11

Championing Children’s Reading

A Round Robin Post

This month, dear followers, we have been asked to address the following question:

How do you encourage reading in your children?

Despite my age and the impact technology has had on the formats that children read in, I have decided to begin with myself. A little self-indulgent, but somehow looking back at my own reading as a child feels like a good place to start. It also gave me an excuse to dig up some very old and sentimental books!

The very first book that I recall absolutely loving is An ABC for You and Me. It wasn’t just that, on the very first page, ‘Ann has an Apple’ (no matter that my name was spelt without an ‘e’, this book was clearly about me, even if in the form of cute mice, rabbits, squirrels and birds), it was also beautifully illustrated and an initial introduction to my future love: calligraphy. Learning the alphabet seemed secondary, as was probably intended, and the cute rhyme on the last pages (‘XYZ went off to bed at the end of the ABC’) perhaps also set me up for a future love of poetry.

Moving on to books with a few more words and a proper story, we come to the wonderful Molly Brett. A theme is already emerging here of how important pictures and illustrations can be in helping a child to engage. I just loved Molly’s beautiful pictures of nature and wildlife, and the stories just fitted in a very satisfactory way around the edges.

I didn’t move on far for my next memory, and predictably these books also featured animals as their main characters: come in Alison Uttley and the Little Grey Rabbit stories! I think that non-human characters are still very popular with children but perhaps the trend now days is for central characters to be human (perhaps more identifiable) – maybe on some kind of a quest. Of course that doesn’t stop an author going to town on an array of non-human characters – just consider J K Rowling and Harry Potter.

Alongside books with stories, I have always loved poetry. I was lucky to be given anthologies of poems when I was young, and who can resist the humorous poetry of people like A A Milne and Spike Milligan? I think you can see from the state of my copy of Now We Are Six just how much it was loved and read.  Humour and children – well that is definitely the winning combination!

My love of beautiful illustrations and wildlife (or perhaps my mother’s, as she was the purchaser of most of our mini-library of books) continued with books like the haunting Rustle of Spring. Nature and how it works allows difficult themes of cruelty and competition and survival to filter into children’s reading, and several of my books that had central animal stories brought me to tears.

Sadly I can’t bring you more photographs as I move on – the books themselves are now lost to me. Longer stories and novels that I remember clearly include the old but timeless Gobbolino: The Witch’s Cat by Ursula Moray Williams. I really identified with the struggles of the little kitten to find his true nature and identity. I clearly enjoyed all things Witchy (although many of the traditional fairy tales were a little too scary for me), because another book that I recall loving was The Witch’s Daughter by Nina Bawden. What young girl could resist a heroine with the name ‘Perdita’? Mythology and history were also strongly appealing – especially Mary Stewart’s series of books about about Merlin.

It’s hard to say what helped most to encourage me to read. Books that engaged both the eyes and the heart, and time spent with my mother who would read to us at bedtime. The sense that my mother also valued these books was important, and the gradual movement from illustrations with a few words to words with a few illustrations. In fact, the feeling that I was growing up and moving on and actually making ‘progress’ from one thing to another probably helped me to grow naturally into new reading challenges.

My mother would also make up stories for us. It felt magical and personal and gave me the knowledge that reading and writing was something that I myself could do, not just an unknown author scribbling away in the ubiquitous attic somewhere.

Not every child, though, has such a positive route to reading. My own son is dyslexic. He loved being read to as a child, but became resistant once he was given longer books to read himself. Once he was diagnosed the need to experiment with different formats became clearer, and for a while more visual-based materials like magazines and cartoons were a help. It was a minor miracle when we discovered Lemony Snicket and the A Series of Unfortunate Events books by Daniel Handler. They were quirky and fun and digestible, but more importantly they were printed with wide spacing onto cream coloured paper – much more readable for a dyslexic child. Briefly, my son loved reading again.

It is interesting that, much later in his life when he had reached adulthood, my son began reading again because he acquired a Kindle electronic reader. I was sceptical about how much use it would get when he asked me to buy him one to take away with him on his campervan adventures, but within weeks he had devoured several books. So: don’t make assumptions, experiment with format, and never forget that words can be shared verbally as well as on paper!
___________________________________________________________________
See the suggestions other writers have for encouraging reading in children:
Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Victoria Chatham http://www.victoriachatham.com
Dr. Bob Rich https://wp.me/p3Xihq-1ly
Connie Vines http://mizging.blogspot.com/
A.J. Maguire http://ajmaguire.wordpress.com/
Anne Stenhouse http://annestenhousenovelist.wordpress.com
Helena Fairfax http://www.helenafairfax.com/blog
Fiona McGier http://www.fionamcgier.com/
Rhobin L Courtright http://www.rhobinleecourtright.com

© Anne de Gruchy

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8

Killer Voices: Violence and Danger in Writing

I am back on a Round Robin post today, and we have been set the following topic:

How do you handle/use violence, or any type of danger, in your stories?

This is a fascinating topic for me because my most recent novel, which is currently going out on submissions via my agent, is about a serial killer. Not only that, it is definitely NOT a crime story!

But thereby lies the dilemma – I have written a literary fiction book that focuses on the internal world of someone who kills, and the friendship he forms with a woman who was born profoundly deaf. They share a very internalized sense of the world and a common love of the Lincolnshire fenland landscape where the book is set. The writing is descriptive, but the subject matter is harder hitting than is normal in ‘literary’ work.

This is a book that I am proud of. I believe I have written something with integrity and I want it to find an audience. Its origins stem from the well-loved Quaker phrase: ‘that of God in everyone’. It got me thinking: as we can find ‘that of God’ in all people, what is it in some people that allows them to kill or to commit awful crimes?

This is the question that the book tries to answer in some way.

So: I did my research. I read about ‘types’ of sexual offenders and serial killers and the different ways and means that aggression is expressed. In rape, for instance, patterns of behaviour may be based on anger (sexuality becomes a hostile act), power (an expression of conquest) and sadism (where anger and power become eroticized). I probably ducked the difficult options in choosing that Michael, my character, would be an anger killer – it’s easier to see the humanity in someone who loses control without pre-planning anything, and where there are trigger events to explain it. It also meant introducing backstory to show how he came to be the person he was – and I based this on research and reading interviews with real rapists and killers.

The other thing I decided with this novel was to let the reader know from page one that Michael had killed in the past. This brought in a sense of jeopardy for the other characters that he met and it meant that his own journey was about trying to control his anger and not to kill again. His crimes involve sexual violence, and I did write the scenes fairly factually – the reader sees what happened and it’s hard to tell how an individual reader feels in reading these scenes. Each crime shows the lead up and what triggered Michael’s loss of control – and the randomness of who becomes the victim. Because the land and cycles of nature are central to the book, I also show how the bodies of Michael’s victims decay and become a rich source of nourishment to the landscape – a sense of the earth reclaiming its own.

All this is brilliant, except…. I appear to have shot myself in the foot by crossing traditional genre divides. This is literary fiction but it features a serial killer. Crimes are committed but the focus is on the reaction of the community and the characters involved, not police involvement or solving of the crimes. Feedback from publishers has been extremely positive but the book does not ‘fit’ their normal categories and it is hard to find it a home. One editor put it this way: ‘having a serial killer as a main character [in a novel that is clearly literary in nature] will put it into a certain category that will alienate some readers and potentially appeal to the ‘wrong’ readers in other cases, who will expect something more narrative’.

Another dilemma posed by writing storylines that involve violence from both a perpetrator’s and a person-centred perspective is that people are not always comfortable with being asked to treat a serial killer as a human being. One editor expressed discomfort at the feeling that they were being asked to sympathise with a serial killer – not my intention, but perhaps it shows that I did manage to get across my character’s humanity despite his capacity to kill.

I have dealt with violence in other novels – self-harm and domestic abuse, an overheated argument leading to death by dangerous driving – but Out of Silence retains a very special place in my heart, and will continue to do so whether it finds a publishing deal or not.

See how other writers deal with danger and violence in their work:

Dr. Bob Rich https://wp.me/p3Xihq-1i2
Victoria Chatham http://www.victoriachatham.com
Connie Vines http://mizging.blogspot.com/
Anne Stenhouse http://annestenhousenovelist.wordpress.com/
A.J. Maguire http://ajmaguire.wordpress.com/
Marci Baun http://www.marcibaun.com/blog/
Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Fiona McGier http://www.fionamcgier.com/
Anne de Gruchy https://annedegruchy.co.uk/category/blog/
Rhobin L Courtright http://www.rhobinleecourtright.com
Judith Copek, //http://lynx-sis.blogspot.com

© Anne de Gruchy

8

Stories: Great Beginnings and Endings – but what about the bit in the Middle?!

This week I am back to our Round Robin blog post with themes explored by a series of different writers. We have been given the following challenge:

How do you ensure a story has a good beginning, a satisfying ending, and good continuity in between?

I realize that this could be the shortest Round Robin in history, because the truthful answer is: I haven’t a clue!!!

My problem, as I have written about before, is that my books all tend to start with themes rather than stories. So, for instance, I might want to explore how someone copes with the loss of a baby, or with a long-term progressive illness and having to accept carers in their life, or how some who must – in Quaker speak – have ‘that of God’ in them can come to a point where they can kill people. I may know the ‘journey’ a character will take emotionally from ‘a’ to ‘b’, but the bit in the middle starts off as a mystery.

These themes obviously need characters and a storyline in order to explore them fully and to hold readers’ interest, but I find it really difficult to create enough ‘narrative drive’ – the peaks and troughs of what is happening, the key goal that takes you to the end. So, there I am with some ideas and relationships between characters in my head but how on earth do these become a proper ‘story’?

With my first (learning-curve) book I plotted the whole thing carefully in advance. There was a beginning (a trigger point where my main character lost her job due to her depression), a middle of sorts (where she travelled around Scotland with a complete stranger) and an ending (where she returns home changed and has to make a decision about the key relationship in her life). As you can see, it is not especially action-packed – definitely more of a reflective book with the landscape as an influencing and descriptive factor.

In the next book that I wrote I tried to ‘cure’ the lack of drama by having a lot more actually happening with the plot. The result was that I had to completely rewrite the book at a later stage because it set off like a steam train, then eventually ran out of puff! Around this time I went to some workshops about ‘pitching’ books and this really helped me, because it taught me to look at the emotional and psychological happenings in a different light – as things that provide their own stories and goals for the characters.

A common criticism of my work when I share my writing with my local critique group is that there are a lot of dramatic things happening but it doesn’t feel dramatic to read. My agent describes the current novel that she is sending out on my behalf as a ‘quiet book’, and I totally get that this is how my writing feels, however busy the plotlines. I like exploring people’s psychology, and how different events shape them as a human being. I like description, and a sense of the underlying current that moves things along.

Having said that, this current novel is the one that I am really proud of and that I feels ‘works’. I think it is successful because I really got under the characters’ skin – or they got under mine. It became important what happened to them, and although their stories are explored in a gentle way, they nevertheless have impact. The landscape, too, became a character, and the sequential plotting of the story to mirror the fall in the Garden of Eden seemed to work. My problem now is how do I follow this? I am currently in the middle of editing the first draft of the next book and although the characters are speaking to me I just can’t seem to get the middle section right.

I have just got to watch out that I don’t end up with a filling-less sandwich – all front and back and nothing in the middle at all!!

See how other writers sort out their beginnings, endings and the stuff inbetween at:

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Marci Baun http://www.marcibaun.com/blog/
Judith Copek http://lynx-sis.blogspot.com/
Margaret Fieland http://margaretfieland.wordpress.com
A.J. Maguire http://ajmaguire.wordpress.com/
Beverley Bateman http://beverleybateman.blogspot.ca/
Rhobin L Courtright http://www.rhobinleecourtright.com
Bob Rich https://wp.me/p3Xihq-1fk

© Anne de Gruchy

1

Bedtime Story

My previous Round Robin blog post about story ideas reminded me of this poem I wrote when my son was little. He’s 25 now – my, how time flies!!

Bedtime Story

My bright boy shines –
toothbrushed, washed,
hot water-bottle warmed,
ready to be cocooned in
the pages of a book.

Charmed and chapter-ready,
I rest my arm
across his shoulders,
inhaling deep the drug
that is his perfume.

Together we journey
deep into magical words,
spun into dragons,
and forests,
and happy-ever-after endings.

He is entranced,
entangled in the
ebb and flow,
eye-bright, excited, and
“Just one more chapter, please…”

Later, creeping by his room,
I cannot resist
going to pay homage,
drinking in the angelic beauty
that is his sleep.

My bright boy shines
and stirs at my kiss;
“I love you”, I say,
willing my words into his dreams
I turn and close the door.

© Anne de Gruchy

9

Story Ideas and the Benefits of Bedside Stories

This month the Round Robiners have been asked to ponder where our story ideas come from. At this point I have a confession to make – I am simply rubbish at stories and in no way would I consider myself a storyteller.

Collective gasp!

Well, you may ask, what the hell are you doing calling yourself a writer then? And a writer of fiction to boot.

The truth is, I’m an ideas person. I love concepts, and science, and the way the truths of previous generations are overturned. I love that this inherently means that many of the ‘truths’ of our generation are likely to be overturned too. We live with uncertainty every day and one moment’s event – a car crash, the death of a husband and breadwinner, the onset of a disease, coming into money suddenly – can change how we see the world forever. I also love to explore psychologies and how these kinds of event affect people – how different people react to different situations.

So I suppose I often start back to front. For instance the book I am working on now started from the idea of exploring how a person’s world contracts when they are living with a progressive illness. There was a concrete beginning to this when a close friend was diagnosed with Parkinson’s and suddenly his world was turned upside down. Mix this in with my interest in the role of caring for someone – something that has been close to my heart since my mother died and left my father struggling with dementia, poor sight and cancer – and there was the germ of a story theme, but definitely not yet a story.

Other aspects of my stories might come from real events. The day before I went down to London to meet with my new agent was the day of the Westminster Bridge terror attack. As I travelled down on the train, the events of the day before stayed in my mind. I walked through the streets to the agency’s office and was really struck by how calm London felt just 24 hours later. Cue the invention of another character who had been caught up in the attack – and the exploration of how this impacted on his family.

Combining my themes and ideas into proper stories is the big problem I have. My very first novel, which I now see as a training ground for my writing, took two autobiographical events and framed them into a story. One event was a holiday travelling round Scotland by train – the landscape really spoke to me and it felt healing in a powerful way. So I combined this with a character who was grieving the loss of her baby and threw in a stranger for her to travel with. I still love aspects of this story but it fell down because I hadn’t got to know my characters and their motivations properly – there wasn’t enough of a goal or driver to the story and the characters were not engaging enough. Maybe one day I’ll return to the basics of this story because I still love the premise and it also seemed to appeal to the agents that I sent it to.

I suppose one of my problems is that I am very much a literary reader and writer. A lot of my favourite books do not have the normal hooks and peaks and troughs of the page-turners that publishers are looking for. I admire prose that is dense and poetic – that appeals to the senses and the intellect at the same time. Yes, you need to ground it in stories and characters that we care about, but the atmosphere of a book is really important to me. That’s why, in the novel that my agent is currently seeking a home for, the landscape of the Lincolnshire Fens became a character in its own right – I even plotted it a ‘storyline’ for it within the book.

I love history, too. My current book takes a character who has Multiple Sclerosis and sends her travelling to the places she had previous worked during an acclaimed photojournalist career. I was delving into the history of Bosnia and the conflicts of that region, looking at the events that brought down the Berlin Wall. My agent warned me of the dangers of getting too distracted from the narrative drive of the book, and I think she probably caught my writing-weakness head on – I can get too absorbed in the detail and forget the real goal of my protagonist and the need to keep a momentum leading towards this.

So, maybe I need to go back to the simpler stories that my mother told me as a child. The ones she would invent as she went along to the light of my favourite bedside bunny lamp. She certainly held my attention, and I remember some of the tales she invented to this day.

Find out how other writers get their story ideas at these blog sites:

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
A.J. Maguire http://ajmaguire.wordpress.com/
Marci Baun http://www.marcibaun.com/blog/
Connie Vines http://mizging.blogspot.com/
Helena Fairfax http://www.helenafairfax.com/blog
Margaret Fieland http://margaretfieland.wordpress.com
Dr. Bob Rich https://wp.me/p3Xihq-1dm
Fiona McGier http://www.fionamcgier.com/
Rhobin L Courtright http://www.rhobinleecourtright.com

© Anne de Gruchy

10

Charismatic Characters (even the irritating ones!)

Continuing with my Round Robin blog posts, the topic we have been invited to write about this month is:

How do we express and expose our characters’ thoughts and emotions in our writing? How do we use viewpoint, and how do we switch between characters?

The first point I need to make is that I LOVE intense, emotional or poetic writing. My own writing might not match my ideal, but this is what I would hope to produce. Language is the key, and language also opens up places and characters.

I suppose that in a way ‘place’ is as important to me as the people who inhabit it. Landscapes speak to me – like Jon McGregor’s sparse but precise and beautifully balanced descriptions of Lincolnshire in This Isn’t The Sort Of Thing That Happens To Someone Like You, or the South Island New Zealand beach setting in Keri Hulme’s The Bone People. Place is what people respond to, and their response to somewhere – be it a landscape or a building or something that brings back a memory – is one thing that helps an author draw out their character.

It’s hard to say which kind of viewpoint works best for me – either as a reader or a writer. The idea of writing, first person, entirely from the main character’s point of view, is hugely engaging when you do it – so much easier to get inside someone’s head and go on a good old rant – but it also has huge limitations. I found this with my second novel that eventually became a first person coming-of-age story set against a backdrop of the declining clothing industry in Nottingham in the 1990s. Because my main character is a somewhat stroppy teenager as the story sets off, how do the readers get to like her? She has plenty of adversity to contend with and a fighting spirit, but each of us, as readers, probably draws a different line as to where something changes from adventurous, feisty and admirable to just plain irritating or badly behaved.

Then there is the decision to make as to whether to allow the character hindsight – so that they can almost ‘narrate’ their back story and the reader can tell in advance whether they’ve learnt from their mistakes. Personally I love writing in the present tense which mitigates against doing this – mainly because it feels so immediate and allows a reader to feel ‘in’ the situation with a character. Trying to place a reader right in a situation – maybe one of danger or where moral choices have to be made – helps them to ‘buy in’ to the character’s emotional journey and identify with it.

Our characters also need other characters to bounce off. The other characters’ reactions will tell us if someone is rejected or on the fringes and will demonstrate the day-to-day challenges they have to face. Conversely, how a character responds to a situation betrays their personality and state of mind – whether they panic, or show sympathy, or have a chip on their shoulder. I used to write in the emotion that a character was feeling too much or too literally (‘she was anxious’), but have learned to let their reaction (a body twitch or habit, a knee-jerk response rather than something that reflects their true feelings) show the reader what they really feel. And of course there is nothing better that having two intense and most-likely mismatched characters who come head-to-head in a book and fight out their space and the storyline to the end.

It is fascinating to find out how a reader views a character you have written. A friend who critiqued the first draft of my most recent novel for me said of one character: ‘what a woman!’. I loved that – that they had engaged enough to feel this about her. In writing a novel you have to come to a position where you absolutely know how your characters would respond or react to something – and make sure you let them be true to their own personality. Nothing irritates a reader more, for instance, than an ending that is clever but that is achieved at the expense of ‘keeping in character’ right to the end.

If we use third person – he, she, etc – and allow several different characters to have voices in our book then we can see the same situation but from different people’s perspectives, so a quick line of space or section break and a flip to a different character’s voice can be very effective. I tend to plan a book’s outline structure with the ‘viewpoint’ of each scene listed at the side and aim for a mix of the main viewpoints so that no one character is lost for too long in the storyline. Sometimes a character becomes so strong, or the flow of a scene feels so powerful, that I just have to follow that viewpoint despite my planning for some other one to take the fore. It feels good when the story is flowing strongly in this way.

The other thing I have learned to do better over time is to keep secrets. The reader needs to find out things about the characters and their past experiences and influences, and in real life we rarely know these things about the people that we meet. Revealing these things through conversations or plot developments or backstory makes the reader reassess what they have come to think about a character. In my most recent book one of the central characters, who is deaf, befriends a man in her village who shares her sense of internal isolation. We, as readers, know from page one that he is a killer, but she does not. It was a big decision to make as to whether to reveal this early on or gradually – should the reader be placed in a position to worry about her, or to share some dawning about this man’s past? But giving his background upfront, and then elaborating on where this stemmed from during the book, also allowed our killer’s viewpoint to become more meaningful – a chance to share his thoughts and emotions, too.

Find out how other bloggers bring their characters to life:

Dr. Bob Rich https://wp.me/p3Xihq-1ag
Connie Vines http://mizging.blogspot.com/
Helena Fairfax http://www.helenafairfax.com/blog
Fiona McGier http://www.fionamcgier.com/
Judith Copek http://lynx-sis.blogspot.com/
Marci Baun http://www.marcibaun.com/blog/
A.J. Maguire http://ajmaguire.wordpress.com/
Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Anne Stenhouse http://annestenhousenovelist.wordpress.com/
Beverley Bateman http://beverleybateman.blogspot.ca/
Diane Bator http://dbator.blogspot.ca/
Rhobin L Courtright http://www.rhobinleecourtright.com 

© Anne de Gruchy

5

Translating Travel into Fiction

ROUND ROBIN BLOG POST

Continuing with my Round Robin blog posts we have been invited this month to write about one or all of the following:

What stories have your written or read where a holiday takes place. To what purpose was the inclusion of the holiday? How do you celebrate holidays or events? Does this ever make it into one of your stories?

Well as soon as I saw this I thought about the first novel that I wrote which was inspired largely by a holiday.

It was back in my ‘L’ Plate writer days, when I still believed that it was best to write about what you know. I had lost a job because my depression had become so severe and I had time on my hands – and anyone who knows me will tell you that I am not a happy person unless I’m busy. So, to help both my depression and the long days ahead of me, I decided to write a book. Just like that (as Tommy Cooper might say). The remarkable thing is that I actually did write that book, and I was even supported in doing so by a ‘New Work and Commissions Award for Literature’ from East Midlands Arts.

So, how did I decide what to write? Well, because I was depressed at the time the navel-gazing part of me was interested in exploring recovery from depression. To pivot the storyline on a more substantial event I decided that the cause of the depression for my protagonist would be the loss of a baby – another autobiographical feature of the book. Not long before this my husband, son and I had been on a brilliant holiday travelling round Scotland for two weeks by train and staying at Youth Hostels along the way. The scenery in Scotland is so beautiful, and for me it really engages the soul – I think Scotland has felt like a spiritual home for as long as I have been going there. So this holiday and that journey crept into the book. Add in a complete stranger for my protagonist to travel with and I had the makings of a story.

Now I come to think of it, that book also contained a second holiday within it – a city break we did in Amsterdam. I had a second story strand based in Amsterdam, and corresponded with an acquaintance who lived there to get the details right. This is in complete contrast to the book that I am writing at the moment which has three different settings abroad as part of the storyline, none of which I have visited at all. Of course, this may well change given my love of detailed research and the multiple offers I have received from people who would like to visit these places with me. ‘It’s part of your research, you must do it!’ they say – if only the space in my diary said the same…

annedegruchy.co.uk image: Saltire flag on ferry

The novel that my agent is currently pitching to publishers also has a holiday in it. A serial killer forms a friendship with a woman who was born profoundly deaf because they share an internal sense of isolation from the world. When he kills in his own village the invasion by the press and the police is too much for either of them to bear and they go away to a cottage in Norfolk together. This brings a breather in the plot, a sense of jeopardy for the deaf woman, and an intensification of their relationship. It is also a natural response of the characters as we have grown to know them to the situation. The woman has a special relationship with the community land in the village and this is desecrated by the murder and the police cordon prevents access to her treasured land. The killer is trying to escape his nature and the consequences of his actions.

Thinking further on this topic reminds me of one of my all-time favourite books: Knowledge of Angels by Jill Paton Walsh. This is the most brilliant novel set in medieval times and exploring philosophical issues around belief in God. I love the way that this issue is explored through the stories of a girl brought up by wolves and a ship-wrecked atheist, and how the Cardinal of the island’s attempts to convince the atheist of the existence to God leads to a friendship of intellectual equals and also to tradegy. Paton Walsh says that the novel is set on ‘an island somewhat like Mallorca, but not Mallorca’, and the presence of the island is there in spades. I could identify the place she drew from for the setting for the imprisonment of the atheist and the walks he took with the Cardinal as they discussed theology. It added much to my enjoyment of the novel to have this sense of place as I read. Do read it! And recommendations of books with holidays and travel at the centre would be most welcome…

Find out what other bloggers think about this topic:

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Dr. Bob Rich https://bobrich18.wordpress.com/2017/11/18/holidays
Helena Fairfax http://www.helenafairfax.com/blog
A.J. Maguire http://ajmaguire.wordpress.com/
Diane Bator http://dbator.blogspot.ca/
Rachael Kosinski http://rachaelkosinski.weebly.com/
Rhobin L Courtright http://www.rhobinleecourtright.com
Marci Baun http://www.marcibaun.com/round-robin-november-2017-holidays-traditions-writing/

© Anne de Gruchy