‘Samiha’s Song’ spotted, and guest post for A&R!

This is it! ‘Samiha’s Song’ has been officially spotted out in the wild by Tarran Jones of Angus and Robertson, Edwardstown:

The sticker apparently says, ‘signed by the author’ and the books all contain signed, gorgeous book plates designed by Frank Victoria, the cover artist.

So Aussies in Adelaide, get your copy now! 🙂

Also, if anyone’s interested in hearing a bit more about the process of writing this sequel to ‘Tymon’s Flight’, I also have a guest post up on the A&R blog today about writing Samiha’s Song.

Enjoy, lovely folks…

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6 Responses to ‘Samiha’s Song’ spotted, and guest post for A&R!

  1. Tyson Perna says:

    I always love reading about the writing process from the pros! I’m just getting turned on to the outline concept recently myself.

    • MaryV says:

      I found it liberating… And I knew that if I’d made a so-so choice at outline stage I could always throw it out and do something off the cuff. The problem with outlines is only in sticking too closely to them, at all costs. 😉

      Another thing I didn’t get into in that guest post was that outlines make publisher input soooooooo much easier. The editor doesn’t need to wait till the first draft is complete to approve the general direction of the book.

  2. Anon says:

    “The problem with outlines is only in sticking too closely to them, at all costs”
    This is SO true. At every level.
    Have been re-reading Henry James’ Notebooks recently and noticing how his literary monologues, unlike his Prefaces, which were written after the event, are just another version of the outline principle, but more intimate, more dramatic, more solitary. He mulls over his plots; he chews over his alternatives; he talks to himself about whether he should do this or that; he asks himself about the nature of his characters, his dilemma, his world. He bounces off his outlines from the first germ of the idea all through to the writing process. And the underlying principle is always flexibility, flexibility, flexibility within the framework he sets himself.

    • MaryV says:

      I expect Henry James’ outlines are more interesting than many a published book.

      Far beneath those intellectual heights, at around the level of an ant as compared to mount Everest, I also keep scrappier, handwritten notes which are the geneses for my outlines. They contain rough plot points and ask questions along the lines you mention – would a certain character do this? How would he achieve that? Why? Etc.

  3. Anon says:

    What’s fascinating about this process is the questioning. That’s what’s missing in the traditional outline where the questions are all in your head. It’s so interesting to ask oneself “Would a character do so and such?” Or perhaps even ask the character how s/he would do something… Do you sometimes find that these kinds of so called “scrappier notes” of yours also serve as the beginning of dialogue and voice? It’s like conjuring people off the page when you ask questions about them… Such mysterious and magical arts! No wonder poets were also shamans in some societies. Or rather shamans were also poets and story tellers par excellence. “Weave a circle round him thrice/For he on honeydew hath fed/And drunk the milk of paradise…”

    • MaryV says:

      The questions are certainly the basis for character development, though not the actual voice in my case, so far at any rate. But why not? I’d love to try that sometime – define a character by conducting a rant or monologue in note form and seeing where it takes me.

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