Monday, June 13, 2016

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Tuesday, April 12, 2016

Works in progress

Just a little update about the things I've been working on:

The Invisible Girl

A romantic comedy...with ghosts.

Jen Hargrave is a woman haunted by the past. Literally. After a bomb blast five years ago, she sees ghosts wherever she goes, but there’s one in particular she dreads turning up—which means it’s really bad luck that she’s now working for his twin brother.

That bomb destroyed Quinn’s life too. He lost his leg and he lost his brother, and the last thing he needs is a daily reminder of it all. Especially when it comes in the shape of Jen, the woman who saved his life.

Jen can't escape her ghosts, and Quinn doesn't believe in them; but he's about to find out there's more than one way to be haunted...

The Invisible Girl is currently uncontracted.

Max Seventeen

Action romance. In deep space.

Press ganged into the Service, all Riley wants is to escape. Sentenced to slavery, all Max needs is to survive. When their destinies collide on board the starship Eurydice, a terrible plot is uncovered and the future is set on fire...

Max Seventeen is currently uncontracted.

Tuesday, September 08, 2015

A Hollow in the Hills launch

Tomorrow, I'm to my favourite city of them all: Dublin! Or should I say, Dubh Linn...where you'll find the young and ancient inhabitants of Ruth Frances Long's A Hollow In The Hills. 

I'm absolutely delighted to be launching the book tomorrow with Ruth. I've just finished reading it and believe me, it's amazing. 

If you're around Dublin on Wednesday 9th September, come along to the Gutter Bookshop on Cow Lane at 6.30. There may even be cake...

Wednesday, July 22, 2015

The Ghost Book...

...has left the building!

Jen Hargrave is a woman haunted by the past. Literally. After a bomb blast five years ago, she sees ghosts wherever she goes, but there’s one in particular she dreads turning up—which means it’s really bad luck that she’s now working for his twin brother.

That bomb destroyed Quinn’s life too. He lost his leg and he lost his brother, and the last thing he needs is a daily reminder of it all. Especially when it comes in the shape of Jen, the woman who saved his life.

Quinn doesn’t believe in ghosts, but Jen can’t escape them. Can she ever find an explanation for the events that tore them both apart and thew them back together?
I sent it off skipping, like this:

Wish it luck!

Monday, June 15, 2015

Happy Birthday Choc Lit!

It's my publisher Choc Lit's sixth birthday today, and so I'm blogging on the number six.

Funny old number, six. It doesn't immediately spring to mind when you think of magic numbers. According to Wikipedia it's a kissing number, which is rather nice when you write romance. In my favourite musical, West Side Story, the song America is composed in 6/8 time (it actually switches between 6/8 and 3/4, which is what gives it such a distinctive rhythm and also makes it impossible to dance to). Six is the number of witches you'd have if two covens were forced to share the village hall on the same night ("and after I lugged the cauldron all this way, and with my sciatica, too..."). It's the number of Deadly Sins you'd have if Sloth didn't bother to turn up. Which he wouldn't. Being Sloth.

But anyway. Here's my blog based on the number what I'm going to do is give you little snippets of my book from 6 key points in my WiP, The Absolutely Untitleable Ghost Book. It's a fun book about ghosts. With jokes.

(approximately) Six lines from...

 Page 6: Quinn put the phone down, making a note to ask Tessa how many of their floral displays were actually tributes from Ethan’s fans.
  He sorted through the phone messages she’d left on his desk, the most prominent of which was written entirely in capitals and said, “APPLICANT FOR OFFICE MANAGER 11AM!!!” Quinn wasn’t entirely sure they had enough work for an office manager, or receptionist or secretary or whatever the feck he was supposed to call her, but Tessa was adamant that she wasn’t answering calls, typing up files, and ‘updating that bastard website’ any more.  

Page 60: She’s not sure how she got to the hospital. She’s not even sure which one it is. She’s been herded around from one room to another, been poked and prodded by more people in a few hours than in the rest of her life combined, and now she’s sitting on a chair in a corridor looking at watercolours and posters about depression. Things sound kind of muffled, but she’s not sure if that’s the same as her ears ringing. People keep asking her things and she’s having trouble concentrating.  

Chapter 6: Quinn made it into the office late that day, barely awake, and fairly sure he was sweating whiskey. He’d woken on the sofa, fully dressed, as the sun came in through the open curtains of his living room. Beside him was a half-empty bottle of Jamesons. On the TV, breakfast news burbled. His new secretary had gone home after the second drink, but Quinn had stayed on, sitting out in the increasingly chilly beer garden until he’d run out of cash.  

Chapter 16: I told him about my hair.
  The half-asleep thought brought Jen to sudden, appalled wakefulness. She’d told him she used to dye her hair silly colours. Oh God, what if he remembered that and put two and two together and She sat up, feeling slightly sick in a way that had nothing to do with the wine she’d drunk last night.
  It’ll be all right, she told herself. He’ll never consider it. Too much of a coincidence.  

Chapter 36: It was going dark by the time Quinn’s phone rang, and he somewhat guiltily recalled that he’d just gone for a walk several hours ago and not told Uncle Keiran when he’d be back. Disentangling himself from Jen, who’d fallen asleep while they were watching a rerun of Red Dwarf, he grabbed at his jacket and fumbled for his phone.
  “Uncle Keiran?”
  “Quinn, lad. Now I was thinking, I’ve that lamb in the fridge and it’ll probably stretch to three if I put some potatoes on.”  

And 6 lines from the end...: “It’s a hell of a way to spend your birthday,” Jen said to him.
  “Hey, I said I wanted to spend it with you, so.”
  “I’m going to call Dr Wu,” Charlotte said as she stomped down the stairs, dragging her daughter with her.
  “No, you’re not,” Jen said calmly. “Now, who’s hungry?”
  “The pub does good burgers,” Quinn added.
  “No burgers,” Charlotte said. “I’ve got rice crackers in the car.”

See? Practically an entire book there. Don't know why I needed the other 100,000 words of it. Oh yes, I do. The ghosts! You'll have to wait and see...

Wednesday, June 25, 2014

Some Assembly Required: pt4

5: Villains Are People, Too

“Funny thing about black and white. You mix it together and you get grey. And it doesn't matter how much white you try and put back in, you're never gonna get anything but grey.” Angel (the series)

Writing a compelling villain is actually pretty simple: you give his goal, motivation and conflict the same respect as you would the hero's.

Don't believe me? Let's look at The Operative from Serenity (yeah, I'm looking at a lot of stuff from this film. But its such an awesome film). His goal is much clearer than Mal's. He is single minded in its pursuit. And let's face it: it's not really a terrible goal. He doesn't want world domination or even fame and glory. He wants to find a dangerous criminal and dispose of her.

At least, that's what he believes (remember what I said about belief being a big theme in Serenity?). And my god does he believe it. “I believe in something that is greater than myself. A better world. A world without sin.” (he doesn’t know about Miranda; he doesn’t care about the specifics: “It’s not my place to ask.”) That's his motivation.

And as for conflict? He’s so focused on this belief that he can’t see the wider picture. He's so focused that he doesn't even have a name, just a job description. When faced with the reality of Miranda, and the culpability of the Alliance, his belief fails. When Mal says he’ll kill him if he sees him again, The Operative replies: “There is nothing left to see.”

(of course, what helps is having an actor like Chiwetel Ejiofor in this role: he has more dignity in his little finger than Nathan Fillion, much as I love him, has in his whole body).

Whereas what does Mal have to believe in? What motivates him? Nothing, and more nothing. It's only after he learns the truth of Miranda that he knows what he has to do. Having an enemy in The Operative is really the only thing that makes Mal into a hero.

6. In It For The Long Haul
Buffy the Vampire Slayer

97 episodes can change a man.

Wednesday, June 18, 2014

Some Assembly Required: Pt3

4. The I in Team
Firefly/Serenity, The Avengers

“The process of creating characters is creating differences.” Whedon, Serenity: The Official Visual Companion

(Incidentally, you should all get that book. It has a really comprehensive interview with Joss, and little snipped from the actors and creative teams, loads of notes on music, design, world-building etc, production sketches, concepts and photos, and the whole shooting script. Oh yes.)

 How a character connects with others can tell you a lot about how him. Take Mal from Firefly: he seems quite a bitter, miserable loner, but he's chosen to live in close quarters with eight other people. Some of them tell you quite a lot about Mal--we're back in the realm of theme and motif here.

Take his interactions with Kaylee. If Mal was really the bitter loner he's pretending to be, he wouldn't give Kaylee the time of day. But it's impossible to dislike Kaylee: warm, friendly, vulnerable, kind-hearted Kaylee. Only a monster could hate her. And Mal isn't a monster. Mal likes Kaylee. He's capable of softer emotions.

Or how about Zoe? Why does this intelligent, capable woman, who is completely at peace with herself and happy in her marriage, choose to follow Mal to the raggedy edge of the world? Well, she was his second in command during the war. And Mal, who has been abandoned by his cause--although the way he tells it, you'd think it was the other way around--still inspires this loyalty in her. The respect he and Zoe have for each other shows you his honour as a soldier, and how worthy of respect he still is.

Similar things can be said for Shepherd Book, who represents Mal's conscience and the spirituality Mal would like to pretend he doesn't have (belief being quite a big theme in Serenity). But when it comes to River, the tables are turned. River is what Mal is frightened of: the darkness in himself he doesn't want to confront. Mal might think he's a badass, but he's frightened of becoming truly evil (as an aside, look at the similar way River and the Reavers are presented, right down to their names).

Or look at Jayne: he's Mal without these connections. He has little conscience or honour.

* * * 

We can also look at The Avengers for an example of how connections between characters tell you more about how they see themselves. For me, the best scenes in the movie are the ones on the ship when the Avengers interact and their egos rub up against each other. This tells you a lot about them: most especially Tony Stark.

Stark gets on really well with Bruce Banner (the Hulk) and has some respect for Thor, but not at all with Steve Rogers (Captain America). Why do you think that is?

Well, what does Stark respect? Intelligence. He's got lots of it. Control. He's learning about that.
What doesn't he like? Authority. The Establishment. Taking orders.

Banner is good at the things Stark likes. Rogers, he's better at the stuff Stark finds it hard to respect. That's why Banner gets invited to come and play at Stark Towers, whereas Rogers gets ridiculed.

An audience member (was it you, Mary Behre?) also pointed out that Stark is a man with Daddy issue--boy howdy does he have them!--and Captain America is his father's creation. Now that's going to be a blow to Stark's ego.

Speaking of ego, notice how after that first big fight, Stark gets on okay with Thor? His ego allows him to think of himself as an equal with someone who is a GOD. That right there tells you most of what you need to know about Tony Stark!

Wednesday, June 11, 2014

Some Assembly Requiered: Pt2

So, yesterday I shared some notes from my Joss Whedon workshop about introducing character cues very quickly. Today it's going to be Conflict and Subtext.

2. I Love You, But...
Dr Horrible, Buffy, Firefly

The main thing I realised when working on this section was how the best conflict isn' just A and B having opposite goals: it's about A having conflict inside herself which is stopping her from getting what she wants or deserves.

For instance: Dr Horrible has two goals. He wants to join the Evil League of Evil, and he wants Penny to fall in love with him. These two things are in direct opposition (Penny is most definitely a Good Person), so to achieve one he must give up the other.

In Buffy, the conflict between Angel and Buffy seems simple: he's a vampire, she's the Slayer. But he has a soul, et cetera, so she can actually be with him! Although, hold on. His soul is the result of a curse. And the terms of that curse (God only knows why) are that it will be broken if he ever achieves happiness. Therefore, Angel can never make Buffy happy because he can never be happy himself.

In Firefly, the most interesting relationship is between Mal & Inara. Now, since Whedon deals heavily in metaphor and theme, the best way to understand Mal & Inara's conflict is by what they represent. Mal stands for Independence (both the cause during the war, and the general concept). But Inara represents the Alliance, which is Mal's enemy.

Mal and Inara both like and desire each other, but they can't respect each other. The thing is that Inara respects the freedom of independence (why is she on Mal's ship, instead of in the bosom of the Alliance where she was raised and rightfully belongs?), and that Mal respects the enlightenment and emancipation that Inara enjoys...but not the Alliance which gave it to her. He can't respect her for representing something he hates. Mal, like Angel, doesn't really want to be happy.

At the end of Serenity, however, there are hints that they might both just be starting to think about...well, getting over themselves.

3. Don't Talk About What You're Talking About

Back to Mal & Inara again. There's a wonderful scene in the middle of the film Serenity during which Mal & Inara talk via video link, and absolutely every line has a second meaning.

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Now, bear in mind what I said about metaphor and theme. Mal is represented by the ship Serenity, and vice versa (freedom, flying under the radar, a slightly beaten-about and obsolete machine that nevertheless keeps flying). Inara, as discussed, represents the Alliance and all its good points: education, enlightenment, feminism. Inara is always beautifully dressed and beautifully polite. Mal sets no store by appearances. He's (probably) not even wearing pants.

So what are they saying here?

  • Mal enquires after Inara's world, and she replies that it's autumn. Autumn is when things die.
  • He asks if she's still at the Training House: he's asking how her allegiance to the Alliance is going.
  • In one of my favourite sections of dialogue, Mal mentions a trunk full of 'stuff' Inara left, and promises he never looked through it. Now, we all know he did. And we all know she intended him to (Joss Whedon even said that she left all her best-smelling stuff on purpose). Neither of them wants to forget the other.
Of course, in plot terms this scene has another purpose. We know they're being watched by the rest of the crew, but very soon after we realise they're being watched by someone else too (and they both know it).

So what the scene needs to do is impart the information about this--in yet another subtext-y way) but Whedon goes further and adds in another layer of characterisation. Don't forget, this is the first time we've seen these two interacting. This scene tells you most of what you need to know about how they feel about each other.

That's it for today! Oh...and that thing I mentioned the other day, about the only direct piece of information imparted in the first 3.45 minutes of Dr Horrible? It's this: "My nemesis is Captain Hammer." Didja guess it?

Tomorrow, I'll be back with some notes on Character Connections and Villains.