Ankaret Wells, whose books are great and who I credit with showing me that self-publishing could be far more fun and far less trouble than I had always feared, has teamed up with Irene Headley, whose writing is always insightful and often hilarious, to write a new fantasy series, Kingsblood. And it looks like it’s going to be fantastic:
The bitter years of the Cousins War are over… for now.
The grandsons of Kharis Sidonia are dukes and kings, and the last kinsmen of the deposed King Gilbert the Bloodless are hunted exiles… for now.
Winter holds armies at a standstill, and in Briege, the suitors of the new Duchess of Bergomance protest that they are at her feet… for now.
Before the thaw breaks, Ambrosia of Bergomance must choose a husband, and place her people in the hands of another, greater, power, By her side are two men – her uncle Thomas of Wharram, loyal to his family above all else, and Nicolas ás Ithel, who has spent most of his life as a hostage.
I am pleased to say that we are in fact up to date with the rent. But it is rather dispiriting to consider that, Cambridge property prices being what they are, we will probably be renting for some time yet. I believe that this was not – for a variety of reasons – something that Gwen Raverat had to deal with.
If I’m put on the spot about my favourite book (for example, here), I almost always go for The Count of Monte Cristo. It’s very long, it simultaneously plays to and undercuts Gothic tropes, it has a ton of moral ambiguity, and there is a lot of early nineteenth century opera and a lesbian elopement.
Stephen Fry, regrettably, omits the operatic lesbians, but I really can’t complain about such an affectionate, funny, adaptation as The Stars’ Tennis Balls. He isn’t just thinking of The Count of Monte Cristo, he’s thinking of it with real fondness.
I’ve got a rather long (and probably you-had-to-be-there) anecdote in which I tried to explain one of the jokes to my brother in the driving rain on the Camino Inglés. You might see it in a month or so, when I’ve got round to writing up the journey.
This week I was enraged, yet again, by a reappearance of the ‘writers write, and nothing stops them writing’ meme. I won’t link to the specific instance, because it was posted under lock, but here’s a (comparatively inoffensive) case of the genus in the wild. (It was the first one that came up on Google. I do not endorse the contents of the rest of the blog, either.)
Some of them add, implicitly or explicitly, ‘every day’. Some of them add, implicitly or explicitly, ‘and don’t make excuses’. Some of them end up implying that any week – any day – that you’re not writing, you’re not a writer.
Which is bullshit.
This is the longest thing I’ve written in days. I’ve written no fiction at all since last Wednesday, and I could quite see this state of affairs continuing all summer. Have I suddenly stopped being a writer? Of course not.
Here is a selection of reasons why I haven’t been writing:
I wanted to read Alistair MacLean instead.
I have had a lot going on in my day job.
I spent last Saturday at Norwich Pride.
I’d never seen Die Hard and we had to spend an evening remedying that state of affairs.
It was my birthday.
A fanfic I’ve been following was updated, so I read that instead.
I was off sick for two days and good for nothing other than sleeping and watching Star Trek.
Here’s the thing: I know, because I’ve been here before, and I’ve come through it and written again, that it’s not the end of me as a writer. I very much doubt that anyone would try to tell me that it was, now that I’ve finished and published a book and won an award with it.
I put the first word of Speak Its Name on the page in November 2007. I approved the finished work in January 2016. Did I write every day of those eight-and-a-bit years? Of course I didn’t. And it’s the better for it.
But I also know people who have been discouraged by this ludicrous gatekeeping, who have believed the pernicious myth that because they couldn’t or didn’t devote every spare minute to writing they weren’t ‘really’ a writer, and stopped altogether.
Bullshit, I say again. Stop telling people this. It’s untrue and it’s harmful. It’s not encouraging people to write; it’s doing the opposite.
You don’t get anywhere as a self-published author by caring what other people think about you, but it’s taken me a long time to get past caring what other people think about me. I didn’t tell very many people that I was writing, and it was largely due to the fear of coming up against this idea that I wasn’t.
I am not excusing – or asking you to put up with – the tedious people who bang on and on about how much they’d like to write, or expect you to listen to their detailed exposition of what they would write if only they had the time. You could consider sending them an invoice for your skills as a writing consultant. Certainly if one more person tells me that everyone has a novel in them, I shall find it difficult to restrain myself from attempting to extract theirs by violent means.
But you don’t get to tell people that they’re not a writer. I don’t, either. (That picture at the top of the page? Means basically nothing in terms of my right to assess other people’s writer status.) Nobody does.
This book seems to have attracted a lot of adjectives. Beyond KARSAVINA’s ‘enchanting’ on the front cover, the flaps have ‘fascinating’ (three times), ‘exciting and vivid’, ‘enchanting’ again (once the full Karsavina quotation, and once from the News Chronicle), ‘delightfully impetuous’ and ‘irresistibly impetuous’ (the Observer and the Daily Mail respectively, agreeing on something for once), ‘beautiful’, ‘valuable’, ‘charming’, ‘enthralling’, ‘almost a great book’ (The Times, damning with faint praise, there; see also ‘in spite of its horrible title’ from The Spectator), ‘brilliant’, ‘remarkable’, ‘splendid’, and ‘unique’.
And, if that wasn’t enough, I am going to add ‘joyful’.