Anne Skyvington
  • Writing
    • A Change of Blog Title
    • An Article in Quadrant Magazine
    • A Guest Post by Ian Wells
    • An Aussie bloke remembers: Guest post by Ian (Harry) Wells
    • a father’s tale … by Ian (Harry) Wells
    • “Snakey” by Roger Britton
    • A Guest Poem: “First Loves” by Roger Britton
    • At the Swimming Pool
    • A Modern True Story
    • A Story of a Special Child
    • What I learnt from writing a novel…
  • Mythos
    • A FAIRY STORY
    • Anthropos Rising
    • A Grain of Folly
    • The Myth of Persephone and Demeter
    • Candidly Yours…
    • A Story of a Genteel Ghost told by Roger Britton
  • Travel
    • Adriatic Romance … Rijeka to Titograd
    • 5 or 6 Things About Valencia
    • A Bird’s Eye View
    • 7 ancient artefacts in the British Museum
    • A Tuscan Village Holiday
  • Australia
    • A Country College Residence
    • Alone not lonely in Apartheid South Africa
    • A Young Adult Novel: My French Barrette
    • A Sydney Icon or Two
    • 5 things about Coogee
  • Nature
    • Black Swans Surfing
    • Blackbird Mythology: Crows and Magpies of Australia
    • A Kit Home Goes Up in Vacy
  • Poetry
    • a funny thing happened …
    • An ancient mystic: Rumi
    • A Window into Poetry
    • A Love Sonnet by Ian Harry Wells
  • Memoir
    • Always something there to remind me…
    • A Well-Loved Pet
    • Ancient Stories from Childhood
    • Voices From the Past
  • Publishing
    • A Useful Site for Readers and Indie Authors: Books 2 Read
    • Highs and Lows of Self Publishing
    • How I Created My Debut Novel
    • 5 Further Publishing Facts
    • 5 Facts I Learnt About Self/Publishing
  • Contact Us

Anne Skyvington

The Craft of Writing

  • Writing
    • A Change of Blog Title
    • An Article in Quadrant Magazine
    • A Guest Post by Ian Wells
    • An Aussie bloke remembers: Guest post by Ian (Harry) Wells
    • a father’s tale … by Ian (Harry) Wells
    • “Snakey” by Roger Britton
    • A Guest Poem: “First Loves” by Roger Britton
    • At the Swimming Pool
    • A Modern True Story
    • A Story of a Special Child
    • What I learnt from writing a novel…
  • Mythos
    • A FAIRY STORY
    • Anthropos Rising
    • A Grain of Folly
    • The Myth of Persephone and Demeter
    • Candidly Yours…
    • A Story of a Genteel Ghost told by Roger Britton
  • Travel
    • Adriatic Romance … Rijeka to Titograd
    • 5 or 6 Things About Valencia
    • A Bird’s Eye View
    • 7 ancient artefacts in the British Museum
    • A Tuscan Village Holiday
  • Australia
    • A Country College Residence
    • Alone not lonely in Apartheid South Africa
    • A Young Adult Novel: My French Barrette
    • A Sydney Icon or Two
    • 5 things about Coogee
  • Nature
    • Black Swans Surfing
    • Blackbird Mythology: Crows and Magpies of Australia
    • A Kit Home Goes Up in Vacy
  • Poetry
    • a funny thing happened …
    • An ancient mystic: Rumi
    • A Window into Poetry
    • A Love Sonnet by Ian Harry Wells
  • Memoir
    • Always something there to remind me…
    • A Well-Loved Pet
    • Ancient Stories from Childhood
    • Voices From the Past
  • Publishing
    • A Useful Site for Readers and Indie Authors: Books 2 Read
    • Highs and Lows of Self Publishing
    • How I Created My Debut Novel
    • 5 Further Publishing Facts
    • 5 Facts I Learnt About Self/Publishing
  • Contact Us
Category

Book Reviews

Book ReviewsWriting

How I Created My Debut Novel

The Story of the Novel

Those in the know say Write about what you know. This could be my parents’ love story, with the boring bits left out.

My story takes place in a raw and natural setting called Karrana, where a stunningly attractive young woman is ready to break out of her universe and demand more from life. She’s clever and, like a bright chrysalis, just knows that she deserves more — like the cows know when it’s time to come home for milking. She meets the love of her life, or is it her polar opposite (?), at a victory dance. This novel takes place in an Australian country setting at the end of the Second World War in the Pacific. She falls pregnant in a moment of raw passion and rebellion. This throws her back into the very environment she is trying to break free from. This is a women’s story, so it’s about love, nature, pregnancies, child nurturing and dissatisfaction. And for those men who would understand and appreciate these themes. An accident to her first ‘golden child’ sends the young woman into a spin — a bit like a depression — followed by something akin to enlightenment, wherein passion leads her into a forbidden liaison with a sophisticated, refugee doctor in Sydney.

I won’t tell you the ending, but suffice it to say that it’s a bit complicated.

How I Wrote the First Draft

I wrote it chapter by chapter over a period of 18 months in 2013 – 2014, meeting in a group of four every fortnight, Randwick Writers, convened by Dina Davis. My first mistake was to engage an editor to do a structural edit when I had written the first draft. It was not ready to be assessed at this stage. After this, I put the manuscript away for some time and concentrated on blogging. I was also attending a larger writers’ group, and focusing on memoir writing. Later on, I worked some more on the story, while attending the Waverley Writers at the local library.

The Question of Structure

I had discovered that one of the hardest things about writing a novel is accessing knowledge and skills to do with structuring a longer work. That is, with the overall storytelling aspect. It begs the question of how to hold the whole novel in your sights, in order to appreciate or critique the structure and add significant bits and sacrifice others that might be scaffolding or padding.

Writers’ groups, unless there are novelists within who are aware of textuality, cannot usually help you with this aspect. Participants often focus on the smaller aspects to do with punctuation, words and grammar, all at the level of the sentence or the chapter.

It’s even harder to remember previous scenes or chapters of your colleagues’ novel manuscripts in a group. And, if you are writing a modern work, you need to consider recent changes that have taken place in this art form.

The Bigger Picture

I thought for a long while that it’s all about understanding Voice, Viewpoint, Point of View, Scenes and other issues, such as pace and narrative arc. And about writing a segment or a chapter from go to woe, that is, from the beginning to the end. But, after getting a grasp on such elements, and finishing the first draft, I was still searching for that elusive missing link, that was how to discover the overarching theme or rationale? for the novel I was writing. This became my next quest.

A Manuscript Assessment

A talented manuscript assessor at Writing New South Wales, requested, for a moderate sum, a couple of chapters of my manuscript, together with a synopsis, and then offered an hour-long Q&A session, where we worked together, asking and answering questions. That was what got me over the hump towards completion. After that, I knew where I was coming from and where I was headed. This was important for structural cohesion of the whole work; it enabled a final culling—and/or perfecting—of relevant motifs and metaphors. Within a relatively short period of time, I felt ready to publish the novel, so that it all hangs together. The missing link for myself, was knowing the right questions in relation to overall novelistic structure, to discover the ‘meaning’ of the work. After all, the novel is about many things, but this needs to be distilled into one or two sentences. Of course, if you plan the novel beforehand, you may not need this process, but there will be other different issues to confront.

Creating a Logline

I came across Jeff Lyons through Reedsy. Jeff is an expert in the art of storytelling. He states that you need a ‘logline’, which is a summary or premise, in one or two sentences, even before you start to write your novel. Of course, most people, and I am one of them, don’t work in this way. However, I have found that it is important to be able to do this, at some stage during the creative process. According to Lyons, the logline should include 7 parts: (i) a mention of the World of the novel (ii) the main Protagonist (iii) the Problem faced (iv) the Goal or Challenge for the protagonist (v) the personalised Opponent (vi) Choices or Decisions (vii) the Action taken by the protagonist.

The Logline or Premise of Karrana

In post-World War Two Australia, Bridie, a spirited young woman brought up on a dairy farm, surrounded by beauty and rawness, seeks romance and ultimate fulfilment. She hopes her choice of a mate, who she meets at the Karrana Victory Dance, will lead to a different future than that her mother, and, later on, her husband, want to keep her cosseted in. Her passionate nature, aided by fateful irony, deems that she demands more from life than nature alone; a family accident takes a hand in ensuring this.

The Final Cover
How I Created My Debut Novel was last modified: December 10th, 2020 by Anne Skyvington
July 4, 2020 0 comment
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Book ReviewsWriting

Discovering Karrana

Writing a Novel

Writing a novel has been one of the most exciting and difficult activities I have ever undertaken. It’s something akin to giving birth and bringing up a child; not quite…. You have never done this before, and there is no foolproof manual on how to be successful at it. I don’t believe anyone just knows how to write a novel. Much of it is trial and error. There’s a degree of theory involved, which might include studying the masters, and, it goes without saying, reading modern writers, too. That is, if you want to be a modern author.

Karrana: An Interview

Following is a Q and A interview carried out at the Book Launch of Karrana by a friend, G, and answered by myself, that reflects much about the structure of the novel.

G 1: In reading your book I was struck by the lusciousness of the novel, both the physical and the emotional aspects of life on the north coast after WW2.

If I start with the physical, the Australian bush with its lilting birds and the fiery orange boldness of the trumpet vines is an integral part of the story.

As a writer what did you draw from to create such vivid bush scenes?

A: As a little girl I was free to roam in nature, where I became a part of it — its rhythms, its colours. That vine covered an old barn on Grandma Walker’s farm, opposite our rented house on the Gwydir Highway, drawing sightseers in vehicles to stop and gawk from their car windows in winter and in spring. I felt lucky to be part of this environment.

It was even brighter to a child’s eye; magical, like the multicoloured iridescent feathers of rosellas; and I rolled, competing with hovering bees, in pure white-and-green clover, so abundant and fragrant on the farm; and then riding our horses surrounded by gum trees out in Dad’s bush paddock, a nutty, gorse-like perfume in the air; the silence, broken only by the sound of a kookaburra or water gurgling in pristine creeks, or a wallaby scuttling away.

Much of the flora and fauna on the farm was non-native, like the vine, but well-suited to our sub-tropical climate.

G2: Bridie the young woman “with tossing dark hair that cascaded around her shoulders like Vivien Leigh or one of the other Hollywood stars” as one of the main characters has big dreams and they don’t always coincide with reality. This story is her chance to shine.

How did you get Bridie to take her place in the world?

A: I showed her through the prism of the post-War years, with Australia on the brink of huge changes. As a butterfly-like creature cocooned in a narrow universe, Bridie’s narcissism is put to good use in attracting a mate. She is getting ready, like the nation, to break out and demand more from life than the one her family has allowed her. The question the novel sets up is: Will she be victorious in finding fulfilment, in re-gaining a missed education, or will it be a question of ‘fools rush in’? (ii) If Bridie really existed, I think she’d be a composite of several women from my childhood, both in flesh and on the big screen or in magazines.

G3: In the novel there is a delicious sense of dramatic irony between the two main characters, Bridie and Will.

What characteristics did you set up to test and re-energise their relationship?

A: I’m glad you recognised that. I think a note of irony runs throughout the novel, from the beginning with the sexual symbols of frogs and spiders on the path to the lavatory, to the forced wedding and sexual fulfilment.

 Fiery passion causes both to act impulsively in the beginning. However, Bridie learns too late what Will’s plans are. They don’t discuss their differences, assuming that love will win out in the end. It is inevitable that conflict ensues.

G4: There is an interplay of mystery throughout the novel, the unknown lights in the bush; Richard, their son’s accident; the other man Bridie reached out to.

What were you trying to achieve with this interplay of mystery?

A: Well, I’ve always been interested in the interplay of light and dark motifs in fiction, as well as in life. Seasons play a large part in the structure of the novel: Starting out in the spring of rebirth and renewal, and continuing through seasonal fluctuations to a return. Bad things are sometimes presaged by dark imagery, such as blackbirds; awakenings and positives by light motifs. I’ve for long empathised with the underdogs in history, the Jewish people during the War, as well as the Aboriginal Bundjalung tribes of the north coastal region before the English settlers arrived. They are linked to the light motifs in nature.

What was I trying to achieve? Just that, the mystery of Nature, and the mystery within nature. A sense of light and of darker forces at work, beneath the surface of things. Within people, too, of ignorance versus enlightenment that comes through education and progress.

G5: The historical placement of this novel is just after WW2 and Bridie and Will, the two main characters, meet at a Victory dance. In developing the story, you had to go back in time and undertake a certain amount of research.

What did you uncover in your research that helped to drive the novel forward?

A: I researched war songs such as Bless Em All, and Don’t Sit under the Apple and the foxtrots and pride of Erins and waltzes, played at country dances of the time; other songs and movies expressed the blossoming love between Bridie and Will, such as the one my Dad sang to Mum ‘I’ll Take You Home again, Kathleen”.

Great changes were taking place, especially in the cities after the War. I Imagined Bridie hearing American accents and seeing soldiers with war injuries in Sydney. Learning about the new role of women in the War effort is also touched on. I discovered that ignorance and stigma existed at the time. Can you imagine how she must have felt when she heard from a Jewish refugee about the truth of the Holocaust? I made this part of Bridie’s experiential education, learning about it from the doctor. And then I tried to imagine the horror of a mother receiving a telegram announcing the death of a loved one; often delivered on bicycle or on horseback in the country.

G6: In conclusion what were the highlights of writing this novel?

A: It was great being able to draw on childhood and my own life experiences, and to utilise my early outpourings of emotion, a healing component in writing memoir pieces, and then this novel.

I was part of a small, tight-knit writers’ group, Randwick Writers, during which I was able to develop the first draft of the novel; meeting once a fortnight over more than a year. Encouragement from colleagues in the larger group, Waverley Writers, at the Library in Bondi Junction, also played a huge part in giving me the confidence to move forward with the novel and to finish it. Learning how to upload documents to Amazon and Ingram Spark (print-on-demand facility) have also been part of the journey towards publication and distribution. And now, educating myself on the notion of discoverability, which I am still working on.


The Final Cover
Discovering Karrana was last modified: July 4th, 2020 by Anne Skyvington
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solitude
Book ReviewsWriting

Alone not lonely in Apartheid South Africa

Maureen-MendelowitzAlone not lonely is Maureen Mendelowitz’s second novel to be published by Ginninderra Press (2018). I attended the successful launch of the book at JewishCare Centre in Woollahra recently.

The date coincided with public awareness of domestic violence issues against women, including in Australia, and White Ribbon Day. The attractive front hall of the Centre in Saber Street was already packed with eager friends and visitors when I arrived.

Rada Pantzer, Jewish Care’s program co-ordinator for domestic violence, addressed this subject at the start of the launch, and spoke abut the concept of “gaslighting”, a form of emotional abuse based on humiliating the victim, that can lead to physical violence as well.

Domestic violence is a major theme in the novel. Another co-worker of Maureen’s, Charmaine Silove—who happens to be a member of Waverley Writers of FOWL—launched the book with a passionate review of its contents that whetted our literary appetites. Finger food and drinks were provided by Jewish Care, and Maureen happily got to sign many books at the end of the evening.

This is a heartbreaking, yet not totally negative, story that had to be told. And Maureen Mendelowitz, expatriate of South Africa during the Apartheid years, is the one to do it. Utilising her skills as a creative writer, the author gets across the horrific effects of the political system on its segregated inhabitants, especially women. She does it by creating vivid characters and settings, by applying humour and irony, by recreating realistic prosody—snippets of Afrikaans spoken by a coloured maid—and with the help of poetry. We are never, or rarely, told or forced to live the horrors, as Maureen and others had to. And yet we are shown what happened. It is often done metaphorically, as in the case of the “exploding dog” (page 31), an apt image of the violence of the system in South Africa. It goes without saying that young males and animals were abused in society as well. But this is a story about women in the society of the time.

The narrative is a universal one, with different faces and degrees of suffering, as instanced by the growing awareness of domestic abuse in the Australian society and media at the present time.

alone-not-lonely-cover

We feel empathy for the characters, especially for the downtroddden and abused maid, Milly, who is the real hero in the story, for simply surviving her abuse.

I loved the part where she up and leaves her abusive husband, placing the wedding ring on a saucer in the kitchen and never looks back. (page 46). A real triumph in the midst of such repression against the coloured minorities during the Apartheid years.

And the clever juxtapositioning of the stories about two women, one white, the other coloured, in the same novel, is poignant and telling. Dana, the spoilt yet fragile white woman, suffers a similar fate to her maid, Minny, although the abuse is emotional rather than physical in the former’s case.

Background is given to show how main characters have arrived at their current situations. One of the interesting aspects about Dana’s past, is that, as a child, she was gaslighted by a coloured maid, which might go some way to explain psychological damage, and an unconscious lack of empathy towards Minny, at least in the beginning.

In this way, the author ensures that no one character in the novel is totally good or bad. It is the political situation that is the real villain. Domestic violence is also a metaphor for the Apartheid system itself.

You can purchase this book on Amazon.

Alone not lonely in Apartheid South Africa was last modified: January 29th, 2019 by Anne Skyvington
December 17, 2018 0 comment
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phoenix-creative-commons
Book ReviewsBooksWriting

The Phoenix Years

The Nib IconTHE NIB AWARD

The Waverley Library Award for Literature, established in 2002, is entitled ‘the Nib’. Organised and financed by Waverley Council, it is managed by Waverley Library, with the support of a committee, and a number of community establishments, including Friends of Waverley Library, Gertrude & Alice Bookshop, and local RSL Clubs. The Nib promotes research-based Australian literature, with a generous prize of $20,000.

Definitely the best book I have read this year, is one of the finalists for the 2017 Nib Award. It’s The Phoenix Years : Art, Resistance and the Making of Modern China by Madeleine O’Dea. Foreign correspondent Madeleine O’Dea has been an eyewitness for over thirty years to the economic success of China, the ongoing struggle for human rights and free expression there, and the rise of its contemporary art and cultural scene. Her book, The Phoenix Years is vital reading for anyone interested in China today.

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The Phoenix Years was last modified: July 13th, 2018 by Anne Skyvington
November 18, 2017 0 comment
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woman-seated-alone
Book ReviewsBooksWriting

We Are Not Alone

WE ARE  indeed NOT ALONE

I joined WANA tribe, after having read a book entitled: Rise of the Machines: Human Authors in a Digital World by American writer and blogger, Kristen Lamb. I’d recommend it to anyone trying to understand the world of social media and blogging. It’s a first step into learning how to increase traffic to your site.

waiting-for-food

Pelicans at The Entrance, Central Coast of NSW

The online Book on Social Media and Blogging that led me to better my social media skills and improve my blogging:

kristen-lamb-book

Kristen says in explaining the concept of WANA tribe:

WANA stands for We Are Not Alone, and began as the title of my #1 best-selling social media book. I named the book, We Are Not Alone—The Writers’ Guide to Social Media, because I saw that social media was a game-changer for creative professionals, if only they could let loose of fear and understand that we don’t have to change our personalities to be successful. Social media isn’t about spamming people for free on ten different sites; it is about community and connection.

…

WANA Tribe is a place where creative people can be themselves and connect with other artists. Form critique groups, discussions, post your art, network, or just sit back and be inspired. No matter where you turn on WANA Tribe you will find passion and imagination and people who understand you. Why? Because they are just like you.

 

We Are Not Alone! Wanna join?

This book helped me understand and start to use  social media a lot better. We writers are often technically challenged, so thanks must go to Kristen.  Actually, I need lots more help in  reality…

Trying to set up a self-hosted website nearly made me consider giving up entirely, but I’m proud to say I didn’t, and I achieved my goal, after a lot of time spent asking for help. I’m still struggling with being able to use Hootsuite, but am determined to get there.
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We Are Not Alone was last modified: July 13th, 2018 by Anne Skyvington
August 11, 2016 0 comment
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About Me

About Me

Anne Skyvington

Anne Skyvington is a writer based in Sydney who has been practising and teaching creative writing skills for many years. You can learn here about structuring a short story and how to go about creating a longer work, such as a novel or a memoir. Subscribe to this blog and receive a monthly newsletter on creative writing topics and events.

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In Australia you can purchase the book from Harry Hartog in Bondi Junction, from Amazon Australia and bookshops linked to IngramSpark

 

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