Extract from The Thought Book 2 By Jay Mullings As part of Blog Tour uploaded By Dan Stubbings

Extract

The Truth About Being A Black British Screenwriter

Getting The Respect You Deserve As A Black British Screenwriter, A Die Hard Mission Impossible… – JM

DID HE JUST SAY THAT?

Yes, I said it! Someone had to! It’s hard being a Black British Screenwriter. In Britain it isn’t Black History Month. Over here, there is still very far to go before you will see the types of stories I grew up starved for. My daily diet is composed of a lot of TV, Film and Books. Don’t think for a single second this is coming from nowhere. I’ve studied my craft and I continuously practice it well. Having travelled far and wide to seek the wisdom of my peers, trusted the opinions of others and even entered festivals in lands I’ve never travelled to!

These are not the ramblings of someone who has given up; rather they are the words of someone who is getting even more fired up! Have you never gotten fired up before delivering your best stuff? – JM

WHERE IS THIS COMING FROM?

What is fuelling this fire? The stupid myth this country is clinging desperately to. Yes, I’m talking about the vaunted gatekeepers. You might like to think of yourselves as upholding standards but you’re really so far beneath it.

Everyone has a reason not to give you a chance as a writer, no one is immune to rejection. This is known to all who have tried to gain representation or pitch an idea etc. Now add being black and male on top. There is a fetish for BAME female writers and it seems the black man is collateral damage. Now am I happy to see BAME people of any kind secure the bag? Of course! Should that diminish the demand for my stories and perspective? No! Balance is the goal after all right?

MOVING GOALPOSTS FOR BLACK BRITISH SCREENWRITERS…

You’ve won awards? That’s nice, but have you won this particular one? Yeah I mean exactly the one that traditionally has never been awarded to your types (unique black) of story.

You know, ones where the black people in them do things over than get whipped for period specific reference, get called uncivilised or savages, sell work out of an estate or hurt people as a hobby.

USEFUL FEEDBACK?

Badly disguised coded language to the highest degree, with people passing on the world’s most patronising advice as if you’re far too stupid to notice. We can’t market your story about black people who came here in the heights of racist Britain via boat and the foundation they set up for future generations. Yes, because all we seem to do here is make

period pieces where black people are treated like fodder until somebody (white) saves them or they die in service.

CONCEPTUAL MISUNDERSTANDING?

Maybe it’s because in this particular story they speak patios amongst themselves in parts. They have only one child, they hustle to survive. The youngster skips school to contribute, working with his hands to come up. He gets married, sends his only child to boarding school, to give him the best possible chance at elevating his lineage to more legitimate endeavours. I could go on but you get the point. 3 generations in one story. Rich world building and character depth.

IF IT WERE…

On the other hand, if this family were to be based in America and let’s say Italian in descent. These same gatekeepers would welcome it with open arms. Rhetoric like, “It’s so authentic, they even speak Italian amongst each other” etc. There is a reason people (not me) have dubbed Tree House the mini/baby (TV) Godfather worldwide. It resonates as a story that needs to be told. Is it an exact replica? No! However, it is a point of reference much like Tolkien was for Martin. Did that make Songs of Ice and Fire any less of a celebrated masterpiece? Open your minds and stop being so rigid. Move past period pieces and romanticising about a lack of social progress.

BRITISH TV/FILM HAS NO MARKET FOR STORIES FROM BLACK BRITISH SCREENWRITERS?

I’m tired of the made up excuses about what can and can’t work, while comparing it to other things from across the Atlantic. British TV is dire because there is no representation. There is no medium between period drama whitewashing and estate life. If there is, it’s an exercise in tokenism and not something with any staying power. It is never used as a launching pad for other unique stories. There is a reason people are seeking these American shows with pluralism. Firstly they are interesting and secondly they at least attempt to address the imbalance.

BLACK BRITISH SCREENWRITERS ARE HERE ON THE BACK OF SKILL/WILL…

Careers have been launched (America), resurrected and there is progression in sight. New voices have been nurtured and they make sure the world knows who they are. Over here? It’s as if you have to wait for someone to die for an opening. Even the people with credits get put on ice and abandoned to melancholy for years. Acting isn’t the only creative endeavour in Film/TV! Stop making it about the success of one person while ignoring so many others of equal or even superior talent. It’s not a turnstile, this one in one out thing has to stop!

LITERARY AGENCIES I AM TALKING TO YOU…

Agencies! Do you even have BAME people reading your submissions? Not that you should be blind to good storytelling in the first place, but why is it you don’t seem to believe unique stories from BAME communities are very ‘now’? Was there a memo stating that being a screenwriter was off limits to black men in particular that I didn’t receive?

BEING A BLACK BRITISH SCREENWRITER BEFORE THE REVOLUTION

I wrote Feminunity 3 years before #METOO and the ‘all black’ solidarity for #TIMESUP. This story has strong female characters (7 lead roles) and covers situations not dissimilar to some of the chilling stories victims have bravely shared. Why shouldn’t this see the light of day? Shouldn’t it be made? Is this not relevant and now? Can’t an R rated film showing something other than slavery/war/Nazi Germany be backed here? Do I have to go to America before England says, “Hey big head?”

FINALLY

I know everybody has heard about the success of The Black Panther movie #WakandaForever. However, there is more to it than just good marketing, casting and the draw of comic books. People are starved for movies which serve up more than the same ole same old. Representation definitely matters! So where is that same energy in the UK? Where are these new Black British voices? I’m just asking for a friend…

 

jm

ABOUT ME

Award winning screenwriter, poet and recently nominated blogger. I believe in Truthful, Fearless, Creativity. Writing is a gift I don’t take for granted! Life is finite, so I’m here now and I’d like to make an impact. As a person I am positive, engaging, laidback, jovial but also capable of intense focus. I’ve known for years what I wanted to do and I’ve set about it with passion and originality. As you can imagine, being artificially held back is not something I could’ve predicted. The frustration I feel is a byproduct.

Extract from The Thought Book 2 by Jay Mullings. Jay is an award-winning screenwriter, and his books The Thought Book & The Thought Book 2 are out now, available from writtenmirror.com. Follow Jay on twitter and Instagram @WrittenMirror.

Thanks to The Book Publicist for inviting me to be part of this tour.

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Extract from Right of Passage by Lee Jenkins Posted by Daniel Stubbings

Extract

I’m very pleased to share an extract from a new romance novel from author Lee Jenkins, Right of Passage. In it, we meet Chris and Miriam, an interracial couple in 1960s America fighting against racism, sexism and intolerance to showcase the transforming power of love.

 
I said, “I went to my sister’s house in Atlanta, and her family, and then to Florida to visit my mom and my other sister. It’s curious. I missed this place and couldn’t wait to get back.”

 
“Maybe to see Miriam.”

 
“Sure, but I mean this place, the job.”

 
“I know what you mean. You and she seem to like each other.”

 

“Is that what people think?”

 
“She likes you,” he said. I nodded. “A fine girl, Chris.”

 
“You talk to her often?”

 

“We talk, about music, things, just like you and I do.”
“I think sometimes she misses New York.”

 
“How’d it come about between the two of you, if you don’t mind my asking?”
I sort of squinched my shoulders. How could I even begin to try to talk about that?
“Were you thinking of it?” he persisted.

 
“Thinking of it?”

 
“Attraction, between the races.”

 
“I don’t know.”

 
“How’s it working out?”

 
“Like any relationship, I suppose.”

 
“But is it like any relationship?”

 
“Why not?” Let me hear, first, I thought, what his idea was of why it wasn’t like other relationships.

 
“There’s a difference, racial, ethnic, religious,” he said.

 
“Then there’s the pleasure in overcoming it.” That was true, and something that moved me immensely, and yet it was also completely irrelevant—or was it? I was silent as we each waited for the other to speak.

 
“I wish you well.”

 
I said, “You spoke of overcoming religious difference in your discussion of Yom Kippur in class.”

 

 
“I spoke of appreciating religious difference, to bring about an understanding and acceptance of difference, to live and let live.”

 
“I agree with that. But I guess I’d like to abolish that difference too.”

 
“Black and white, Jew and gentile will always be, and a thousand other differences.”

 
“I guess I’d like to mate them, you know, merge them, graft them into one homogeneous thing.” Probably I did not really know I felt this way until I found myself saying it. Even as I said it I knew he was right, that if we got rid of racial difference, for instance, and everybody looked alike, a new, different hierarchy of difference would be established, would emerge, for instance, people with bushy eyebrows vs. people with sparse ones.

 
“You’ve got your work cut out for you. Life is being ourselves, living our differences. How does she feel about this?”

 
“She doesn’t say.”

 
“She knows what it’s like to be different, if you know what I mean.”

 

 

“You know she’s multi-ethnic, right—her father is Yankee, English and French.”

 
“I imagined it.” His saying it made me wonder, though, what he had thought.
“How’s that for difference—the American way. You and I are different too, yet the same in basic ways; what people in their distinctions forget.”

 
“I understand you. You two are so interesting to look at. She’s a lovely girl. You’re a good-looking black man. But not just that. Probably I’m also talking about the impact you make. I know you. But it’s still arresting, startling, to see you.”

 
“Doesn’t it ever wear off?” I asked. Howard smiled, and I returned the smile. I continued, “We try not to notice. By ourselves, we almost never do, unless it’s a way to make ourselves happy about something.”

 
“Would you have children?”

 
“Sure we would.” Even she thought that, and wanted to bring it about. I imagined she thought, as I did, that they would be beautiful, the world a better place, I thought, and said.

 
“That’s one way to look at it. I came down here, I wanted to do something in that spirit, commitment in a worthy way, you know, to people, mutual respect.”

 
“Everybody respects you, appreciates you, what you do.”

 
“There’s love too, a need to give—I feel I should say that—in this world.” He went to change the record.
Lee Jenkins is a psychoanalyst and author. His novel, Right of Passage, is available from AEON books, priced at £12.99 in paperback. For more information see http://www.aeonbooks.co.uk/product/right-of-passage/40447/

Right of Passage tour

Extract from The Biggest Idea in the World by David Joland

Thanks for inviting me to do this Book Publicist.

I’m very pleased to share an extract from a new comedy novel from debut author David Joland, The Biggest Idea in the World. In it, we meet Barry Goodman, the world’s funniest, most loveable loser, and go on a hilarious ride as he attempts to take on the corporate giants of the world…and beat them at their own game!

An extract from The Biggest Idea in the World:

I’d spent three days searching airline websites before I concluded there are no flights to Silicon Valley, primarily because Silicon Valley doesn’t actually exist.

I found out it’s actually just a label applied to an area within Northern California in which the city of San Jose nestles. Its name’s derived from the large number of silicon chip innovators and manufacturers based there. As far as I can find, silicon isn’t even mined there, and there are no listings for silicon superstores from which to buy it either.

Within the region lie the corporate head offices of the world’s leading tech companies, including the likes of Google, Apple, Intel and HP.

The only direct way to get there from London is to fly to San Francisco, about 40 miles to the South of where the mythological Silicon Valley starts.

As we pull up at Heathrow, I feel like a pioneer as I prepare to fly off in search of the region in which billionaires are spawned. I log the exact time and make a mental note to include it in my Autobiography.

The car’s barely stopped as I lean over to kiss my wife, simultaneously kicking the car door open with my foot in my eagerness to get out.

She pulls her cheek away, which frankly, I’m grateful for. I won’t have to spend the next ten minutes with the taste of her face-gunk on my lips.

Old habits die hard, and I forget that now we’re divorcing, there’s no obligation to go through the pretence. Where there was once affection there is now open-warfare. I remind myself I still need her onside, so make an attempt to look hurt. I try several pouts before settling on one, which I think looks the most credible, but she’s staring directly ahead so doesn’t see it.

The car groans then bounces up on its suspension as I exit. It’s like she’s even primed the car to insult my weight.

I open the back door and take out my carry-on case, which I place by the kerb before reaching across the back seat to retrieve my umbrella. I’d checked the forecasts for San Fran – like all cool techies, I decide to drop the ‘cisco’ – and I knew there was no rain forecast, but I wanted to appear quintessentially British and there’s nothing more British than walking around with an umbrella. I’d discounted the bowler-hat as it was too cumbersome to carry and I wasn’t prepared to walk through Heathrow wearing it.

DavidJoland

David Joland is a novelist and businessman. His debut novel, The Biggest Idea in the World, is available from Amazon, priced at £8.99 in paperback and £3.99 as an e-book. For more information see thebiggestideaintheworld.com

 

Guest Post by Author David Stuart Davies on his new crime thriller Blood Rites Posted By Daniel Stubbings

Today I am part of the Blood Rites blog tour and it is a great honour. Thank you to Abby Fairbrother and Urbane publications for inviting me. Also thank you to David for his amazing book.

About the Author-

DSD

David Stuart Davies is an author, playwright and editor. His fiction includes six novels featuring his wartime detective Johnny Hawke, Victorian puzzle solver artist Luther Darke, and seven Sherlock Holmes novels – the latest being Sherlock Holmes and the Ripper Legacy (2016). His non-fiction work includes Starring Sherlock Holmes, detailing the film career of the Baker Street sleuth. David has also penned a Northern Noir trilogy of gritty crime novels set in Yorkshire in the 1980s: Brothers in Blood, Innocent Blood and Blood Rites.

David is regarded as an authority on Sherlock Holmes and is the author of two Holmes plays, Sherlock Holmes: The Last Act and Sherlock Holmes: The Death and Life, which are available on audio CD. He has written the Afterwords for all the Collector’s Library Holmes volumes, as well as those for many of their other titles.

He is a committee member of the Crime Writers’ Association and edits their monthly publication Red Herrings. His collection of ghost and horror stories appeared in 2015, championed by Mark Gatiss who said they were ‘pleasingly nasty.’

David is General Editor of Wordsworth’s Mystery & Supernatural series and a past Fellow of the Royal Literary Fund. He has appeared at many literary festivals and the Edinburgh Fringe performing his one man presentation The Game’s Afoot – an evening with Sherlock Holmes & Arthur Conan Doyle. He was recently made a member of The Detection Club.

Authors Links: Web: http://www.davidstuartdavies.co.uk/ Twitter: https://twitter.com/DStuartDavies @DStuartDavies Via Urbane: http://urbanepublications.com/book_author/david-stuart-davies/

Book Synopsis-

Blood Rites is a Northern thriller set in Huddersfield, Yorkshire in the 1980s featuring Detective Inspector Paul Snow. DI Paul Snow has a personal secret. He is a homosexual but is desperate to keep it secret, knowing it would finish his career in the intolerant police force of the time. As this personal drama unfolds, he is involved in investigating a series of violent murders. All the victims appear to be chosen at random and to have no connection with each other. After the fourth murder, Snow is removed from the case for not finding the killer but continues investigating the matter privately. Gradually, Paul manages to determine a link between the murder victims, but this places his own life in great danger. Can Paul unmask the killer as he wrestles with his own demons?

Release date 9th November 2017

Exclusive extract about his new crime thriller Blood Rites

My Life of Crime

David Stuart Davies

The room is quiet. I take my seat in the semi-circle and give a silent nod to the others in the group and wait for my turn. When it comes, I stand up, holding a copy of Blood Rites, my latest novel in my right hand and in a clear voice, I state, ‘My name is David Stuart Davies – and I am crime writer.’

Well, I have been an aficionado of crime fiction since the age of twelve. It was in my salad days that I fell in love with Sherlock Holmes after encountering him on the school library shelves. The Hound of the Baskervilles was the particular volume in question and I devoured it with glee. Around the same time the local television station was screening the Basil Rathbone films. Those two happenstances sold me into Sherlockian slavery for life.

Eventually I read the whole of the Holmes canon, all 56 short stories and four novels. I wanted more. What could I do? The answer was obvious: write my own Sherlock adventures. Although this juvenilia was corny, creaky and very amateurish it helped to deepen my love of the character and the art of creating characters and mysteries.

When I went to university, I wanted to write my final dissertation on Conan Doyle but I was told in no uncertain terms that he was not an important enough author for such a project. As an antidote to this dismissal of the great man, for my own amusement, I began writing an article on the films of Sherlock Holmes – a particular passion of mine. The piece just grew and before I knew it I had a book length manuscript. I sent it off to a publisher and, glory be, it was accepted. So the year I received my degree I also had my first book published, Holmes of the Movies. Peter Cushing agreed to write the

introduction and I had the thrill of meeting the great man and begin a correspondence with him.

My first published Holmes novel was Sherlock Holmes and the Hentzau Affair in which I mixed Conan Doyle’s characters with those of Anthony Hope’s from The Prisoner of Zenda. My second Holmes novel continued this crossover approach by having Holmes tackle Count Dracula in The Tangled Skein.

I continued to write Holmes novels – as I still do – but around 15 years ago I thought that it was about time I invented my own detective. That’s when I came up with Johnny Hawke – Johnny One Eye. He was a private detective working in London during the Second World War. He was a promising young policeman working at Scotland Yard as war broke out in 1939 and so, like every patriotic fellow, he joined up to fight for his country. However, during training a rifle exploded on the firing range blinding him in one eye. He was invalided out of the army and the police could only offer him a desk job because of his disability. This was too tame for adventurous Johnny so with his compensation money he set himself as a private detective, determined to fight for his country on home territory dealing with criminals and all enemies of decency and law and order. The first novel was called Forests of the Night. Five other books followed: Comes the Dark, Without Conscience, Requiem for a Dummy, The Darkness of Death and A Taste for Blood. All are available as eBooks now.

When I felt the Johnny Hawke saga had run its course, I returned to the Victorian era with a hero of my own: Luther Darke. He is a somewhat dissolute and eccentric fellow, a wealthy artist, a lover of alcohol but an ace ‘puzzle solver’ who is often consulted by Inspector Edward Thornton of the Yard to help clear up a little mystery. Darke appeared in 7 short stories in The Darke Chronicles. I was particularly proud of the

first tale in the collection, The Curzon Street Conundrum, which is a cunning locked room mystery.

Then came Detective Inspector Paul Snow. I wanted to have a policeman working in my home town of Huddersfield. Colin Dexter used Oxford for Morse; Ian Rankin used Edinburgh for Rebus; I would use Huddersfield for Snow. I decided to set the novels in the 1980s before DNA and other forensic discoveries made policing less cerebral and more scientific. Today crimes can be solved by a microscope and a computer. I wanted personal interaction.

Snow had to be different from all the other sleuths on the block. I decided to make him gay. This wasn’t a casual or cynical decision. I remembered a colleague and friend when I was teaching who was gay. He was terrified that other members of staff and the pupils would find out and make his life hell. He lived with this danger hanging over him. I saw that this was a situation for many gay people, especially in the 1980s. It was a time when homosexuals were seen as comic characters or sexual threats. With Paul Snow as a high ranking officer in the police force, which at the time had quite a homophobic culture, this terrible situation could be explored with sensitivity and sympathy. Despite the danger of exposure, Snow had to carry on his job dealing with terrible crimes, desperate to catch the real villains in society, while protecting his own back. It was only later that I saw a connection between Paul and Johnny One Eye: two men on the periphery of mainstream society doing their level best to clean up those mean streets of Murdersville.

The first novel, Brothers in Blood concerns a trio of young men, who as teenagers go out to kill someone for fun. It provides them with a high which normal life fails to give them. As they get older and move away from Huddersfield, they still meet up once a year to murder a stranger – for fun! And then something happens which forces them

to kill for a purpose and their brotherhood is now under threat. Snow investigates only to discover threads of his own life entangled with the crime.

The second in the series, Blood Rites, concerns the murders of a group of young children. Snow identifies the link between the victims, but the murderer has gone to ground. During his investigation Paul meets a young woman, Matilda, for whom he has some affection. He likes her and they get on well. Reluctantly he asks her out. On one level he realises that he is using her as his ‘moustache’ – a term used by gay men for women who give them heterosexual ‘respectability’. However, Paul really likes Matilda, a secondary school headmistress, and feels warm towards her – but in essence his affection is platonic rather than sexual. He is aware that in the long term this relationship cannot go anywhere and this preys on his conscience. Certainly, for him, marriage would be the ultimate deceit. He is too decent a person to go down that road. Complications arise when he is propositioned by a fellow officer and he has to deal with this dangerous scenario while carrying out his investigations.

In the final novel in the trilogy, Blood Rites, while Paul is searching for a serial killer at loose in Huddersfield. There is no apparent connection between the victims and so Paul meets a brick wall at every turn. He feels the murderer is taunting him. Meanwhile Matilda is pressing him to take their relationship to the next level. Matters grow more complicated when her estranged gay brother turns up and takes a fancy to Paul. Once again his feelings are in turmoil, but greater shocks are in store when he finally tracks down the killer which leads to a heart stopping climax.

I have to say that I am proud of the Snow novels and genuinely believe I have created a memorable trilogy of crime stories. If you do not gasp out loud as you reach the final pages of Blood Rites, I will be most surprised.

 

BRBT

 

Guest Post by Louise Dean Award Winning Author and Creator of Kritikme.com Posted by Daniel Stubbings

Offering advice on how to write and  information on her 90 day course read on:

The Five ‘fs’ that make great novels

As a writer I am known for my frank and darkly comic novels and have been writing for twenty years, but it’s only in the last few months that I’ve undertaken to examine my own process as part of the ‘apprenticeship’ I offer to novelists in my creative writing course at Kritikme.com. I took a close look at the mechanics of storytelling in classic literary novels and discovered that all longer form stories are tragedies and underpinning them are five elements that date back to Aristotle’s own study of the tragedy in his ‘Poetics.’ I have dubbed these the Five F’s.

Don’t get me wrong, I am not advocating to would-be writers the pre-fabrication of plot or rigorous and lengthy plotting. When it comes to ‘plot’ I’d rather you did not. Tools for plotting, spreadsheets and charts become an alternative to writing. You think you’re ‘writing’, but you’re not writing.

‘Now listen carefully; except in emergencies, when you are trying to manufacture a quick trick and make some easy money, you don’t really need a plot….’ Katherine Ann Porter.

The story of a novel is propelled by a major moral crisis. The idea for a great novel can best be phrased in a paradox. Try noting one down one today. It’s easy; the rub between two opposing ideas will give you the spark of a novel. Dying man learns to live. That was mine for my first novel Becoming Strangers which won a couple of prizes The Betty Trask and Le Prince Maurice and found itself on the Dublin International Literary and the Man Booker longlist too. So, put the kettle and grab a pen and write your paradox down on the back of an envelope.

As they won’t be happy until they’ve done one, I ask my Kritikme.com writers to prepare a plot and then I suggest they throw it away.

I don’t think I could bring myself to the white page every day if I knew for sure what would happen next. As I explain to my writers at the very outset, and no doubt they find it either rash or reprehensible – prepare yourself for something like a love affair. As you may know, these are finest when brief and intense. Stephen King recommends a season, or ninety days, as the perfect timing for an affair of the heart, which a novel most certainly is. He’s right. You need to change your ways and hunker down.

The structure of a novel is important, but it’s not as important as creating work that’s driven by the main character’s compulsion to avoid facing what he or she must face to grow and become a hero or heroine. So the structure must be relegated to the creation of material, ruthlessly. That’s the gambit, that’s the game changer.

‘The structure of a piece is often something that happens quite late. Normally you can only decide what to do with what you’ve got when you can see what it is that’s there.’ Hanif Kureishi

It’s the secret to novel success, but it’s terribly hard to stop yourself biting the nails of your writing hand, which is where the routine, rigour and group mentality come into their own. You’re being encouraged held to account and a word count.

Once your material has started to take life, the structure can be applied to it, helping you make sense of what you. It is only at the back end that we draw upon the Kritikme Five F’s tragedy which unfold sequentially in a longer story:

  1. Flaw. The situation which accommodates his or her fatal flaw or moral problem shows signs of no longer being tenable….it is shifting.
  2. False hope. Your hero or heroine’s remedy seems to succeed … but fails terribly causing them serious damage or a reversal of fortune.
  3. Flight. He or she runs from the situation and gets insight into their flaw, recognising their failing.
  4. Fury. In deep, he or she rages against the hell around them.
  5. Facing it. They emerge from the fight with deep acceptance of their mortal condition and reconciliation with their true universal nature, either in life or death.

A novel lives and dies on whether your hero or heroine lives or dies. The Five F’s will see them – and you – through and despatch us at the front door of a home truth; that our welcome on this earth is one which begs each us to be able to take leave with decency.

Anyone who would like to write a book can write a novel, so long as they read books. What’s more you can write a novel and hold down a day job. You should write it in ninety days without fussing over plot, and apply the Five F’s when your material is in your hands. Another old chestnut I’d like to roast is that this is a lonely, solo, undertaking requiring a dusty garret with a sulking cat. On the contrary, it’s good to write alone, but it’s better to write alone in great company and we can thank advances in technology for the virtual companionship afforded by a community like Kritikme for making that possible.

‘My novel took up the sweetest part of my mind and the rarest part of my imagination; it was like being in love and better. All day long when I was busy … I had my unfinished novel personified almost as a secret companion and accomplice following me like a shadow wherever I went, whatever I did.’ Muriel Spark.

Louise Dean is an award-winning author published by Penguin and Simon & Schuster and nominated for The Dublin International Literary Award, The Guardian First Book Prize, and the Man Booker Prize. She is the founder of Kritikme.com, an online creative writing course which teaches people how to write a novel in ninety days. You can get a 10% discount on this course by using the code MYNOVEL10 at the check-out.

Thank you to Book Publicist for getting me involved.km