Firstly, I apologise for not posting a Middle Grade Monday blog last week. It was quite a crazy time, with my exam on the Monday and the Music Festival all week. But I wanted to make sure I got this blog up on the right day! Today, I'll be discussing how to put magic into a setting, particularly for middle grade books. One of the key points to make is that magic is not unusual for children. It is quite normal for a class of children to believe that magic exists, and this has both benefits and drawbacks. The benefit is that you don't have to spend as long persuading the reader that a magical place is relatable. The drawback is they already have a set idea as to what magic is like and, if you want to go outside the box as many authors do, it can cause problems. When planning how to put magic into your setting, you can ask yourself some questions: Is the whole world magic, or just select places? Perhaps there is an underwater kingdom of magic, while the folk on shore are just lik...
This month, the Historical Writers Forum are running #HistFicXmas on Twitter. Today's prompt asks whether writers prefer writing about summer or winter, so I thought I'd take that as this week's #HistFicThursdays blog post!
As I'm sure I've mentioned before, I love winter. Yes, it is brutal and difficult, but there is nothing more beautiful than hoar frost on trees and spiders' webs, nor is there anything more exciting than a thick covering of snow. But to write about? I actually fell in love with writing about fog. I remember, some 14 years ago, when I first realised how enthralling the effects of fog were, how you hear things long before you see them, and how all your other senses - and there are a lot more than five - band together to compensate for that one missing sense. So, in terms of weather, fog gets my vote!
One of my most enduring literary refences to fog is in A Christmas Carol, and so I always link city fog to Christmas. I'm sure there's plenty of fog at other times of the year but this line is engrained in me:
...he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them.
There is little surprise, then, that it is Christmas time in one of my stories when fog is encountered in the same city - although not so elegantly as Mr Dickens!
He left Gordon asleep, stepping out of their room, through the building and out into the foggy air. The smoke of industry was interweaving with the mist, being pushed back to earth by the watery atmosphere. Toby coughed as he breathed it in. It brought back a hundred memories shared with a dozen people who were almost all gone now. He stood on the quayside and closed his eyes, remembering all the ports he had sailed from and into, and all the places he had seen.
But fog is only part of the picture! Because of the nature of the books I write, the long dark nights suit the narrative far more than summer sun. Living in the middle of nowhere, you come to realise that there is not such thing as pitch black nights. Without fail, your eyes adjust so that, even if it is only for tiny stretches, you see things. But what does happen is that all colour drains away, leaving a landscape of black and white. One phrase I've been particularly proud of on this topic, comes from Poisoned Pilgrimage:
It was growing dark outside, the sun having set behind the house and now the subdued colours of night, dominated by shades of grey which the daytime world never knew, were stretching before him.
Of course, there's beauty in summer too, and plenty of adventure to be had. Summer evenings are as magical as dark winter nights. But for me, the side of the year from November to March are the most evocative in both language and memory, the two things which drive my writing.
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