I’ve been busy with edits for The Warder, honing in on the detail, polishing, steadily working towards publication. There’s a theme running throughout this novel: Transformation.
Prior to publication of Return of the Mantra, brainstorming book cover ideas with the publishers, I came across Adinkra symbols from West Africa. It’s not an idea we went with, but I surprised myself, managing to reduce a story to one word. I have three stories so far in the series, Blood Gift Chronicles:
If a novel was good, would you care if it was created by Artificial Intelligence?
Inspired by an article in the Guardian, click here, this was a question posed a few weeks ago by Devon Book Club, a weekly forum on Twitter discussing all things books.
My response was one of resistance. My exact words were, ‘This is so inhuman it makes me shudder’.
Tuti Island
Two decades ago, or thereabouts, I was in the Sudan. Last year, after returning my revised manuscript to the publishers, I thought about a snippet from life in North Africa, and a place called Tuti Island. The snippet begins with a walk along the river Nile, where I spotted some boys tormenting a small turtle they had fished. Feeling sorry for the turtle, and possibly unwisely, I handed over a few Sudanese pounds in exchange for the turtle. I headed off down the river, intending to release it, but everywhere I went, the curious boys followed. Unable to find a quiet spot, I took the turtle home, filled the sink with water and stones, and fed it flakes of fish. It wasn’t ideal, but then I heard about Tuti Island, a nearby place which friends were sure would offer a quiet spot for releasing the turtle. So one day I put the turtle in my basket, caught a bus, then a boat, arriving at the small island situated where the White Nile and Blue Nile meet. I found a deserted strip of sand, placed my turtle in the water, and watched it swim to freedom.
I never forgot that island, or the colours and designs the Sudan inspired. And so my recent painting is titled ‘Tuti Island’.
Christmas and New Year have been a series of quiet reflections. Following a year of ill health and loss, it’s a comfort to slow things down, to take deliberate note of the small details, and breathe the fresh air. With its dark evenings, crisp air and sodden ground, winter feels like the perfect time to just take the time, to take stock, to gain a wider perspective, to remember that the moment is now to create what we choose.
As a writer who also indulges in painting, I am no stranger to the blank page, and the blank canvas. And yet perhaps it’s never really blank to start with. We create, and we recreate, capturing moments, thoughts and lives we’ve known and returning them to us in fresh new forms.
The last decade saw my first novel published, the new decade promises more. So much of Return of the Mantra was inspired by life in Africa: people, places, situations I had known, recreating the real into an almost unrecognisable fantasy. The Warder picks up the story ten years on, and by this time it really does have its own life and momentum. I was particularly encouraged to see a recent comment on Twitter from a reader, saying how much they loved the character, Wanda. He was inspired by orphaned children I had known, out of a desire to create an unlikely hero, a gifted young boy. In book 2, aged 18, Wanda takes a more prominent role. Together with his female counterparts they are exposed to a land beyond their shores, and so continues their journey in understanding that the world is not a dichotomy of black and white, good and evil. Rather, it is shades of grey, cause and effect, where personal growth and self-discovery are essential in realising the effect each character has. Not too unlike the real world.
And on that note I wish you a Happy New Year and a peaceful new decade.
So after what has proven to be a challenging year in more ways than one, it seems like a good idea to focus on the good news, and there is lots. Most recently my publisher has produced an updated front cover for Return of the Mantra, ready for reprint, to include the series titles – Blood Gift Chronicles Book One.
AND we’re ready to go with international distribution!! Click here
A question came up a while ago, at a local book club: how important is place in a story? For me, as a writer, it’s essential. It’s the first heartbeat that begins the planning process. It’s the atmosphere you will be ensconced in as a reader, and the writer. It’s the place that will define the rules, the culture, the day to day life. It’s the thing that sparks my imagination the most.
Whilst in recovery from a recent illness, I’ve had more time to read. Akata Witch by Nnedi Okorofor, and Children of Blood and Bone by Tomi Adenyemi, are now on my list of firm favourites. Both works of fantasy, both Nigerian-American authors, the sights and sounds of Nigeria ooze colour from the pages.
I’ve talked before about how various African landscapes influenced place and culture in Return of the Mantra. It’s a subject I also incorporated into a recent guest blog I did. Click here. Books 2 and 3 venture further into the unknown world of creativity. Awaiting the edits of Book 2, revisiting the first draft of Book 3, I’m reminded of the importance of place, the importance of digging deep for those details that will bring to life a land of my imagination. I’m excited for these new lands that I can see so clearly.
Place also features in my painting life, in the form of abstract landscapes, mostly African inspired.
At Market:
Home:
Long Walk:
These three pieces are from a collection I call Perspectives, capturing snapshots of rural township life in South Africa. When I started this collection I decided on three pieces. Now it is finished, there may be more. As is so often the case, one thought generally sparks another…
Today I am pleased to welcome the incredibly talented Susie Williamson. Author of Return of The Mantra, one of favourite books of 2018 to my blog for another female author spotlight interview. DS: Welcome Susie. Thanks so much for agreeing to the interview SW: No problem Dan. Thank you for having me. DS: Lets begin […]
It’s been a while since I last wrote a blog; actually 3 long months. Life can throw you curve balls, and I recently had one thrown at me. A bout of pneumonia saw me rushed to Exeter’s A&E, then onto Plymouth for surgery on my lungs. Recovery was going well until I picked up a secondary infection. Looking back I am in awe of the NHS. Plymouth were unable to help so contacted London’s Brompton hospital, who drove down to collect me and take me back to the capital. Being sedated in ICU I have no memory of the Brompton, only waking up back on home turf at the Royal Devon and Exeter hospital.
Writing a book is one thing. Marketing a book is quite another. In talking about Return of the Mantra I often reflect on the process of its creation: what inspired me, what the essence of the story is… It’s harder than it sounds. How to sum up the pages into a brief description? Anyone who writes will understand the pains of reducing a story into a one page synopsis, and then a paragraph long blurb. Even now, when people ask what my book is about, I struggle to find those one or two lines to do justice to the story I spent years nurturing into creation.
A girl was walking the streets of Exeter dressed as a bee, carrying a placard with the simple message, ‘Tick Tock, Tick Tock’. She was one of hundreds of children and young people, striking from school, marching to the County Hall to deliver their impassioned message: it’s time to declare a climate emergency NOW!
I remember the days of tape recorders and cassettes, the horrifying sound of the tape being chewed, and the delicate task of winding it back with a pen. And the excitement of opening a gifted multipack of blank tapes, deciding and sorting an order to record. Gran still called the radio a wireless, and TVs sported three whole channels that could time out, leaving you with trade test transmissions.
