Claire King

Author
Claire King Edited Choices (10 of 10)

Posts Tagged ‘The Night Rainbow’

A Year on the Shelf

Posted on: February 13th, 2014 by Claire - 22 Comments

It’s one whole year since The Night Rainbow was first published. The UK hardback and ebook were released on February 14th 2013 and the paperback six months later. So to celebrate my ‘Year on the Shelf’ (it’s Valentine’s Day, see what I did there?), here are five things I’ve learned over the course of the last twelve months:

Books coming off the printing press

Hot off the press.

(1) You don’t publish and tell 

There are quite a few things that will surprise a new author as they take this journey for the first time, and you won’t have seen them blogged about or discussed on twitter. I’m not going to talk about them either. Why? It’s the same reason why people who are already parents don’t sit their pregnant friends down and say, “Right, well let us tell you what’s about to happen to you.”  Sometimes it’s better to let people wait and see.

However, what you will need are some people who have been through it before to be there for you once you are finally living that dream. So, when it’s your turn, make sure you find author friends and mentors who will give you the lowdown if you ask.

The gorgeous window

The gorgeous window – Little Ripon Bookshop

(2) Authors are great

Other authors are generally lovely and generous and want you to succeed. Many will encourage and support you, even if they have never heard of you before. It’s a lovely group to be part of. Pass it on.

Jodi_tweet

 

(3) You will be busier than ever

Remember how you managed to squeeze writing a novel – an actual novel! – into your already full life? Well now that novel now needs taking to parties, to readings and events. And people will ask you to write about your book, and write about writing your book. For your own sanity, remember you don’t have to do everything. Decide, along with your publisher, what you want to commit to and learn to say no to the rest.

Also people will immediately start asking you when the next book is due out. It isn’t going to write itself, you know.

Marie-Claire

I was reviewed in Marie-Claire!

(4) We are not the same

Chances are that you will have highs and you will have lows, but your experience will be different from mine. It will depend on your agent, your publisher, your book, timings, the market, luck and so many other variables that there is no way to know how things will pan out for you. All you can do is get an idea of if you are falling somewhere within the spectrum of ‘normal’ –  see (1) – and hope for the best.

Will your book win prizes? Get reviewed in the New York Times? Sell foreign rights? Will Oprah pick it? Will it even get into bookshops so people can buy it? Getting into retail is harder than you think. Once your book is out there in the world, frankly it’s anybody’s guess how it will fare no matter how hard people are championing it on your behalf.

It might be that your book doesn’t get as much recognition as those you have decided to benchmark it against. On the other hand it may do better than other books that you have read and think deserve to win every prize going. You need to stop comparing. Remember you’re at the start of a long road and you need to conserve your energy.

As for sales – everything you have heard is true. Right now the prognosis is pretty shocking. But your publishers have faith, or they wouldn’t have taken your book. If you go off with a bang at launch, brilliant, congratulations! But if sales in the launch period are ‘quieter’ than you’d hoped, it doesn’t necessarily mean that your book is going to die a lonely death. If readers like it, they will spread the word, slowly but surely. Sometimes you need a bit of critical mass and that can take time for a new author. Think about how long it takes you between hearing about a book and actually buying it, and then actually reading it. For me it’s months.

Euston Station

Euston Station, August 2013

(5) Readers above all else

It is so wonderfully rewarding when people you’ve never met take the time to look you up and write to you, just to tell you that they loved your book. That you have given them something special, a story they won’t forget. That, for me, is what writing is all about.

Of course sometimes readers don’t write to you personally, but instead take the time to write a review (thank you, reviewers!). Reviews do matter, but try not to get obsessed by them as they are completely out of your control and will not always make you happy.

Sometimes they will say things like this:

***** “Officially my Book of 2013. Wow… Read it!”

and

***** “This book resonated with me. I will carry Pea with me for a very long time.”

but sometimes they will say this:

** “Ideal for nature lovers seeking a blow-by-blow description of the French countryside without the distraction of a plot line.”

And that’s all OK. Remember that all sorts of people are now reading your book (HURRAY!) and they can’t all be expected to like it.

Also, there will be reviewers who write spoilers, sometimes in the very first line of their write up. Even in national newspapers. But hey, girl, your book got reviewed in a national newspaper.

Portsmouth Fiction Prize Vote

Portsmouth Fiction Prize Vote

If you’re about to head out on the same journey, good luck to you! And for those of you who have played a part in this marvellous, exciting year of mine, a huge thank you from me.

 

Bonus Tip: Social Media

Nothing has changed. Even now you are published, Social Media is not the boss of you.

Paperback Launch and Marketing!

Posted on: August 1st, 2013 by admin - 10 Comments

It’s paperback publication day for The Night Rainbow. I didn’t think I could possibly be as excited as I was in February when the book launched in hardback, but I really am!

Before I forget I want to say a huge thank you to everyone at Bloomsbury who has been working hard on the paperback launch – updating the cover, planning the PR and marketing campaigns (of which more in a second), championing the book so enthusiastically with retailers and basically just crossing their fingers and being so lovely and encouraging to me.

The Night Rainbow Paperback

So, the paperback is out today – a nice small supple book at a lower price than the hardback edition. Perfect for summer holidays, reading in bed etc. There are a lot of exciting things happening, but what is *VERY EXCITING* for me in particular is that there is a marketing campaign running for The Night Rainbow paperback launch, which should get it noticed by more people and help get them into book shops to buy it.

As a debut novelist, having a marketing campaign was thrilling news that I wasn’t expecting it at all, and it all happened quite recently. Thanks to the hard work of Bloomsbury’s sales team, they won really strong advance orders and enthusiasm for the paperback from retailers, including The Night Rainbow being the August Book Club pick at Sainsbury’s; being selected for Tesco’s new New Talent slot; being promoted in WH Smiths high street, train station and airport stores.   I know already there are plenty of amazing independent book shops stocking it and Waterstones too.  So do pop into your local shop – there should be paperbacks aplenty. And of course ebooks are available in all the usual places.

Here are a few places you might spot Pea this summer:

  • At railway stations: There is a huge poster going up around London and South-East England. Here are a few examples. If you keep your eyes peeled over the next few days and send in photos, you could be in with a chance of winning a copy. Follow @BloomsburyBooks and #NightRainbow on twitter for more details, and find Bloomsbury Publishing UK on Facebook.
  • On The Daily Mail online – Takeover of the Books page, it’s worth a look! (I think you can only see this wondrous juxtaposition if you’re in the UK)
  • On Mumsnet  – the giveaway is closed now, but the discussion thread is open. Hopefully spoiler free!
  • At The Reading Agency where reading groups could win copies to review.

I took the opportunity to ask Tess Viljoen, who has been responsible at Bloomsbury for the marketing around The Night Rainbow, including this beautiful book trailer to answer a couple of questions about marketing books in general.

1) Would you say it’s true that publishers expect authors to ‘market’ themselves and their books now more than ever? What does this mean in reality?

The shift towards social media has, brilliantly, put fans directly in touch with the authors they love. It’s a powerful way of communicating with readers and exciting for everyone involved. The downside of this, given it would be disingenuous for a publisher to try and impersonate an author online by running a social media stream on their behalf, is it has shifted that responsibility back on to authors. Social media can be very rewarding but it can also be immensely time consuming and doesn’t appeal to all authors. At Bloomsbury we encourage our authors to have a go, and support them as much as we can from our social media platforms but ultimately, it’s up them if they feel it is a medium they can work in.

2) When I worked in consumer goods marketing (years ago!) there was a sort of ‘chicken and egg’ situation with smaller brands, whereby advertising support was minimal or non-existent until (hopefully) word of mouth took off. This also meant it was harder to get those products stocked in shops and positioned well. Does this apply also in publishing/book retailing? If so what factors help get the ball rolling?

The percentage of books that receive advertising spend is in fact very small and so the majority of books are sold into bookstores without that support which makes it a much more level playing field. We have sales reps that go into bookshops around the country and pitch our titles directly to the booksellers and with word-of-mouth still being the most powerful form of recommendation this gives our books a strong chance to being taken by a bookseller and in turn, recommended to their customers.

3) What is more important in book marketing, the author or the book?

They are entirely inextricable. Obviously an author who is happy to do events, to be active on social media and be widely available for publicity is a strong asset for a book, but we regularly work with authors from foreign countries who for all sorts of reason cannot give us their time or physical presence and we have found ways of working around this and still build strong marketing and publicity campaigns.

Thanks, Tess!

For more information around paperback launches specifically, see this post  for an interview with Trâm Anh Doan, my paperback editor at Bloomsbury, when I talked to her about the launch last year of another Bloomsbury novel, The Cowards Tale.

 

The Night Rainbow Launch, USA & Canada!

Posted on: April 7th, 2013 by Claire - 4 Comments

I’m very excited that this week The Night Rainbow is being published in the USA and Canada.

Here she is, complete with beautiful new cover, about to whizz off to bookshops everywhere Stateside.

The Night Rainbow USA Cover

I feel a little wistful that I can’t whizz over the Atlantic to celebrate, but I have been raising a glass here in France, and lurking on twitter doing US & Canada pub-day high fives!

And look what the lovely Rachael Dunlop just sent me:

The Night Rainbow on store shelf

On the shelves at Barnes & Noble, New York City

I’ve also been busy meeting book bloggers:

  • I answered 11/20 questions at Linus’s Blanket, including what my favourite books are set in my local region of France.
  • What’s in a first line? Find out as I take part in the Friday First Lines series over at Books on the Brain.
  • I have been interviewed by Mariam Kobras over at #amwriting
  • Daria Anne DiGiovanni hosted me on #writestream, with an interview on blog talk radio which you can also find archived here, and a twitter chat – the summary of which is now here.

Thank you…

Thanks already to some of the lovely reviewers and book bloggers who have reviewed early copies:

Ilana Teitelbaum, who says, in her review in Shelf Awareness “King’s story of a young child’s quest for a light in the profound darkness of her life reaches deep into the complexities of human consciousness. As it explores adult grief through a child’s eyes, The Night Rainbow also underscores the need for stability and love ever-present in children’s lives, yet at times nearly impossible to attain.”

Catherine at Gilmore Guide to books who says “The Night Rainbow is soft, sweet, scary and immense.” *****

Nicola at My Good Bookshelf gave it 9/10 and said “I would happily recommend this book to readers interested in contemporary fiction or family dramas; this was a beautifully written tale with a shocker of a twist that I definitely did not anticipate- just brilliantly done.”

Ionia at Readful Things said “Claire King has done such a supreme job of making you want to hug these children and tell them everything is going to be okay, that it is sometimes hard to believe they are not real…I would recommend this elegantly written novel to anyone. Really a beautiful book.”

Shannon at River City Reading – Richmond, VA said “Writing from the perspective of a child, particularly one so young, without relying on cliche phrases or coming off childish is not an easy task. Claire King does it masterfully.”

Patrice Hoffman says “Claire King writes spectacularly from a child’s point of view using vivid imagery with fantastical qualities only imagination can provide.”

and Cayacosta72 calls The Night Rainbow “A story of love, loss and grace.”

The Pin Map!

In celebration and anticipation of meeting lots of new people in the USA and Canada through the launch, even only virtually, I have put together a pin map.

To get it started I’ve added places I have visited in person (the red pins).

I’m going to add new pins on the map for everyone who tells me they’ve read The Night Rainbow, so do please leave a comment or say hi on twitter, telling me where you are, and you’ll get your own purple pin.

Also, if you have a book group that would like me to call in by Skype for a few questions, don’t hesitate to contact me!

Pin Map

The travels of Claire, Margot & Pea

 

 

A Launch Party Mingle

Posted on: February 1st, 2013 by Claire - 4 Comments

I’m having (whoopee!) an actual launch party in London on 13th February, on the eve of The Night Rainbow’s official publication date, but not everyone can be there, so I’ll be doing some virtual mingling over the next couple of weeks with some very smashing people indeed.

I’m hoping it will be like being at a party on the web, where you wander around chatting, you meet some new people, ask some questions, have a bit of a laugh. And all this without having to wear heels. So come on in, help yourself to a drink, and I hope you have a good time!

Champagne glasses

Take a glass and mingle

Who I’ve met so far:

Kate at For Books’ Sake, where we talk about the portraying pressures of motherhood and how long a story should be.

Jen at The View From Here literary magazine, who asks me what are the important things, and where did the idea of a night rainbow come from?

Roz Morris, about the Undercover Soundtrack to The Night Rainbow – the songs that were part of its making.

Joe at the Bristol Short Story Prize, the home of my first published short story, who asks “What has it been like?”

Dan at Dog Ear Discs  – who asks about the environment of the novel and the surrounding countryside. “It becomes as important as the characters. Was it based on an actual place?”

Simon Savidge, who pokes around my bookshelves and asks “Are there any guilty pleasures?…”

Jen Campbell – Bookshoppist and author, who I may have made happy-sad.

Caroline Smailes, who wants to know about being a debut author and asks “How has your following your dream influenced your daughters?”

Isabel Costello on her Literary Sofa, where we talk about the pleasures and challenges of writing in a child’s voice.

Waterstones blog, where I talk about the inspiration behind The Night Rainbow

Alison Bacon, who asks about my experience of the publishing process with a top publisher, as well as life on twitter!

Vanessa Gebbie, who asks “How much did you want the novel to explore notions of non-belonging?”

Alison Wells – Who has been running a series of posts exploring ways of keeping our head above water in physical, mental, emotional and creative areas. I talk to her about keeping the joy in writing

Rumjhum Biswas at Flash Fiction Chronicles where I chat about how writing short fiction has influenced my novel, and what I looked for as an editor of a literary magazine

 

Spotted across a crowded room! I’m heading towards…

Chris Mosler  over at Thinly Spread, who has things to say, and a giveaway!

Nik Perring, about getting started and keeping going on a novel and…

… Jonathan Pinnock, who wants to know how I managed to wait out the two years from signing a book contract to publication…

and other people too…I hope there’s enough champagne.

The-Night-Rainbow-front

Paparazzi!

Marie-Claire selected The Night Rainbow as one of their top reads for the month.

Marie Claire Book Review

“An original and beguiling debut.”

Stylist magazine tipped me as one of their 4 soon to be bestsellers (alongside Maya Angelou and Dan Brown!)

You'll be on tenterhooks throughout

You’ll be on tenterhooks throughout

Good To Know magazine have listed The Night Rainbow as one of their 2013 book club picks (alongside Jodi Picoult, Yann Martel and Jojo Moyes!). If you post a review here you could win an e-reader.

 

Overheard…”Have you read it yet?”

Dan at Dog Ear Discs – The picturesque setting of Southern France in the midst of a heat wave is almost hypnotic.”

Nettie Thompson – “Pea and Margot are characters who stay with you, long after the last page is turned “

Teresa Majury – “…a narrator who will grab your heartstrings and never let go”

Tracey Upchurch – “Favourite character? Margot — little sister, voice of reason, bearer of night rainbows.

Laura Vickers at For Books’ Sake – Recommended for… Dreamers, mothers, lovers of the rich landscape of the south of France, and those in need of warming up.”

See more reviews on this page.

I’ll update the page with links as they happen.

For mingling in person, please see my events page here.

Champagne photo (c) Chris Chapman

 

 

 

Be careful!

Posted on: January 6th, 2013 by admin - 12 Comments

It’s the 6th January 2013 and it’s a glorious warm sunny day here in the south of France. We took the dogs out to a nearby field we’ve named The Big Meadow, for a run. After the Christmas holidays we all needed a good run.

From the meadow you can cross a fallow field and go down to a stream that comes down off Canigou. In summer it is teeming with water boatmen, tadpoles, dragonflies and pond skaters, but at this time of year the water is low and you have to look harder for waterlife. There are also lots of games to be played with pebbles, fallen branches, shadows and reflections and the nearby cows in the adjacent pasture.

My smallest daughter is just 5, and as she crosses the rocks I stand back, because I know she wants to do it, and she wants to do it by herself.

My instinct is to go with her, hold her hand, tell her ‘Be careful!’ But I don’t. I stand back and wait.

“Please don’t slip, please don’t slip, please don’t slip and hit your head.” (What I think).

“You’re doing brilliantly! You’ve got great balance.” (What I actually say.)

She does fine. She gains a little more confidence in the process and I gain a little more confidence in her abilities.

I’ve been following the early reader reviews of The Night Rainbow recently, and one of the discussion topics is about Pea, who is 5 1/2, and the fact her adventures in the meadows and down by the stream are unsupervised.

‘Is that realistic?’ readers ask.

The truth is I don’t know, because I don’t let my own children go wandering off down in the meadows and by the water on their own. When they get to a certain age then of course I will; I just don’t know what that age is yet. I’m hoping I know it when I see it.

But once upon a time young children, some as young as my daughter, were allowed to go tadpoling, or hunting for sticklebacks without adult supervision. It used to seem normal. It doesn’t any more, does it?

**UPDATE**: I’ve been directed to a couple of interesting websites that talk about this topic.

Here is an article called ‘Please don’t help my kids‘ : “I don’t want my daughters to learn that they can’t overcome obstacles without help. I don’t want them to learn that they can reach great heights without effort.”

Here’s Free Range Kids : “Fighting the belief that our children are in constant danger from creeps, kidnapping, germs, grades, flashers, frustration, baby snatchers, bugs, bullies, men, sleepovers, Ivy League rejection letters and/or the perils of a non-organic grape.”

What I wrote & what you read.

Posted on: December 29th, 2012 by Claire - 7 Comments

I wrote a blog post a while ago about the intention in what we write – how we choose the palette for our story, the setting and the small details to send messages for the reader to pick up on.

But intention is a funny thing, because things are sometimes not interpreted the way we intended. This is the source of a lot of arguments. Any of these phrases seem familiar?

“That’s not what I meant!

“You are inferring that from what I said.”

“You were implying that when you said…”

“I could see by your expression that…”

“It’s not what you said, it’s the way that you said it!”

Illusion

Well, anyway, in November Waterstones ran a draw for people to receive review copies of The Night Rainbow, and December the books went out. So although there’s still a month until it starts shipping ‘for real’, reviews are now coming in, and I get to see if what I intended to say came across to *actual* readers in the way I hoped. Or not.

This, in a way, is the end of one writing journey that started back in 2009 and which I’ve been blogging about for almost 3 years. So I thought I’d share my first thoughts on being read, and reviewed.

I’d thought about book reviews before in terms of the rating, the number of stars. What does a one star review mean? How would I feel the first time I got one? It’s easy to say that rationally there is going to be some kind of bell curve. You can’t please all the people all the time. And a five star review is the flip side of the coin. You really hit a nerve with a reader, but it doesn’t mean you’re a literary genius.

Actually, now I’ve started to read the reviews, what matters much more is the words. Readers have taken the time to write at some length about how they experienced the story, how it made them feel as they read it, and their conclusions at the end. It’s such a privilege to read these insights, and to see if what I hoped I wrote matched up with what people actually read. It seems so far, so good!

I’m going to try not to get obsessed with reading reviews (seriously, I am!), mostly because I have written a new book that I am revising now and I have to turn the internet off most of the time to do that. But the appearance of these reviews is a timely reminder that I am writing for readers, and that I have to get it right. That ‘good enough’ isn’t really good enough, unless I want to face ‘good enough’ reviews on my next novel in 2 years time. And that’s not my intention.

So to the book reviewers out there who are taking the time to write these considered, detailed reviews – A Big Thank You!

And I wish all readers of this blog a very happy new year. Good health, peace and happiness to you and yours in 2013.

Christmas at the Printers

Posted on: December 20th, 2012 by Claire - 15 Comments

Some of you might know I had a Big Adventure this week.

Last week the Night Rainbow started its first print run, and on Monday the very first finished copies were born.

I had been asking the team at Bloomsbury if it would be possible for me to visit the printers with my daughters. I knew it was a long shot, because of many things – the chance of getting to the UK to coincide with the print schedule, the fact it’s time-consuming for Bloomsbury and the printers to arrange that kind of visit, the fact I was asking to bring my children. But my girls are so curious about books, my writing, and how what I do turns into a book, that I had to ask, just in case.

Then, a couple of weeks ago, thanks to the special efforts of my editors at Bloomsbury, the production people there and the people at CPI printers, I was told it could happen. Astonishment! Wheee! Cue mad booking of flights.

The Night Rainbow was being produced at CPI Mackays in Kent. Liz from Bloomsbury was meeting me there. There were to be books printed, and sandwiches.

It did feel odd arriving with children in tow, but everyone was so welcoming and kind to me and my two girls. We asked lots of questions about the printers: Q. How many books do they print a day there? A. 300,000-500,000! Q. Do books really come hot off the press? A. more warm than hot. Q: How is recycling managed? A. Error and therefore waste is kept to a minimum. Q: What about quality control? A. Happens at every step of the way. Some is human, some is computerised. Q: What is the impact of e-books? Q (daughters): How do the shiny bits get onto the book covers and please may we have another cookie? Etc.

Then Liz and I were taken into the factory. It smelled like new books. If only you could bottle it…And there, there were big piles of inners, boards, covers with purple foil stars, purple stitching…it was The Night Rainbow being born. Author swoons.

inners

Then Jonathan whipped a finished book off the line and handed it to me.

“Can I hold it?” I said.

He looked at me. “Um, it’s *your* book!”

So there is was. 3 years after first putting pen to paper. *My* book.

I learned all sorts of interesting things about how the books are put together, including how the spines become curved not flat, how books are born as twins and separated at birth and how the thousands of covers are so neatly folded onto the hardback books.

The other thing I learned is the thought that goes into producing a book that is durable and beautiful.

And here are the first copies coming off the line.

books

My oldest daughter, who is 7, was planning on doing a talk when she goes back to school about what she learned. The children were allowed into a restricted part of the plant but no further, as obviously it’s too dangerous (but it was enough to cause dropped jaws and excited exclamations).

Since they couldn’t see as much as we did, as we went along the line, watching the book go from one step to the next, Jonathan from CPI kindly put together a pack of the book at its different stages of the process, so that Amélie could take them in to show her class. How kind and thoughtful is that?

All in all an utterly magical day for us all. What a special privilege none of us will forget. Thank you so much to Bloomsbury for making it happen, and to CPI Mackays for hosting.

Book-bits

Free Review Copies of The Night Rainbow at Waterstones

Posted on: November 18th, 2012 by Claire - 2 Comments

*UPDATE*

This offer is now closed, and I was going to take down this post. But then I noticed that readers’ reviews are now coming in (you can read them here) and I wanted to say a big thank you to the reviewers, who are writing such considered and detailed reviews for The Night Rainbow. I really appreciate it. Thank you!

_______________________________________________________________

I’m over the moon to be featured as one of Waterstones current six Read & Review titles.

You can enter a free draw to win one of 24 early review copies of The Night Rainbow (you need to be a Waterstones card holder, but if you don’t already have one you can easily apply for one online – there are lots of advantages).

Closing date was 6th December 2012

De nachtelijke regenboog

Posted on: November 9th, 2012 by Claire - 11 Comments

Yet another beautiful cover!

This time for the AW Bruna/Orlando Dutch edition of The Night Rainbow, which will be published in May 2013.

Hurray!

Als u vragen hebt over de Nederlandse editie kunt u contact opnemen met jacqueline.smit@orlandouitgevers.nl

Just to remind you, here are my UK and US book covers. We had a discussion with booksellers and Bloomsbury *here* about why they are so different.

Win a proof copy of The Night Rainbow

Posted on: September 5th, 2012 by Claire - 32 Comments

Still 5 months until The Night Rainbow hits the book shops and it seems I’ve been talking about it for so long. I signed the contract back at the beginning of 2011, so actually the build up has been quite long. But all of a sudden the launch doesn’t seem so far away.

Recently uncorrected proof copies were sent out and here —–>

…is me holding one. It has a few typos and so on that went in with the copy edits, but it’s in the shape of a book and look, there are Margot and Pea on the cover.

These proof copies have gone out to the great and the good as Advance Reading Copies, in the hope that one or two lovely authors somewhere love the book so much that they will say something about it that we can put on the cover. I wrote about author blurbs here, by the way.

Anyway, the lovely people at Bloomsbury have a spare proof copy, and here’s the plan. I’m going to give it to one of you. I’ll even sign it.

Here’s what you have to do to win:

In The Night Rainbow, there is a lot of attention to the detail of things: the sound of a staircase, the taste of a tomato, the feel of water on your toes… When you’re a child, you have plenty of time to notice these kinds of things. They’re important. (Below you will see a quote from from the book from Margot, the narrator’s little sister, who explains things).

What I would like you to do is to notice something important in your day to day life, and post it in the comments. If you have children you are also allowed to ask them for help because sometimes they are better at this than grownups.

When there are plenty of important things I will pick out a selection of my favourites, and then I’ll post them up for people to vote on. The voting will close on 24th September, when I’ll be in the Bloomsbury offices and I can sign your book and send it to you. Voilà.

Good luck and have fun!

Thank you everyone for all you beautiful thoughtful and surprising comments. I loved how they ranged across the senses and it was so hard to choose a shortlist, but I have… You’ll find it below.

I’ve summarised the comments that are on the list, but if you look down in the original comments you can read them in full.

Please take a second to cast your vote(s) you can vote for up to three of the five and the winner when the poll closes next Tuesday morning (25th September) will get the book.

Good luck everyone!

[poll id=”2″]

The poll is now closed. Congratulations, Nettie and thanks to everyone who took part!

I’m Available to Order!

Posted on: June 16th, 2012 by Claire - No Comments

The US edition of The Night Rainbow is now *available for pre-order* on Amazon.com and also to be found on Barnes & Noble and The Book Depository 

Order it, forget about it and then be amazed next April when it drops through your mailbox!

Potato, Potato, Tomato, Tomato, Book Covers.

Posted on: April 29th, 2012 by Claire - 21 Comments

Today we’re talking about that Special Relationship….

I’m in the amazing position of having The Night Rainbow being published in several countries, including the U.K. and the U.S.A., where the cover designs have now been developed (I had input into both). I’m delighted with both of them, but they are markedly different (U.K. on the left, U.S.A. on the right):

I’ve asked some very kind booksellers in both countries, and my editor from Bloomsbury U.S.A., to talk about the importance of a book cover, and to try and define what defines the differences in our tastes. Here are some of the first responses:

First, Robert Gray, who from 1992-2005 was a bookseller and buyer for the Northshire Bookstore, Manchester Center, Vermont.

He has also been a contributing editor and columnist at Shelf Awareness since 2006. As a writer, his work has appeared in numerous publications, ranging from Tin House to Alfred Hitchcock’s Mystery Magazine toPublishers Weekly. He has an MFA in Writing and Literature from Bennington College. Rob tweets as @Fresheyesnow

Rob says:

The cover was always a factor for us when buying in stock, though not the deciding factor (excepting, of course those counter books that could be sold as gift items on strength of their covers or titles alone). If a book with a lousy cover was still something I loved and knew I could handsell, content always trumped art. But if a book wasn’t so great and the cover was irresistible, then the decision came down to a question: “Is this a book I know there are readers for, even if I’m not crazy about it?” Another factor I don’t see discussed often: When booksellers are building displays, a great cover always has a better chance of being showcased.

I do think customers instinctively reach for a book with a great cover if it’s on a display or face-out on the shelves. If it’s spine-out, then the game is over before it starts. Ideally, what a great cover does is get the potential reader to pick up the book, maybe scan blurbs on the back cover, open the book and flip through the first few pages.

Anything that inspires a customer to initiate that ceremony is critical.

Looking at your covers, I do think the U.S. cover will appeal more to American readers. I’m not sure I can be more specific than that. It’s an instinctive reaction for me, since I’m not a graphics or even a particularly visually-oriented person. I’ve just watched thousands of books being sold over the years. 

***

Anna J G-Smith has worked at Stroud Bookshop for the last 15 years.
Stroud Bookshop is an independent book shop, keeping books on the High Street and part of Stroud’s cultural heart. Anna is passionate about her job – even more so since she started writing, and rarely seems to have her bookselling hat off these days. Her writers blog is here and she tweets as @eryth
Anna says:
When ordering a new title in for stock, the most important thing is the write-up, and any advance reviews. Also if we like the premise, and feel it fits with the zeitgeist of the moment in which it is published. BUT, once the new titles arrive, then we can assess how best to display them, depending on jacket design (and heft!). I tend to be the one mostly responsible for the displays, as I am acknowledged to have a good eye for overall balance of colour/design. If I think a book looks particularly beautiful, then I will display it as prominently as possible, and especially if it is a hardback. With paperbacks it is slightly easier, in that the bestsellers tend to be displayed depending on how many we have in stock, and what the prevailing colours/designs in paperbacks are at the time. For example, Julian Barnes and Graham Swift look well next to each other at the moment:
Design is important to customers. Hardback design in particular: if they’re going to shell out on a new title they might not otherwise buy (unless they’re die-hard author-addicts who can’t help themselves!) then they like the idea that they are buying something beautiful. Smaller hardbacks in particular fit this niche, (Julian Barnes – again – was an example last year), as do books that they might like for themselves, but can only justify if buying a gift for someone else. Paperbacks are where the most committed browsing takes place. For backlist/classics it helps to have either a smart and recognisable livery (Oxford, Penguin, faber etc) or something beautiful and striking. Joanne Harris’s Chocolat still stands out years later, because of the rich purple; David Mitchell’s Thousand Autumns Of Jacob de Zoet is another good example.
When a title is new, and selling well, then it is more likely to be displayed face-out. This is where good design comes to the fore.
A good cover helps a book more than a bad cover hinders it. If a customer really wants to read a particular title, then a poorly designed cover will not put them off – though it does cause comment. This does happen a lot, and especially if the design is changed between hardback and paperback, or between trade paperback and A-format. Stephen Kelman’s Pigeon English is a good example here. The original design was very striking in red and yellow. The A-format paperback is less memorable, and especially when there are so many other blue covers around.
Now to your covers. They are BOTH beautiful. I much prefer the English cover for the hardback  – and it will look lovely stacked high in the middle of my hardback display, and in the window! – the U.S. edition is too much like other jackets I have seen, but will look very strong as a paperback cover, whereas I think – lovely though it is – the striking detail on the UK cover will be diminished once it is scaled down. And I’d be very surprised if my customers don’t greatly admire the hardback cover. It is unlike anything I have seen in a very long time, so will stand out well. Bloomsbury do have a knack for GOOD covers that buck the mass market; Susannah Clarke’s Jonathan Strange and Mr Norrell being another example.
***

Rachel Mannheimer is my editor at Bloomsbury in the USA

Rachel says:

It’s difficult to pinpoint how important is the cover design for a novel. With the closing of so many bookshops, and the rise of online shopping – for print books and especially for e-books – I think there are fewer face-to-face encounters, as it were, with the book cover. There are new ways to find books, which are great, but it’s rarer for readers to discover books based solely on an eye-catching image. Still, when I’m in a bookshop, it’s definitely still my eyes leading me. (Then I read the blurbs or reviews on the back). And a memorable image still makes an impression if you see it online, in an advertisement, wherever. The cover conveys something about the style of the book before you know anything else.

When you consider the difference between what readers in the U.S.A. like in a cover, compared to the U.K., I think it’s a matter of a slightly different visual language, and just what the customer is accustomed to seeing – what connotations different visual cues have. Successful British book covers look like other successful British book covers, and successful American covers tend to look like other American covers. And I would say, to be supremely reductive, that British covers can look a bit schmaltzy to American eyes, while American covers can look stiff and boring. But sometimes something works perfectly in both markets! It just depends.

I love the cover we came up with for The Night Rainbow; it’s evocative and stylish. There was discussion early on about how difficult it would be to match the title literally (though the UK cover does come close). But it’s also such an interesting phrase, “night rainbow.” The designer had to work with both its sweetness and its mystery. Also, you had been clear about not wanting a straight representation of Pea; you wanted the reader to have space to imagine. This image the designer found, I love that it shows a little girl, but it’s a bit disorienting; you’re not quite sure what you’re looking at. You want to read and learn more.

***

Many thanks to Rachel, Anna and Robert for taking the time to comment.

For more discussion on UK versus US covers:

Here’s a link to a brilliant talk by Chip Kidd on Book Design on Seth Godin’s blog.

Some very interesting comparisons of the last year’s novels on The Millions.

Not just a wildly different cover, but a different title too, from Morag Joss

For more information/to see other work by the designers of my covers:

UK: Holly Macdonald

USA: Jennifer Heuer

The Night Rainbow – Hardback Jacket

Posted on: March 19th, 2012 by Claire - 54 Comments

It’s something I’ve waited over a year for. Wondering what, having read my novel, will the designer come up with? Will it capture the spirit of the story? If the characters are represented, will they be as I imagined them? I tried not to engage in picturing what I would do for the cover art, so as not to be disappointed. I’ve seen many of the beautiful jackets Bloomsbury design, and I put my trust in them that they’d ‘get it.’

Still, when I the jacket proposal was emailed to me it made me cry. In a good way.

Since then, in the last two weeks, we’ve bounced ideas backwards on forwards with my editor, my agent and the designer on possible teaks or changes, but in the end we’ve ended up very close to the original proposal. Here is the final jacket, and huge thanks to Holly Macdonald, for taking good care of Margot & Pea:

 

Publication has come forward slightly, so The Night Rainbow will be out in hardback next February. I may have to go and have a lie down now.

 

The Novel Edits (Part 2)

Posted on: January 25th, 2012 by Claire - 24 Comments

In September I met my editor, Helen, to go through the structural edits for The Night Rainbow. If you missed it, you can read about that here. The next part of the editing process, which happened in quite a whirl last week, was the copyedits.

I thought that the copyeditor was there to ‘correct my mistakes’. I was really looking forward to what she would find, because before submitting I’d already done many passes of edits for typos, punctuation, and grammatical errors. I’d also paid attention to ‘continuity’, drawing up detailed maps of locations and timelines with character clothing, mealtimes etc. I didn’t go so far as a style sheet, but I’d thought about it.

Last week was quite an education…

My copyeditor got in touch and she said my book was ‘astonishing’. I loved her immediately. She said she was sending over the queries, and that there ‘weren’t many’. There were, in fact, 10 pages of them. 175 in total. And these were just the queries – obvious typos and missing punctuation had already been corrected without bothering me.

The copyedit was much more than ‘just’ about correcting mistakes. Yes there were some, but attention was also paid to to smoothing out inconsistencies in style, for example where I had used ‘grownup’ vs ‘grown up’. My editor also checked facts, questioning things as odd as ‘are puffballs safe to eat?’ and the correct references made to music. Despite my best efforts there were still ‘continuity’ queries – one minute a door was closed, the next it was open…

Responding to the queries took hours and hours. Agreeing that I should change from one kind of punctuation to another was an easy one. But where the suggestion was to choose a different word or re-phrase something it was much harder. Even though I could agree that it was necessary, working within the vocabulary limits of the narrator took a lot of thought and deliberation.

By the time I reached the end of the query list I was feeling quite anxious. Had I managed to get back into the ‘voice’ of the book seamlessly? Had I made the ‘right’ changes? And what about all the mistakes? As soon as a query drew my attention to something I then spotted the same mistake over and over in the text. Even though my editor had told me that she only queried something once and then it would apply throughout, it was very unnerving to see the repeated mistakes and inconsistencies cropping up again and again.

But the biggest revelation for me last week was that my copyeditor not only understood the rules of spelling, grammar and punctuation (of course), she also understood where I had intentionally broken the rules to use punctuation or rythym creatively. She understood my intention.

Then she worked with that intention, with my rules, to make the writing more elegant, so the words didn’t get in the way of the story.

The whole experience was really impressive, and I found myself enormously grateful that such painstaking attention is being lavished on my book.

Once the queries were dealt with and the TS returned to Bloomsbury,  I asked my lovely copyeditor, Sarah-Jane Forder, if she wouldn’t mind answering a few questions:

1) I edited The Night Rainbow many times before I submitted it. I would have said I went through it with a fine toothed comb. And yet I had 175 queries in total, which you described as ‘very few’! If we imagine I’m towards one end of the spectrum, what does the other end look like?

It was obvious to me when I first read your TS that I was dealing with a very meticulous author. Yes, there were odd things you’d missed in however many edits but that is always the way. I missed things too, which you picked up: remember? My point about the relatively few number of queries, and the absolute ease of my job, was that they were minor things: the odd bit of punctuation here, a tiny bit of garbled text there. Nothing major whatsoever. Many authors, believe me, have neither your eye nor your ear. When you answered my queries you did so with confidence, saying no when you knew absolutely what you wanted. Which is a wordy way of saying that the other end of the spectrum might have multiple typing errors and inconsistencies as well as careless repetition, holes in the plot and characters whose eyes change from blue to brown according to the weather.

2) Many of your queries represented changes that needed applying several times through the book and after you’d mentioned something once I came across dozens of subsequent errors that I’d made (consistency of spellings etc.) Do authors get ‘better’ at noticing these, the more books they write? So fewer slip through to copyedit stage?
I think, the more they write, authors do become aware of certain tics in their writing: words and phrases they perhaps rely on; that sort of thing. It’s great if an author can get it near on 100 per cent accurate (Anita Brookner, whom I copyedited at Cape, was one), but they are rare.
I have to say that I don’t regard picking up spelling mistakes or typos necessarily as part of writing: you can be dyslexic and still express yourself fluently and vividly and with originality, which is the really important thing. If writers made no errors whatsoever, what about us poor copyeditors? You’d be doing us out of a job!

 

3) In terms of your process – do you read the book first as a ‘reader’, or immediately with an editor’s eye?

I always do a first read as a reader, or as near as I can get to a reader when I’m working (you’ve sussed that in my leisure time I read in an entirely different way), with an eye out for plot, pacing, characterisation and so on. I will also at that point make a note of any inconsistencies of style (‘girl-nest’!) and make a ‘style chart’ to follow for the edit proper. The edit proper is slower, and usually said out loud in my head. I find it helps to hear the words – you yourself mentioned rhythm and I think that’s really important.

 

4) How did you become a copyeditor? What do you like about the job?

 

I fell into copyediting! I graduated in English with a vague idea of going into publishing: no more than that. I was lucky enough to be appointed at Jonathan Cape as an editorial assistant working with Liz Calder, one of the top literary fiction editors at that time. Salman Rushdie, Julian Barnes, Martin Amis, John Fowles, Anita Brookner, Ian McEwan: they were all Cape authors. Later, when Liz went to set up Bloomsbury, I followed her. 

I’ll be honest: the job can be extremely tedious (depends what you’re working on!) but it’s always fascinating to work one to one with authors; it can feel like a real privilege, in fact. There’s the satisfaction of making a difference, however small. The devil’s in the detail! Having been freelance now for about 15 years, one of the things I love about my job is being able to work from home, at no one’s beck and call. I like the freedom, I like the quiet! The money sucks: you don’t go into it expecting to become rich. But I specialise in editing literary fiction, and how can you put a price on the pleasure of being paid to read wonderful writing?

 

Huge thanks to Sarah-Jane for taking the time to answer these questions in her busy schedule. I hope you find them as illuminating as I did.

Next steps for The Night Rainbow? First Pages for proofreading in a few weeks, and the cover! It’s also off for translation. Still a year to go until publication, but we’re well on our way!

What does a pear taste like?

Posted on: October 26th, 2011 by Claire - 17 Comments

When you think of researching a novel, what do you think of?

For me, the first thing that comes to mind is the verifying of details – historical, biographical or geographical, for example. I imagine that depending on genre, there is more or less of this kind of research required. I suppose historical fiction writers to be at one end of the scale, and those who write fantasy at the other. I feel I sit somewhere in the middle. Most of what I write is imaginary and doesn’t need research as such, but there are a few elements that need to be checked to ensure they are accurate (I usually do this once the first draft is done).

But I have discovered that for me at least there is also another kind of research: the sensory immersion into the the world I am describing.

I still remember a scene in the film City of Angels that really stuck with me. Seth asks Maggie to describe the taste of a pear:

Seth: What’s that like? What’s it taste like? Describe it like Hemingway.
Maggie: Well, it tastes like a pear. You don’t know what a pear tastes like?
Seth: I don’t know what a pear tastes like to you.
Maggie: Sweet, juicy, soft on your tongue, grainy like a sugary sand that dissolves in your mouth. How’s that?
Seth: It’s perfect

How do you describe the taste of a pear to someone if you have never tasted one before? And, more importantly, how would your characters describe it?

Although in The Night Rainbow the locations are imaginary, I spent hours and hours in the places that inspired them, soaking up the smells, the tastes, the sounds… I found the immersion in those elements vital to carrying the sense of place and the sense of character in the novel.

In the novel I’m working on at the moment, I recently found that my imagination was only taking me so far. There was something tangible missing in my understanding of my protagonist. A large part of the story is set on a peniche – a house boat – and although I’ve seen plenty, and been onboard peniches converted into restaurants, pleasure boats and so on, it’s been twenty years since I was in an actual house boat, and that was on the Thames in Oxford, not on the Canal du Midi. I couldn’t feel it, smell it, hear it… I was longing to climb into the story and actually experience it through my character’s eyes.

I was fortunate enough to find a friend of a friend who grew up on a peniche, and I recently arranged to meet her mother, to see if she could help. She took me to see her boat, and we spend a wonderful evening chatting about her experiences of life on the water. The stories and the way she recounted them details really helped bring my character to life. I began to feel him, much more intimately than before.

This kind of ‘sensory research’ doesn’t need to be exotic, remote or expensive. I have great admiration for writers who can describe familiar places or situations in a way that makes the reader feel they are discovering it for the first time. Like the smell of a bonfire, or the taste of a pear.

Can you remember a writer who has impressed you in that way? How do you balance the imaginary with ‘research’ in your writing?

 

Archives

Feeds