Ellie Marney's Blog, page 17

#LoveOzYAbookclub Nov 2017 Author interview: Fleur Ferris (WRECK)

Excuse me for being a bit late – I’ve been crook – but I’m glad I managed to get this interview in front of you before the end of the month! Our discussion post for WRECK will be going up late this week, but it’ll work out okay because everything slows down in the lead up to Christmas: as is my wont, I’ll be scheduling a title for December2017-January2018 that will take us through the end of the year and into the New Year.

I’d like to say thanks so much to Fleur Ferris for visiting with us today, and answering our crazy bookclub questions. Fleur grew up in Patchewollock, a rather isolated spot in north-west Victoria (near Ouyen) and then moved around a lot, pursuing careers in the police force and as a paramedic. Her first book, RISK, took the Australian book charts by storm on its release in 2015. It went on to win two categories (YA and Debut) in the 2016 Davitt Awards, and the Australian Family Therapists’ Award for Children’s Literature, as well as being listed for the YABBAs and the Indie Book Awards.

Fleur’s second book, BLACK, and the book we’re reading, WRECK, have been favourites with Australian librarians and readers. Fleur now lives on a rice farm in southern NSW with her husband and three children. Read on to find out more about Fleur’s best defence in a zombie apocalypse, her fave writing book, and which horror movie she would inflict on her friends…

The best opening line from a book, in your opinion, is:

“There are two things I know right now: one is that a guy is holding a gun to my head, the other is that I don’t want to die.” The sky so heavy by Claire Zorn.

This line hooked me in the shop. I stumble-read my way to the counter and gave them my money.

The zombie apocalypse strikes, but it’s okay, cos you have your choice of weapons, and you choose…:

I’m terrified of zombies so I’d fight them from a distance. I’d choose a Eurofighter Typhoon which is a twin-engine canard-delta wing, multirole fighter. I’d strike with bombs and then fly away to a zombie free island just in case any survived.

Rec us a book on writing craft, would ya?:

Save the cat by Blake Snyder.

It’s a screenwriting book, but it helped me with novel writing too.

Horror Challenge – which fave horror movie would you cheerily inflict on your friends?:

The Ring.

It’s an oldie but a goodie. I still remember the tagline: Before you die, you see. And then you watch it and YOU SEE. OMG. I was certain I was going to die and I sat on the sofa in the dark for ages, too scared to move.

Your book has been the basis for the development of a new theme-park ride.  What’s the ride like and what is it called:

It’s called Wreck: Sink or swim. This ride/game goes for 24 hours and you need ten people to play. There’d be a luxury yacht, Land and Sea, which sleeps 10, in the middle of a pretend ocean. Holograms would make you only see beautiful calm water and sunny skies. They have full gourmet catering and bar. Party time! But then a storm brews and as it intensifies the people have to make decisions about what to do, call a rescue chopper or head for calmer waters. Of course the chopper can’t fly in the storm and the boat hits a reef and rolls onto its side and sinking is imminent. The intensity of the storm increases to a stupid level and makes it really challenging to release and then get to life boats or rafts. The aim of the game to see if the people can make it out alive.

Thanks Fleur, remind me not to go on a luxury cruise with you, lol…and thank you all for reading! See you round for the WRECK discussion post, coming soon.

xxEllie

#LoveOzYAbookclub – November 2017 title announcement: WRECK

We’re reaching the pointy end of the year now, when everything seems to speed up and you realise you haven’t even thought about Christmas gift shopping, or what’s happening when the summer holidays start (it’s coming into summer here, if you’re from someplace Not Australia). This is when my list of Things To Do begins to get excessively long and detailed, and chores pile up…

Thank goodness I can still retreat to a good book.

WRECK is Fleur Ferris’s third book – her debut title RISK was one of the hottest things on the OzYA school library circuit and made background-scenery guest appearances on Home & Away, and her second book BLACK garnered international attention too. Fleur lives on a farm in the Mallee area, and writes around the requirements of farming and householding, which makes me admire her even more, plus she’s got some amazing history: she used to be a police officer and a paramedic, so she really knows her stuff.

WRECK is about a girl who decides to be that elusive thing: a journalist who only writes good news. At the end of her high school years, Tamara Bennett is all primed to quit her small town and enjoy the delights of O-Week (university orientation week) with her mate Relle. But then Tamara gets caught up in a five year-old mystery, which sees her running for her life…

As a former cop, Fleur is well-placed to write a crime thriller, and I think you’ll find that WRECK doesn’t disappoint. The action is strong in this one, ObiWan, and Tamara is a bit of an older protagonist, so things get very stressful very early on. The dual POV is going to keep you guessing – which side of the story do you want to believe? – and there’s plenty of authentic detail to bind the story.

You can find WRECK at Boomerang Books, and if you use the ‘loveoz’ code you’ll get free delivery. Join the conversation about the book here in comments, or on the #LoveOzYAbookclub Facebook page. I’ll let you know later in the month when will Fleur drop around to tell us more about WRECK, and her writing life.

This is our second-to-last book for the year; we usually have one more book in December that rolls over into discussion in late January. I hope you’re all revved up for the year’s finale, and I hope you enjoy WRECK!

xxEllie

WHITE NIGHT cover reveal and god bless cover designers

Here it is!

I’ve been waiting since July to show you the incredible cover for my new book, WHITE NIGHT, and I’m sooo relieved to finally be able to share (I was just about ready to blow a gasket, holding this news in), so I do hope you like it!

http://www.elliemarney.com/wp-content/uploads/2017/11/DNmHfA3UMAA1TPM.mp4

 

 

Is it not BEEEWWDDIFULLL? Oh my gosh, it’s gorgeous, and I want to publicly thank Debra Billson, the incredibly talented cover designer from Allen & Unwin for gifting me with this thing of such beauty!

WHITE NIGHT comes out in March 2018, and I’ll be sharing the back cover copy with you very soon.

If you’d like to get up-to-the-minute news about new releases, events, what I’m working on, plus sneak peeks at work in progress, go to the Home page (or the Contacts page…or the Books page…lots of places really!) and sign up to receive my monthly newsletter. This month I gave away a 3-book prize pack to new subscribers, plus a special NO LIMITS pack to a current subscriber! (I do that stuff sometimes).

Hope you’ve enjoyed the look at the upcoming book cover, and see you soon!

xxEllie

#LoveOzYAbookclub October 2017 discussion post – THIS IS SHYNESS (Leanne Hall)

Wolfboy is getting restless. ‘Are you ready to go?’

I grab one of his hands and pancake it between mine. His eyes are so dark, I think of the impossibility of ever really knowing him.

‘One more thing. See all this…’ I look up at the stars and the lights and the velvety night and the strange, strange world. ‘This is all we have, just this. Just now.’

It’s the little things – the stars and the lights and the velvety night and the strange, strange world – in THIS IS SHYNESS that really get me. Leanne Hall’s prose is so subtle and sweet, so very rich. It’s a bit like eating pop rocks too – that tangy smell, and the short explosion of taste in your mouth…and then they’re gone. I loved everything about Wildgirl and Wolfboy’s adventure. I wanted to meet the Kidds, and kiss a pirate – I even wanted a tarsier of my own! I wanted the long night to never end, and I was perfectly happy with the vague ending, full of promise and hope.

But what did you think? The Book Smugglers declared that describing THIS IS SHYNESS is ‘like describing a Dali painting to someone who has never seen one.’ In spite of the difficulties, let us know what you thought of the book, your reading experience, and whether you’ve read on to the sequel QUEEN OF THE NIGHT, or any of Leanne’s other books.

You can leave a review here in the comments, or on the thread at the #LoveOzYAbookclub Facebook page. If you’re time-poor, you’re also welcome to leave a star rating. And if this book didn’t take your fancy, we’ve got another just on the horizon: I’ll be announcing the title of November’s read very soon, so please stay tuned, and happy reading!

xxEllie

October 2017 Newsletter Giveaway

This month I’m giving away a bunch of stuff to new and current subscribers to my newsletter. See the pretty pic? Check it:

New subscribers get:

-a two-chap excerpt of NO LIMITS on arrival (through BookFunnel on all e-platforms)

-a chance to win a 3-book prize pack: a copy of EVERY BREATH, BEGIN END BEGIN and NO LIMITS, all personalised and signed.

-first newsletter has a sneak peek of my WIP, CIRCUS HEARTS

Current subscribers are already in the running to win a NO LIMITS prize pack: personalised, signed copy of the book, plus a poster and a set of postcards.

All giveaways are open for Australia and international.

Plus, subscribers get the usual from me: sneak peeks of new work, deets of events/specials/giveaways, behind-the-scenes gossip about what I’m writing, first looks at new releases (WHITE NIGHT is coming soon! That cover is about to go live), book recs, horrendous Aussie slang and more.

This subscription drive giveaway is going until Nov4, when the new November newsletter drops. If you haven’t signed up, it’s as easy as clicking on the link on my Home Page. So get on that!

xxEllie

Dealing with your Edit Letter

I haven’t written for the blog in a while, because I haven’t really found a topic that interested me enough to drag me away from my WIP. But I recently read an article by designer Mike Monteiro called How To Read A Client E-mail, which was full of wisdom about how to deal sensibly and sensitively with client feedback and requests. While I was reading, I thought, ‘This would be equally applicable to edit letters’. There are a number of parallels between dealing with a design client and dealing with your editor. I also hear from many writers that receiving their edit letter is stressful, and nobody really explains how to handle this stuff, when you first climb aboard that wagon, so here we are.

Let me say first that the advice here is mainly applicable to people who either aspire to being traditionally published, or who are currently encountering the processes of traditional publishing. I guess it could be equally applicable to those who are self-publishing, and have received their first developmental edit notes. I’ll mention later how these paths diverge. But for now let’s assume you are a trade author, or would like to be.

First of all, you wrote a book. Congratulations! That part is hard, and you did it. I hope you’ve rewarded yourself, in some small way at least, for finishing. Have a glass of wine. Have three. But make sure you’re sober when you get your edit letter.

Now, if you don’t mind me being a bit forward, can I ask if you wrote this book on proposal? You did, right? Maybe, if you’re a baby author, you just crunched that sucker out, hoping someone from a publishing house would like it enough to take a chance on it. That’s how most of us start. For future reference, though, it’s a good idea to make sure your next manuscript is under contract before you write it. That’s the pro way to go. Because writing a whole book is difficult and time-consuming work, and will likely take time away from your day job and family life. You need to have some certainty about whether that work will be recompensed.

I’m not saying you have to have a contract. I know many writers who prefer to write without a contract deadline hanging over them. That’s fine. It’s good when you’re actively creating to think about the art first and the money later. But I will say now – your professional writing career is a business. Art is art, and if you want to make art, that’s great. But if you’re making art with the express intention of selling it, then you need to be business-like.

Here’s something important to remember: your writing is both Art and Product. I’m not saying that your book is a widget that can be replaced by another widget. But a book for sale on a shelf is a product. The grey area between ‘the art’ and ‘the saleable commodity’ can be tricky. So here’s a question for you: Did you write this book with the plan of sticking it in a drawer? No. You wrote it to pitch it for sale. And your publisher is planning to sell it to many more people, because that’s how their business works. So please don’t tell me you wrote your 100,000 word manuscript on spec, without some tangible assurance that you’re going to get paid. I’ve been there, okay? And it’s painful to have your hard work rejected.

It’s important that you understand this conflation of Art and Product. Because your publisher understands it. And that’s how they approach it. They have to do what’s right for their business and you have to do what’s right for yours.

So c’mon – get a contract.

Now everyone’s on the same page and we all know where we stand. Excellent.

The next thing you should consider, probably before you send your book off to your editor is: Did you get your book beta read? Because you need that. It’s good to have a second opinion before you send your book to an editor. Give it to a beta reader – someone who you trust. Maybe a friend, maybe family, but not someone who will just tell you that every word you write is made of gold. You want an honest opinion, not a general gushing ‘This is sooo great!’ because that kind of feedback isn’t useful.

Let’s assume at this point that you’ve written your book under contract, received a second opinion about it from a beta, then given it to your editor – yay. But now you’re about to receive feedback and edit notes. And you’re anxious about that, and about what your editor might want to change.

This is all perfectly normal and understandable, because you’re still emotionally attached to the Art part of your book: the beautiful-writing, dreaming-about-characters, emotional energy of creation part. A good editor is sensitive to this (and there are many good editors – most editors are lovely word nerds, just like you and me, who aren’t appropriately paid for their dedication and hard work, imho). You need to remember that your editor is not trying to piss you off, or strangle your vision, or straitjacket your art, okay? All they want is to work in a collaborative way with you to make your book the best it can be. This is in their interest after all: they want to publish something that’s attractive to their market (readers) and will sell well. You don’t want an adversarial relationship with your editor. That’s counter-productive for everybody.

So here we are. Let’s imagine your editor’s email has just dropped into your inbox. And you’re a bit scared to open it, and how things might proceed from there. I’m going to follow some of Monteiro’s suggestions very closely at first, because they’re very sensible, and also because – for the purposes of the editorial process to arrive at a finished product, aka Your Book – your editor is your client. Yes, that’s right. The publisher has bought your work, and now they are tweaking and adjusting it to create a saleable commodity. And it is your job to facilitate this process.

Now this is what I suggest you do:

First – Read: Read the email and edit notes all the way through. Don’t jot things down or think too much, just read it to the end. Okay. Breathe. Breeeeeaaathe.

Second – Step Back: Step away from it. Go for a walk, watch some TV, have a coffee, do some exercise, have a cry… Whatever you need to do to let off steam about it. This allows you time to process, and cool down (if anything in the email made you upset or angry). Don’t feel bad about having an emotional reaction. Sometimes just the act of receiving edits can create Strong Feelings, and that’s okay. Also, see above: you’re still emotionally connected to the art.

Take note of your reaction. Then remember: Your publisher likes this story – that’s why they bought it (you’ve got a contract, right?). So don’t panic. This process is just a matter of honing a rough cut diamond into a glittering gem. You’ll work it out.

Third – Reply acknowledgement: Come back to your desk and reply to your editor. Just something simple, like ‘Thanks for sending on these notes. I’m reading them carefully, so I understand everything, and I’ll reply as soon as I’ve gotten through them.’ That’s it. Don’t write anything more. Just a simple acknowledgement to your editor that yes, you’ve received their instructions, and you’re examining them. Send that off.

Fourth – Read again and compile notes: Once you’ve calmed down (that may be the same day, but I recommend you sleep on it), read the email and edit notes again, all the way through. This is when you get out handy pen and jotter, and start to jot things down. Alternatively (which is what I do) paste the body of the letter into a document with a two-column table. In one column, paste in all the questions, statements and concerns from your editor, line-by-line. In the other column, you can start roughing out your responses.

You will most likely have a meeting to go through all these things. It might be a face-to-face meeting, or a phone meeting. Either way, you need to be prepared for both the meeting and the logical next step, editing your manuscript. So take notes on the edit letter. Here’s some things to take note of:

Note the compliments you’ve received from your editor. A good editor will give you some positive feedback before launching into a laundry list of manuscript flaws. Accept those compliments (good job!) and move on.
Note where your editor asks questions. Editors generally ask a lot of questions, testing the logic and continuity of the story from all angles, which is a good thing. Do they ask about characters’ motivations or personal backstory? Or maybe they ask about what happens when? Or they might want to know what exactly you meant to say at a certain point? Note all those questions. For some of them you will have a ready response, but others will need deeper consideration. Remember: This is your story. Nobody knows this world, these characters, like you do. So you should be able to figure out answers to these questions (and if you can’t? maybe your editor has a point, and you need to flesh that part out, yeah?).
Note where your editor gives specific directives. Statements such as ‘I didn’t have a clear idea of where this scene was located, we need to add some details here’ or ‘There is an excess of description in this chapter, which will need to be trimmed’. These are all things you can correct. Make another note in your second column to ask your editor about these items if you don’t have a strong idea of what you should do to correct them. Questions this time will flow from you to your editor – ‘Reduce from four pages to two?’ or something of that nature.

Fifth – Dealing with non-specific critique: Now comes the tricky bit. Sometimes your editor gives comments that aren’t focused directives or questions – phrases like ‘This isn’t really working’ or ‘This character seems a bit boring’, or ‘This scene feels out of place’. They might even offer a suggestion (‘Can we cut this character entirely?’) that freaks you out.

This is the stuff that sends writers into a panic spiral – ‘But that character is really important!’ or ‘Omg, my editor just doesn’t get my story!’

Breeeeaaathe. Don’t panic.

First, try to narrow down whether there’s actually a problem, and what the problem is. If your editor doesn’t provide any more direction than ‘It’s not working’, then make a note in your second column asking them to clarify. Questions again flow from you to your editor: Ask why they think it’s not working. They should be able to justify their concern with more than a vague ‘it’s the vibe’ kind of answer, especially if they’re suggesting a radical change.

Remember: Your editor is offering an outsider’s perspective. They’re suggesting that their vision of the story (as a reader) doesn’t seem to gel with yours (as the writer) at this particular point. And a writer’s job is to be a master of communicating a vision in words. So if your editor can justify that there’s a genuine problem – a disconnect between the reader and your vision at some point – then it’s good they picked it up. Rough cut diamond into glittering gem, remember? Your editor is simply seeing a problem, then making a suggestion for how they think the problem might be corrected, because that’s their job.

Read through your editor’s idea carefully, and consider whether it improves on what you’ve already written. If it’s an improvement, great. If it’s not, you’ll need to explain why your editor’s suggestion won’t work – because your editor will want to know why – and find a better solution.

If your editor can’t clarify what the problem is, and it’s sticking in their craw, then you really need to talk that out. Non-specific critique requires active discussion. These are good things to work through in the meeting. Nail that shit down, or it will come back to bite you on the arse. You need to iron these issues out before you begin any changes.

Remember: you’re not changing anything yet. Don’t go charging off and altering the manuscript before you’ve clarified things. And don’t follow vague suggestions like, ‘Can you work up two versions of this chapter so we can compare them?’ No, you can’t. Because that’s a lot of work, and as Monteiro points out “you’re not giving them taste-tests. You’re not running a froyo shop”. Find out what the problem is first, and then prepare to problem-solve.

There’s always a possibility that the editor’s vision for the story is really at odds with the writer’s. Sometimes the acquiring editor, who loved the book, isn’t the editor working on developing it. It’s unfortunate, but it happens. If you’re under contract, then have that meeting asap. At the meeting, you’ll need to negotiate like visions for the book. You need to make sure you and your editor are working in tandem going forward, or you’ll be in a world of pain. Don’t fuck around at that meeting – get a clear, mutually-agreed-upon vision. Figure it out. You can do that, because you’re a creative, and a professional, and your book is under contract, so everybody wants a happy ending.

Sixth – Reply email: After you’ve compiled everything, write a short reply email. Thank your editor for the compliments and developmental advice (editors should be thanked more often). Tell them you have questions. Ask your questions on editorial directives (‘Reduce from four pages to two in chapter six?’) as simple dot points. Then get your ducks in a row – list some of the things you want to discuss, including the need for clarification of non-specific critique issues.

Tell them you’re looking forward to talking over everything at the editorial meeting. Suggest a date for your meeting – sometime in the next week or two, so you’re not sitting around anxiously waiting. The meeting will take some time, so make sure you’re not in a rush that day. Ask about the timeline, so you know how long you’ll have to complete changes after the meeting. If the timeline is tight, bring the meeting forward. You can’t have a meeting then turn around edits in 24 hours – again with the froyo shop. Make sure you’ll have the time you need to do a good job. Your editor should be wholly amenable to that.

Before the meeting: Stay busy. Keep working on another book (you should be doing that anyway), or tend to your neglected family, or your day job, or your hobby, or whatever.

After the meeting: You should have a clear idea of what you’re doing, and a timeline to do it in. Great. Get on that.

Note for self-publishing authors: The same rules apply for all the issues I’ve mentioned above. You might still need a meeting, or at least a phone call. You might still need to iron out problems. The main difference is, the buck stops with you. If you’re writing to self-publish, you have all the freedom in the world. But use that responsibility wisely. You’re the writer and the publisher, so you don’t have to incorporate editorial advice from the editor you hired – but you hired them for a reason, right? Don’t just turn up your nose and say, ‘Well I want to keep that character, so tough luck’. Think about your editor’s suggestions – they might be an improvement. If you’re not sure, compare feedback from your editor and feedback from your beta reader. If everybody is singing the same song, maybe you do need to make a change. It might not be what you originally envisioned for the story, but if it changes things for the better, then do it.

 

And that’s it. You’ve dealt with your edit letter in a professional way. Congratulations, and good luck with your book. Hopefully I’ll get to read it one day

#LoveOzYAbookclub October 2017 author Q&A – Leanne Hall (This is Shyness)

Our lovely guest this month is YA writer, ace bookseller, skilled raconteur and all-round Highly Talented Person, Leanne Hall. A Melbourne native, she began her writing career with short stories in Meanjin, Sleepers Almanac and Best Australian Stories, then won the Text Prize in 2009 for THIS IS SHYNESS (and believe me, the follow-up, QUEEN OF THE NIGHT, is just as awesome).

Check out the amazing artwork (by Noelle, below) that SHYNESS has inspired, and make sure you catch up with Leanne’s website, The Long Blinks, which contains lots of extra SHYNESS content (including deleted chapters! and you might recognise the name of the website from the story itself…)

I hope you enjoy Leanne’s answers to our notorious Five Messy Questions

#LoveOzYAbookclub – October 2017 title announcement: THIS IS SHYNESS

“The bouncer looks down from his concrete stoop with bloodhound eyes. He’s worked too many nights in a row. I push my shoulders back in my too-tight t-shirt. This is up to me and the motivational power of my two best assets…”

I remember reading these words, from THIS IS SHYNESS by Leanne Hall, to a class of Year 10 students one day. Their reaction was priceless: they weren’t sure what this ‘YA’ thing was, but it sounded pretty good (even talking about ‘assets’! Lol), and maybe the teacher standing in front of them reading aloud wasn’t a total loss…

THIS IS SHYNESS won over my students, just like it won me over. The story of the rebellious Wildgirl, and her one night stand with the off-kilter, magical suburb of Shyness, ‘where the sun doesn’t rise and the border crackles with a strange energy’, certainly won over the judges of the Text Prize when it was first published in 2010. Seven years later, the book still sparkles and shudders with the frisson of late-night parties, rollicks with comic-book adventures, and glows in the heat of Wildgirl and Wolfboy’s romance.

Leanne Hall, the author of SHYNESS, has since gone on to write the sequel, QUEEN OF THE NIGHT, and the newly-acclaimed IRIS AND THE TIGER. She has a long history working in the book industry, and knows the YA-landscape inside and out. Leanne will be spilling her secrets to us in an interview later this month.

Please join us at the #LoveOzYAbookclub FB page if you’d like to read along, and you can find THIS IS SHYNESS at Boomerang Books online, and use the ‘loveoz’ code to get free shipping.

I hope you enjoy THIS IS SHYNESS in bookclub for October 2017, and may all your parties be reckless, magical ones!

xxEllie

#LoveOzYAbookclub September 2017 discussion post – SPARK (Rachael Craw)

SPARKArmy, present!

 

 

 

 

A couple of things for me personally:

I am very attached to the idea of a local ‘superhero’ story. I don’t think Aus/NZ fiction does much of that, and I applaud Rachael Craw for going for it with this series.
On the same theme – much local YA is rewarded for being literary, but I think there is a real hunger for more out-there genre fiction. I’d like to see more of this type of fiction take off in the Aus/NZ market, because it’s the kind of stuff I used to prefer reading as a teenager, so SPARK was a welcome addition.
Whywhywhy hasn’t something like this been adapted for the screen? I understand that SPARK has been optioned for film, but there’s a huge chasm between a book being optioned and a book being developed and made… I know the film/tv industry is in the doldrums in this country, but here’s some great material for a teen tv series, maybe by ABC3?
On that note, hardly any local books are made into films or brought to tv. There doesn’t seem to be a lot of will to invest capital – which I find mind-boggling, but I guess it’s cheaper and easier to make shows like The Bachelorette?? Ffs. At least they’ve made The Changeover (Margaret Mahy), but wow, it only took them, like, 30 years…
If we had a local industry that was eager to adapt local YA material, it could become like the new Home&Away, and kick off the careers of local actors, sell into overseas markets…and I’m getting a little ahead of myself. Ahem.

 

If you’d like to read on after SPARK, the rest of the trilogy is STRAY and SHIELD. There’s also a prequel short story called BLACK ROOM, which looks good (I haven’t read it yet – tell me what it’s like!).

I also discovered this post by the SPARK cover designer, Amy Daoud, about the process of creating the cover image, which I found really fascinating!

I really hope you enjoyed SPARK as this month’s bookclub read! Please feel free to comment on the discussion post on the FB group page thread, or you can leave a comment here. If you’re time-poor, you can leave a 1-5 Star quickie review in either place.

Keep your ears to the ground for next month’s #LoveOzYAbookclub title – I’ll be announcing it soon!

xxEllie

#LoveOzYAbookclub September 2017 title selection – SPARK (Rachael Craw)

Right, it’s time to change things up a bit