Series from Santa!

Can you believe it’s nearly Christmas again, already?! But what to buy for children and teenagers who often seem to have so much? Surely not more plastic and electronics.

Okay, you’ve got the right idea - a book - yet how to choose from the sea of books available? Young readers know what they enjoy, but it’s not always the same thing Mum, Granddad, or Great Aunt Carol have in mind. So, take it from us, the book series listed here are ones every young reader would be happy to see in their Christmas stocking or under the tree this holiday season.

Hot off the press!  Browse these newly-minted series...

Emerging Readers (ages 5–7)

The Cleo Stories by Libby Gleeson and Freya Blackwood:  Colourfully illustrated throughout, these gentle, appealing and authentic stories are perfect for transitioning young readers between picture and chapter books. Each book contains two adventures about Cleo—an imaginative, curious and fun character, whose relatable adventures about growing up and navigating the world around her will resonate with readers aged 5+.


Mango and Bambang by Polly Faber and Clara Vulliamy: This new collection of four short stories features Mango Allsorts and her extraordinary new pal, Bambang, the Asian Tapir (who is definitely not a pig). The tales of these unlikely friends are accompanied by charming black-and-white illustrations making them perfect for newly confident readers aged 7+.


Danny Best by Jen Storer and Mitch Vane: Danny Best is the star of a brand new series in the style of Tom Gates but with a twist of uniquely Australian humour. He’s always been pretty sure he’s a hero and, now, it’s confirmed! Punchy, imaginative text and energetic cartoons ensure that this confident character will become a fast favourite with readers aged 7+.

Middle Grade Readers (ages 8–10)

Welcome to the Museum by Various Authors: An exceptionally beautiful series of large format, richly illustrated “virtual museums” filled with fascinating facts, exhibits and specimens. While nature lovers, art fanciers and history buffs of almost any age will find something to learn and love in this series, they’re designed particularly with readers aged 8+ in mind.


Magnus Chase and the Gods of Asgard by Rick Riordan: The Sword of Summer is the first in a thrilling new fantasy-adventure series steeped in the mystical world of Norse mythology. Fans of Riordan’s hugely popular Percy Jackson series will find themselves in familiar territory here, but with a host of new characters – both mortal and divine – to explore. Magnus Chase offers enthralling, intelligent action for readers aged 9+.


Theophilus Grey by Catherine Jinks: Theophilus Grey and the Demon Thief is the first half of a new historical mystery duolgy, set amongst the dank allies of eighteenth-century London. Twelve-year-old Theophilus must utilise his network of young spies to face off against secrets, spells and sinister nemeses. Jinks’ use of historical language makes this a challenging but thoroughly immersive series for confident readers aged 10+.
 

Early Teen Readers (ages 11–13) 

 

Letter for the King by Tonke Dragt: A classic of Dutch literature, it’s taken more than fifty years to see the second instalment of this enchanting historical series translated into English but, truly, it is worth the wait! Dragt’s carefully imagined world of kings and knights, chivalry, and magic will surely inspire devotion in readers aged 11+ who love adventure and medieval history.


Six of Crows by Leigh Bardugo: With one acclaimed series under her belt, Bardugo has stormed the YA literary world with a thrilling new series set in the same fantasy world as her earlier novels. While it’s not necessary to have read The Grisha beforehand, readers may wish to revisit it while they wait for the second instalment of Six of Crows due out later next year. High-stakes heists, riveting action and just a touch of romance make this follow-up pure reading pleasure for fantasy fanatics aged 13+.


The Illuminae Files by Amie Kaufman and Jay Kristoff: It seems every summer there’s an ‘it-book’ which inevitably tops every YA blogger’s ‘to-be-read’ list. In 2015, that honour is bestowed upon lluminae, the first in a highly anticipated new series which can best be described as good old-fashioned sci-fi… with zombies… and our favourite ‘will-they-won’t-they?’ romance of the year. 9-out-of-10 bloggers agree: readers aged 13+ should read it. Read it now.

Young Adult Readers (ages 14+)

Magonia by Maria Dahvana Headley: Whenever a book is described by its publisher as “Neil Gaiman meets John Green”, we’re a little sceptical but – in the case of this remarkable YA debut – these are entirely justified comparisons. While there’s only one book in the series so far, there’s a sequel due next year so fans will have something to look forward to. With a thoroughly quirky plot and charming prose, readers aged 14+ will adore the blend of fantasy and realism Magonia has to offer.

Red Rising by Pierce Brown: Dystopian fiction is not going away – that’s a fact—and one we’re pretty happy about, since authors keep rustling up killer ideas for societies gone mad with power and greed. What’s so refreshing about Pierce Brown’s Red Rising trilogy is the strong political statement it makes about inequality and the distribution of wealth. This is smart, engaging and original dystopian sci-fi and, you can bet your bottom dollar, readers aged 14+ will be hooked.

The Bone Season by Samantha Shannon: Critics heaped praise upon The Bone Season when it was released in 2013 and it’s easy to see why: a compelling heroine who happens to be clairvoyant is kidnapped by a secret society determined to harness her powers for their own shadowy purposes. And did we mention the year is 2059? The sequel is just as riveting and, with five more instalments planned, The Bone Season series is pure futuristic fantasy with a mysterious edge that readers aged 14+ are going to love.

 And just to keep them reading...

During the last few months, many well-established series have added new books to their number. If you’d like to explore some longer running series that will provide hours of holiday reading no matter what the age level, here are some recommendations with new releases:

Emerging Readers

Elephant and Piggie - ages 5+
Samurai vs Ninja - ages 6+
Alice-Miranda - ages 7+
Stuff Happens - ages 7+

Middle Grade Readers

Treehouse - ages 8+
Big Nate -  ages 8+
Do you Dare? - ages 8+
Our Australian Girl - ages 8+
Friday Barnes - ages 9+
Blackwell Pages - ages 9+
Dork Diaries - ages 9+
The Caddy Kids - ages 9+ 
All the Wrong Questions - ages 9+
Thickety - ages 10+
Princess Academy - ages 10+

Early Teen Readers

Chronoptika (Obsidian Mirror) -  ages 11+
The Lockwood and Co - ages 11+
Maximum Ride - ages 11+
Lorien Legacies - ages 12+
Throne of Glass - ages 13+
The Wandering Son - ages 13+ (Graphic Novel)

Young Adult Readers

Lone City - ages 14+
The Selection - ages 14+
Every - ages 14+

Wishing you a joyous & festive season from Cereal Readers!

Kara Smith

Time to Say Good-bye...

It is with some sadness and nostalgia that we farewell our very first Cereal Readers website design. However, as we quickly approach our third anniversary, we’re looking forward to embracing a fresh new look and the realisation of many effective new search features.

'Appealing images are vital for engaging young readers'

As part of the clean and updated look, our primary focus was to improve the quality of the book cover images.  Appealing images are vital for engaging young readers and we're thrilled that images now display with enhanced size and clarity.

The long list of features we wanted to offer had to be distilled to those we thought would be most valuable. Expanding the variety of ‘search lenses’ (as we like to call them) will hopefully provide useful portals to the series we have available. In particular, we’re really pleased to make available the ‘multi-genre tag + age range’ search for discovering new series.

Apart from the multi-genre tag search, my favourite new feature is the ability to see at-a-glance which series have introductory book trailer videos - a wonderful tool for quickly enticing readers of all ages.

Video icon indicates introductory series book trailer.

Multi-Genre + Optional Age Search

Key features offered in Cereal Readers version 2.0:

• Higher quality images and image enlargement feature;
• Improved search results;
• Multi-genre tag search, with optional age range filter;
• Video icon to indicate series containing book trailers to quickly engage readers;
• Summary of all series that have won awards;
• A previous/next feature for moving between sequential books in a series.
• A new ‘Explore’ menu option that provides a launching point for the many ways to search series on Cereal Readers.

Overall, we believe these and other changes have made the site clearer and easier to use. We hope you’ll take a few minutes to acquaint yourself with the recent changes.

Farewell to the inaugural Cereal Readers site design

There are still many features we would love to bring you, but we had to walk the line between dreams and delivery, so…next time. As a large number of our visitors access the site via mobile phone, a mobile-friendly version of the site is high on our list for the second half of 2015 - we'd really hoped to deliver it with this release, but time ran short.

As is often said in the technology business, ‘the perfect is the enemy of the possible.’ We’ve bought you the possible for now. Hope you enjoy it!

Marielle

The Colourful Appeal of Graphic Novels

What is a graphic novel?

Graphic novels are, by the simplest definition, book-length comics. Sometimes they tell a single, continuous narrative from first page to last; sometimes they are collections of shorter stories or individual comic strips. [source]

You might be forgiven for thinking that authors and illustrators of this genre would be pleased by the import of the genre name, yet many who have their work marketed as 'graphic novels' by publishing companies, dislike the term. This group is quite content to call their work comics—a comic novel or book, as opposed to a comic magazine—and feel it’s simply an unnecessary rewording for marketing purposes. (Although many in the book industry would argue strongly that the marketing of books is quite a necessary business!) Jeff Smith, author of the award-winning, humorous graphic novel series, Bone (for ages 11+) is one artist not keen on the descriptor,

"… 'graphic novel'... I don't like that name. It's trying too hard. It is a comic book. But there is a difference. And the difference is, a graphic novel is a novel in the sense that there is a beginning, a middle and an end." [source]

Diverse appeal

Be this as it may, debate over the terminology has not diminished the widening appeal and growing popularity of graphic novels. And the term seems here to stay, perhaps in part because the word ‘comic’ can be misleading: many comics are not humorous in nature. Instead, they are dramatic, adventurous, romantic—in fact, any genre a text-based novel can be. Just as the stories portrayed in graphic novels have become more diverse in content, so too, has the readership has widened. Publishers of many popular series, such as Twilight (for ages 12+) by Stephanie Meyer, and Anthony Horowitz’s Power of Five (for ages 12+) and Alex Rider (for 9+ years) series, are keen to produce the books in graphic novel format for a variety of ages.

 

Advancing literacy

While comic magazines and graphic novels are spurned in some quarters for curtailing literacy, some of their biggest supporters are librarians. In fact, librarians were among the first to note the fast-growing trend through the lending cycle, and have been strong supporters of the genre, viewing graphic novels as powerful tools in the process of advancing literacy. They not only combine words and images, but require the reader to interpret the narrative flow by linking the actions in the panels together. Graphic novels are also popular with younger readers, and appeal to reluctant and struggling readers as well as those who are more advanced. [source] Jeff Smith commented on this phenomenon during an interview some years ago. 

"...there was a time when people actually thought comics caused illiteracy. They thought it would make you more stupid. So this was our chance [invited to speak at the American Library Association national conference in 2002]. And we were all excited to make our case for comics being good. But immediately, it was clear that the librarians were way out in front of us. They knew this.

They told me that circulation in libraries was down everywhere. You know, internet, video games... standard fears that everybody has that we're losing you minds. But there was one exception. The circulation had gone up 300 percent across the country... in graphic novels. So the librarians didn't need to be convinced. They were there going, "We want more. What do we do?" [source]

Have you noticed...?

Have you noticed the world is changing? Sounds almost too self-evident to mention, yet it’s a contributing factor in the growth of graphic novel readership in recent years. No one can deny that communication has changed and will continue to change. The combination of images and text is becoming a standard way of conveying information and one that requires new interpretative skills. [source] University of North Florida assistant professor of literacy Katie Monnin refers to this as "the greatest communication revolution since the invention of the printing press," as a way of illustrating the scale of what is occurring.

Couple that with the fast pace of these means of communication—movies, videos, internet—and you can see how graphic novels help span the gap between these visually stimulating forms of entertainment, and the format of print. Graphic novels may appeal more to those who have become used to this quick delivery style of a story because text-only books might seem slow by comparison. In addition to providing reading and enjoyment in their own right, far from turning readers away from traditional novels, graphic novels may actually make them more accessible.

We're currently building our reference of graphic novels for children and young adults. If you have any suggestions you'd like to make, please email us at: books@cerealreaders.com

Marielle Rebbechi

Fairy Tales Reconstructed—Past, Present and Future

Once upon a time, long, long ago…long before there were books written for reluctant readers, books about social issues, or distinct markets such as ‘tween’ or ‘young adult’…long ago, there were just fairy tales.

Stories within stories; stories originally told as a way of socialising children, warning them of the perils of  trusting strangers,  the misfortunes of birth, the saving power of romance and—in most cases—the  ultimate victory of good over evil. They outlined traditional roles: girls becoming women; boys leaving home, taking risks and being protectors; and so many of us grew up with them. Then fairy tales fell from favour. These tales full of stereotypes and unconscious myths—myths such as those equating beauty and good; ugliness and evil; and the idea that a female is helpless until ‘saved’ by her handsome prince—were not politically correct!

But fairy tales also feature resilience and resourcefulness, courage and triumph - together with a gripping tension and delicious thrill that is, somehow, unique to this genre. And, whatever the suggested age of appeal, the timeless nature of fairy tales can be enjoyed into adulthood.

“..It’s in the nature of fairytales to be altered and to morph with time and with each new storyteller. I was really drawn to taking the original fairytales and morphing them into something new and fresh, while still maintaining some of the themes that everyone is familiar with.”  —Jackson Pearce

So, good news! The fairy tale tradition has been reborn in recent years with some highly (highly) engaging and imaginative results. The trend not only crosses both children’s and young adult’s series, but the interpretations range from the more traditional retelling to humorous takes; from versions with contemporary settings to even ambitious futuristic adventures, such as the ‘Lunar Chronicles’ serial by Marissa Meyer. Here's a brief guide to some of the bold new options.

Fresh Retellings in the Fairy Tale Tradition

If you’re looking for a more traditional retelling that moves well beyond the picture book versions for small children, here are two well worth exploring. Folktales by Robin McKinley is a series which features spellbinding retellings of classical fairy tales, for ages 11+. For a  similar age,  there is the award winning Books of Bayern series by Shannon Hale. This original and magical series is woven from the Grimm’s fairy tale of a princess who became a goose girl and must discover her own unusual talents before she can lead her people as their queen.

Tales Dark and Grimm…and Witty!

As a springboard for the imagination, fairy tales provide infinite scope, as shown by authors Adam Gidwitz and Christopher Healy. In their respective series, they mix characters across stories and add humour and mayhem.

In Adam Gidwitz’s  mischievous and utterly original trilogy, Tales Dark and Grimm,  he steers clear of romance and revisits the grimmer fairy tales. Hansel and Gretel, Rumpelstiltskin, and Jack and Jill are in for a bit of confusion, as Gidwitz plays with their fates, taking these tales in new directions—literally—by  walking well-known characters out of their own stories and into other classic Grimm–inspired tales. Gidwitz seems to have a handle on events that will captivate pre-teen imaginations, bringing fairy tales alive again with sinister happenings and dark, humorous fun. These fairy tales veer to the irreverent and subversive, as characters “take charge of their destinies and become the clever architects of their own happily ever after.” (ages 10+)

Humour abounds in the illustrated Christopher Healy series, League of Princes (ages 9+). The string of ‘cardboard cut-out’ princes required only to sweep in, save the day, and look good in a wedding frock-coat, are finally given some back story as they take centre stage. Teaming up to crisscross fairy tales, the members of the League of Princes are revealed for all their foibles and eccentricities as they embark on action...that is, to the best of their abilities. A series I’m sure will appeal to many boys!  I’m intrigued by Christopher Healy's idea of also exploring the nefarious and unstable evil fairy tale characters in a future series. I think that would make for some very funny stories, indeed.

Fairy Tales in a Contemporary Setting

Several series have chosen a contemporary setting in which to present a modern take on the fairy tale. Located in a world that includes high school, the Internet and a variety of adolescent concerns, the classic elements of the fairy tale have a fresh twist in a familiar backdrop. Here are a few written for slightly older readers.

The award-winning series, Beastly by Alex Flinn (ages 13+). At their heart, the stories echo the well-known tales, however, Prince Charming is now the most popular boy in school; the wicked witch is a goth girl determined to teach her peers a lesson they won't forget; and the damsel in distress has a bizarre past.

In the Unfortunate Fairy Tale series by Chanda Hann (ages 13+) Mina, a descendant of the Brothers Grimm has inherited all of their unfinished fairy tale business—she must finish the tales to the end, or she and her family will suffer dire consequences. Action and fierce family loyalty also feature in the Fairy Tale Retellings series by Jackson Pearce (ages 14+). These dark and gorgeous fairy tale retellings have action to set the heart-pounding,  and romance to leave readers breathless.

The Enchanted Fairytales by Cindy C. Bennett also has a contemporary setting, but the heart-felt stories have no magical or supernatural elements. This charming series, most comprised of novellas, is well-suited to the pre-teen age group (ages 10-11+).

For slightly younger readers, the Land of Stories series (ages 8+) by Chris Colfer, tells the tale of twins Alex and Conner. Through the mysterious powers of a cherished book of stories, they leave their world behind and find themselves in a foreign land full of wonder and magic where they come face-to-face with the fairy tale characters they grew up reading about.

The Futuristic Lunar Chronicles

One of the most innovative fairy tale-inspired series is the recently published Lunar Chronicles by Marissa Meyer. This fast-paced story successfully melds intelligent and resourceful heroines—Cinder (Cinderella), Scarlet (Red Riding Hood), Cress (Rapunzel) and Winter (Snow White)—romance,  space technology and viral warfare. Yes, space technology and viral warfare. That this unlikely combination creates an engaging, hold-on-to-your-seat ride, is a tribute to Meyer’s imagination and daring.

The series begins with the story of Cinder, a cyborg mechanic in a futuristic New Beijing. New Beijing is plagued with a mysterious illness and the threat of invasion from the moon-based, Lunar people. The subtle but distinct Chinese setting and references, which played out in names, foods and other cultural references, was refreshing.

Events in Cinder set the scene for subsequent novels, with new characters gradually added to the unfolding action, rather than each feature character and fairy tale having a separate book, per sage. As a result, this series is also a serial, with definite cliff-hangers at the end of each book. But have no fear, when the fourth and final book featuring Winter, is released in early 2015, I’m quite sure we’ll see some fairy tale endings! A thoroughly engaging—and perfectly suitable—series for ages 12+.

Still firmly in the fairy tale genre but not falling easily into the categories above, the following series offer further variety in the fairy tale genre, many of them having been nominated for or won respected awards.

• Sisters Grimm (ages 7+)
• Guardians of Childhood (ages 8+)
• Wildwood Chronicles (8+)
• Inkheart (ages 9+)
• Princess Academy (10+)

"Out of old tales, we must make new lives" —Carolyn Heilbrun

Oh, and there are many more! Stow any preconceived ideas you may have about this genre and sample a few. With such a variety of series paying homage to the fairy tale tradition in new and exciting ways, there’s sure to be something that appeals to almost every taste. If you have another fairy tale series you'd like to see added to Cereal Readers, please email us at: books@cerealreaders.com.

Marielle Rebbechi

Reading Every Word

Book 2 in the 'Every' Series

Today, Cereal Readers talks with YA author, Ellie Marney, about grunge characters, writing romantic scenes, and scouting murder locations for her latest book in the YA crime thriller series, Every.

Firstly, let me say how much I enjoyed Every Word. (No pun intended!) The underlying story definitely gained momentum and developed in complexity, as did the key characters. Apart from the cryptic murder mystery to solve in the UK, Rachel and Mycroft and their evolving relationship became even more intriguing! It's sparked many questions for me, so I'd better get started...

[CR]  While the novel gives us Rachel’s point-of-view, with Every Word you’ve drawn the reader more deeply into Mycroft’s angst and the evolving relationship between the two teenagers. What were the challenges in exploring Mycroft’s psyche without writing from his perspective?

[Ellie]  Ha, I was only thinking about this yesterday!  Because I was writing Rachel’s point of view, there were times when I felt a bit disconnected from Mycroft’s psyche, and I really had to think long and hard about how he would feel, what he would say or do – that’s what happens, I suppose, when you become so firmly embedded in the head of one character.

To stay connected to Mycroft, I spent a while thinking about where he’s come from, and why he feels the way he does – what is this deep-seated sense of self-loathing grounded in? I even wrote out a few scenes using his POV, so I could really get a handle on it, particularly scenes where he’s very self-critical – it helped me to clarify that he’s still grieving so much for his parents, it’s something he’s never allowed himself to express properly so it’s like a wound that’s festered. Writing out of James’s POV really helped - sometimes you have to do that, remove yourself from the head of one character and get into another character’s head, to develop a better understanding.

[CR]  Mycroft’ is an unusual character, isn’t he? He’s incredibly intense and somewhat unstable; something of an anti-hero, in many respects. What prompted you to create his character in the way you did?

[Ellie]  I just think that people who are really driven and intense are fascinating characters – they’re great to read about!  They’re wonderful to write too – that level of unpredictability is wonderful, it means your story can take unexpected twists and turns that are all character-driven.  In some ways, those characters really write themselves – that’s certainly how I felt about Mycroft, that once I had the idea for him, he started to spring out fully formed!

But intense people like Mycroft tend to get that way for a reason, and it’s usually something traumatic that brings that out. Mycroft’s had some pretty horrific experiences in his life, and his current living arrangement is far from ideal, for him or his aunt (although they are starting to soften towards one another in Every Word, and things evolve further in Every Move).  Mycroft has a lot of potential, as an investigator and as a person, but he’s got a lot of baggage to get past.  I think teenage (and adult) readers identify with that desire to mature and conquer your own personal demons, so you can live up to your own potential.

Ellie Marney  [Photo: Justine Bernhaut]

[CR]  Every is a crime mystery series with an emphasis on forensics, what motivated you to write in this genre for young adults? How did the forensic focus come about? Is it a particular interest of yours?

[Ellie]  I confess that I actually love forensic procedurals!  There’s something about the focus on the details of the puzzle that I really enjoy, and the forensic examination of physical remains is something that I find fascinating – it’s like Rachel said, it’s gory, but there’s something so universally human in it, that final understanding of the body in death.  And the idea that a person’s body can hold the clues to their own death, even after they’ve lost the ability to tell us what happened to them, is really quite amazing and mysterious.
 
I suppose I felt that the forensic procedural was something that had never been done for an Australian YA audience before (to my knowledge: although US-writer Barry Lyga uses it in his crime/horror novels to great effect).  And I’d spent some time in high school libraries, and seen books by Patricia Cornwell and other ‘forensic focused’ mysteries for adults on high school shelves, so I knew that secondary students had some interest.
 
I think teenagers are actually as interested in the processes of death and post-mortem as everybody else.  It’s a bit of a taboo subject, and teenagers enjoy nothing better than breaking taboos!

[CR]  The theme of fire runs throughout the novel—whether it’s an external fire, such as the bushfire threats Rachel remembers from her farm days, or the internal burn of passion or the burning desire for resolution. How important was the fire imagery to how you unfolded this part of Rachel and Mycroft’s story?

[Ellie]  Ah, my editor actually had to rein me in with the fire motif! – she was like ‘Okay, Ellie, I think we’ve got enough fire-related metaphors now’!  I had to tone it down. :)

It was something I realised was coming through when I was halfway done with the writing – some themes only clonk you over the head when you re-read.  I thought it was pretty appropriate for the reasons you suggested, it was a good linking image for the building romance, and Mycroft’s fiery temperament.  Also this book is really about Rachel growing up: that burn of energy and excitement that starts rising inside when you start emerging into adult life, and realising you can make your own decisions.  And I thought it made a great contrast with the cold weather of England!
 
Interestingly, when I went to the Bodleian Library to do research, I discovered that they make you swear an oath – an honest-to-goodness, old-fashioned oath – before giving you permission to enter, in which you swear ‘not to kindle, or allow to be kindled, any fire or flame within the confines of the library’…  Very sympatico!

[CR]  As characters, Rachel and Mycroft are not ‘glossy’; you’ve given them a very real/grounded presence with not only scruffy hair and extremely limited wardrobes, but with an almost grunge appearance and nicks from shaving, etc. Did you have any concerns with how their images would be received, given many young adult novels present their characters as physically quite polished?

[Ellie]  Oh no, I definitely wanted them a bit grungy!  It actually drives me mad, the way teenagers are sometimes portrayed as being so put-together, especially female characters.  Teenagers are messy!  That is their natural state!  And Rachel and James have way too much going on in their lives for them to fuss over things like their hair or clothes.  I just couldn’t imagine them preening, it would seem out of character - Rachel is too pragmatic, and James is too mentally preoccupied.

I didn’t think of how that would go down with readers at all, but they seem to enjoy it.  Maybe they appreciate a touch of reality! 

[CR]  In Every Word, Rachel has joined a roller derby team! Why did you choose that particular sport for her?

[Ellie]  I’m a huge fan of full contact sport for women.  I trained martial arts (tae kwon do, kickboxing, karate, you name it), as a teenager and adult, so I’m quite into it – going to grungy gyms, and getting sweaty and sore.  There should be more pathways into hard sports for girls, I think, because many of them don’t have a go, or have a try and then give it away – it used to be considered ‘unlady-like’, and it’s interesting how that limitation still exists in some contact sports.  Consequently, women have reserves of endurance and physical strength that they rarely take advantage of.

Roller derby is hard, rough, and absolutely thrilling to watch!  A friend, Meg Philips, talked me through a big derby bout and worded me up on the lingo – like ‘boutfits’, for the wild gear that the competitors wear – it was fantastic!  Rachel’s mate, Mai Ng, is the derby girl in Every Breath, and it seemed natural that Rachel would gravitate towards a sport that made use of her natural toughness.

[CR]  I loved the ‘tuning fork’ simile you used to describe Rachel’s acute responsiveness to Mycroft. It perfectly communicates how attuned they are to one another and the visceral nature of their attraction. The romantic tension between Rachel and Mycroft certainly intensifies in Every Word! You write these scenes amazingly well and they have an endearing honesty about them. Just how difficult are they to write?

[Ellie]  Interesting question!  I actually wrote some of the more romantic scenes from Every Word before I even had the green light for a sequel, and a couple of the scenes in the book flowed very naturally – I was mindful of the fact that this is the ‘honeymoon’ stage of Rachel and James’s relationship, when you can’t get enough of each other.  Plus, of course, the fact that they’re both seventeen!

But one scene…I won’t tell you which one!...I swear I wrote it, and then re-wrote it, and then re-re-wrote it…  I had about seven goes at it, and by the end I just gave every version to my editor and said, ‘Look, I can’t even tell if this is sexy any more, you choose the best one’! 

I find with romantic scenes – which I’ve never felt I have a talent for, by the way – that I prefer to write very plainly, without too much lyrical embellishment.  I try not to use fancy language when I’m writing romantic scenes.  I think the poetry of it only emerges in your mind afterwards.  I sometimes add a few small touches when the writing’s done, but not during the writing itself, because it intellectualises what’s essentially a very visceral experience.  When the characters are in the heat of the moment, they aren’t really thinking of those things – they’re barely thinking in complete sentences!

I also felt that the romantic scenes in Every Word were an important counterpoint to the autopsy scenes – the rush of life in your body when you’re young and in love, set against the profound mystery of the body in death.

[CR]  You have four boys, have any of them read Every Word? What were their reactions to the steamier scenes?

[Ellie]  Yes, I have four boys, but only my oldest son has read Every Word so far.  He’s thirteen, so I felt that it was age-appropriate – although I think he would have argued fairly stridently that he had a right to read it anyway!

I asked him about the romance scenes in the book, and his response was that it was ‘pretty legit’ (his term!) because they were both seventeen, and it seemed like it would be normal ie: a natural progression from the first book.  He said Rachel and James ‘only got to have, like, ten minutes or something’ of kissing time in Every Breath, so it seemed fair they would get more time together in book two!

[CR]  I read in your ‘Acknowledgements’ that you had indeed spent time in London and Oxford researching for the book. Tell us something about that experience. 

 

[Ellie]  Oh, that was so wonderful!  I was about halfway through the manuscript, and trying vainly to find out some location details on Google Earth, I think, when my partner looked over and said ‘You know, you should go to England’.  As if that was just obvious, or easy!  But then his sister had some time off work, and my brother was available to help out, and my father offered to come down to spend some time with his grandkids…so Geoff and I had the chance to go to London for ten days.  It worked out so well, it was like it was meant to be!

I did a very unconventional tour of London though – while Geoff was at the British Museum, I was touring the Westminster Mortuary, and scouting locations for murders.  He came with me for some of my odder side-trips, like researching the site of the car accident in High Wycombe.  A very helpful taxi driver showed us the perfect spot!

[CR]  When you were at the Westminster Public Mortuary, did you witness an autopsy first hand?

[Ellie]  No, I didn’t – I think that’s actually very hard to receive permission to do.  It’s certainly something I’ve found impossible to do in Australia, and I can fully understand why that’s so.  What I did do in London was to interview an Anatomical and Pathology Technician, and she was incredibly helpful.  I was also given a full tour of the mortuary premises, including the Forensic Suite.  I should have taken photos, but I was very aware of how sensitive some of these details are, and how scrupulous staff have to be - considering the feelings of relatives of the deceased, and being aware of current judicial cases, and so on.  So I just looked very long and hard, and made page after page of scribbled notes.  I tried to be as faithful to my original descriptions as possible, from the look of the place to the smells and sounds.  It’s a very calm environment, but still quite disturbing on some levels.

I also read and re-read Helen Garner’s account of witnessing an autopsy in her famous article ‘At the Morgue’ – her impressions in that article, combined with my own experience of walking through the mortuary plus some online research, formed the basis for Rachel’s description of the post-mortem in Every Word.  I have no idea how Helen Garner managed to get permission to view an autopsy – I met her recently, after a speaking event, and she said she actually got a dressing-down from the Coroner when he realised she’d been allowed in!

Shakespeare's First Folio

[CR]  I am quite envious that you were able to handle Shakespeare’s First Folio! How did you decide that the item stolen in the novel would be the First Folio?

[Ellie]  Oh, that was incredible!  I was given an amazing opportunity to interview the Head of Rare Books, as well as a library conservator, at the Bodleian Library in Oxford.  And when I asked to see some of the books published at around the time of the First Folio – which is absolutely impossible to view, unless you’re a president, or a prime minister, or something like that, it’s just so valuable and precious – the Head of Rare Books explained that actually, the Korean ambassador had been in to view the Folio only the day before, and the Folio was still in the office, and would I like a look?  I spluttered a lot before I said yes!

Viewing and handling the First Folio is something only a few dozen people in the world ever have the opportunity to do, so I felt enormously privileged.  Seriously, Shakespeare is like the writer’s god, so I felt like someone had handed me the Holy Grail or something. I was in a daze for ages afterwards!

Why did I use the Folio as the catalyst for the mystery?  Well, that’s a good question – actually I think I was being a bit self-serving there!  I wanted to send the characters back to England, to explore Mycroft’s past.  For me, England is the home of Shakespeare, and the Folio is one of the most crucial cultural artefacts of not only the UK, but all of Western literature.  When you set the stakes in a theft caper, you’ve got to set them high! (It was either that or the Crown Jewels!)

[CR]  Do you find it easier to write during the day or at night? What sort of routine do you have and what methods do you use if the words aren't flowing as you'd like?

[Ellie]  I write first thing in the morning – very early in the morning, when I’m on a roll.  I used to get up at about 4.45am and start work at 5, to get in as much as I could before school preparations and general life began.  I have a more sane routine now, getting up about an hour before school prep, and working on after everyone has left!

When the words aren’t flowing I am a bit of a bull terrier – I will sit and stare at it, and keep pounding away at the keyboard.  Bum glue is what Stephen King calls it, where you just sit and keep banging away until you’ve got something you can craft properly later.  If I’m really stuck, I will go for a walk, or do dishes or something – some repetitive, boring task that lets you think – until I figure out what’s going on.  Often if I’ve reached an impasse it means I’ve forced the characters to do something that isn’t natural for them.  Then I have to go back and find the point where it was flowing, and allow the characters to make a more natural choice.

[CR]  Every Word is a novel I think would lend itself very well to a film adaptation. Is that something you can also envisage?

[Ellie]  I try not to think about that!  Of course it would be lovely, but it’s something completely outside my control – so many good ideas never find their way onto screens, film and television production is such a complex process.  I worked with VCA film students for a year when I first came to Melbourne, doing crew work, and making a film is an incredibly complicated thing, even as a student.  How films ever get made, when you see what goes on behind the scenes, is really quite miraculous, in my opinion.

So I will happily let the characters live and adventure in my head, and if they ever make it onto a screen then I will be both delighted and amazed!

[CR]  Of course, I have to ask you, what series did you enjoy when you were growing up?

[Ellie]  So many!  I had a deep love of exploring every book in an author’s collection, as a kid.  I read a lot of science fiction – Isaac Asimov’s Foundation series, which my father gave me, as well as all his Robot stories, amongst other things.  I also read fantasy – David Eddings’s Belgariad series was my favourite in high school (I still have those paperbacks!  My second son is reading them now), as well as all the Conan Doyle and Agatha Christie books (I always liked Poirot best!).  I also loved the Anne of Green Gables series by Lucy Montgomery, they were lovely. :)

Ellie, thank you for taking the time to discuss Every Word with us in such detail. It was wonderful to hear about the characters of Rachel and Mycroft, and to gain insight into the background of the novel and your writing process. I know I'm one of many who are looking forward to how the story resolves in the final book of the series, Every Move (due out in 2015).

Every Word is published by Allen & Unwin and currently available in bookstores and online. You can also view information on the Every series, including a review on Ellie Marney's first novel, Every Breath, on the Cereal Readers' website: www.cerealreaders.com.
 
- Marielle Rebbechi