Showing posts with label The Coincidence Authority. Show all posts
Showing posts with label The Coincidence Authority. Show all posts

A Farewell to Barbara Whitnell (17th March 2021)



 

My aunt, Ann Hutton, was the novelist Barbara Whitnell - (a name she took from her own grandmother). She was, I believe, the author of 14 published novels, and she made the Times Bestseller list. She died this week just short of her 92nd birthday. Ann was a big inspiration to me and encouraged me to write. I owe her a great deal. She was a larger than life character. She was just ten when the war broke out, and sixteen when it ended, but it often felt to me as if she was more at ease with the post war generation. She was more of a 1950s-breakout-woman, than a 1940s-war-girl; always slightly rebellious, a rule breaker, a risk taker. She lived a glamorous life - living in places like Kenya and the Turks and Caicos Islands, but it was to Cornwall, the county of her childhood, that she so often returned, and about which she would write many of her stories. She and her husband Bill retired to Fowey, a little fishing village on the Cornish coast, and is was from here that Ann wrote many of her books.

I can reveal now that Ann was the inspiration behind the character of Demelza Trevarrick in my novel, 'Not Forgetting the Whale.' (The Whale at the End of the World). One clue, for anyone with a memory long enough, was the name of Ann's house in St Austell in the 1960s - 'Trevarrick'. There wasn't much similarity between Ann's life and Demelza's (beyond the fact that both were romantic novelists living in Cornish seaside villages), but all the same it was Ann's voice that I could hear in my head whenever Demelza spoke. She had a knowing way of talking, with the allure of someone who knows everything and has seen everything. I remember Ann in the 1960s used to smoke cigarettes in a holder like Audrey Hepburn, and that too, for some reason, became an image I attached to Demelza.

It occurs to me now, as I write this, that there is a coincidence I can relate. Sometime in the 1990s (I shall guess at 1996) I was boarding a flight at Heathrow bound for Johannesburg. It was a business trip. I heard a voice calling my name. There was Ann. I hadn't met or spoken to her for several years. But by an extraordinary twist of fate she was on the same flight, off on a book tour of South Africa. She and Bill were in First Class. I was in steerage. Nonetheless, when we were in the air, she came and sat in the seat next to me and we gossiped for much of the journey. We talked a lot about writing. About the discipline, and the mechanics, and the preparation. I had written a non fiction book at this stage (The Good Zoo Guide) but I wanted to write fiction. She gave me some advice that I have often passed onto others as if the wisdom was my own. 'Just write it,' she told me. 'It may not be a masterpiece. Your first novel rarely is. But writing is a craft, and you will get better.'

Ann leaves behind her four lovely children, my cousins Lindsay, Judi, Chis and Tim - and of course her grandchildren and great grandchildren. She also leaves those books.

Please check out my website to learn more about my books:  https://www.johnironmonger.com

My Map Pins (11): The Nile Ferry at Laropi, Northern Uganda (Posted February 2021)







My novel ‘The Coincidence Authority’ features, in its closing chapters, a tough, overland trip by the eponymous protagonist, Thomas Post. He travels by bus, taxi, bicycle, and foot, all the way from Kampala to the north west corner of Uganda –a province known as West Nile. This corner of Uganda has been snipped off the country map by the Nile River, and is only accessible by a bridge to the far west of the country at Pakwach, or by a smelly, unreliable (but more accessible) ferry eighty miles away at Laropi (unless you sneak over the border from Sudan or Congo). This was a journey I first made around 1970 with my brother-in-law Doop when I was fifteen or sixteen or thereabouts. Doop was an engineer installing elevators into Ugandan hospitals. I went with him as his spanner boy to places like Gulu, and Moyo – remote communities, close to the borders with Congo and Sudan. The region has been a war zone for much of the past half century, although now, thankfully, it is at peace. Thomas Post, in the novel, crosses the river at Laropi, and I felt it was important to go back and see the region again; so in May 2011 in an effort to do the research, my son Jon and I followed in Thomas’s footsteps. We drove north from Kampala, and boarded the ferry to West Nile. The river is only about half a mile wide here. This is one of its narrowest points. It was a languid, surreal crossing, watched by hippos. Glorious. 

Please check out my website to learn more about my books:  https://www.johnironmonger.com

what3words /// The simplest way to talk about location

What3Words: pivot.stepbrother.atrocious


 

A New Cover Revealed (15th May 2014)

I don’t imagine Dickens lost an awful lot of sleep worrying about the cover designs for his novels. ‘Bleak House,’ he might have thought, ‘let’s go for a plain cover, in brown leather, with the title embossed in gold.’ ‘Ah Charles,’ the publisher might have said, ‘we’re toying with a plain red cover with a silver embossed title.’ Controversial. 
But these days - covers matter. They matter a lot. It can be irksome for a writer who has spent two years working on a novel to discover that the cover is the main topic of interest for the local book group. But publishers too, get very exercised by cover designs. Of course they do. A good cover can sell a lot of books. A poor cover can consign a book to the remainders store. Enter one of the most important people in the business - the cover designer. The cover designer has to be an artist, an alchemist, and a magician. He or she has to capture the essence of a novel in a single image, has to make it striking, compelling, and simultaneously unique. It has to be a cover you wouldn’t be embarrassed to be hiding behind on the tube, but a cover that will catch your eye on a book shelf. It has to scatter hints on genre and location and mood. It has to be serious. It has to be light. Who, I wonder, would be a cover designer?
 I love the hardback cover for ‘The Coincidence Authority.’ The plain image of the seagull and the sharp blue of the background seem to capture the whimsical essence of the story in a clear, eye-catching way. I also love the dreamy, faraway qualities of the US cover So I was a little surprised when Orion’s brilliant paperback editor Gail Paten told me that she was commissioning a redesign. Did it need one? ‘Yes,’ she told me. And she was pretty emphatic. Paperbacks are different creatures to hardbacks. The rules change. We talked about some of the ideas. Should it reflect the African themes of the story? Or something else?
Today W&N have revealed the new cover, and Gail has blogged about the hard work that went into the design. It is humbling to discover just how many people and how many ideas and how much talent went into the new cover.  But for me it is perfect. It captures, with the wheel of fortune, the essential mystery of chance that lies at the heart of the book, with echoes of the fairground where the young Azalea is abandoned, and hints of a buried romance; and it does all this in a brilliantly colourful way. The tag line if perfect (She believes in fate. He believes in fact. What are the chances of a happy ending?) It is so good, I wish I’d written it myself. So thank you Gail, and Steve and Edward and everyone else who contributed. I absolutely love the cover.

What do you think? Please let me know …

The Audio Book Experience


What is it like to hear someone read your writing aloud? I don't think I'd ever had that experience before. Not really; not reading whole chapters of text. Maybe that's why I was so nervous. Or maybe it was because the recording studio was in the basement cells of an old Victorian penitentiary in Clerkenwell, and as you descend the stairs you can't help thinking of the generations of convicts who made the same descent, never again to see the sun. Or maybe it was because I was about to meet the great Adjoa Andoh - who lest we should forget - appeared in Doctor Who and starred alongside Morgan Freeman in Invictus. Adjoa would be reading my book. My book! This is the actress who read all the First Ladies Detective Agency audio books. Nervous doesn’t begin to cover it …

But you can’t be nervous for long in a recording studio. The whole place projects calm. The walls are padded and people talk in hushed voices. (And there’s enough technology to fly a starship. But that’s by-the-by … )


The Brilliant Adjoa Andoh reading 'The Coincidence Authority'
‘I’m so pleased you’re here,’ Adjoa said, once we’d been introduced. ‘You can answer a question. What kind of accent would John Hall have?’ I was a little taken aback by this. John Hall is a supporting character in The Coincidence Authority. He doesn’t have a great deal of dialogue. ‘I don’t suppose it matters too much,’ I said. ‘Although I suppose, strictly speaking, he’s a Manxman.’ ‘That’s great,’ said Adjoa, and she looked over at Jenny, the producer. ‘Let’s re-record that last chapter and give him a Manx accent. He only has one line.’ ‘No, no, it’s okay,’ I protested. But Jenny and Adjoa had already made up their minds. Back they went through the pages. ‘She needs a bloody doctor, not a baptism,’ Adjoa read. In a Manx accent. I felt a sudden thrill. Those were my words. Spoken exactly as they were meant to be. If I’d had any reason to worry that they might not take my book very seriously, those worries had now been soundly spiked.

I knew Adjoa would be good. But I wasn’t expecting her voices to be so amazing. She gave Marion Yves a beautifully Manx – almost Liverpuddlian – twang. Thomas is a rather dusty, slightly hesitant, academic. Azalea is engaging and clever. And Clementine Bielszowska emerged perfectly as the inscrutable intellectual Eastern European that she is. The way that Adjoa supplies the voices you really don’t need my descriptions. You can close your eyes and see the characters, exactly as they were meant to be. And Adjoa does this reading a conversation that bounces back and forth between several voices. That, Ladies and Gentlemen, is a rare and remarkable talent.

There was more evidence to come of the thoroughness, and the amount of detail that goes into a good audio book. At one point the novel introduces the Biblical name ‘Shaphan.’ The context is rather oblique. It appears in a quick exploration of the origin of the name, ‘Azaliah,’ and this is because Azaliah (who becomes Azalea) is a central character in the story. In the Bible, we learn, Shaphan was the son of Azaliah. But how should ‘Shaphan’ be pronounced? All recording came to a halt while researches were done. ‘I really don’t think it matters,’ I said, anxious that this minor problem shouldn't hold everything up. ‘After all, who would know?’  But again my protests were ignored. Jenny consulted a book on biblical pronunciation (yes – there is such a thing); then a website; then another. Opinion varied. Shap-han suggested one; Shay-fan another. A debate ensued. In the end we went with the majority of academic opinion, and Shay-fan it now is. We’d spent several minutes on the single appearance of one name. Bear that in mind when you listen to the audio book.

It is a unique experience hearing your words read aloud, especially by as accomplished a reader as Adjoa Andoh. As a writer you have a voice in your head that speaks the lines in one particular way; an actor comes to the same lines with their own pace and delivery. The emphasis isn’t quite what you’d imagined. The rhythm subtly changes. It unsettles you at first. You have to relax and let it happen. But within just a few lines you’re sold. And the surprising thing (for me at least) is how much better a good actor is at reading your lines than your own internal reader is. Not just a little better – waaay better. This, I suppose, is why they do their job. When Adjoa read the story of the seagull I found myself transported into the scene even more vividly than I had been when I wrote it. And that is a rather spooky sensation for a writer.

I can’t wait to hear the full audio book of The Coincidence Authority. I sat in for four chapters and then I left them to it. There was nothing I could add. To be honest, I suspect I’d become a distraction. Still, I couldn’t have been happier than I was when I left. A very big Thank You to Orion Books and Strathmore – and to Pandora and Jenny and Adjoa. And thank you Adjoa for the anecdotes about Morgan Freeman and Clint Eastwood. It was an unforgettable experience.  





 

January and Editing Editing Editing.

January brings the snow, makes your feet and fingers glow. That's according to Flanders and Swan. But here in Shropshire it has bought cold slushy rain, following swiftly on the heels of a whole year of rain, and the little hamlet of Colehurst is awash with mud. Seriously though, don't you feel that January is always ... I don't know ... a little anti-climactic? We cheer the month in with a load of fireworks and communal singing, and then, well, it's back to work and the mornings are still dark and we're all spent out of cash.

Max Ponder is out in paperback. That cheered me up. I love the cover, and I do have to say that, for an author, walking into WHSmith's and seeing your book on the chart wall is a very guilty pleasure. Even if it is only at number 76. The Costa First Novel Award went to The Innocents by Francesca Segal. It is thoroughly well deserved for a beautifully written book. I've read all the shortlisted books, and quite frankly, I'd have been pushed to choose between them. Snake Ropes by Jessica Richards is delightfully quirky with a deliciously original voice, and The Bellwether Revivals by Benjamin Wood is a sinister and very erudite story of a damaged personality. I'm looking forward to meeting all three authors (I hope) at the awards bash on 29th Jan. I'll be cheering on Francesca. Of course. But if it has to be Hilary Mantel ... well I love Bring up the Bodies too.

I'm deep into edits for The Coincidence Authority right now. This is a humbling task. I can't believe the  number of elementary mistakes that my very brilliant editor, Kirsty, has spotted, and I groan as I turn each page to face a host of embarrassing bloopers on the next, every one clearly marked in black pen.  The writer Heinrich Heine wrote that, 'no author is a man of genius to his publisher.' Isn't that the truth. Still, you learn a lot about your bad writing habits in the editing process. I've discovered that I make far too much use of the dash - like that, and even, oddly ... the elipse. Most of these get converted to commas by my editor. She's right of course.  I'm addicted to unnecessary detail ('this isn't Max Ponder,' my editor writes in the margin, 'you don't need all this.' Right again.) And I'm blind to my own repetitions.  Worst of all, I tend to let my prose run away. It gets baggy. 'Tighten this!' Kirsty writes. 'Tighten' is now my mantra. It often seems that the passages my editor wants to strike out are the very ones that I was proudest of; I delete them with a heavy heart. 'These are only suggestions,' she has told me. 'Ignore them if you want.'  So sometimes I do. But there is an unexpected catharsis to taking editorial advice. I re-read each page with the changes complete, and damnit, the whole thing really does sound better. Now how did that happen?  Editors, I have decided, are the great unsung heroes (and heroines) of literature. I am lucky to have such a good one. But I still wish the process wasn't so painful. 


August Blog (24th August 2011)

Less than two weeks now before we go to Florida. Yayy! But I'm struggling to keep up with a huge workload as well as finding time for the hundreds of little jobs that always need to get done before a holiday. I've registered on the US Dept of Homeland Website and explained that I don't intend to bring down the government of the USA and I haven't been involved in any programmes of genocide. As I write this my passport is at the Saudi embassy in London waiting for a visa (I have to go to Riyadh when I get back from Orlando) - this makes me just a tad nervous. I hope to pick it up on Friday but the woman at the agency was hardly reassuring, saying, 'well it is Ramadan you know, so there can be delays.'

I've had some good early reaction to The Coincidence Authority. Sue liked it. Phwew. Actually she preferred it to Maximilian. Stan loved it (or at least he said he did which is what matters). Jon is reading it right now. I'm letting the manuscript rest for a few weeks. When I get back from Saudi I'll have another read right through. Stan wants me to sprinkle the story with real life coincidences - I rather like this idea and I've been collecting a few.

Onwards and upwards.

Catching Up (8th August 2011)

Everything seems crazy at the moment. Two weekends ago we were in London so that I could give my niece away at her wedding (Dimi you looked amazing - I was a very proud uncle). We got back last weekend from a family trip to Dublin. (Actually we went to see Prince in concert at Malahide Park. He was brilliant - of course - but I guess you need to be a Prince fan to believe me. We also had an evening in the Temple Bar doing some essential research into Guiness drinking, Irish Music, and boxty-based cuisine.) So I was knackered on Monday morning as I caught the 07:35 from Stafford to London to meet with my Saudi connection. Still. We have to earn a crust. Now I'm trying to juggle a host of commitments all focussing on September. We're all off to Florida (long story), I need to be at a business meeting in Riyadh (even longer story), and I don't know if I should be planning to be in Malta. Or not. These Maltesers are keeping me waiting on a decision. And I've just printed off Draft One of The Coincidence Authority for my nearest and dearest to read which is the most nerve-wracking thing a writer can ever do, and I'm expecting to be frantically busy this autumn with re-writes. Hey ho.

The Coincidence Authority (4th August 2011)

It's 7:45pm on Thursday 4th August and I should take a note of the date and the time because I have just finished work on the first draft of a manuscript that I should be calling 'Book Two'. Actually the title has been subject to so many changes of heart that I'm still not sure what it will be called when (if?) it ever sees the light of day. The current title is 'The Coincidence Authority'. I like that title. It sounds serious - and yet (I hope), enticing. The previous title was 'Azalea Explained', or, 'Explaining Azalea,' but these threw too much attention onto Azalea and not enough onto Thomas Post who is the real protagonist. For a while it was 'Azalea and the Coincidence Man,' but this was a bit Mills and Boonish. Anyway. Maybe they'll change it. I don't mind too much. Whatever the title, this is my first teaser trail for the book: Thomas Post is an expert on coincidences. He's an authority. People come to see him, to ask him if he can explain strange events that have befallen them, and he can always explain these things away. We poor humans, he would say, have a tendency to make patterns out of random shapes, or to construct meaning from the random behaviour of the universe. But one day Thomas gets a visit from Azalea Lewis, and his world will never be the same again. For Azalea's coincidences seem to go off the scale. The lives of Thomas and Azalea become entwined, their destinies entangled. And now, with Azalea apparently dead in a foreign land, Thomas must reassemble the pieces of her life in search for the patterns that drove it. And that means he must try to unravel the coincidences that so afflicted her. There. Will that do? Comments please ....

AI Illustrates 'The Wager and the Bear': Part Two - Chapters 7-13

  Here we go with some more of the weird and wonderful creations of OpenArt.AI illustrating chapters from 'The Wager and the Bear.' ...