Justine Larbalestier's Blog
April 30, 2015
I have two events in New York in the next week and a bit. The first is in Manhattan and the other is a little bit upstate in Rhinebeck, a gorgeous town I’ve heard much about, but never visited before:
Wednesday, 6 May, 6-7:30pm
Teen Author Reading Night
Melissa Grey, Corey Ann Haydu,
Justine Larbalestier, Lance Rubin,
Melissa Walker, Tommy Wallach.
Jefferson Market Branch of NYPL
Corner of 6th Ave and 10th St
New York, New York
Look at that star-studded line up! It shall be a wonderful night. I’ll be reading a very short amusing bit from Razorhurst. Yes, even a book that’s been repeatedly described as “bloody” and “blood-soaked” and just won the Aurealis award for best Australian horror novel1 has funny bits. Honest.
Me and the old man will talk about our latest books, what books are coming next, what it’s like living with another writer—HELL ON EARTH! heavenly—and many other things.
We’ll also be at the Romantic Times Conference in Dallas in May. Where we’ll both be reading our juvenilia to an audience that may regret attending that particular session. I found a demented Raymond Chandler pastiche from when I was around fourteen. Breathtakingly awful. You’ll laugh till you expire.
Here’s hoping I get to see some of you soon!
Adult or Young Adult, I’ll have you know. Go, Razorhurst!
March 3, 2015
Today is the official publication of Razorhurst in the USA and Canada by Soho Press. For those of you who have been waiting since last July when it was published in Australia and New Zealand the wait is over!
For those of who you have no idea what I’m talking about: Razorhurst takes place on a winter’s day in 1932 when Dymphna Campbell, a gangster’s moll, and Kelpie, a street urchin who can see ghosts, tip the balance in a bloody underworld power struggle. As you do . . . You can read the first chapter here.
Razorhurst is my first solo novel since Liar in 2009. Loads of extremely fun research went into the writing of it. I walked every street in the inner-city Sydney suburbs of Surry Hills, Darlinghurst, and Kings Cross, trying to imagine what they looked like, smelled like, tasted like, back in 1932 when, according to Sydney tabloid Truth, the streets were crowded with “bottle men, dope pedlars, razor slashers, sneak thieves, confidence men, women of ill repute, pickpockets, burglars, spielers, gunmen and every brand of racecourse parasite.”
I talk more about my influences here and here on Scalzi’s Whatever. Alert readers may notice that I contradict myself in those two pieces. What can I say? The influences on this book were many! But in short: blood, razors and ghosts.
So far the response in the USA has been pretty stellar1 with starred reviews from Publishers Weekly, School Library Journal and Kirkus (“a dark, unforgettable and blood-soaked tale of outlaws and masterminds”). The Horn Book Magazine said this: “Yoking paranormal thriller, roman noir, and historical fiction, Razorhurst teems with precisely realized period details and an expansive cast of unsavory characters, as well as numerous allusions to the films noirs and Sydney history that inspired Larbalestier . . . intensely lucid and sharp.” Yes, I am blushing.
Razorhurst was just named as one of Publishers Weekly Books of the Week along side the likes of Kazuo Ishiguro. Double blush! It’s also one of the twenty books picked for Amazon’s Big Spring Books: Teen & Young Adult. Really thrilled to be on that list alongside books like Courtney Summers’ brilliant All the Rage. I may spend the rest of my life blushing.
Go forth and borrow or purchase from your favourite library or bookshop. Here’s hoping you enjoy!2
Note: For those wondering why I’ve not been responding to tweets, emails, comments here etc. I’m still not 100% recovered and have to save my keyboard time for rewriting my next novel, which publishes in the US a year from now and in Australia in November. I still love you all and hope to be less silent soon.
What? I’m allowed to pun.And if you don’t here’s hoping you tell no one.
February 3, 2015
Short answer: pneumonia. Longer answer: mycoplasma pneumoniae
Apparently there’s a fair amount of it going around in Sydney in summer right now. So unjust. My bout was nasty and not short and my recovery is slow and annoying. Thus my silence online. I am now behind with everything and I have a rewrite due so my focus is on recovering and finishing the book. That’s why I’m not responding to emails and tweets etc.1
Being so sick reminded me—once again—that we build our worlds as if everyone is able bodied all the time—yet nobody is. Even if you’ve never had a day of sickness in your life, even if you’ve never even sprained an ankle, once you were a child.
We are all born utterly helpless unable to even raise our heads. As we learn to walk uneven surfaces are a challenge, stairs are a challenge. The built world is a challenge. And very little of it is altered to make things easier for littlies.2
Your strength and fitness will decline as you age. Even the fittest, healthiest ninety year old walks at a fraction of the speed they managed in their youth. They’re also a good deal weaker.
Yet pedestrian lights are all too often designed with barely enough time for someone young and fit to get across the road, let alone someone on crutches, or someone in their nineties, or someone looking after small children. Fire doors are too heavy for many people to open.
There are a million such examples. I’m too tired to list them all. We need to stop thinking that disability issues have nothing to do with the able-bodied. Being able-bodied is transitory, not fixed. We are all of us at some point in our lives going to be deeply grateful for ramps, automatic doors, and pedestrian lights that allow us to cross the road without being honked at by angry drivers.
I haven’t been on Twitter in weeks and probably won’t be back until this book is finished.There are some good reasons for that. Challenges are how kids learn to be stronger and fitter. But stairs and ramps can co-exist.
January 12, 2015
If you’re a man and you write a realist YA novel you’re more likely to win an award for it than a woman is.
Big claim I know.
Here’s some evidence about the awards side of the equation, an examination of most of the big awards in the Young Adult genre since 2000, compiled by Lady Business.1 They looked at not only US awards but the big Australian, Canadian and New Zealand awards too.
Here’s where I’m going by my own experience, i.e., yes, it’s anecdotal evidence. I believe the majority of authors published by mainstream YA publishers are women. Despite some—admittedly slapdash googling—What? I’m on a deadline—I don’t have the numbers to back that up. If you do have them please let me know and I’ll amend this paragraph. But I am pretty confident in asserting that YA is one of the most women-dominated genres there is.2
Here’s why: I’ve been told by many organisers of YA conferences and conventions that they struggle to get enough male authors to take part. Every time I’m at one of those conferences there are way more women than men. When I look through catalogues and lists of forthcoming titles from publishers they seem to run around 75% female authors. Yes, that’s a guestimate.
So let’s say that more than 70% of YA is written by women that means men are way overrepresented when it comes to award time winning 42% of the time rather than the 30% which would line up with their actual representation.3
We women writers of YA talk about this. We speculate about why it keeps happening. One of the reasons I’ve heard is that the givers of these awards are largely heterosexual women and they have crushes on the male authors and thus are more inclined to reward them. I think that’s total bullshit. Worse, it’s sexist bullshit.
Here’s what I think is going on. You’ll have to bear with me because it’s complicated.
First of all, we live in a sexist, misogynist world. Alas, awards are not given in a special sexism-free bubble. We have been taught from an early age that men are more important than women. There have been a tonne of studies—and if I wasn’t on a deadline and aware that I shouldn’t be writing this right now I’d link to some of them—that show that both men and women listen to men more than to women, that we value men more. That’s the culture we live in.
This permeates how we learn to read. Think back to picture books and those early primers. Now they’ve gotten a better over the years. But I have a two-year-old niece and, frankly, I’m shocked at how sexist many of these books are. Women are still predominately shown as parents and housewives and nurses and teachers and, well, you get the picture.4 I have to hunt to find books with girls and women shown as active and powerful as boys and men. Those books are out there, but wow are they lost in a sea of boys are everything. It correlates closely to what Geena Davis’s institute has found about movies and TVs. The majority of talking animals are still male.5
From an early age we’re learning boys are more important and boys have adventures. Then when we start reading proper novels we learn over and over, up through high school and then into college/university, that books by men are considered to be better than books by women. Look at the reading lists for most high schools and universities. Pretty much anywhere in the English-speaking world.6 Boy book after boy book after boy book. Plus some Jane Austen and Virginia Woolf.
We’ve been taught that good books, on the whole, are written by men and that good books, on the whole, are about men. Is it any wonder that we carry those unconscious views with us into our reading lives? Into our award-giving lives?
I’ve been on juried awards and I know many people who’ve been on juried awards. I guarantee you we are not going onto them deciding to give awards to men, deciding that women don’t deserve awards. Everyone on a jury wants to give the award to the best book. But unconsciously we’re valuing stories about boys, stories by men, more than those about girls or women. Even when we’re damned sure we’re not doing that. Yes, I have done this. Yes, it’s insidious.
But that is not the whole story.
There’s more to what stories are valued than who the protag is. Most romances are told from the point of a woman, but also of a man. That’s right in the majority of mainstream romances the man is telling fifty per cent of the story. Yet romance is rarely valued. Both fantasy and science fiction frequently have male protags. But they’re not valued highly either. That’s born out in these awards. Look through the winners of any YA award—other than the ones specifically for fantasy/science fiction/romance—the majority are realist. The majority of the nominees are too. In my cursory glance through I couldn’t find a single winner that could even at a stretch be called a romance and only a handful that fit the bill of being a crime novel.7
The only literary genre we are consistently taught to value during our formal education is realism i.e. Literature, which historically is a recent genre. Fantasy has been with us since we started telling stories. It’s by far the oldest kind of story we tell. But two centuries of realism dominating has left us consistently undervaluing fantasy and not considering it to be Literature.8
Learning to read is hard. I’m watching my niece take her first steps in letter recognition. She’s able to recognise her written name about half the time. It’s tough. But that’s just the beginning. We’re also taught how to read stories and novels. As I’ve noted, what we’re overwhelmingly taught to read, once we leave children’s books behind, is realism. So that’s what most of us are best at reading.
I’ve heard reports from frustrated genre loving friends on juried awards where the other jurors literally did not know how to read the fantasy, science fiction, romances etc. The non-genre reader jurors saw a book with a dragon in it and instantly decided it was derivative rubbish. Read a book where someone’s learning magic and said “Well, isn’t that just Harry Potter all over again?” They wondered why books were marred by “inserting” vampires/ghosts/werewolves/etc into the story.
They did not have the reading skills to recognise the ways in which this particular dragon book, and this particular learning magic book, this particular vampire/ghost/werewolf book was doing something that had never been done in that genre before because they’d never read that genre before. They had no idea. All these book read the same to them. Ditto with romance. They could not see how that particular romance was basically reinventing the genre because they’d never read a romance before.
Pity the poor genre-literate juror. They do not struggle to grapple with realism. They know how to read it. Everyone knows how to read it. But they have to sit and watch every single genre book be discounted simply because the other jurors don’t have the skills to read them. It’s mightily frustrating.
Romance, of course, cops it worst of all. Love stories are silly girls’ business. YA romances by women do not make it on to award shortlists. I suspect the publishers don’t even bother submitting them for awards. What’s the point? They’re discounted before they’re even read.
There are other factors to do with reputation and who is perceived to write the same kinds of books over and over again and who isn’t. Not to mention how a woman writing a traumatic story from a girl’s point of view is perceived to not be stretching themselves as much as a man doing ditto.10 How funny books are not valued as much as serious books. Domestic stories are less important than stories about war and so on and so forth. How certain writing styles are closer to the styles of writing we were taught in university/college were good writing: no adverbs! “said” as the verb of utterance! Blah blah blah! Basically a funny, romantic, fantasy book by a woman has close to zero chance of winning an award.
There are, of course, many other things going on—I did say it was complicated, didn’t I?—but that’s all I’ve got time for now.
Disclaimer: I want to point out that I felt free to write this post as a women who writes YA precisely because my books have not been overlooked. They’ve been shortlisted for and won awards. I have no sour grapes. I’ve been very lucky. If I didn’t feel that way I would not have written this.
I don’t believe anyone’s story is more important than anyone else’s. I don’t believe any genre is more valuable than any other genre.
I am so grateful to Lady Business for doing the heavy lifting and writing that smart, detailed report. You saved me from having no data to point to at all. Bless you!Romance, obviously, being at the head of that list.Though, you know what, I wouldn’t be surprised to learn that there are even fewer YA novels written by male authors than that. I think I’m guessing high.To be clear those are all hard jobs that should be paid and respected far more than they are. But they are stereotypically female jobs.Total mystery as to how talking animals manage to reproduce.I like to think that it’s better in non-English speaking countries. Don’t disabuse me of that notion.Though I would argue overall that crime is probably the most valued of the so-called “genre” genres. I believe capital L Literature is also a genre.For instance, retold fairy tales aren’t even eligible for the National Book Award in the USA. To which I say, WHAT NOW? But that would be a huge digression and this is already too long. I got a book to write.Well, unless they’re written by men and are not described as romances or even as love stories. And, well, there are quite a few examples in YA, aren’t they? I’m not going to name them.Same with a white writer writing a black protag as opposed to a black author writing a black protag. There are many other ways in which reader expectations mess with how they read books along the axes of race, class, sexuality etc.
December 30, 2014
Books Out in 2014
This was my first year with a new solo novel since 2009. Five years in between solo novels!2 I was nervous but it seems to have gone quite well.
Razorhurst was published in July by Allen and Unwin in Australia and New Zealand. The reviews have been blush-making. Including being named a book of the week by the Sydney Morning Herald, of the month from Readings Books and making Readings’ top ten YA books of the year and top 50 books by Australian women in 2014 lists, as well being the Australian Independent Bookseller’s No. 1 Children’s Pick for July. Although Razorhurst isn’t out in the US until March it’s already received starred reviews from the School Library Journal as well as Kirkus.
So, yeah, I’m more than happy with how Razorhurst has been received. Pinching myself, in fact.
Books Out in 2015 and 2016
I will have three books out in 2015. Two novels and a short story in a wonderful new anthology.
In India this month my story, “Little Red Suit,” was published in Eat the Sky, Drink the Ocean edited by Kirsty Murray, Payal Dhar and Anita Roy, but I’m going to pretend that’s 2015, as it will be published in Australia and New Zealand by Allen and Unwin in February. Isn’t that cover divine?
The anthology is an Indian-Australian collaboration with half the contributors from each country. Some of them worked in collaboration with each other to produce comics as well as short stories. I was partnered with Anita Roy and we critiqued each other’s stories. Hers is a corker. I can’t wait to see the finished book.
“Little Red Suit,” is a post-apocalyptic retelling of “Little Red Riding Hood.” Fairy tales were the first stories I ever told so it was lovely to return to the form. As I’ve mentioned, once or twice, I am not a natural short story writer. They are much more of a challenge for me than writing novels. So much so that I kind of want to turn this story into a novel. (Almost all of my short stories are secretly novels.) I hope you enjoy it.
In March Soho Teen will publish the US edition of Razorhurst. I am very excited and will be over there in the US doing events in California and New York and Texas and possibly some other states. I will keep you posted. Yes, the Soho Teen edition will be available in Canada too.
Then in October I’ll have a brand new novel out with Allen and Unwin.
Let’s pause for a moment to digest that: in October there will be a brand new Justine Larbalestier novel, only a year later than my last one.
I know, brand new novels two years in a row! I’ve become a writing machine!
The new novel hasn’t been formally announced yet so I can’t tell you much about it other than it’s realism set in New York City, told from the point of view of a seventeen-year old Australian boy named Che.
The new novel will be published in the USA by Soho Press in March 2016.
What I wrote in 2014
I spent this year writing and rewriting the new novel. As well as rewrites, copyedits and etc. of Razorhurst. My novels, they go through many drafts.
And, me being me, I started a brand new novel out of nowhere, inspired by . . . you know what, it’s still a tiny whisper of a novel. I’ll wait until there’s a bit more before I start talking about it in public.
Then just a week or so ago I got the idea for yet another novel. So who knows which of those I’ll wind up finishing this year.
I continued blogging and managed to blog roughly once a week for most of the year. The most fun I had blogging this year was doing the Bestselling Women’s Fiction Book Club with Kate Elliott. I was very bummed when deadlines and travel forced us to call it quits. Here’s hoping we can get it started again some time in 2015.
I plan to blog even more next year. Er, tomorrow. Blogging, I love you no matter out of fashion you are. *hugs blogging*
Writing Plans for 2015
Well, obviously, there’ll be more rewrites and copyedits and etc for the new novel.
Then I plan to finish one of the novels that came out of nowhere. After that, well, who knows? Will I finally get back to the New York Depression-era novel(s)? The snow-boarding werewolves? The fairy godmother middle grade? Or one of the many other novels I’ve been working on for ages? Or something else that comes out of nowhere? Given that my last three novels came out of nowhere that would be the safest bet.
All of this writing is possible because I’m still managing my RSI as I described here. I’m continuing to be able to write as much as six hours a day. The few times I’ve written longer than that I have paid for it. It’s good to know my limits.
Travel in 2014
I was in the US briefly in June and then again in Sept-Nov, accompanying Scott on his Afterworlds tour. It felt like we went everywhere. Both coasts! Or all three if you count Texas as the third coast. Also Canada. It went fabulously well. Scott’s fans turned out in great numbers and many book sold and I met heaps of wonderful librarians and booksellers and readers and writers and some of them had already read Razorhurst thanks to my wonderful publicist at Soho Press, Meredith Barnes. It will be fun to go out on the road again in March.
Reading and Watching in 2014
My favourite new writers are Brandy Colbert and Courtney Summers, who both write realist contemporary YA, which I’ve gotta be honest is not my thing. That’s why I read a tonne of it this year: to learn and to grow. Both Colbert and Summers are dark and uncompromising almost bleak writers. Their books made me weep buckets. But there’s heart and hope in their novels too. I’m really looking forward to more from both of them. Courtney’s next book, All the Rage, will be out in early 2015.
I also read heaps of non-fiction this year. A Chosen Exile by Allyson Hobbs is a wonderful history of passing in the USA, which centres those who chose not to pass as much as those who did, and looks closely at the reason for deciding either way and how they changed over time. African-American family life is at the centre of this excellent history.
One of my fave new TV shows is Faking It because it’s silly and funny and kind of reminds me of my high school days at an alternative school though, you know, more scripted. I also love Cara Fi created and written by a dear friend, Sarah Dollard, who is a mighty talent. It’s set in Wales and is sweet and funny and feminist and touching and you should all watch it.
2014 was awful but there’s always hope
Although 2014 was a wonderful year for me professionally it was an awful year in both of my home countries, Australia and the USA, and in way too many other parts of the world. I would love to say that I’m full of hope for change in the future. I try to be. The movement that has grown out of the protests in Ferguson is inspiring and should fill us all with optimism. But then it happens all over again.
In Australia we have a government actively undoing what little progress had been made on climate change and stripping money from all the important institutions such as the ABC, CSIRO and SBS. This is the most anti-science, anti-culture and, well, anti-people government we’ve ever had. The already disgraceful policy on asylum seekers has gotten even worse and Aboriginal Australians continue to die in custody.
Argh. Make it stop!
May you have a wonderful 2014 full of whatever you love best and may the world become less unjust. Speaking out and creating art that truly reflects the world we live in goes part of the way to doing that. At least that’s what I hope.
Yes, here in Sydney it is the 31st of December. I’m sorry that you live in the past.Yes, I had a co-edited anthology and a co-written novel in those five years but you would be amazed by how many people do not count collaborations as being a real novel by an author. I don’t get it either.If you’re from the US think Printz or National Book Award only plus money. That’s right in Australia if you win a literary award they give you money. Bizarre, I know.
November 30, 2014
Here are two “facts” about writing I’ve been hearing lately that I must beat until their stuffing falls out and their non-factness is apparent to all.1
1. On average published authors write 2-3 novels before publication.
Um, what? How was such a statistic arrived at? Where does it come from? Why is everyone repeating it? Oh, who cares. It’s irrelevant.
It does not matter how many novels other authors wrote before they were published. It has no effect on you. I wrote two novels before I was published. Scott sold the first one he finished. I know of authors who wrote more than twenty novels before they finally sold one. Who knows what your path will be?
It’s like asking an agent how many authors they sign per year on average. Knowing that doesn’t increase or decrease your chances. The only thing that will increase your chances of finding an agent to represent you is writing a book an agent likes. It could be that the agent who falls in love with your book will take on no clients but you that month or year. Or they’ll take on ten. It doesn’t really matter as long as they fall for your book and your writing.
Being above or below this random number of 2-3 written books before selling first book makes zero difference to your writing career. It predicts nothing.
That stat is only useful if it helps people realise that selling your first novel is unlikely. Though, yes, it happens. In publishing pretty much everything has happened. Learning to write well is a long process. As I have chronicled it took me years to learn how to rewrite.
2. People’s second published novels are always much worst than their first.
Crap. Bullocks. Rubbish. Bulldust. Wallaroo droppings.
Yes, people talk about second-novel syndrome. But it mostly applies to people whose first novel was a huge success. Surprise! The vast majority of authors do not have a run away bestseller with their first novel. Therefore they do not have the over-the-top pressure for their second book to be as successful as their first.
Most novelists don’t have a huge hit with any of their novels. And for those that do get lucky? Well, it can happen with their fifth or sixth or tenth or whatever-th novel. Sometimes in the wake of all that attention and money raining down on them it can take a long time to write their next book.
I don’t think there is a second-novel syndrome; I think there’s next-book-after-a-huge hit syndrome.
Now I’ve cleared that up, let’s take a moment to consider what people mean by the second novel. Shockingly some authors’ second novels were written before their first novels, which is the case with Jonathan Lethem. Michael Chabon’s second novel was the third novel he wrote. My first published novel was the third novel I wrote.
Often we don’t know what order novels were written in. All we know for sure is the order in which they were published and, why, yes, there are many authors with super successful second novels whose second novels were better than their first.2
There’s Jane Austen’s second novel, Pride and Prejudice, which you may have heard of. Many consider it to be her best. I love P and P but for my money Persuasion is her finest work. Scott’s second novel Fine Prey is way, way, way better than his first Polymorph. Patricia Highsmith’s first novel, Strangers on a Train, is an amazing debut but I reckon her second novel, Price of Salt/Carol, is much, much better and breaks my heart every time I read it. Then there’s Infinite Jest, which I’ve never been able to finish, so not my thing, but which was certainly more successful than his first novel.
I could go on like this all day long. There are many great second novels and great third, fourth, fifth, sixth etc. novels. Most novelists get better the more novels they write. Usually, the more you do something the better you get at it. It’s called practice and training and like that. With most of my favourite living writers it’s their most recent book that’s their most accomplished.
I would argue that amazing debut novels are the exception not the rule. I’l blurb a flawed debut novel. I expect debut novels to be rawer. I cut them more slack because they’re a novelist’s first baby, their first attempt at that impossible task: writing a perfect novel.
In conclusion: most so-called “facts” about the writing life are no such thing. Every writer writes differently. There are as many different paths to publication as there are writers.
Or, you know, the people who read this blog. Both of them.In these discussions the word “successful” is usually used to mean “sold lots of copies.” I don’t think that’s the only measure of a book’s success. Quite a few of the so-called second-book failures are quite good. They simply failed to sell as well as the first.Yes, there are exceptions. No, let’s not name them.
October 5, 2014
I’ve not been blogging much because I’m accompanying Scott on his Afterworlds tour. So far we’ve been to Raleigh, Lexington, Louisville, Philadelphia, Washington DC, St Louis, Chicago and Milwaukee. And there’s much more to come. Check out the rest of the tour here. I’d be delighted to sign anything you want signed but mostly I’m just happy to say hi and chat.
We’ve had many adventures so far including staying in what I swear was a haunted hotel. Uncannily cold temperatures? Check. Eerie cold winds that came rushing out of the elevators/lifts? Check. Strange rustling sounds in the hotel room in the middle of the night? Check.
If you haven’t read Afterworlds yet you should. It’s definitely Scott’s best book so far.
Hope to see some of you soon!
September 17, 2014
I no longer dread the question “Where do you get your ideas?” That’s because I finally figured out the answer.
Don’t get me wrong I’ve answered it a million times over my more than ten year career as a writer. I’ve nattered on about brain monkeys, ends of rainbows, stealing ideas from Maureen Johnson, ideas not being that important, blah blah blah.
The actual answer does not involve light bulbs or muses or brain monkeys or Maureen Johnson. Well, not directly. My true answer involves lots of work. I apologise for the lack of glamour.
Here’s what I realised: I’ve been practising getting ideas and turning them into stories for most of my life. Just as an athlete develops the muscles and reflexes necessary to be able to play their sport by training and playing for many, many years, so do writers develop their story-creating muscles.
I started when I was little. As I suspect many novelists do. I was one of those kids who was forever coming up with whatif scenarios.
My Parents: “Don’t answer the door if we’re not home.”
Me: “What if it it’s someone saying the house is on fire?”
MP: “They’d shout through the door.”
Me: “What if they’re mute?”
As you can see I’m already building a story. There’s a child at home alone, there’s a fire, and the only one who can warn the child cannot speak. What happens next? Will the parents get home in time? Will the child survive?
MP: “Don’t hit your sister!”1
Me: “But what if hitting her is the only way to kill the tiny alien that’s attempting to crawl in through her pores?”
MP: “There is no excuse for violence under any circumstances.”
Me: “But what if . . . ”
MP: “What if we say no more books for you until you turn 30?”
Me: *side eyes parents*
Here we have a world in which there are nano-aliens who can get inside us through our pores but who can also be destroyed by squashing them. What happens if they get inside us? Do they eat us? Turn us into pod people? How did they get here? Have they been here all along? Are they only after little sisters?
I played at what ifs almost every day of my childhood. When I wasn’t tormenting my parents and teachers I was making up stories for my sister and then for my friends.
If I lost a book before I’d finished it I’d make up the ending. Ditto for movies and tv shows I didn’t get to watch all of.2
It becomes a habit to start extrapolating possible stories out of, well, pretty much anything. Why is that banana peel on the ground directly outside a jewellery store? Genetically enhanced monkey jewel thief. Obviously.
When I overhear odds snatches of conversation I extrapolate the rest of the conversation and the story it’s part of. It’s fun to imagine whole lives and adventures for the people I overhear on the tram.
Having done this every day for decades now it’s no surprise I get ideas for novels many times a day. I see a fantastic tweet like this one:
When the teacher asks you to stand up and tell the class a little bit about yourself on the first day pic.twitter.com/IY8gMcXebl
— Shakira (@shakiraevanss) August 29, 2014
And I start thinking about writing a novel where a kid does that on their first day of school: walks in dressed very fine, holding a big sign that says FEMINIST. The rest of the novel would be them slaying the evil trolls, defeating the misogynist school board and principal, and saving the world.
When you get a bunch of writers together they often do this, bounce ideas off each other, extend them into a story. Whatif-ing each other for hours. It’s how collaborations often begin. That’s how Sarah Rees Brennan and I wound up writing Team Human together.
Of course, I pretty much never write the novel if I’ve already figured out how it ends. When ideas really spark for me I have to start typing. But even then I have oodles of half sketched out beginnings of novels, sometimes several chapters, sometimes just a paragraph or two, sometimes no more than a few lines. A very small percentage of these ever become novels. All that practise turning ideas into story pays off every time I finish another novel.
There is, alas, a huge distance between coming up with ideas, extrapolating a story, and turning them into a fully fledged novel. The first two are a matter of moments; the latter a matter of months, if not years. But without the ideas the novels never happen.
Finally, to tie this into Scott Westerfeld’s marvellous series on how to write YA, extrapolating about other people’s lives is a great way to build empathy, which Scott argues is one of the most important functions of a novel.
I was a truly awful older sister. I’m not kidding. It speaks volumes as to what a fabulous sister I have that she forgives me.Punishment meted out by parents. Possibly for asking a few too many what ifs.
September 11, 2014
Apologies to those reading along with us but alas, travel, deadlines, and sundry other things have crashed down upon Kate Elliott and I and we will not be doing the book club for the next few months. We hope to resume next year.
In the meantime you can find our discussions of the books we’ve already read here.
Thanks to all who’ve been taking part. We’ve learnt a lot.
September 6, 2014
Today the Sydney Morning Herald is running my entry in their long-running Books That Changed Me series. I struggled mightily to get it down to four. Especially as they initially told me I could name five. There are too many books that have changed me! Too many books that I love with every fibre of my being!
The four that made the cut:
Kylie Tennant’s Foveaux (1939) is a novel that reads like history. Like geography. Almost geology. It’s slow, there’s no plot to speak of, it’s everything I don’t like about literary novels. I love it. Tennant lays bare Surry Hills from before the first world war up to the first hints of the next war. She swims in her joy at the Aussie vernacular. It’s bloody bosker.
Angela Carter’s Bloody Chamber & Other Stories (1979) because, well, fairy tales. When I was little I made up my own, and the ghostly echo of “Once upon a time” shapes all the fiction I’ve ever written. But it wasn’t until I read this explosion of a collection that I realised how much could be done to fairy fales, and how much they could do to me. Carter taught me the anatomy of the fairy tale and how to make use of the viscera.
I give people Jacqueline Woodson’s If You Come Softly (1998) when they demand proof that novels for teens (YA) can be as good as the best novels for adults. In a scant 200 pages Woodson delves deep into New York City’s geographical, class, and racial fissures, and then she breaks your heart.
About Writing (2006) by Samuel R. Delany is the smartest book about writing I’ve ever read. In a series of letters and lectures Delany leaps from the intricacies of punctuating dialogue, to those of creating character, to existential questions about what it is that a writer can make a reader know. Delany with both his fiction and his non-fiction changed the way I write and how I think about writing.
These are the ones I couldn’t include:
I don’t know how old I was when I first read Jane Austen’s Pride & Prejudice (1813). Very young. I’ve read it so many times that I could probably read it from memory. Yet every time I read it I find something new. On the last reread I focussed on the world of the servants. The time before that on her extraordinary world building with her razor focus on economics. It’s true that Persuasion (1818) is now my favourite of her novels but it was not the one that changed me when I first read it as a pre-teen.
I’ve always read True Crime as well as fictional crime. Always veering towards the dark: Patricia Highsmith, Jim Thompson, Walter Mosley, Denise Mina. At their core are these questions: What is evil? Why do people do evil things? Why are we fascinated? I picked up Vincent Bugliosi’s Helter Skelter (1974) when I was very young and didn’t know who Charles Manson was and hadn’t thought much about the question of evil. This book meant I never forgot.1
I didn’t know which Octavia Butler book to pick. They’re all amazing. Even Survivor (1978), an early novel that she never wanted to see in print again. I read in the bowels of the Rare Books section of University of Sydney. It’s not her best but it’s still better than most every other novel by anyone else. Her stories in Bloodchild & Other Stories are a revelation. Each one perfect in a different way from the last. Read everything she wrote!
Courtney Milan is my favourite writer of historical romances. She’s brilliant at torpedoing the constraints of the genre while working within it. Take Unclaimed (2011) in which a courtesan has to seduce a Victorian rockstar professional virgin who’s written the book on how to be celibate. She neatly upends the heroine as virgin; hero as rake paradigm of most historical romances and she does it with wit. Her latest, The Suffragette Scandal is her best book yet.
These fiction writers showed me what was could be achieved. They taught me to push past the constraints of genre and to think about the impact of every word. They changed me as a writer and as a person. I heartily recommend them all.
This is the one book on the list that I can’t wholeheartedly recommend. But I think it’s important to note that some books that change you aren’t particularly good.