's board books, and why I have my own copy (not for lending) of But Not the Hippopotamus. It does everything a good picture book does, include a surprise funny ending. That's my kind of board book!

Recently I was sent a board book for review*, and it did have a lot of the features that make it worth reading. Lulu's Lunch is written by Camilla Reid and illustrated by Ailie Busby, which is interesting as I'd say 98% of board books are written by the illustrator. The story is very simple - what Lulu has for lunch - but the extra in this book is the stuff you can touch. I emailed my niece to ask her, "Did your kids like board books that had things to touch on them?" Her answer was yes, so I guess that adds extra points. I wasn't so sure about the spaghetti at the end (wriggly string). I gave it a couple of good tugs but it might not last the distance with a strong toddler. There are also some lift-the-flap pages to add interaction.

It's not a fabulous board book but it is interesting and provides a fair amount of interaction - that's got to be better than more TV, surely?
I suspect there's a real skill to writing board books. They could be harder even than picture books, and as I can't illustrate, it means that most publishers wouldn't be interested in anything I wrote. Have any of you had a board book published? What was your experience?
If you'd like to go in the draw for a copy of Lulu's Lunch, just leave a comment!
(*By Bloomsbury)

Different Jobs, Different Skills

Recently I found myself in a completely new situation - a hospital, to be exact. Among other things, being confined in one place with not much to do and nowhere to go forces you into a lot of quiet thinking time (when people are not poking holes in your arms or machines aren't beeping!). And also quiet observation time. You get to see and hear stories from people that you mightn't otherwise come across, let alone have time to really listen to. And you get to see people hard at work in an entirely different profession.

A remark by my doctor stuck with me for a long time. He said, "In here, everyone has to do things by the book. Whoever comes along after needs to know exactly what came before." He was referring to records kept of medications and treatments, of course. But it started me thinking about how different our jobs are. In the hospital, it's vital that everyone does things exactly the same way. In the writing world, it's the kiss of death. Editors are after something original, the fresh, different new voice. If we all wrote the same way, we'd end up with a pretty boring bunch of books out there.

But the other side is also true. In medicine, sometimes it's a sudden insight or inspiration (maybe even waking up in the middle of the night) that can shed light on what seemed unsolvable. In medical research, no doubt it can be the same. For all the plodding through experiments, a flash of inspiration can provide the breakthrough. And in writing, for all we want to create something original and different, we still have to be proficient at the rules of grammar (so readers can understand us clearly), and we still have to be professional in how we submit and present our work. That way, we are taken seriously.

The key is to know when the rules are helping, and when they are hindering. Free writing with no punctuation or grammar can break through a writing block. Flowery paper and scrolly writing in a submission letter will make you look like an amateur. A deadline can be overwhelming for one writer and stimulating for another. I know with historical fiction that the line between providing a rich background and being over the top with my factual material is a thin one indeed! What rules help you? Which ones hinder you?

Whose Fault Is It If I Don't Understand?

Two writer friends raised the same issue today, and both were talking about poetry. What do we do when we read a poem that we don't understand? Is it our fault, or the poet's? This question often comes up when talking about the poem published in our Saturday newspaper here in Melbourne, The Age. Most readers and writers of poetry that I know just shake their heads each week. What am I supposed to get from this poem? they ask. I don't understand it, no matter how many times I read it. Am I dumb?

I'm teaching poetry again this year, after a long break, and I think it's a good issue to raise. Sometimes in workshopping I've had a student who insisted that if the others didn't understand the poem, that's just too bad. No changes, no compromises. But at the point at which you put a poem out to the world, or even just one reader, isn't what you are hoping for is communication? Surely as soon as you want or ask for a reader, you are trying to show or tell them something.

In class, we've been reading some of Ted Kooser's book, The Poetry Home Repair Manual, and discussing the points he makes. One is: If a poem doesn't make sense to anyone but its author, nobody but its author will care a whit about it. He also says: I favor poems that keep the obstacles between you and that person [your reader] to a minimum. I agree, and I think some poets are deliberately obscure, and deliberately use language that creates obstacles. Does this mean they don't care about their readers?

Kooser suggests that some poets write difficult poems because they think that's the way to be a poet, and that in some circles, writing poems that are accessible is sneered at. But he agrees that many people give up on poetry because they think it's too much like hard work, in the same way that readers stop reading literary fiction because, at the end of a long working day, they don't want to be challenged, they want to escape. A difficult poem will require you to think, to ponder, and to puzzle (and sometimes to look words up). A deliberately obscure poem, however, won't even let you close enough to read it with a basic level of comprehension.

The reason poetry teachers use Kooser's and Billy Collins' poems so often in the classroom is because they are wonderful examples of how to write something that's both accessible on a first reading and also offers deeper levels if you want to dive in. Ultimately, once a poem is out there, whoever reads it will take from it what they want. They will interpret it in their own way, from their own experiences, and create their own meanings.

As a poet, I want to open the door for the reader, not slam it shut in their face. I hope that my verse novels will cause a child to welcome poetry in the future rather than grimace whenever it's mentioned! (I've seen that awful expression many times!) But I also, as a writer, want to challenge myself. I don't want to write poems that are easy for me. I want to experiment and explore, swoop and dive into language and imagery. But still, ultimately, to remember the person on the other side of the door.

Ebooks and Libraries

One snippet of news that skimmed past me recently was about publishers who want libraries to pay more for ebooks. Specifically, pay more money once they've lent the ebook out a certain number of times. I think 26 times was quoted as a figure, but I can't remember which publisher/s (hence the 'skimmed'). This set me thinking about how libraries pay for books, and what publishers receive.

I can see why a publisher might want to make more money this way. After all, the ebook is going to be lent electronically with no damage, whereas a hardcover or paperback tends to start falling apart after 20 or 30 borrowings (especially if a borrower drops it in the bath, for example). So a well-borrowed book might need to be replaced, and in that case, the publisher would get more money. You can kind of see their logic.

But ... that's likely to only happen for the Grishams, Roberts, Pattersons and Meyers, surely. What about all the books a library buys (and they buy lots of hardcovers that most of us can't afford) that don't get borrowed 40 times? That might only go out of the library 10 times and still be in good condition for many years? Doesn't it really even out in the long run? What do you think?

Need Some Writer's First Aid?

I first met Kristi Holl back in 2004 at the Chatauqua Writers' Workshop, where she was on the faculty and critiqued my novel. Right away, I thought she was someone whose advice I could trust - it was clearly from long experience! I bought a copy of her book, Writer's First Aid, and was impressed - here was a book about the writing life and how to manage it. Lots of what she wrote in WFA stuck with me, especially the stuff on writing better by being a healthy writer.

Now, after four years of thrice-weekly posts on her Writer's First Aid blog (which has 60,000 subscribers!), she's published a new collection - More Writer's First Aid, and I was lucky enough to read an advance copy recently. So then I had to ask her a few questions!

l. Who is this book aimed at?

It may sound presumptuous to say this, but I truly think the book is aimed at all writers, no matter where they are in their career. Maybe because it has surprised me personally, but over the years I’ve realized that some writing issues never change: finding time, dealing with rejection, juggling families and day jobs, and all the other life issues that can derail our writing dreams. Because I write about those subjects, and those things apply to every writer I know, I believe the book is for all writers.

2. What kinds of aspects of writing does it cover?

The 48 articles are grouped under four subject headings: ENJOYING THE WRITING LIFE—EVERY DAY, WRITING HABITS THAT HELP YOU, A WRITER’S EMOTIONS and FAMILY MATTERS. I cover similar kinds of topics to my first writing book, WRITER’S FIRST AID, but in addition, I felt the “family matters” section was important to add. So many writers today are juggling family members along with their writing—from babies to adult children who have moved home. Other writers are dealing with family members who are sick, those newly retired, you name it. And unless we learn how to set boundaries and juggle our writing schedule to meet family demands, we are too likely to give up the writing—or be miserable while doing it. My goal is for writers to enjoy their writing life! Besides family and health issues, I also wanted to cover areas that weren’t an issue when I wrote the first writing book: social media, e-mail and Internet issues, online platforms—and the writing time it can steal from us.

3. Why did you write it?

I have heard so much in recent months about the “e-book revolution” and the future of e-books and how Kindles (and other formats) are outselling paper books online, etc. I wanted to try doing an e-book/Kindle version and see!

4. What do you hope writers will gain from reading it?

We writers are all in this together. You don’t stop having writing issues to deal with just because you get published—or even published a lot. We all deal with disappointment, writer jealousy, emotional and physical pain, procrastination, tiredness… Study after study has shown that the writers who succeed are NOT the writers with the most talent and are NOT the writers who “know someone important in publishing.” They are simply the writers who didn’t give up. I hope readers gain a “don’t give up” attitude from reading MORE WRITERS’S FIRST AID.

So if you want a copy direct from Kristi, click here. And if you want a Kindle version (because of course you have a Kindle!), you'll find it on Amazon. Yes, I know Kristi personally, and yes, I do recommend it!

To Review or Not to Review?

When I first started this blog, it was destined to be my own personal reading record of books I loved and hated, with comments. I read tons of books and when someone would ask me for a recommendation, my mind would go blank! So a blog seemed like a good idea. This was about six years ago, so it really only was just for me. Then I started to add stuff about writing, and teaching writing, and it grew.

Now things are changing again, and I'm having to think very carefully about content and audience, which of course is what most writers do about everything they write! I've been contacted now by several publishers asking me if I'd be interested in reviewing their books. Well, yes. And no. Because previously I had focused on books I either loved (like "Matterhorn") or hated (like "Twilight") - from a writer's point of view.

So today my first two "review" copies arrived. And I have had to think seriously about what I am going to do (I think we can assume I have now declared my "position" as required by US law). If I hate a book, usually my response is to say why, or ignore it. What if I hate everything publishers send me? (It's possible.) I guess I am going to continue being myself - looking at each book from the POV of a writer. What works, what doesn't, and why. That's my "thing".

But there will no doubt be books that I can't say anything about, good or bad. They're just ... books. People complain about bad reviews in newspapers and magazines, while others say any publicity is good publicity. I thought - what if every newspaper or mag had the policy - if we don't like it, we won't review it. But then if your book never got reviewed, you would have to assume they hated it. What a downer! (You can tell I'm still thinking like an author, can't you?)

Regardless of all of that, this is not now a review blog. I include my reviews now and then when I think they will be useful (or I love a book and have to tell you about it). We'll see how we go ...

How Accurate Do We Have to Be?

Last night, against my better judgement, I watched A Current Affair on Channel 9. For those of you not living in Australia, it pretends to be a current affairs show, dealing with "news of the moment" that affects "ordinary people" (my quote marks, not theirs - goodness knows what they think they're doing). I usually avoid this show, and its twin on Channel 7, as they have proven time and again that what they show is either a beat-up or something manufactured out of very little.

I watched because they previewed a guy who is battling with his council over vegetation and trees. I was interested, having had similar experiences. What I got, instead of a decent news story with information and facts, was this:
* people interviewed who were never identified
* the council concerned was never identified, apart from one muffled voice during a film clip that mumbled "Redlands" (I think)
* a camera crew following around police officers and council officers with no real information about what they were doing or why.

Is this supposed to be reporting? Barbara Cartland gave more facts in one of her historical romance novels than this TV show gave in their "news" coverage. As a writer of historical fiction for younger readers, I try really, really hard to get my facts right, and to slip them into my (fictional) narratives. Today, for example, I was looking again at a map of Melbourne in 1900 to make sure the Fitzroy Gardens were called that at the time. Yesterday I spent more than half an hour tracking the history of the Church Street bridge across the Yarra River. Because I didn't want my characters driving their buggy across a bridge that didn't exist back then.

I'm sure all of the Our Australian Girl writers do the same amount of research as me. When I work on my big pirate novel, Pirate X, I try my hardest to make sure the information, which is the very real background, is as accurate as I can get it. It continually astounds me how people put up with the shoddy, inaccurate reporting that our commercial channels dish up as "news". Is turning off the TV enough of a protest? I don't think so. So I emailed them. And silence was the stern reply!

When the Bestseller Eclipses Your Other Books

Today I finished reading Lionel Shriver's novel, So Much for That. I had wanted to read it for a while, simply because I loved We Need to Talk About Kevin (which is about a fictional school massacre, told by the killer's mother in letters). The thing was, I'd read several reviews of So Much For That, and all of them had been quite lukewarm. It's the kind of thing that puts you off buying a book, sadly, and so I got my copy from the library.

Of course, it's not the same story. Kevin is an amazing novel that had me engaged and stunned (in equal parts) from the beginning, not just for the subject matter but also for the insights, the style, the depth and its ability to really, confrontingly, make you think about what it means to be a parent. It was a book that stayed with me long after. But So Much For That has the same depth, the same lingering after-effects. It deals with, among other things, what it's like for a family with a member dying horribly of cancer, and the cost of the US health system and the farce of their health insurance system.

The characters are very real, with many flaws, but never unlikeable. No, this book didn't have the same impact on me that Kevin did, but I still thought it was terrific, and didn't deserve the lukewarm reviews. Is this the legacy of a bestseller?

I thought about different bestsellers that I'd read - Cold Mountain, The Shipping News, Snow Falling on Cedars, The God of Small Things - and what having a major bestseller means to the author's other books. Even if they've sold well before, or there had been other good ones since, somehow they all pale against The Big One. I've read lots of author interviews and what comes through a lot of the time is a weary impatience that this should be so.

It must feel like having several children you love equally but all anyone ever asks you about is the one who won an Olympic gold medal! And if that major bestseller is your first novel, how pressured an author must feel to 'do it again', knowing that it's probably not possible. Still, if nothing else, the bestseller usually sets you up for a great many years of writing without having to worry about how you'll pay the next power bill!

A Writer's Nightmare - Hard Drive Failure

It's been an eventful week here in the computer room. It started on Wednesday with what we thought was a virus. Several long, extensive scans later, nothing major showed up. And then my computer stopped working. It wouldn't start up and kept looping but wouldn't go any further than the motherboard information screen. Without going into boring details, we tried everything but to no avail, so a computer expert was called in. I found a company on the net called Geeks2U who promised to send someone the next day.

The verdict was a corrupted hard drive. Which meant a lot of stuff was lost. Including all of my emails. The tech guy got a fair amount back (and we extracted a lot more later with a different program) but basically I was faced with the nightmare that all writers dread - loss of files. I had been using a back-up program but it was set to automatic and if the computer wasn't on at that scheduled time, it didn't happen.

I'm lucky - I had seen several friends lose their computers and everything on them over the past couple of years, so I'd become a bit anal about losing my own stuff - that led to the back-up program and a new external hard drive. I really only lost a few things I'd been working on this week and was able to get new copies without too much trouble (from the editors). But what I may still have lost is all of my emails. I've seen people discussing the email issue online before. For some reason, most email programs are notoriously hard to back up because of where the actual In and Out Boxes and folders are kept (nowhere logical to me).

A couple of people have said I should be using Gmail, where everything is kept on the server for you. But I don't like the Gmail interface (and I hate Outlook too). I'm confessing to being a dinosaur in this area because I still use Eudora! It's simple, it shows me everything I need in the places where I put them, and I'm used to it. Now I need to decide if I'll keep using it. Sigh... With two books with editors waiting for my revisions and a dozen other pressing jobs to do, spending hours sorting out my computer now (or a new one) seems way too hard.

But it's my workhorse, my connection to the cyberworld, a cheap, convenient and fast way to do all the things I need to be able to do as a writer, including blogs and websites. And when all is said and done, at least I've been able to retrieve most of my files, unlike many people in the floods who will have lost the lot.
So have you had a similar disaster? What do you do about backing up? And is anyone else going to admit they still use Eudora? :)

Back-to-work Blues for Writers - Solutions

Yesterday in "The Age" newspaper there was an article on all those people suffering back-to-work blues after being off over Christmas and New Year. It was interesting as the writer compared the "syndrome" with post-natal depression! And said that for some people, the normal feeling of being depressed about going back to work can slide into real depression and be dangerous. But the key thing, of course, is that the people who suffer the most are the ones that hate their jobs.

You would think this was a given - if you hate your job, then it's natural to feel depressed about going back to work after two or three weeks off. But most of the year, we understand that we need an income, we have to work, and we squash down all those feelings about our job because what's the point of moaning? The break, however, gives you time and headspace to realise how bad the job really is, and the thought of returning to it is even worse.

We're lucky in Australia that we have low unemployment at the moment, so if you really hate your job that much, it's a great time to look for a new (better) one. But for writers, there's more at stake - psychologically and logistically. (You knew this was going to be about writing sooner or later, didn't you?) These days, if you have a spouse who is willing to work and support you, and you're making some kind of income from your books, you get to stay home and write. And read. And think a lot. All of these are things that make you a writer, and help you be a better writer.

For those who have to work to pay the bills, I think one of the key problems is not whether you hate your job or not but how much it takes away from your writing. Obviously, it takes time away. 40 hours out of your week, more or less. Throw in sleeping (50-60 hours), eating and all that living stuff (12-20 hours), exercise (0-5 hours), there's not much time left for actual writing. Although there would be a heck of a lot more if you stopped watching TV!

So your holiday break could well have been days and days of slobbing around in your trackies and T-shirt, writing, reading, dreaming, thinking - feeling like a real writer for once! Suddenly, you have to be up early, dress nicely and be at work by a certain time. But more than that, for those 40 hours, your brain is going to be chock-full of work stuff. Paperwork, work emails, phone calls, people complaining, people wanting you to fix their problems, more paperwork ... No wonder some writers prefer to work on a building site or in a factory, where their brain isn't so overloaded with other people's words.

What to do about this? The first thing is probably to get a grip - the sooner you come to terms with the reality of this, the better off you'll be. Because then you will be able to look for ways to solve the problem. Here are some ideas:

* Get up half an hour earlier, don't talk to anyone, or turn on your computer. Read or write. You will be starting the day as a writer, and from there, it will all look much better.

* Take a proper lunch break (I need to work on this one). Get right away from your workplace. Find a quiet cafe or a park. Either write or read. Or edit something in your current project. Breathe. Daydream. Don't talk to anyone. Why would you want to? This is writing time, your time.

* Carve out one hour at night. If you have a family, tell them how much you need it and then make sure you get it. Start your hour with a few minutes of relaxation and breathing - don't just launch madly into trying to write. You've had a day full of eight hours of other people's stuff. Give yourself some time to let it all go. If you're having trouble, journal it away. Then write.

I think one of the things that can hurt us is putting too much pressure on ourselves. By maintaining the reading and thinking and dreaming, as well as the actual writing, you can hopefully keep your job where it belongs - in the job part of your brain, not the imagination and creating part. I'm sure you have other ideas on how to maintain your writer's life after you have to go back to work. Share them with us!

Our Australian Girl (TM) - book trailer!

When a Story Just Won’t Gel

I’m sure it’s happened to everyone at some point – you have a great idea for a story or a novel, and you start work on it. The initial idea is great, you can see how it might pan out, you make notes, develop characters … then for whatever reason, it starts to die on you.

Sometimes it’s because you leave it for too long and the passion fades, or you forget what made you think it was so good, so original, so full of potential. Sometimes it’s because it stops working on the page. You write and write, and it all feels like rubbish, or a waste of time. Or the vision you had for the story has turned into cottonwool or mud.

You leave it for a while, and a while longer, and it becomes harder and harder to get back to. You procrastinate, tell yourself you’re giving it room to breathe, and if you just leave it a bit more, it’ll bloom without you realising. You’ll come back to the beautiful plant you always knew it could be. You hope.

Sometimes you avoid it, revisit it, try to prop it up or inject it with a new idea, and nothing works. What do you do then? Abandon it? Yes, that always has to be an option. Sad but true. Maybe you just left it for too long, or maybe you beat it to death with too many meaningless words and boring characters.

But sometimes, when you least expect it, the original magic returns. You pick up the notes and the draft (what you have of it) one day and sit down with a coffee and suddenly, there it is again! This is what has happened to me over the past two weeks or so. A novel I have been working at for eighteen months, one that I thought had died on me, despite various attempts to re-energise it … I’ve found it again. Whatever “it” is. The characters are talking again, the plot has launched itself into more enticing waters, and I feel excited about it all over again.

Thank goodness! I really didn’t want to let this one go, but I couldn’t see what it needed. I’m still not sure why it came to life again, but I strongly suspect it’s because I’m not teaching and I finally have some truly creative headspace back. Now to make the most of it.

"Matterhorn" by Karl Marlantes

Towards the end of the year, when holidays loom and I'm looking for some good books to read, I look through various recommendations on websites and blogs (after discounting all those pontificators who try to tell us they're going to read Evelyn Waugh or Eudora Welty on the beach). This year, it seemed like half the blog world was recommending Matterhorn: A Novel of the Vietnam War.

I have a friend who has been writing for some years about the effects of the Vietnam War on the families of vets, so this caught my interest. What would it be like? Gory? Over-inflated? Movie-like? I started reading "Matterhorn" on 27th December. I got 40 pages into it and stopped. Did I really want to read this? Could I bear to? The reasons for my hesitation? Already by Page 40 I could tell this was not going to be an easy read. It would be heavy, long, gruesome and probably really depressing. I wasn't sure if I was ready (sometime you have to be "ready" for certain books). I decided to keep going, mainly because already I had such a strong sense of setting and character, and also a sense that I was about to be taken on an unforgettable journey.

I finished it today around 2pm. I had brushed away tears more than twice, but more than that, I had been angry, astounded, gutted, marveling, head-shaking and shaken. It's only 2nd January and already I think this is going to be my top book of 2011 (anything else will have to be absolutely amazing to go past this book). No, I didn't enjoy this much. It's not light and fluffy. It's eye-opening. It made me wonder how any vet who fought on the front line in Vietnam came back even moderately sane. And it left me feeling despair about the overwhelming futility of war.

What's it about? Basically it follows the story of Bravo Company, most specifically a Lieutenant Mellas (although other viewpoints weave in and out of the story) and a disastrous couple of months in the monsoon season, trying to fight the NVC along a range of mountains near the DMZ. The author, Karl Malantes, apparently was a highly-decorated Marine and fought in the war, and it shows in the level of detail but also in the way he depicts each and every Marine as human and real. Nothing is simple, least of all a war fought behind a sham wall of politics at all levels. Malantes focuses on the Marines in the jungle, the insane missions they are expected to carry out, and the officers safe in their little command posts who have no idea of either the terrain or the conditions.

Like the Marines in the story, I wanted to grab those officers and strangle them, and it made me wonder if troops feel the same way in every war (like Afghanistan and Iraq). It apparently took Malantes 30 years to write this book. It shows, in that you feel all the way through that this is the work of his whole heart and soul, let alone those 30 years of writing and revision.
Yes, not an easy read at all. Every night I kept having dreams about it! But if you're up to it, you'll probably be like me and want to recommend it to everyone you meet.

The Advantages of Journaling

I know there will be many of you who already journal and don't need to be convinced, but at the end of a long year, it has been lovely to rediscover the power of journaling and what it can provide. My friend, Kristi, journals regularly and uses the method as a way of sorting out her thoughts and ideas. Lots of writers do. Journaling is not about writing a first draft. It can be used for many things, including planning and goal setting, as well as just sorting out what's flying around inside your head.

I often suggest to students that they keep a writer's journal, where they can collect ideas and explore them. They look at me as if I'm crazy! With all the writing and assignments they have to do for the course, why would they want to do more? But it's up to you how you choose to use a journal, and what for.
Here are some ways you can make use of it:

1. Write in your journal every morning to clear your head of "life" and get ready for the writing day ahead.

2. Explore ideas for stories and novels - explore why the idea interests you, where it could go, what it means to you. Expand it without pressure - experiment.

3. Journal about your dreams and goals, and how you are going to achieve them. Explore possibilities, let your imagination roam. Often putting this stuff down on paper helps you to make it more real, and gives you a starting point for planning and action.

4. Use your journal to get rid of negative emotions and experiences that stop you from writing. Pour it out on the page and it won't interfere with your real writing.

5. Journal about aspects of your life other than writing. If you have a problem (like a job you hate but need), journal about ways you might get out of it. The more ideas you have, the more likely you are to find one that will work. Writing it all down is also a call to action.

6. Use your journal as a place to come up with new ideas. You can be more focused with this - look for writing prompts like this one at Writing World.

7. Use your journal as a way to record stories from your life. Include photos and mementoes as prompts for yourself. The pieces you like can form the basis of something to leave your family.

You may like to buy a book to get you started. A Year in the Life: Journaling for Self-Discovery by Sheila Bender is one (I haven't read this but her book on personal essay writing is great).

Do you journal? What do you use your journaling for?

Which Blogs Do You Read?

Writer friends and I often discuss which blogs we read regularly, and why. As a teacher of creative writing (with a strong publishing industry focus), I read a lot of blogs by agents and editors. They're useful because they give an inside view on what's going on. An agent like Miss Snark (sadly no longer blogging but the archive is still there, and immensely valuable) can give new writers a very clear insight into what agents think, what they want, and what they don't want.

Some agent bloggers also provide lots of helpful information. Kristin Nelson has several 101 series of articles attached to her blog for writers. I'm sad to see that Editorial Anonymous, a children's editor, seems to have stopped blogging. Not sure why - hope she hasn't been laid off!! Publishing companies tend to have blogs that just promote their books, but other smaller ones provide great bonuses. The Monthly, which is a magazine here in Australia, has a section called Slow TV which is interviews and recordings of authors.

This year, for the first time, I've had to cut back on the blogs I read. It's been a time issue, as in "many deadlines, no time". I was quite surprised in early December when I realised how many blogs I'd stopped reading! Did this mean they were all useless and I was better off without them? Not at all. There were some that I'd signed up to (like Craig Harper and Seth Godin) whose blog posts came to me as email. A quick read and I was caught up, and often enlightened. Otherwise I would've cancelled them.

It's been nice to have time to do some catching up, and also to re-think which blogs I want to read regularly. The same with newsletters. This week I unsubscribed from three email newsletters, and might do the same with a couple of others. Basically, my needs have changed and those newsletters were no longer of interest.

What I'm interested in with you is this: how many blogs do you read regularly? Do you read everything you subscribe to? Which are the most useful ones to you? As we go into some nice down-time over the holidays, please share your favourites!

Writing Time in the Holidays

Holidays are wonderful! While other people dream of beaches and sunshine and frozen daiquiries at all hours of the day and night, I check my pile of saved-up books and can't wait for the time when I can start on them. My brain is free of work stuff, and I'm able to finally focus and tackle books that at other times of the year seem "too hard". I'm planning to read, among other things, Wolf Hall by Hilary Mantel and Freedom by Jonathan Frantzen. I've got Matterhorn by Karl Malantes on order at the library, and Mockingbird by Katherine Erskine on order from an online bookseller (ready for when it's available in paperback).

I've also been stockpiling a few good crime novels, including some new Swedish writers, and the third Ranger's Apprentice book by John Flanagan. As I'm teaching Poetry 2 next year, I'm also reading poetry and delving into anthologies for gems to use in class. But with all this reading lined up, am I going to write as well?

The thing is that reading great books inspires me to write more than anything. I love to soak up all of those words and then go write lots of my own. I have two major editing and/or revisions to work on, so reading reminds me about sentences and language. But I also want to work on something new, and seeing books that other writers have written and rewritten (because none of them are going to be first drafts!) reminds me that putting my backside on the seat and writing is the only way I'm going to get a finished manuscript, too.

Funnily enough, even though holiday times are when we believe we have the most time to write, I can't tell you how many people admit to me that they ended up doing no writing at all! It's easily done - there are parties to go to, sleep to catch up on, family commitments, time with the kids, TV and movies to veg out in front of, video games, Facebook ... While telling yourself you really need that time off and you really need to do some family stuff etc etc, you can end up spending your whole time doing everything but writing.

Not trying to make you feel guilty, mind you. Just saying....

What Would You Tell a Reluctant Reader?

Those of us who love books and love reading almost can't imagine a kid who doesn't like reading. "What?" we say. "What's wrong with you? How can you not love books?" Or if we don't say it, I know we're thinking it. I do, and I see kids all the time in schools who are just ho-hum about having a visiting writer, and shove the books aside while making out books are just dumb.

Because who wants to admit they feel dumb? You know how many kids actually aren't very good at reading? When everyone else is doing it just fine, how would you feel if you were the one the teacher had to hassle about books, about how little you read, about how far behind you'll get if you don't read more? As reading adults, we wonder how on earth these kids could possibly not be able to read (apart from the ones who have dyslexia or eye problems, perhaps).

We're doing that adult-arrogant thing again. Sigh. Assuming everyone else should just go with the flow. Forgetting totally what it's like to be small and not good at something. How you'll do anything to cover up, including insisting you hate reading. The teachers and librarians who said Harry Potter books were great, simply because they got kids reading who hadn't read before - they were right! Very often, once a certain level of ability and confidence is achieved, what a kid needs to get them into reading is ... a book they fall in love with.

Not a "required reading" book or one the teacher insists on. No, one they discover themselves, either by accident or because some keen adult decided to give them a certain book and it is just the right one!! So ... if you had a reluctant reader in front of you, what would you tell them? What book/s would you recommend? What would you buy them as a gift this year?

My first pick would be the Ranger's Apprentice series by John Flanagan. I recently read the second in the series and think it's great for 10-14 year olds (yes, even girls who want a bit of action!). I've had Diary of a Wimpy Kid on my reading pile for ages now and never got around to reading it (soon, soon) but it's very popular and with the cartoons in it, might hit the spot for a 10-14 year old boy.

For girls (especially if you want to get away from the endless awful fairy books), try the Billie B Brown books by Sally Rippin. They're active and exciting and good for readers 6-9 years. I also always recommend Aussie Bites and Nibbles, because the two series have lots of different authors and a wide range of stories accessible to kids from six through to nine or ten.

Now, if you've got kids (or if you're a keen reader of kid's books), what would you recommend for that reluctant reader? And why?

Books I'd Recommend for Christmas Gifts 2

This post is about poetry, and more novels for adults. This year I discovered Chase Twichell's poetry, via the journal from the Association of Writing Programs - the article quoted lots of bits from her poems, and I liked so many of them, I bought the book. I'm savouring a few poems each day, which I think is the best way to do it.
The title is Horses Where the Answers Should Have Been (Copper Canyon Press, 2010).
I always recommend Billy Collins and I'm currently on my third re-reading of Sailing Alone Around the Room and am very excited to see a new collection, The Trouble With Poetry, is being released. The title poem is one I use in my poetry classes all the time!

Black Inc has released its end-of-year collections, The Best Australian ... Poems, Stories, Essays. (OK, I confess that I'm in the Stories collection!) These are excellent gifts for readers of each form, and always provide a wide range of voices and subjects. Also released are the American versions, and I buy the Best American Short Stories as soon as it's available here. I like it because the stories are so different, a mix of experienced (such as Alice Munro) and new. I often end up using one or two of these stories in class. This year's is edited by Richard Russo. If you want something different, try Best American Science and Nature Writing - marvellous.

You may have missed Nam Le's The Boat, but it would have been hard to do as it won so many awards. It's great to see short fiction writing coming back into favour at last. Check out the short fiction section at your independent bookshop! I'd also recommend Cate Kennedy's Dark Roots - it's been out for a while but is a wonderful collection of stories.

My other fiction recommendation to finish with for now is Caroline Overington's I Came to Say Goodbye. I was sent this ages ago as a galley copy to read for review, but never got around to commenting on it as it took ages to actually be released! But I loved it. If you'd told me it was a book narrated mostly in flashback by a 60+ year old man, and dealt with child abuse and poverty and a host of other social issues, I would've maybe said 'no thanks'. But Overington's narrator is so engaging and convincing, and his story is so real, that I couldn't put it down. I wasn't surprised to read later that the author was a journalist who reported on these issues extensively - it shows in her commitment to creating a story that strikes at your heart without preaching. An excellent accomplishment!