Honno: “Great Women, Great Writing, Great Stories.” Today with Juliet Greenwood #FridayReads #BookLaunch

My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the new set of interviews and today I am with friend, Juliet Greenwood.

Please tell us a little about yourself.

I live in a traditional cottage in Snowdonia, in North Wales. I’ve had three novels published by Honno (Eden’s Garden, We That are Left and The White Camellia). Last year I was taken on by Orion, in a two-book deal, with the first, The Ferryman’s Daughter, published yesterday; the fourteenth May 2020.

When did you start writing?

Almost as soon as I started to read! I loved books and stories from an early age, so I was writing my own as soon as I could.

What genre do you write in and why?

I write historical fiction, mainly based around the time of WW1. I find that period fascinating because it was a time of so much change, particularly for women. It was when many women were breaking the boundaries of social expectations to be the angel of the hearth, taking up education and the professions and starting to live independent lives. I also find it fascinating because you can see where negative and dismissive attitudes to women originate. At the same time, the women themselves faced battles we can still recognise today – things like equal pay for equal work, being taken seriously and being heard in the first place.

I think the main thing for me is that history, having been mainly written by men in the past, has tended to overlook both the reality of women’s lives, and also just how much so many women achieved despite all the constraints (and certain men taking credit for their work!). I feel it is important to know our own history, because that is a large part of what forms our view of ourselves. I so wish I’d known as a teenager that women climbed mountains, were daring rescuers behind enemy lines in WW1 and led the fight for so many of the rights we – both men and women – take for granted, including the vote.

Who is your favourite (non Honno) author?

I’m going to cheat. It’s a mix of Barbara Bradford Taylor’s A Woman of Substance and Rosamund Pilcher’s The Shell Seekers. I love both of them.

Where do you write?

I have an office in the ‘crog loft’, a tiny room in my cottage that’s under the eaves and would have been where the children slept in Victorian times. One of the previous inhabitants put in a window, so I have a view over my garden, and over towards Anglesey and the sea. The sunsets are magnificent from up there!

Who is your favourite character in your books?

It’s always the one I’m working on at the moment! I love Hester, the heroine of The Ferryman’s Daughter for her sheer determination to get through and never give up – and because she’s nobody’s fool and takes no flim-flammery (as her Welsh grandmother calls it) from any young man up to no good. I love her mixture of being forthright and resourceful, while also being fiercely determined to be fair and protect her younger brother and sister at all costs. She has plenty of self-doubt and soul searching, but she always picks herself up and gets on with it and wins through.

What was your favourite bit of research?

I loved visiting St Ives, where The Ferryman’s Daughter is set, especially as I was able to visit my favourite places along the Cornish coast. I also have a bit of research for my next book for Orion, which I haven’t been able to do so far because of the lockdown, which is a day’s course in being a blacksmith. My great-grandmother was a nail maker, so I’m very excited to follow in her footsteps, if only briefly. I was ashamed to realise it had never occurred to me that there have been plenty of female blacksmiths, and not only during the world wars! (But that’s another story…)

How have you found it different being published by Orion after an indie press like Honno?

I’m eternally grateful that I had the experience of being published by Honno before finding an agent and having a two-book deal with Orion – especially when my first book, The Ferryman’s Daughter, was moved forward a whole year, meaning it was a bit of a mad dash to get the various stages of editing done, while also hitting the deadline for book two. Having been through the process in the slightly less pressurised atmosphere of Honno, and learning the different stages of the editing process, gave me the confidence to feel I knew what I was doing – and even more importantly know that I had done it three times before so could do it again! That experience has been utterly invaluable.

Honno authors with from the left Editor Caroline Oakley, Juliet, Carol Lovekin, Judith Barrow, Alison Layland, Janet Thomas (former editor of Honno, now Honno committee member), Thorne Moore, Hilary Shepherd, Jan Newton.

Honno also gave me time to develop as a writer and become more certain of who I was as an author. When I began working with Orion, I found I was very aware of where I could compromise while still remaining the essential me, while being clear with myself (and so being clear with others) where I didn’t feel comfortable. Everyone at both Honno and Orion have been wonderful and supportive, and have always made me feel valued and that my opinions would be heard.

The last few years have been quite a rollercoaster, and this business is definitely not for the fainthearted. But whether your publisher is large or small, nothing beats that feeling when a book finally comes together, and then goes out into the world to take on a life of its own. I wouldn’t have missed either experience for the world!

A little more about Juliet

An image posted by the author.

Juliet has always been a bookworm and a storyteller, writing her first novel (a sweeping historical epic) at the age of ten. She is fascinated both by her Celtic heritage and the history of the women in her family, with her great-grandmother having supported her family by nail making in Lye, in the Black Country, near Birmingham in the UK, and her grandmother by working as a cook in a large country house. She lives in a traditional quarryman’s cottage between the mountains and the sea in beautiful Snowdonia, in Wales in the UK, and is to be found dog walking in all weathers, always with a camera to hand

Social media links:

Juliet’s Blog: https://julietgreenwoodauthor.wordpress.com/

Facebook:  AuthorJulietGreenwoodhttps://www.facebook.com/authorjulietgreenwood

Twitter            @julietgreenwood   https://twitter.com/julietgreenwood

Instagram:     JulietGreenwood   https://www.instagram.com/julietgreenwood/

Honno:           https://www.honno.co.uk/authors/g/juliet-greenwood/

The Ferryman’s Daughter:

UK: https://www.amazon.co.uk/dp/B083N19BTF/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

US: https://www.amazon.com/Ferrymans-Daughter-gripping-saga-tragedy-ebook/dp/B083N19BTF/ref=sr_1_1?dchild=1&keywords=The+ferryman%27s+daughter&qid=1587988452&s=digital-text&sr=1-1

Honno: “Great Women, Great Writing, Great Stories.” Today with Alys Einon #MondayBlogs

My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the first of a new set of interviews and today I am with author, Alys Einon

Please tell us a little about yourself.

Well, I’m in my late 40s, and live in Swansea, which is a beautiful place to live and work. I am an academic, working in the fields of reproductive health, gender, sexuality and motherhood. I live with my wife and stepson, three dogs and one cat, in a tumbly-down old townhouse with a garden I attempt to grow things in. I have a grown-up son who lives nearby, and another married stepson who also lives nearby. I am a bit of a workaholic, but I love being out and about in nature, and there’s plenty of that near me, including beaches, woods and parks. I am an avid reader, and I am also a very spiritual person. I like to be active, and even now, during the pandemic, I am keeping active by doing Five Rhythms Dancing and practising my karate and kickboxing.

When did you start writing?

I was seven years old when I started writing, the youngest of a family of six living in a council house with very little money. I loved reading, and read and re-read everything we had in the house. One day I was reading the back of an Enid Blyton novel, and saw an author’s note, and I thought, I want to do that! So I started writing stories. I got laughed at by my siblings, but it didn’t stop me. Then when I was eleven I saw a film about Anne Frank, and I started keeping a diary in a little notebook (I still have that notebook). And I’ve kept a diary ever since.

I think I suffered a lot from the weight of other people’s scorn growing up. My parents dismissed writing as a career, telling me I would have to have a proper career. I was clever in school, so they fixated on me doing something important that would make them look good. I went along with that, but in my heart of hearts, being able to craft and tell a good story was all I longed for. I had one teacher at school who encouraged me, but she was a realist and knew how hard it was out in the world. Other than that, I just had to believe in myself.

As an adult, I experienced a sudden tragedy at the age of 20, which changed my life forever. I found my vocation as a midwife. But I still carried on writing, and began collecting rejection slips! It was worth it, in the end, as now I am published by Honno.

What genre do you write in and why?

Literary fiction is how I am loosely located. I have written in other genres, particularly speculative fiction, but never anything good enough to be published. What I am interested in is the tiny details of women’s lives. I write about women and their lives because that’s what I am interested in, and because there are so many stories still not told. I grew up seeing too much of history, too many narratives, that didn’t represent the world of women that I came to inhabit. So that’s what I write about. That and some of the challenges that beset us, because we are women in world that still doesn’t see us or value our central role in keeping the world turning.

How important is location in your novels?

Very important. I feel it is important to evoke a sense of place, and in particular, place, for me, reflects something integral to the plot. In Inshallah, Amanda’s connection to her home and to Wales, and the relocation to Saudi Arabia, are central to the plot and to understanding her as a character. Both places are powerfully symbolic, as countries connecting to her perception of her sense of self, and of belonging. She feels trapped in Wales, in a life with no meaning, but to which she ‘belongs’, and then moves to what is to her an alien culture, having to learn the language, but fuelled by the sense of meaning afforded by her conversion to Islam. This place, and its customs and rules, is a core element of her story, right up to her attempts to escape.

Inshallah

In Ash, the sense of place is linked to houses. Houses play a key role, homes, places of residence – how potent and how powerful a symbol these are in our lives and imaginations! The relationship with different houses, the description of these, their association with different periods of time and identity for both Amanda and Ash, are core to the narrative. I often dream about houses, and I know that in dream interpretation these are meant to represent the self, so I feel as if they grew in that symbolic representation of self in the novel.

Ash

Who is your favourite (non Honno) author?

That is impossible to answer, because I love so many authors dearly. I would say… Scarlett Thomas, closely followed by Anne McCaffery, closely followed by Starhawk, closely followed by Margaret Attwood, closely followed by Marion Zimmer Bradley, then Tolkien, Charlotte Bronte…. My favourite book has always been The Lord of the Rings, and it always will be, but I have too many favourites really to focus on only one author…

Where do you write?

Usually I like to be out and about writing, either in my local café, Crumbs, which does an excellent vegan breakfast for a treat on Saturday mornings, and where the staff are used to me scribbling away and demanding tea every half and hour, or out in my camper van at the beach or elsewhere. I have a big van that has comfy seats, a bed, and a cooker and cupboards, so I can go anywhere, really, and always have access to a cup of tea when I want one! I usually listen to music while I am writing, something that evokes the kind of mood I am working with. I find the urge to write in odd places – I can be inspired by someone walking past, or the way evening sunlight hits a calm sea, or a scent on the breeze. So writing in different places helps with that. I always carry my diary with me just in case I have to jot something down, wherever I am. But because I have a ‘day job’, I often have to make the decision to go and write somewhere, rather than simply following the urge. This is why I often go out – because it focuses my mind on writing for a period of time, and I am less likely to be distracted, and more likely to be productive.

 I type up and edit in my study at home, which is on the first floor and overlooks the garden. It’s a lovely space, full of books and beautiful things I have collected over the years. It is rich with colour and texture, and smells of home-made incense and essential oils. I have a big old schoolteacher’s desk which is in the bay window, and it is littered with books and papers and pens and notebooks.  Right now, because of the pandemic, this is pretty much where I do all my writing and my day job. I sit on a chair that has been in my family since before I was born, and I have a CD player to my right, and an Ipod dock to my left, so I can listen to whatever takes my fancy.

Who is your favourite character in your books?

Hmmm that’s a tricky one. I would say, Ash, the main character in Ash, mainly because she is so honest. Brutally so. Yes, she’s an annoying, self-obsessed teenager at times, but she sees the world in black and white, and although she has a lot of growing up to do, she is generally honest with herself. I also love Amanda’s twin sons, Ash’s brothers, who seem to be a foil for both Ash and Amanda’s limitations.

The thing with characters, I have found, is that once I have a general idea of who they are, they seem to take off and become something more. I don’t always feel like I am in control of that. It was hard, deciding to write Ash from a first person perspective, because I am not a mixed race young woman living in today’s society! I could only bring what I could into that character, read up about the experience of mixed-race children in the UK, and try to represent the racism she experiences as plainly as possible. I can’t claim to understand such a perspective, but I do know a lot about being a young woman, feeling alienated, and the experience of negative body image, which are all important parts of her story.

What was your favourite bit of research

Ah, now that’s a good question. I would have to say, my favourite bit of research was researching Islam and Saudi Arabian culture. I knew nothing about it, really, before I started writing Inshallah, but I knew I wanted to write about faith, and about that feeling that there is something bigger that may be guiding our steps through life. But I also wanted to become more educated on something that I had only ever seen through the very biased lens of media representation. So I read the Qu’ran, in translation, and read books about Islam, so that I could gain some basic understanding – as much as Amanda would have had, anyway. And I explored a lot of women’s sites relating to Saudi Arabian life, especially cooking! I experimented with many of the commonly made dishes, to find out what they were like, and I even dressed in hijab to experience the sensory feelings that Amanda would have experienced when she first put on the headscarf/veil.

As a writer, I knew I could only ever write about this subject as an outsider, – which is what Amanda was – but I found myself developing a great respect for a faith that puts so much emphasis on charity and community. And it really got me to think about the world differently.

People say, ‘write what you know’ but not everyone does that. Of course we write from our own perspective, but there are things to learn, always, and new ways to see the world. A good book should take the reader out of their comfort zone, but do so in such a way that they are carried along effortlessly. I hope I have achieved that.

What do you like most about being published by Honno, an indie press rather than one of the big publishing houses.

First, the fact that I am published by a women’s press is a major achievement. I grew into my own identity reading books by Honno and other women’s presses, and I felt that there must be something really special about authors who are published by smaller presses who can’t afford to take a gamble in the way in a bigger publishing house could. I am in awe of my fellow Honno authors, and I really do feel honoured to be in their company. It is so great to have a good relationship with my editor, and the community of Honno authors is so supportive and helpful. It is a huge plus to not have to have an agent to get your work read. I could paper my wall with rejection slips and after a while it just wears you down. Then there’s that personal experience of being nurtured by an editor who really knows her stuff and is invested in making sure your work is the best it can be.  

I think with Honno, the authors are all excellent, and that kind of sets a standard. It makes me strive to be better, to be worthy of the association. And it’s a feminist press, so what’s not to like?

Links too Alys

@AlysEinion (Twitter)

Facebook: Alys Einionhttps://www.facebook.com/AlysEinion/

Links to her books:

Honno: https://bit.ly/2W9TxH2

Amazon: https://amzn.to/35BO1Ae

Honno: “Great Women, Great Writing, Great Stories.” Today with Jan Newton #TuesdayBookBlog

My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the first of a new set of interviews and today I am with the lovely Jan Newton

Please tell us a little about yourself

Where to start? Well, I spent my first eleven years in Manchester, where I developed a distinctive accent and sense of humour. Along with my sister, I also developed a huge love of horses, which came from our Dad. He grew up in Salford, and used to wait every morning to be able to go and talk to the milkman’s horse when the milkman was on his rounds. We were lucky enough to move to a smallholding in Mellor, a small village between Marple in Cheshire, and New Mills in Derbyshire and increase our horse and pony collection to four.

I spent every spare moment on the back of a pony, exploring the hills and moorlands and used to get into terrible trouble for climbing out of the bedroom window armed only with a piece of baler twine, to go and ride before school. The baler twine made a makeshift bridle. Not quite as good as the real thing for directional purposes, but much easier to hide.

I still have a horse – this one has been with me for 25 years, and we don’t go exploring these days, but there isn’t a better listener than a horse. These days I explore the breath-taking scenery of deepest mid Wales on foot, with a Labrador and a barmy collie.

When did you start writing?

I loved reading before I could walk (according to my mother). My grandma encouraged me to read her large print Agatha Christies and westerns, which she got from Marple Library. I loved Agatha, but never took to the westerns. I galloped through the readers at primary school by year three, and my teacher suggested I should write my own stories and let the others catch up.

One afternoon she suggested we should all write a little story about space. Her brother, of whom she was very proud, worked at Jodrell Bank on the huge telescope, and I think she really wanted tales of star systems and the space race. What she got from me was the story of Fred, a little green one-legged spaceman, with an aerial in his head, who landed (fortuitously) during the summer holidays, in my garden in Middleton. Our adventures coursed through six Lancashire Education Committee exercise books, before Mrs Richardson gently suggested we might need a conclusion. I still find it hard to finish a story.

I didn’t write for many years (too many to admit to), until, ten years ago, I was looking for two courses to finish my second Open University degree. A friend said she was doing Creative Writing, so I signed up too, and that was it. From the first page of the course book I was completely hooked. I went on to do the third level course, and then to Swansea University to be a (very) mature student on the Creative Writing MA. It was an amazing experience, with fantastic tutors and some gifted fellow students, and I’ve been writing ‘properly’ ever since.

What genre do you write in and why?

I began my writing career with short stories, and they are still my favourite thing to do. I won several short story prizes, which persuaded me to keep going, and made me think that perhaps I might be able to sustain the writing and produce a novel – something which I had dreamed of since I was that child, reading to Grandma. My two novels are crime – police procedurals – set in rural mid Wales, but the crime genre was almost accidental.

I’d had what I thought was a marvellous idea for a novel, which I took to a wonderful course at Tŷ Newydd in Llanystumdwy. There, I was very gently told that my plot would never have worked. I had two options. I could either go home and re-think the existing novel, or I could choose one character who I couldn’t bear to be parted from, and write the beginning of a completely different novel, which included that character. Fortunately, I chose the latter option. Strangely, the character I couldn’t leave was a fairly minor one in the original novel – a police sergeant from Manchester, by the name of Julie Kite.

That evening (and into the small hours) I wrote the first two chapters of Remember No More, my first crime novel, which was published by Honno in 2017. This was followed in 2019 with Rather to be Pitied, which follows Julie Kite’s story as she settles into her new life as a detective sergeant in mid Wales.

How important is location in your novels?

Location is always the first thing to be decided for me, whether I’m writing short stories, novels or indulging in nature writing, which I love. I’m particularly lucky to live where I do, with its amazing scenery, a huge sense of history and its wonderful people – all fantastic prompts for any sort of writing. Even as a child I would spend hours with Ordnance Survey maps, plotting rides and marvelling at how contours translated into actual hills and mountains and how those tiny pictorial trees – spiky or rounded – were actual woods and forests on the ground.

For me, location is almost a character in its own right. The psychogeography of both urban and rural environments is fascinating – and guides the actions of the people who live there. I find it hard to imagine characters fully if I haven’t imagined where they are in the world and where they feel at home.

Who is your favourite (non Honno) author?

I have so many favourite authors. If I had to narrow it down, then the honours have to be shared between Alan Bennett and Kathleen Jamie.

I love Bennett, because he manages to tread that shaky tightrope between humour (though subtle, not the more on-trend custard-pie type humour) and real pathos. His writing shows a true understanding of the human condition and the complicated ways in which we interact with each other. His use of language and his eye for detail are forensic. I could read his diaries over and over, and see gems each time which had passed me by before.  Talking Heads, the two series of monologues written in the 1980s and 1990s, are a masterclass in subtle understatement.

Kathleen Jamie is a Scottish poet and essayist. Her essays are just amazing. I can’t decide which of her three books – Sightlines, Findings or the latest one Surfacing – is my favourite, but one essay, Skylines, in particular sticks in my mind, where she describes Edinburgh, with its collection of weather vanes and clocks. She has such a unique way of looking at things, a different, sometimes surprising, angle which draws you in.

Where do you write?

I have a rather lovely shed in the garden. It takes me away from the barking dog (rescue Labrador who thinks it’s his job to alert me to a quad bike four miles away) and the ‘are you disturbable?’ requests from him indoors. It has a wonderful view over the Epynt and across to Abergwesyn, and unless I keep the door shut, it’s often invaded by a small and very nosy goat. But, and maybe this is a throwback from my Open University days, when I could revise while walking round Tesco, I can really write anywhere. I’m a PhD level eavesdropper and people-watcher, and I’m always jotting down snippets of mannerism and wonderful snatches of conversation. Writing’s brilliant. It gives you a licence to be absolutely nosy. One short story came from watching the woman at the next table in a restaurant in Aberystwyth. It makes you more tolerant of others’ foibles, if you can use them to your advantage.

Who is your favourite character in your books?

I do like Julie Kite, with her keenness and determination, but I have to say I’m probably a lot more like the pathologist, Kay Greenhalgh. My first degree was in chemistry and geology, and the non-nonsense, not-suffering-fools outlook of Dr Greenhalgh really appeals to me.

What was your favourite bit of research?

My favourite bit of research was undertaken long before I even thought of writing Remember No More. The Epynt, or Epynt Mountain as it’s called locally, lies between Garth and Brecon. It was home to a whole community of Welsh-speaking farmers and their families, until it was commandeered by the MOD in 1940 and the families were removed.

I was working as a teaching assistant in the Welsh Unit of Builth Wells Primary School, and we, along with two other schools, were invited to an open day, where the army and some of those who had lived there as children talked to the schools about how life used to be and what had happened to the people who had lived there.

It was a memorable day, and in the afternoon, all the children met for a farewell on the grass outside the tiny visitors’ centre. As they stood in the sunshine, someone suggested singing Mae Hen Wlad fy Nhadau. It was glorious, a huge gaggle of primary school children singing their hearts out, where Welsh speaking families had lived before. At that moment, the army, in its wisdom, decided to start shelling practice on the other side of the hill. The irony of the moment made it clear to me that the story of the Epynt, and the way its families were treated, deserved a wider audience.

What do you like about being published by Honno rather than a large publishing house?

I love the team spirit which goes with being a Honno author. The other authors are so supportive of each other, and you really feel part of the gang. You get to know everyone who makes Honno work, and feel part of the enterprise, in a way which would surely be very difficult in a larger organisation. I was, and continue to be, overwhelmed at the generosity of everyone involved. It feels like a real joint-venture, which is a pleasure to be a part of.

Links to Jan:

Facebook: https://bit.ly/2VXtpir

Twitter: https://bit.ly/3f9pU09

Website: https://jannewton.wordpress.com/

Amazon.co.uk: https://amzn.to/2Ytptrx

Honno Author Page: https://bit.ly/2KU6vST

Honno: “Great Women, Great Writing, Great Stories.” Today with Wendy White #FridayReads #Honno

My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the first of a new set of interviews and today I am with the lovely Wendy White, author of both adult and children’s’ book

Please tell us a little about yourself.

I was born in Llanelli on the south west coast of Wales and still live in Carmarthenshire now. My favourite bands at ten years old were The Osmonds and Bay City Rollers, so from that you might be able to deduce my age (I like to think my musical taste has improved a lot since then). Sara Gethin is the name I chose for myself when my first novel, ‘Not Thomas’, was published, and I’m often asked why I opted for a pen name. It was for a very practical reason ‒ alongside writing for adults, I write children’s books using my everyday name of Wendy White. While my writing for children is light and humorous, ‘Not Thomas’ is a dark story of child neglect, and so having separate names helps to differentiate between the two types of book. Plus, having a nom de plume finally satisfies my childhood ambition!

When did you start writing?

I started writing late. I was ambling along, being a teacher, mother and child-minder, until some major events shocked me into taking the path I’d longed for since I was a child. In 2001, after 9/11, I decided to sign up for a ‘writing for children’ course, figuring the one thing I’d die wishing I had done would be to have written a book. I sent out a story to a publisher a couple of years later. The editor said they liked my style and if I made some changes they’d consider publishing it. Instead of being encouraged by that reply, I put the story aside and forgot about it. Then, a few years later, my lovely sister passed away very suddenly, and through the fog of grief I could very clearly hear her urging me to push for my dreams as life is short. The following year I reworked the story and sent it again to the publisher who, thankfully, this time accepted it. That became ‘Welsh Cakes and Custard’, the first of my children’s books, and was published in 2013.  

What genre do you write in and why?

Ah, genre is such a difficult thing, especially when books don’t fit neatly into one category. What I can say is that I tend to write for or about children, so ‘Not Thomas’, is about a neglected five-year-old called Tomos who narrates his own story. I guess if someone enjoys reading Cathy Glass books, which are about real-life children in difficult situations, then they might find ‘Not Thomas’ interesting too. But my novel is fiction and not autobiographical. It sometimes gets compared to ‘Room’ by Emma Donoghue, as it has a very young narrator. I suppose I write about children because I enjoy seeing the world from their point of view, and I strongly suspect I’ve never properly grown up.

How important is location in your novels?

Not Thomas’ was set in my home area of Carmarthenshire ‒ using places where I grew up or worked ‒ and I could visualise the streets and parks I was writing about. The novel I’m working on at the moment is set in Connemara, Ireland, somewhere I’ve holidayed many times. Having personal experience of the locations my novels are set in has been extremely important to me. I’m not the most descriptive writer, yet being able to imagine Tomos turning a certain corner as he runs away from bullies, or imagining Claire and Emmet charging over a particular hill in their escape from school has certainly helped to get those scenes onto paper. My novel set in Ireland features industrial schools, and my chosen setting reflects the fact that one of the most notorious of these institutions was in Connemara, so setting is very important for me in that way too.   

Who is your favourite (non Honno) author?

I have a real love of Irish writers, probably because Ireland has been my favourite place to visit for the last twenty or so years. My son went to university in Dublin, stayed after he graduated and has lived there for almost ten years now, so my visits have become even more frequent. Among my best-loved Irish writers are Emma Donoghue, Roddy Doyle, Sebastian Barry, John Boyne and newcomer, Sally Rooney. As for non-Irish writers, I’m a huge fan of Ian Rankin’s Rebus series, of Alice Munro’s short stories and Donna Tartt’s (very long) novels.  

Where do you write?

In winter, at the kitchen table, near the radiator, kettle and biscuit tin. Once the weather improves, I move my laptop out to the little shed I have in the garden. Its window once had a distant view of Carmarthen Bay, but now it mostly looks out onto some new houses. (I do appreciate that the town was short of housing, but if only they could have built them slightly to the right!)

Who is your favourite character in your books?

That would have to be five-year-old Tomos from ‘Not Thomas’. I always joke he’s the third child in our family, along with my daughter and son. It took me over 13 years to write that novel, so my own children were growing up and all the while Tomos stayed five. He’s an amalgamation of the neglected children I knew when I worked as a primary school teacher in a very deprived area. I hope, through him, I’ve given those children a voice and portrayed what it’s like to be so young and not properly cared for. It’s a terrifying situation for a child to be in.

What was your favourite bit of research?

I’ve spent years researching the latest novel I’m working on about children brought up in an industrial school in 1960s Ireland. Reading first-hand accounts really brings home the cruelty of life in those places. The book I return to again and again is an account by Peter Tyrrell of his time as a boy in Letterfrack Industrial School. ‘Founded on Fear’ was created after his death from letters he wrote and the details are harrowing, so it’s hard to say that it’s my ‘favourite’ bit of research, but the book is certainly compelling. Peter campaigned as an adult to put a stop to the abuse that went on in these institutions but sadly, at that time, his accounts weren’t believed by the people who could make a difference. In despair, he ended his life by setting fire to himself on Hampstead Heath in 1967. His body would never have been identified had a corner of a postcard with a Dublin address on it not been salvaged from his jacket. The postcard was to a TD (the Irish equivalent of an MP) who was supporting him with his campaign. Peter Tyrrell’s whole story is very sad, and he’s never far from my thoughts as I write about Claire and Emmet, the children in my work in progress.    

  What do you like most about being published by Honno, an indie press

When I was writing ‘Not Thomas’ I knew exactly where I wanted to send it when I’d finished, and that was to Honno. I’d long admired their work and I loved the fact that they’re a female-only press and have a committee of women who decide what to publish. Added to that was my huge respect for Caroline Oakley, a Honno editor who had worked closely in a previous role for a number of years with (the aforementioned) Ian Rankin. I was absolutely delighted when I heard from Caroline that Honno were going to publish ‘Not Thomas’ and my whole experience of being part of the Honno family has been fantastic. All the staff and other authors are extremely supportive and go out of their way to make everyone welcome. I’m constantly recommending Honno to my female friends who are writers. It may be a small indie press but it commands huge respect and publishes wonderful books.

Thanks for being with us today, Wendy..

Thank you so much for your questions, Judith ‒ happy writing!

Links to Wendy’s page on Honno:

https://www.honno.co.uk/authors/g/sara-gethin/

Sara Gethin Social Media Links:

Website & Blog: saragethin.com

Facebook: @SaraGethinWriter

Twitter: @SGethinWriter

Instagram: www.instagram.com/saragethinwriter

Honno: “Great Women, Great Writing, Great Stories.” Today with Alison Layland #TuesdayBookBlog

My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the first of a new set of interviews and today I am with my friend, Alison Layland

Please tell us a little about yourself.

I’m originally a Yorkshire lass – well, my family originate from Nottinghamshire, but I grew up in and around Bradford. With my family, I moved to Wales in 1997 and feel it’s my home now. I’m a translator, both commercial and now predominantly literary, and speak six languages to different degrees of fluency. I love the natural world and being out of doors – walking, gardening, foraging and photographing. I’m an environmental campaigner, currently hoping we can learn from our experiences during the Covid-19 pandemic to make the deep social and economic changes needed to mitigate the climate and biodiversity crisis.

When did you start writing?

When we moved house a few years ago, I found some cute poems and songs I wrote in infants’ school, at the age of about 5 (including an illustrated limerick about a man who kept pups in cups, which made me smile). I’ve always told myself stories in my head, but never had the courage – or self-belief, or lack of self-consciousness? – to write them down, at one stage thinking I’d satisfy my love of words by translating other people’s work. However, much as I still enjoy translation, when we moved to Wales, I learned the language and started using it to write my own stories. Writing in another language – together with the affirmation of winning the short story competition at the National Eisteddfod – enabled me to break some barriers down and I haven’t looked back since.

What genre do you write in and why?

As my novels tend to be very character-driven, and I like a good dose of conflict, mystery and drama, they fall nicely into the genre of psychological thrillers, but in truth I don’t actually write in any genre; I simply get the story down in a first draft and my novels are shaped in subsequent drafts. As a reader, listener of music or appreciator of any other art form, I tend to shy away from boxes and categorisation; I take more notice of a description, sample or synopsis than a genre. Although there are definite ideas behind my writing, and things I hope my readers will be moved to think about, I’m also inspired by music, legends, folk tales and history – first and foremost I like to tell a good story.

How important is location in your novels?

Location is an essential aspect of my writing. Riverflow is set close to my current home, on the banks of the river Severn on the border between Wales and England; the river in particular infused the story.In Someone Else’s Conflict, I was drawn to the Yorkshire Dales, where I spent a lot of time when growing up, and my former stamping ground of West Yorkshire, for the present-day part of the story. The backstory is set during the Croatian conflict of the 1990s, and although the scenes are quite impressionistic, the location was nevertheless important to me for conveying the atmosphere.

My immediate locations tend to be fictional; this began with the Croatian village of Paševina, which is entirely made-up as it was the location of a wartime atrocity. It therefore seemed logical to make my Dales village, Holdwick, fictional too, although based on aspects of several real places. I love the freedom of creating a fictional micro-location with the wider setting grounded in reality, and the village of Foxover in Riverflow is another one that’s not on any map.

Who is your favourite (non Honno) author?

There are so many; it’s impossible to choose – and my choice changes with the latest book I’ve enjoyed. Having said what I said before about genre, I particularly love authors who surprise me, writing excellently in a range of different genres (or none at all) like Margaret Atwood, Iain Banks (RIP), TC Boyle, Jim Crace and Joanne Harris, to name but a few. I also love the inventive fantasy worlds of China Miéville, and exploring all corners of the real world through the translated novellas published by Peirene Press.

Where do you write?

When we moved to our present house we converted the garage to an office/writing room/reading nook looking out over the canal and some magnificent trees; I feel lucky to have a such a lovely place, particularly at the moment during lockdown. However, when I can, I also like to get away to write, and have used AirBnB and house-sitting for friends as low-budget writing retreats. Since last year I’ve had a caravan permanently located at a site in North Wales, which is a wonderful place to go and write – inspired by nearby Ynys Ennli/Bardsey, my work-in-progress is largely set on a remote island.

Who is your favourite character in your books?

I know plenty of others have said this, but it’s true that it’s like being asked to pick a favourite child! I get immersed in all of my main characters. However, in both of my published novels there are those who appeared early in my first draft as minor characters, but I became increasingly fond of them until they ended up with key roles. In Someone Else’s Conflict this was teenage economic migrant, Vinko, who lost his parents to the war and has been rootless and taken advantage of ever since. I remember when the book was published, realising he doesn’t get a mention in the cover description – typical of the poor lad’s fate in life – so he’s getting one here! When I was writing an early scene in Riverflow, my main character, Bede, mentioned a favourite uncle. At the time, I never thought that Uncle Joe, and his diary, would turn out to be central to the story. He’s not as amiable as he may seem at first, but it’s not always the nice characters who are the most interesting, and I really enjoyed getting into his voice when writing.

This image has an empty alt attribute; its file name is riverflow-final-front-only-small.jpg

This image has an empty alt attribute; its file name is someone-elses-conflict-final-front-only-1.jpg

What was your favourite bit of research?

I really enjoy research and have to work hard to make sure it doesn’t become an excuse for procrastination! For Someone Else’s Conflict, as well as reading widely, both non-fiction and fiction, about the 1990s civil war, I also really enjoyed getting to know Croatia more widely, including travelling, attempting to learn the language and discovering music from the region (I build playlists for each of my novels), particularly a brilliant singer called Darko Rundek: https://youtu.be/X1bzBZvgxbs], who has become a firm favourite.

After all the research I did for the background to my debut novel, I thought that the local setting of Riverflow, and its environmental themes that are so close to my heart, would make it easier from a research point of view. However there were plenty of aspects of sustainable and off-grid living that I needed to find out more about, and my research could also be said to be life-changing – I’ve always been into environmental issues and tried to live as sustainably as possible, but have never been particularly politically active. My visit to the Preston New Road anti-fracking protests while writing the novel, and the emergence of Extinction Rebellion hot on the heels of me writing about protest, changed all that, and I’ve been actively involved with Oswestry & Borders XR ever since.

What do you like most about being published by Honno, an indie press rather than one of the big publishing houses?

It feels like being part of a close-knit family. The small but dedicated and talented Honno team are accessible and supportive at all stages of the process, and it’s been lovely to become friends with so many of the other Honno authors. We’re a wonderful community, and although we’re scattered all over Wales and beyond, it’s particularly lovely when we get to meet up in person.

Alison’s bio & links:

Alison Layland is a writer and translator who lives and works in the beautiful borderlands between Wales and Shropshire. She translates from German, French and Welsh into English, and her published translations include a number of award-winning and best-selling novels.

Her debut novel, Someone Else’s Conflict, was featured as a Debut of the Month on the LoveReading website in January 2015, and her second novel, Riverflow, was Waterstones’ Welsh Book of the month in August 2020.

Social media and buying links

My website: www.alayland.uk

Twitter: @AlisonLayland

Honno website: https://www.honno.co.uk/authors/l/alison-layland/

(https://www.honno.co.uk/riverflow/

Hive: https://www.hive.co.uk/Search/Search?Author=Alison%20Layland

Facebook: https://www.facebook.com/AlisonLaylandAuthor

YouTube: https://youtu.be/Ty_hqQ_UcOE

Honno: “Great Women, Great Writing, Great Stories.” Today with Thorne Moore #TuesdayBookBlog

 My greatest support has come from the group of authors published by Honno. We have a Facebook group where we can chat and ask for help, information and generally boost moral when it’s needed. And we’ve met up in real life on many occasions. About three years ago I shared interviews with some of them. Since then there have been other women writers who have become Honno authors. So this is the first of a new set of interviews and today I am with my friend, Thorne Moore.

Hi Thorne, glad you are with us today.

It’s good to be here, Judith.

Let’s start by you telling us a little about yourself, please.

I was born in Luton, but my mother came from Cardiff and I went to Aberystwyth University, so it was a bit like reclaiming my Welsh heritage when I moved to Wales in 1983 to run a restaurant with my sister. I live now in north Pembrokeshire, in an old farm cottage on the site of a mediaeval mansion, overlooking forests and valleys and very nearly in sight of the sea. I am just retiring from 40 years of making miniature furniture for collectors, and I write, garden, write, cook, write, walk… oh, and write.

When did you start writing?

I was certainly writing seriously when I was at school, because I remember sitting on a radiator during a wet break (prefect’s privilege), telling a friend I was writing a book – and I was enormously relieved that she didn’t laugh. In a way, I began very young, though not by putting the words down on paper. I was a daydreamer. Every Sunday we went for a drive around Bedfordshire and I would sit in the back, daydreaming long elaborate stories. I was always slightly irritated if my brother or sister wanted to talk to me. By the time I was at university, I knew that writing was the only thing I wanted to do.

What genre do you write in and why?

I began with fantasy, moved into Science Fiction and now drift between contemporary domestic noir and historical mysteries. But really there isn’t much difference in my mind between the genres. All my books of any genre have two underlying themes. How do people react, psychologically, when they are confronted by a traumatic situation that shakes them out of their comfort zones? And what are the consequences of an event? Not just the immediate consequence but consequences in the far future. Someone once said history is just one damned thing after another. In reality, it’s one damned thing leading to another, a never-ending stream. Situations are never just resolved and put to bed. They leave footprints out to the horizon.

How important is location in your novels?

Extremely important. In fact, when my books are set in a particular house, like the cottage of Cwmderwen in A Time For Silence and The Covenant, or Llysygarn, the mansion in Shadows and Long Shadows, they are almost the main character in the books. But the general location is also very important. It gives me an excuse to breathe in and breathe out the spirit of a place. Some of my books are set in north Pembrokeshire, where I live, which is a very isolated and enclosed area, utterly rural, all wooded valleys and high open hills – and, of course, the sea – and I couldn’t imagine those books being set anywhere else.

In contrast, others of my books (Motherlove and The Unravelling) have an urban setting, the fictional town of Lyford which is based very closely on my birth town of Luton. Even though it’s a wide web of Victorian terraces and suburban semis, I find myself automatically focussing the most emotional moments on the green places, which are always imbued with a certain mystery of their own, whether it’s Portland Park (closely modelled on Wardown Park in Luton) or an old farm lane, still clinging on in the midst of post-war expansion.

In The Unravelling, I do take my character Karen on a tour of England and Wales in search of old friends, finishing up on the Chilterns, in an area based on Ashridge, where I spent many childhood Sundays. I live in an area of igneous bluestone, forested with oak and ash, but I still nurse a longing for chalk downs and beechwoods

Who is your favourite (non Honno) author?

Jane Austen. It’s her scalpel wit, her elegantly precise language, and her powers of observation of personalities, reactions, impulses and inhibitions, along with economic realities, all played out on settings so minimal they could be chessboards. Her novels are not romances, they are studies of how people reach decisions while navigating between personal desires and public pressures.

Where do you write?

Physically, in my bedroom, with the laptop on my lap in bed, or at my desk. Mentally, while walking up and down my lane after dinner (the joys of having a farm lane to walk along, at this physical distancing time).

Who is your favourite character in your books?

Now you know that’s like asking a mother who is her favourite child. How can I possibly say?  I am inside all of them, feeling with them, even when they’re annoying or slightly insane, or even wicked. Which one would I actually like to spend time with? Possibly Angharad in Long Shadows. Or, if I were cast up on a desert island with one of them, it would have to be Leah, in my new novel, The Covenant, (to be published in August), because she might be rather waspish, but she’d be extremely competent and sort things out.

What was your favourite bit of research?

I am disgraceful in that I usually do very little research because I’m mostly concerned with what’s going on in people’s heads. When writing anything historical, I mostly rely on my past historical studies (school, university and general reading). Occasionally, when I have to be specific about things, I force myself. My latest book, The Covenant, required a fair bit of research to match my story (set between 1883 and 1922) with events in the wide world, or the narrow world of Pembrokeshire. My third novel, The Unravelling, shifts between the present day, 2000 and the mid 1960s. The 1960s, seen through the eyes of a child, didn’t require much research at all: I just dredged up my own childhood memories of home-made frocks and pink custard. But the millennium needed real research. It seems such a short while ago but the world has changed utterly. That part of the book involves searching for long-lost friends. How would it have been done back in a time when we didn’t have broadband or Facebook and mobile phones were still a novelty.

My favourite research was for A Time For Silence because, although it was published in 2012, early versions of it were written quite a few years before, when the internet was an erratic thing of limited use, so I had to get out there on my hind legs and look for information, so, searching for information about Pembrokeshire in the 1930s and 40s, I spent many happy hours pouring over old newspapers in the National Library of Wales – something I make my character Sarah do although, in reality, she could probably have done all her research on-line.   

What do you like most about being published by Honno, an indie press rather than one of the big publishing houses.

It’s a small press, which means it’s personal. Maybe famous sportsmen or ex-cabinet ministers can be lauded (promoted) to the skies by big publishers, but most of their less famous authors tend to be lost in a very impersonal ocean, with very little one-to-one attention. They are names on a spreadsheet. With Honno, you know the team and they know you. You feel far more valued, even if the big bucks aren’t there.

And there’s the fact that Honno is a Women’s Press, run by women, publishing women (as well as being Welsh, of course). It’s not an anti-man thing, but I grew up in the era of the rising tide of women’s lib, when women didn’t just sit around arguing their case but took really positive actions to prove themselves, such as setting up publishing companies like Virago. Unlike others, Honno is still going strong and flying the flag.

I’ve heard a whisper that there will be a new book coming out soon? Would like to give us a hint about that?

Well, Its the Prequel to Time for Silence and Honno have given me a publication date of August 18th

Ah, yes, I found this tantalising description of it.

The Owens are tied to this Pembrokeshire land – no-one will part them from it dead or alive.

Leah is tied to home and hearth by debts of love and duty – duty to her father, turned religious zealot after the tragic death of his eldest son, Tom; love for her wastrel younger brother Frank’s two motherless children. One of them will escape, the other will be doomed to follow in their grandfather’s footsteps.

At the close of the 19th century, Cwmderwen’s twenty-four acres, one rood and eight perches are hard won, the holding run down over the years by debt and poor harvest. But they are all the Owens have and their rent is always paid on time. With Tom’s death a crack is opened up and into this chink in the fabric of the family step Jacob John and his wayward son Eli, always on the lookout for an opportunity.

Saving her family, good and bad, saving Cwmderwen, will change Leah forever and steal her dreams, perhaps even her life.”

The Covenant is the shocking prequel to the bestselling A Time For Silence:

Honno page for ordering: https://www.honno.co.uk/authors/m/thorne-moore/

email: thornemoore@btinternet.com

Blog: http://thornemoore.blogspot.co.uk

website: www.thornemoore.co.uk

FB Author page: https://www.facebook.com/thornemoorenovelist

Twitter: https://twitter.com/ThorneMoore

Amazon author page: http://amzn.to/1Ruu9m1

Something of Ourselves #Authors #MondayBlogs #Memories

I think most, if not all, authors have something of themselves in their books: in the writing, in the voice of the text. We can’t help it; the words emerge from who and what we are, where we  come from and where we are in our lives.

There’s always something of me in my books. I don’t just mean in the writing, my voice, all authors write in our own voices, we can’t help it But, often, in my work, I write scenes that reflect situations I have lived through and what I have seen. By “reflect”, I mean they may not be the ‘real’ situations, but they always colour the lives of my characters and what happens to them. My own  emotions are threaded through in how they react, how they feel. I always say to my students, if they can’t relate to the way their characters feel, neither will their reader. That’s something I really believe.

I’m not sure when the stories I wrote turned into family sagas. Or even if that’s what they always were. I’ve often said that as a child I wrote to escape, and that’s the truth. It was a means of blocking out the arguments, the violence, the humiliations. And the feelings that I was never good enough: not pretty enough, not clever enough, not useful enough. Not enough.

So my stories were always of a girl who triumphed; who was always helping others; always saving whatever it (or whoever) needed saving. This sometimes tipped over into real life and resulted in varying degrees of  unforeseen consequences: I found stray dogs and took them home, and then had to return them to their owners, if asked where a place was, I gave directions (regardless of whether I actually knew or not), believing I could possibly be right. And I once spent a whole two pounds on biscuits for my grandmother who’d actually sent me to buy brisket ( a joint of meat). She was an Impatient woman, slightly deaf, and hated repeating herself – so I didn’t ask her to explain what she meant – and guessed. She was slightly cross and my mother had to pay back the money – though she made sure the biscuits came home with us.

Our home life was isolated. Not in the physical sense, we lived on a large new estate of houses, but in an emotional way. No one came to the house unless they were friends of my father. Friends that came and went with startling rapidity. It would usually be a man that he’d become friendly with at his work or at one of the many and varied activities he joined and left. The man would then bring his wife with him. At first it was as if the couple were never away and then, just as suddenly, they were gone; something had been said or done that Dad hadn’t liked and we never saw them again.

It was the same with any of our relatives– until they didn’t bother coming around anymore.

My friends were not allowed inside the house and, because both parents were out at work all day, it was expected that I stayed home so they would know where I was. I rebelled against this at the age of eleven when I was given a dog for my birthday. She and I roamed for hours around the countryside then. But I always made sure I was home before my father came back from work.

I’ve been with Honno for almost ten years now and had five books published with them. Because it is known to be a Welsh press it is sometimes assumed that all its authors will be Welsh as well. So that, often, when I’ve appeared at events, people are surprised to hear my broad Northern English accent. The supposition is false; Honno’s aim as an inspiring, feminist, Welsh press, is to provide opportunities for women writers. The only proviso is that they are either Welsh, are living in Wales or have a connection to the country – which actually covers a great many writers.I love their strapline -. “Great Women, Great Writing, Great Stories.So it always gives me a thrill when the manuscript I’ve been toiling over for months (or years!) is accepted by them.

https://www.honno.co.uk/authors/b/judith-barrow/

My latest book is The Memory, published 19th March 2020: https://bit.ly/3b2xRSn

I wait by the bed. I move into her line of vision and it’s as though we’re watching one another, my mother and me; two women – trapped.’

Today has been a long time coming. Irene sits at her mother’s side waiting for the right moment, for the point at which she will know she is doing the right thing by Rose. Rose was Irene’s little sister, an unwanted embarrassment to their mother Lilian but a treasure to Irene. Rose died thirty years ago, when she was eight, and nobody has talked about the circumstances of her death since. But Irene knows what she saw. Over the course of 24 hours their moving and tragic story is revealed – a story of love and duty, betrayal and loss – as Irene rediscovers the past and finds hope for the future.

The following is something I wrote a while back. It was the Prologue of one of the books that’s stayed hidden in the drawer...

Prologue

I hear the heavy footsteps on the stairs. I imagine him, hand grasping the banister as he hauls himself up, two steps at a time, his face red, angry.The scream is rolling around in my head. I wait for the sharp crack of the floorboard on the landing outside our bedroom door – just before the door is thumped open.  He speaks, his voice harsh

  ‘You… and you … downstairs.’

   We  hurry, but our feet get tangled in the sheets. Don’t look at him – that makes him angry.

‘ And take that look of your face or I’ll knock it off’

    My legs wobble. I clutch hold of my sister’s hand as we scramble down the stairs into the living room where Mum sits on the edge of the settee. She doesn’t move, doesn’t look at us. We know not to say anything.

    Mostly we don’t know what has caused the rows. Then Dad says it’s us and, sometimes, we can remember things that have made him cross, so we know he’s right and we’re sorry.   

     Sorry that Mum gets hurt because of us.

    He paces the room, slamming a clenched hand into the palm of the other and hitting the wall with his fist.

     Once he made a hole in the kitchen door.

    We sit either side of Mum, not touching, not speaking, not together. If we seem to be together; three parts of a whole, it makes him angrier. If we are separate, quiet, still, he stops shouting and we get back to bed sooner.

The scream is rolling around in my head…

***

Links:

To buy the books: https://www.honno.co.uk/authors/b/judith-barrow/

https://www.judithbarrow-author.co.uk/

https://judithbarrow.blogspot.com

https://www.facebook.com/judith.barrow.3