Adoption and a Xmas stocking filler story

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My friend Robyn Cooper is a born storyteller. She has a quirky way of inhabiting the world that I admire. Whenever I meet up with her, she is bursting with stories that are full of wit, chaos and the joy of being open. She does what most of us try to avoid doing… she allows a kind of chaos to enter her life, instead of plotting and planning to prevent it. It means she keeps an open heart to story and to the people around her.

 

I first met Robyn when I was in Timaru and she was in Days Bay.  I was on my much written about 21-week sojourn to be a writer and Owen Marshall, who had met Robyn, handed me her memoir and suggested I might enjoy reading it – and that I would probably like Robyn seeing as we lived in the same bay.

Her memoir is called ‘Don’t ask her name?’

 

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It is a powerful adoption story from both a mother’s and the adopted children’s experience.  The children’s stories are different, because they are from different birth mothers and these encounters are retold with tact, understanding and absolute affirmation. One of the great joys Robyn has shared with me is being present at the birth of one of her grandchildren with the birth mother of her daughter. Two expectant grandmothers sharing the same unbelievable joy.

Robyn’s own personal story has tragedy and yet it also has beautiful romance.  I am now friends with Robyn and her husband, Roger. Their love story after the death of Robyn’s first husband is truly perfect romance. It is essentially a tribute to the gorgeous quirky open nature of Robyn that this romance happened. She is open to the world and unafraid to take chances. Roger and Robyn travel together, and share a great love of people and a deep sense of enquiry about the world. He is a scientist and she is a story-teller, a rather perfect combination.

I am hopeful that her memoir will soon be an E-book as it is now out of actual print, but available in many local libraries if you would like to go and find it.  For anyone who has adopted children or been adopted it is a warm and life affirming book about this sometimes-difficult journey that is made all the more wonderful by the open heart of the author.

I just found this recommendation on the Wheeler Books website which says the book is no longer available.

This is an “unusual and moving story of adoption in New Zealand (that is unique in its power, scope and warmth. While it is harrowing it is also optimistic, without being sentimental.”

Now, I want to tell you about Robyn’s latest book  ‘Snails, spells, and snazzlepops’ written for children.Robyn now has grandchildren and has always been their ‘storyteller. Over the years, she has made up stories for them whenever they came to stay at her house.  This innate ability has now been transferred to the page.

Snails, spells and snazzlepops

An absolute Christmas stocking filler.

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I loved it.  I bought it for my granddaughter but I read it first.  What a wonderful romp of a story! Full of verve, energy and wit. A writer who understands children and adults.  The dialogue captures so well the gap between children and adults and how they see the world. It is fast-paced, lightly tripping over big topics like bullying and your mother having a new boyfriend and moves deftly from funny to wise with a dose of magic realism.  There is a fabulous granny character who like the author herself, is open to the imagination of the children and willing to go along with their crazy plans which include (close your eyes or block your ears if you are squeamish), cooking snails, but better than that, sorting out the bully. Also, hats off to Makaro Publisher for the lovely production from cover to lay-out and trailing snail through the chapters.

 

Here is a photo of Robyn Cooper and publisher Mary McCallum at the launch.

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As you can see, the book has a marvelleous cover and has the heads up from the wonderful Barbara Murison in her Around the Bookshops wrap-up and from Bob’s Books blog

 

 

 

 

Did you like my novel?

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‘I like your novel. I enjoyed it.’ She says this plainly, a mere fact, but there’s no mistaking the rising inflexion making joy into a query… a statement of surprise.

‘I’m reading your novel.’ Nothing more. Just what should be a reassuring statement. But what does it mean? Has she finished the first chapter, where’s she up to? She doesn’t say.

‘I loved your novel,’ with a notable circumflex. But that’s over the top and you don’t believe her. It’s gushy, can’t be true. And a noted circumflex indicates there’s more to be said, but she says nothing more. What is it she won’t say?

Then there’s the silent friend, who came to the launch and never mentions your novel, ever again. Her silence more potent even than a notable circumflex or rising inflexion.

‘I liked your novel.’ The past tense. You feel robbed somehow. Only liked it.

Then a good friend goes on Goodreads and gives your novel four stars. You’re delighted and then you think… why not five stars? You check other books they gave five stars to. You try not to feel aggrieved. Now the distance between four and five stars becomes the distance between friends.

At last, a critic. You pay careful attention. Someone who read your novel and didn’t like it. They tear it apart skilfully, piece by piece, analyse its flaws. The flaws you already knew about and hoped no one would notice. You are riveted, you read every terrifying thing they write, not once, not twice, but over and over and over. You become greedy and Google your own novel become convinced that none of your friends know half as much as this really negative woman on Amazon. It feels good, you know you deserve this.

Praise is overrated.

In praise of editors

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In praise of Editors

Inspired by Stephen Stratford’s recent article ‘The Book didn’t sell…’ I decided to write about my experience of editors from an author’s point of view.

My first novel ‘About turns’ was published by Random House. I had the great good fortune to be assigned Jane Parkin as the editor (arguably NZ’s best editor). I was totally new to this process. Although, most gratefully, the manuscript had been somewhat tamed and shaped through the generous mentoring of Barbara Else of Total Fiction Services, before being offered to Random House.

Jane invited me to her home. We sat at her kitchen table. We chatted like old friends about the characters in my novel. It was a revelation to me. Jane engaged with my characters as if they were ‘real’. She even went so far as to identify one of them as just like her friend from the local tennis club. I was flattered, delighted and excited. The experience was unforgettable. I knew that Jane had worked with the likes of Maurice Gee and Witi Ihimaera and other luminaries. It was my ‘pinch me’ moment.

And then, the edits came back to me, and I was dismayed to see how many things needed my attention – a word order reversal (actually many), a sentence (many sentences) to remove, a paragraph to create, a scene to cut, and queries in the margins of every page. It was daunting and then it was exciting. Jane made me a better writer (well, she made me look like a better writer).
Once my novel was published, I had a coffee with Jane and chatted about the edits and her experience as an editor. Where did I fit on a scale of how bad to how good, I nervously asked? She told me that when she read Maurice Gee, she barely had to touch a thing. She said there were some novels she joked she could have put her own name as author and somewhat hesitantly I asked ‘Where do I sit?’ Perhaps generously, perhaps she fibbed to flatter, but she said ‘somewhere in the middle’… I was relieved – after all, this was my first novel.

Then came my second novel ‘Turbulence’ published by Random House. My assigned editor was in Auckland, so we worked on-line and on the phone. She’d just finished editing the reissue of works of Janet Frame. I felt trepidation that mine was the next manuscript. We developed a working rapport but there was none of the affection and connection to the story or my characters in the same way there had been with my first novel. It felt like more of a ‘technical’ edit. The novel didn’t do so well, although all my male friends preferred it to my first novel and Owen Marshall, who I so admire, felt it was better than my first novel.

My most recent novel ‘Daughters of Messene‘ (7 years in the making) was by far the most stressful and yet the most rewarding editing experience. I had done so many revisions prior to the novel being presented to Makaro, but Mary McCallum, both a writer herself and a publisher, saw where the novel wasn’t working. She pushed me to increase the pace in the first part of the book, to get my central character to Greece where the action would take place. She pestered me for conversation, names of characters, and challenged me constantly. Then work began with the Whitireia students Emma Bryson and Megan Kelly, two very talented young women completing the Publishing Diploma. They became champions for my young character Artemis. They identified with her and took me to task when she wasn’t on track. They pushed me to make her stronger, to give her a backbone. It was thrilling. I revelled in the collaborative nature of this editing – lots of it was on-line and every new query became an opportunity to either stand up for my work or take up the challenge to improve it. Although exhausted, and at times utterly frustrated, it was exhilarating and unforgettable. I always be grateful to Makaro and Whitireia. It is my best piece of work.