Archive for April, 2011

Erica’s musings on giving the Shadowfae Chronicles an Australian setting

Wednesday, April 27th, 2011

Erica HayesLet’s be frank … a lot of books are prety similar to each other. If you’re reading a genre romance, you know to expect a HEA. If it’s SciFi you’ll explore new worlds. If it’s PNR/UF you’ll get otherworld characters interfacing with the human world.

But Erica Hayes has managed to bring a completely new twist on known themes.  The streets of Melbourne are ruled by demons, showing us a new Underbelly of demonic powers, abuse, drugs, alliances and betrayals. And yet in the midst of the horror comes moments of redemption, hope and sometimes love.  Her books can be confronting but they are always fascinating and untimately provide hope. 

Reading the Shadowfae Chronicles the words of Oscar Wilde circle in my mind: “We are all  in the gutter, some of us are looking at the stars.” 

Erica took the time to explain her thoughts on what it means to write with an Australian setting.

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Thanks for inviting me to Aussie Author Month on Fangbooks. It’s a pleasure to be here :)

Shadowfae by Erica Hayes I often get asked why, as an Aussie author, I’d want to sign with an American publisher. The answer is simple: there’s no market in Australia for what I write, which is sexy urban fantasy/romance.

‘But I love that genre!’ people say. ‘Loads of Australian readers love it!’

And yeah, they do. You’ve only got to look on the fantasy shelves of any bookstore (if you can still find a bookstore in Australia, that is…)  to see that UF and PR is what people are buying, and watching on TV too. But I didn’t say there were no readers. I said no market. Aussie publishers still seem to believe that with our small population, the sales just won’t be there for them to make money on that kind of book. And I imagine it’s probably true. US publishers can do bigger print runs and take bigger risks.

Shadowglass by Erica HayesSo while my Shadowfae series is set in a dark, fairy-infested Melbourne, I sold it in the US. People often wonder about that, too – how do you convince a US publisher to buy a series set in another country? Again, a simple answer, at least in my case: you just submit it, and don’t say anything. If they love it enough, they’ll want it, no matter where it’s set.

Because they know a secret, even if they pretend not to: if you do it well enough, readers won’t care. Exotic settings sell themselves – so long as you can make the sounds and smells and tastes come alive, and make the reader feel as if they’re really there. And Americans love Australia. Just look at the reception we got on Oprah a few months back. My series is rich with the sights and flavours of Melbourne, and neither my agent nor anyone at the publishing house ever asked me to change it.

Poison Kissed by Erica Hayes

Nor, contrary to popular belief, do they ‘Americanise’ everything. Sure, I have to use US spelling, but hey, there’s 20 million of us and 300 million of them – you do the sums (or the math, as they’d say). And I have to write in language that my main target readership will understand. But that doesn’t mean my characters have to run around the streets of Carlton using faucets and cell phones or calling biscuits ‘cookies’. I can always find a way around those words. And it’s fun to show our city to people who’ve never been there – having to describe it at that level makes me a better writer.

But Australian readers still love it, too. I’ve had thank-you emails from readers who were so grateful to find a fantasy series set in their own country. Of course, there are others, notably the fabulous and NYT-bestselling Riley Jenson series by Keri Arthur. If Keri can do it, so can I :) and I can humbly claim something in common with Riley, even apart from sexy vampires: our series are set in Australia, but they’re not really about Australia. They’re about action and romance and supernatural mayhem, which can happen just as easily here as it can anywhere else.Blood Cursed By Erica Hayes

So you don’t have to include cockatoos and kangaroos or write about ‘Australian issues’ (whatever they might be) to be an Aussie author. You just have to write good stories, whether they’re set in Melbourne or New York or outer space – and no matter if they’re gritty real-life stuff, or fantasies stuffed with vampires and fairies.

Fantasy or romance – do I have to choose?

Sunday, April 24th, 2011

Nicole Murohy Aussie AuthorLast year Nicole Murphy released her debut novel Secret Ones, book one of the Dream of the Asarlai trilogy and catapaulted us into a world of magic and danger. We loved how Nicole adapted traditional Irish mythology and wove this into an Australian setting, while also balancing the needs of a paranormal world building with romantic elements. And all with a light, deft touch.

She wove her magic again with the release of Power Unbound in January which moved to more of an Irish setting but again delivered a blend of mystery, romance and the fantastic.  We can’t wait for 1 July when part three, Rogue Gadda, will be released!

And how’s this for a busy April?   Nicole has been over to the USA for the Romantic Times Convention (and really, do read her blog entries on RT because there are some wonderful comments on the panels she went to and the amazing authors she came into contact with) and is now in Perth for SwanCon, the Australian National Science Fiction Convention.  Somehow Nicole also found the time to do a guest blog for us!

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I find myself straddling genres, my friends, and it’s not always a comfortable experience.

Secret Ones by Nicole MurphyI admit to being intrigued by the whole idea of a genre divide – I can understand the value in terms of organisation, so publishers know who is best to handle a certain book, or booksellers know where to shelve them.

As well, there are readers who are genre purists – they will only read within their genre and they don’t want to be surprised by sudden incursions into ‘things they don’t read’.

But I think the vast majority of readers are less interested in genre than they are interested in finding great stories. And I’m SURE that writers could care less about genre as they’re writing, with all their mind focussed on the story, whatever it may be.

When I started writing, I was trying my hand at epic fantasy, space opera and weird hybrids of all the genres until one day, I realised the truth – no matter what genre I thought I was writing, deep within was a romance struggling to come out.

Power Unbound by Nicole MurphySo I told myself to stop pretending and with a new idea that had only recently popped into my head, I sat down to write my fantasy-based romance.

That book, seven years later, was published as Secret Onesm book one of the Dream of Asarlai trilogy.

At the same time that I was discovering my niche in speculative-based romance, I was also discovering science fiction fandom, particularly conventions. Ah, it was like coming home – meeting folks who would happily sit and ponder the implications of Tolkien’s Middle Earth or argue over which Doctor was the best. To be in a society where I wasn’t strange or a freak – twas wonderful.

Except this wasn’t solely where I belonged. The past couple of years have brought me in touch with the romance industry. Where I had to hide my love of boys and girls and smooching and happily-ever-afters from some in the sci fi world, I could happily indulge in them AND be geeky as well in romance.

My friends, I am conflicted. I think I’ll find ready acceptance in the romance world, but sci fi/fantasy is where my childhood dreams lie, where my heart and mind wish to wander. I don’t want to have to give up either.

Luckily, at the moment, I’m not having to choose – others are choosing for me. Publishers are deciding the labels to put on my books. Booksellers are deciding the shelves I’m on. Readers are deciding if they like my books or not. Me – I can just write the stories I love.

In the meantime, my worlds merge. I’m about to head off to Swancon, this year’s National Science Fiction Convention. I’m doing two panels on paranormal romance and erotica within speculative fiction, and on Saturday there’s a whole stream of workshops aimed at romance writers being incorporated into the convention.

If my two genres can come together themselves, I’ll be happy.

Van Badham’s Night of Terror

Monday, April 18th, 2011

Burnt Snow by Van BadhamBurnt Snow burst onto the shelves last year to great reviews. It’s an amazing debut from Aussie Author Van Badham.

Here at Fang we read a wide range of books, but I accept that I’m a complete wuss. I loved Burnt Snow but I found that the level of increasing suspense affected me quite strongly, especially if I was reading just before trying to sleep!

So I asked Van: “Do you ever creep yourself out when you’re writing? LMAO! Give yourself nightmares? “

OMG, all the time. I’m very inspired by Wes Craven in this regard, who’s the filmmaker who made the ‘Nightmare on Elm Street ‘movies and a zillion other horrible, spooky things. He’s actually a college English Literature professor, and someone once asked him why he’d ended up with a double career as a horror maestro – did he like scaring people? He said no, what he sought in making horror movies was the ‘release from fear’.

For me, reaching into the black mud swamp of my own fears and dragging these monsters onto the page helps me to deal with them. In many ways having a vivid imagination is a blessing, of course – but there is a very nasty trade off that comes with that, which is that your darkness is also vividly dark.

Over Christmas last year, I was living in London and it was a particularly bleak winter, with a lot of snow and very little daylight. Just getting to and from my job at the theatre was an ordeal, marching through snow and sleet, and a friend who was going away for Christmas gave me the key to her flat, which was just near the theatre, in case I couldn’t face the struggle to get home. One night I got stuck working late after feeling very unwell all day, and as it was snowing and pitch black dark, and my boyfriend was working a nightshift and wouldn’t be home, I decided to stay the night at my friend’s empty flat.

The flat is in an old spooky building, with long silent corridors and doors that open and close without making any noise. Because my friend is just in London temporarily, the flat is very sparsely furnished. She also has a child and as it had been a rush to catch a plane to get away, the flat had that aura of being abandoned – a stray child’s shoe here, a dropped toy there made it look like the scene of a kidnapping. I got inside and felt a bit creepy – it’s a flat with very high ceilings that made me feel small and under observation.

I took my coat off, and that’s when I realized I was very, very sick – my clothes were actually stuck to my body with sweat. I decided to have a shower, and while I was in the shower I started getting flashes of purple and green lights in my vision and my head got all light – out of the shower, I was on my hands and knees on the freezing cold tile floor, desperately trying to stay conscious. I managed to shuffle into the spare room, and despite the fact that I was sweating really heavily, I felt incredibly, incredibly cold. I dragged in two heaters and put them on full-bore, shut the door of the room to seal the heat in and buried myself under about three quilts before turning off the light and trying to sleep.

I couldn’t. The room was lightless dark, and I was still freezing, and the heaters were humming, and I was hearing every creak and tremble in this place. I convinced myself there were ‘presences’ in the flat. That they were wandering around in the dark void beyond the door to the room, rubbing against one another, whispering something. And this lasts for hours – me, stiff with fear, trapped in this room, listening to these evil things stirring beyond the door, sweating, freezing, and believing that I’m trapped in this room until morning. I reach for my phone to call my boyfriend and I’m terrified that just the lights of the mobile keys are going to draw the presences to me – like moths – that it will be some cue to come and… do ‘something’. Dissolve me, swallow me, mutilate and torture me, lead me into a darkness I can’t get back out of… I call and call but the phone rings out; my boyfriend’s on nightshift, he can’t answer.

Finally, my rational mind decides I am just being childish and it’s just because I’ve got some kind of flu, and I force myself to fumble for the bedside lamp and turn the light on. My fingers are actually wet on the light switch, I am sweating so much. Light goes on, it’s a very weak bulb and the room is still quite dark. The heaters are making this gurgling, whirring noise, everything’s in brown light, and there’s a black shadow in the middle of the opposite wall. And I can’t understand why it’s there. I can’t work out what is causing this black pool of shadow. My eyes dart around the room, and as they do, I think I see glimmers of movement in the shadow, as if it’s more of a blob, and it’s starting to stir.

I don’t want to look at it, but I don’t want to turn off the light, so I roll over, clutch my phone, send out a twitter message begging someone to get my mother in Australia to phone me because it’s the middle of the night and I can’t call her from my phone and everyone I would call in London is asleep. My mother does call, and I speak to her under the quilts and tell her in whispers: ‘There’s a moving shadow on the wall and I think it’s turning into a blob.’

‘Everything will be all right,’ says my mother, ‘stay under the covers.’

She will keep trying my boyfriend’s number, she says. Then she hangs up. The heaters whirr. I can hear the beat of my pulsing heart. Then the sound of the heaters turns into something like a chortle.

A long, sustained chortle.

I am hiding under the covers and sweating and freezing and hearing this wet, croaky chortle and my pillow is damp under my head and the voice of the chortle says: ‘look at me… look at me…’

I curl up in a foetal position in the bed and I can barely breathe under all the covers and while the voice is repeating ‘look at me… look at me… ‘I’m clutching my phone, praying for my mother or my boyfriend to call me and then the blankets of the bed start moving, like they’re being pulled away. Like something is pulling at the blankets and it’s the voice that wants me to look at it and I am so cold that when a blanket exposes my feet the skin I’m so icy cold that I bolt upright in bed and scream ‘Leave me alone!’ and yank back the blankets and the sheets that are sliding off the bed while I try not to look at the blob that’s oozing from the wall.

It oozes from the wall as if it’s vegemite being squashed through a biscuit, and all the black tubes of ooze pile on top of one another and they are forming the legless rump of a demon. I can’t tear my eyes away from the pile of ooze, and I realize that the thing has sprouted tiny arms, and that a wide crack between two layers of ooze is a mouth, and that above that mouth are nostrils and above that two blind eye-sockets. The demon is taller than me, as wide as an armchair, made out of layers of oozed black slime – and then a fat, pink tongue rolls out of its mouth, wet, the length of a pillow – and I scream.

It says: ‘I am every bad thing you’ve ever done.’

I scream and scream and I’m backed against the wall, crouching on the bed – and while I’m screaming at this thing, my mum rings. And I grab the phone and scream and beg into it that she rescues me from this demon. ‘It’s at the end of the bed and it’s rolling this massive spongey tongue at me, it wants to swallow me whole.’

Mum explains, very calmly, that the demon can’t see me. ‘It can’t walk because it has no legs, it can’t grab you because its arms are too short. So, as long as you stay in the bed, and bury yourself under the blankets, you’ll be safe from the reach of its tongue. The demon will dissolve when sunlight comes in through the window.’

Then, she promises – I make her promise – my boyfriend will arrive and we can escape.

And I cry, and I cry, and I can’t work out if the water on my face is from tears or from sweat, but I huddle against the wall wrapped in the blankets and quilts. I cry and I cry and I drop the phone on the ground and when it rings I don’t answer it because I won’t let a single inch of my body beyond the border of the bed.

The demon rolls its tongue, laughs at me – the laugh of slime and excrement and bowels. And I keep crying and it keeps laughing until my light head and my crying overwhelms me and I pass out in a cloud of greyness.

Okay.

So when I wake up in the morning I am too weak to stand, but the light on my phone is flashing from the floor. I manage to look at the opposite wall – but there is no demon. The only noise is the heaters, still whirring. I risk snatching the phone from the floor. It is my boyfriend – he tells me to leave the flat. ‘Get a cab straight to the doctor’s, because it will be faster than waiting for me.’

I realize I am in beige light. It is a murky dawn, but light is coming in through the window.

I got out of the flat, out of the building, onto the cold grey street, managed to hail a taxi, and fell into my boyfriend’s arms outside the doctors’ surgery. My boyfriend carried me into the doctor.

My temperature was reading 39. This is officially pyrexic – my body had been trying to fight the onset of ‘swine flu’ by making itself as hot as possible to boil and kill the virus. The temperature has overheated my brain, and this and extreme dehydration has been causing me to hallucinate.

So there were no actual demons oozing out of the walls?

No. Just ‘swine flu’ and that vivid imagination, oh golly.

I creep myself out writing these books all the damn time. But it is a very necessary release from fear when you’ve got a brain that sees ‘demons crawling out of the walls’ when you are sick.

PS How good is my mum? She has been dealing with situations like this for a very long time.

Huge thanks to Van for donating a copy of Burnt Snow to a lucky reader.  To go in the draw to win this, just leave a comment about what creeps you out!  The competition will close on Wednesday 20 April at 3pm Sydney time.

Peek into the mind of Van Badham – YA Aussie Author

Saturday, April 16th, 2011

Van Badham released her debut novel Burnt Snow some months ago and drew us into a world of  suspense, horror, magic, witchcraft and…. high school!

This is a powerful book that provokes powerful responses.  Here at Fang, I loved it and rated it 5 stars while Ali was horrified and only gave it 2 stars! We had a great chat with the delightful Van and got an insight into the weird workings of this Aussie author’s mind……..

Burnt Snow by Van BadhamHi Van. You’ve been involved in the literary world for some time, but was it different getting your first novel published?

There’s a lot of mythology in the media about overnight novelist success stories; the belief gets perpetuated that with no training or background in writing at all, if you just have one super-mega idea, you will land a publishing contract and enjoy success beyond your wildest dreams. This is not, actually, how the world works.

The romantic story of my publishing contract is that I was unemployed, in a very unhappy relationship and down on my luck when within a couple of days I read Twilight, ran into a girl from high school I hadn’t seen in a bajillion years and then had someone in my family ‘come out’ as having paranormal insight. Ideas coalesced, and I wrote 50,000 words of Burnt Snow, which my agent liked and sent out to the industry. I got offers from three publishers within the next week, and had the luxury of going with the publisher I had the best connection with, which was Pan Macmillan. Amazing.  Astounding. Now, I’m an author: hooray!

But let’s put this in context. I may have been unemployed, but I also have three degrees – in Creative Writing, English Literature/Communication and Cultural Studies and Performance, and I also taught writing at university for 8 years before I got anywhere near a meeting with a publisher. I have been writing professionally since I was fifteen – mostly as a playwright, but also as a critic and screenwriter, and I’ve written for TV, radio and music theatre as well. I’ve worked in theatre as a literary manager, where the job is to assess plays, and I’ve worked in the film industry as a script assessor as well.

The difference getting my first novel published was that I did get some magic phonecalls and was welcomed into acquisition meetings with nice people, tea and biscuits pretty much right away. Bear in mind, though, that in the theatre I’ve done gigs in youth centre basements that noone turned up
to, spent years writing ‘money job’ plays about drill safety, painted the sets, carried the lights, been slaughtered by critics, cut lines on opening night, been forced to stand in for missing actors, traipsed through cow paddocks to buy second-hand digital video projectors for a show  that night and, famously, had the biggest opening night of my life to that date somewhat upstaged by planes flying into the World Trade Centre. This is all part of the professional experience that qualifies you as a writer, and different writers ‘earn it’ in different ways.

I think the mythology of the overnight success story is really damaging – as if you’ve got to be firstly chosen as special by the universe, before a singular opportunity arrives gift-wrapped from fate. The reality is that you just have to train and train and train, and read and read and read, and write and write and write, and run your day-to-day life around writing the same way you would around baking or teaching or working in a factory or as a computer programmer. Opportunities come more than once, and there are highs and lows to every career. The trick is to back yourself, and work incredibly hard, and then you will earn opportunities and some will be great.

What made you think of NSW South Coast for your setting? It seems like such an innocuous place – lovely beaches, small towns … and you go and drag horror into it!!

It’s because the NSW South Coast is so beautiful that I dragged horror into it. Paranormal fiction is a genre of emotional extremes – it’s a literary form where we can indulge a passionate appreciation of beauty as well as the dark thrill of terror. I lived on the South Coast for many years and think it is about as pretty as the world gets, and because I’m so engaged and inspired by that environment the location itself underscores the emotionality of the story I’m telling – dragging horrific events into it creates the dangerous contrast that is the glorious paradox of paranormal fiction.

The coming books do break out of the South Coast location, and travel to other places that I know well and find exciting and inspiring, but for different reasons. One of the things I learned very early on in my training as a writer is that the location does the tonal work for you, which is why I’ve never considered universalizing the township of Yarrindi and making it a generic place that could be American or English or stand in for somewhere else; being specific and intimate with a place is essential to writing
horror, because horror only works if a reader has enough detail to believe these things could ‘actually be happening’.

One of my all-time writing heroes, Stephen King, worked this out a long time ago. He sets most of his books in Maine, where he lives, and it’s his down-to-the-cracks-in-the-floorboards details that make his stories so freaky. I’ve been to Maine and like my beloved Kiama (the basis for Burnt Snow’s Yarrindi) it’s actually really pretty… but Stephen King’s Maine will always haunt my nightmares.

What were some of the key themes you wanted to explore in Burnt Snow?  What drew you to these?

Ha. The first thing I wanted to explore in the book was that there is nothing as frightening and horrific when you’re a teenage girl than ‘other’ teenage girls. In Burnt Snow, Sophie deals with witchcraft and curses and witchkillers and demonic emanations but most of her angst is centred around trying to fit in with the popular girls and not get socially purged at her new high school.

That’s the glib answer. Overarchingly, what I wanted to do with the book was put a young female  character into a complex situation where she had to take active responsibility for her own survival. In Burnt Snow, as in life, knowledge makes you powerful – but how well or successfully you can use your education, and whether you can actually employ good judgment, is tested by equally powerful forces of social coercion and control. Sophie is trying to work out who she is, but her mother, the girls in her group, her teachers, the magazines she reads, school society, her best friend, creepy Ashley Ventwood and the Witchfinders all bear down upon her with their own agendas of who she should be. Then she meets a boy who likes her for who she is already and it’s overwhelming, amazing and confusing – and, being paranormal fiction, a mutual attraction not without significant complexities of its own.

The love story in the books is, of course, the beauty and the passion amongst the darkness and confusion. Something really important to me was to tell a story about two young people falling in love that didn’t demonize sexual intimacy or demand that to be together they had to get married as soon as they got their HSC results back. Brody and Sophie are powerfully attracted but they’ve also got secrets and problems and dreams and futures beyond Yarrindi High. Whether they can survive her mother, his past, Ashley Ventwood’s agenda, witchfinders, love rivals, horrible bad guys and ‘all the trouble in the world’ as Brody says is one thing, but what the future holds for them is also unknown, and a challenge that confronts all real people who love each other. They may not have forever – they may need to make the most of ‘now’. Maybe they can, maybe they can’t… but maybe, just maybe, the moments of a relationship that aren’t “happily ever after” are the ones that are the true proof of how powerful and astonishing love can be.  (No, I’m not telling you what happens next. You’ll have to read the next two books).

And the next book … when’s it coming?? You tease us by saying that it’s going to have lots and lots of nasty snakes in it … why??? Just …. why????

The next book, White Rain, is on its way. It got massively derailed by my months of hallucinating swine flu, but, as you can imagine, the experience of seeing demons crawl out of the walls certainly enriched my available creative source material. It should be out in a few months. It’s been a complex beast to write – there are heaps of new characters, some uber-creepy bad guys, and, yes, lots of snakes, transformations, magic, witchfinders, secrets, surprises and reversals of fortune. Someone kisses Brody who is not Sophie, someone kisses Sophie who is not Brody, and a main character dies. There are snakes because snakes are an ancient symbol of knowledge – and knowledge, or, rather, the lack of it, is what is always getting Sophie into trouble. Did I mention there are lots of snakes? Heaps. HEAPS AND HEAPS.

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Huge thanks to Van for donating a copy of Burnt Snow to a lucky reader.  To go in the draw to win this, just leave a comment about what creeps you out!  The competition will close on Wednesday 20 April at 3pm Sydney time.

Trent Jamieson on There’s No Place Like Home (and competition!)

Tuesday, April 12th, 2011

Trent JamiesonWe love Trent Jamieson! His Urban Fantasy series Death Works is shaping up to be one of our favourites. So far there are two books out, Death Most Definite,  released in August 2010, and  Managing Death, in December 2010.  After building the suspense, Trent is now making us wait until September for book three, The Business of Death.

Trent’s series is based in Brisbane, and we asked him what drew him to write about his home town.

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I get asked a bit why I write about Brisbane?  And the answer is quite straightforward.

Even in writing fiction that is essentially escapist (yeah, there’s other stuff in there, but on the surface it’s about explosions and love) there’s a real delight to be had in exploring the landscape you know. It’s not just about authenticity, it’s about the fun of writing about places that you love, and finding something new and unexpected in them (and blowing them up on occasion).

Brisbane is my home, it’s a wonderful, bustling city with an excellent and varied arts community, some very striking architecture, and I love it.

Almost from the day I moved here (God, was it fourteen years ago?!) I’ve had the streets and buildings of Brisbane featuring in my stories. I’ve peopled it with all sorts of characters, I’ve found odd little places that demand a story and I’ve tried to write them. Brisbane’s been a constant source of inspiration to me.

So, yeah, that’s why I write about Brisbane.Death Most Definite

But, I think the question itself is a little complicated, well, the reason that it’s asked. If I was based in New York or London and wrote about those cities, I wonder if I would be asked the same sort of question.

Brisbane’s hardly regarded as an iconic city, people say. It doesn’t have the weight of New York or London. Yeah, well, places don’t become iconic until they’re made iconic. They don’t grow heavy with story until people start telling them, and I’d like to think that, along with all the other Brisbane writers, I’m part of that tradition. I refuse to engage with that cultural cringe that somehow makes everything familiar unworthy.

We’re all here, as writers to tell the stories that are important to us, and Brisbane is very important to me. From the brown, and slightly ominous coils of the Brisbane River to the flashing transmitters atop Mt Coot-tha, and the knitting needle bunches of the Kurilpa Bridge Brisbane is full of stories (and the possibility of adventure, explosions and love).

I’ve never had trouble finding wonderful places to write about, or finding interesting bits of history (Mt Coot-tha really was once called One Tree Hill).

Managing Death by Trent JamiesonNot every secret history needs to be set in London, or New York. The Americans and the English use their settings (warts and all) without a hint of cringe so why shouldn’t we?

And, while I’m not saying that writing about your home is what everyone should do (that would be silly, we write what fascinates us, not to some sort of prescription) it surprises me that this seems an odd or peculiar thing – or somehow brave. Isn’t it for the odd and peculiar that we hunger?

And, besides Brisbane is like any city, people live and die here, and every single one of them has a story.

Real struggles are met every day. Real issues, to be critiqued and/or celebrated abound, and I’m sure that’s the same for where you live, too. If you’re considering writing about your home town, I can highly recommend it – and as a reader, I love reading about other people’s cities and towns.

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COMPETITION!!

The wonderful people at Hatchette have given us three sets of Trent’s books to give away!  Amazing I know… three sets of Death Most Definite and Managing Death!

All you need to do is leave a comment on the blog explaining why you think Australia makes for an interesting setting for a book (or not!)

The competition will be open for until Friday afternoon 15 April and we will announce the lucky winners then.

Sorry folks, this is only open for Australian entries…..