Saturday 15 November 2014

The good thing about Goodreads




I like Goodreads. It's great to find indie books that no one else knows about (I found The Last Falcon through it and thoroughly enjoyed it). They hold competitions where you can win books (although I've yet to win any). It has a large forum with lots of different groups you can join to discuss books and writing. You can get in touch with authors and, if you're an author, you can have a platform to reach readers.

But mostly it has reviews.

I don't know if anybody has done any statistics on Goodreads ratings but I would guess the average would be around 3.8. And also I disagree with a lot of them. Example:

A Great and Terrible Beauty (loved): 3.78
Evernight (hated): 3.66

The difference is small.


Doing a quick search, these are the average ratings for bestselling YA books:
The Hunger Games: 4.4
Harry Potter (1): 4.38
Twilight: 3.56
The Maze Runner: 4.02
Gone: 3.87
Inkheart: 3.83
Uglies: 3.87

These are the average ratings for some indie books:
The Last Falcon (read in one day): 3.67
Switch! The Lost Kingdom of Karibou (gave up): 4.46
Switched: 3.89 (this was a self-published book that became a bestseller and was picked up for traditional publication)
Arrow of the mist (haven't read yet): 4.22
Altors (haven't read yet): 4.25

And not an indie, but not so well known: The Night Circus: 4 - this was very pretty but I hated the plot and the characters.

Another example of differences depending on the version is Stargirl, a book I absolutely loved when I was a teenager: the one book version is rated at 3.76 for book 1 and 3.78 for book 2, but the boxset is rated at 4.05.

Other famous sci-fi/ fantasy books I've read:
Transition (Ian M. Banks): 3.82
The Assassin's Apprentice (Robin Hobb): 4.1 or 4.27 (depending on the version)
The colour of magic: 3.94 or 4.15 (depending on the version)
The Lies of Locke Lamora: 4.27


Now of course, the averages for the famous books are from over 10,000 ratings (sometimes considerably more), whereas for lesser known books it can be from a dozen or up to a few hundreds, so it's not a fair comparison. Also the readership is different: the rater for Ian Banks is not going to be the same person as the rater for Harry Potter - well, unless they're like me.

My point is that the difference in ratings between great books and average books is small, and sometimes null. Books that frustrated me are loved by some, and books I love are hated by others.

What gives me hope is this: people have different tastes. 

Not to say that I won't accept feedback - I always (over)think about it. But it helps me get over the fact that not everyone will like my story. Not everyone will like my character and my world.

And that's ok. I only hope that some will.

Now there's loads of other things involved in rating books, so if there's anything you've noticed, please leave a comment. Let's get a discussion going!

Saturday morning thoughts


~*~ Warning: this post includes discussions of plot and characters ~*~

I have been reading a Wattpad online book on writing and it made me reflect on a couple of things about my book, namely high concept and strong characters. So I thought I'd share those thoughts.

High concept:
The pitch of a book (or a movie) is a sentence that summarizes what it’s about. Also known as the elevator pitch, i.e. ‘you bump into an editor in the elevator and you have one minute before they get off - what do you say?’, famous examples include:
"Bambi in Africa meets Hamlet” (The Lion King)
“Teenagers fight to the death in an arena” (The Hunger Games)


If a story can be sold purely on the pitch alone, it is a High Concept. It is highly marketable. The Hunger Games is one.

Other examples (from storymerchantinclude:
“Erin Brockovich": An unemployed single mother becomes a legal assistant and almost single-handedly brings down a California power company accused of polluting a city's water supply.
"American Pie": Four teenage boys make a pact to lose their virginity by prom night.

So what would my pitch be and is it High Concept?
Well, the plot itself is quite complicated to explain. Whenever I'm asked what my book about I feel like asking, 'How long do you have?' - needless to say I haven't nailed the elevator pitch yet. The closest I’ve come to summarizing my story in a few words is my tagline ‘How far would you go for what you believe in?’ Thinking about it today, the only thing I could think of is ‘Good fairies do bad things’, but although it describes the concept, it really doesn’t tell you what the story is about. So I think I definitely fail on the high concept front.

But then again, what is the point? To make a story marketable. Marketable to publishers? I’m not going down that route. Marketable to the public? Well, I think word of mouth is more what I’m going for. After all, very few high concepts sell something to me. I read Harry Potter well into the hype (and in spite of it) because they were casting a role and advertised it in my school. I read the Hunger Games because I liked the movie, after it was recommended to me by a friend. If anything else, the high concept of the Hunger Games turned me off. 

My conclusion is that high concepts are overrated. The value of a story, I think, is in its execution.
‘Story ideas, treatments and screenplays can all have High Concept premises. But only High Concept projects can be sold from a pitch because they are pitch driven. Non-High Concept projects can't be sold from a pitch because they are execution driven. They have to be read to be appreciated and their appeal isn't obvious by merely running a logline past someone. This is the reason why films like "Pulp Fiction," "Star Wars" and "Sideways" could never be sold from a pitch.’

Not to say that my book is the next Star Wars, but I do think that its value is in the world, the characters and the ideas in it. And I think that is true even of High Concept books and movies. 

'Bambi in Africa meets Hamlet' really doesn't do this movie justice.

Strong characters:
You might remember my rant about strong female characters. However, the description the author of the wattpad book makes of strong characters is purely from a narrative perspective: they are characters who make choices (even bad ones), who act, and therefore move the story on.
So I analysed my own story from that angle. Stus and Rowan definitely are strong characters: they makes choices, and these choices have consequences that drive the story forward. Not so for Lacie, but I’ll come back to her in a second.

One comment The Boyfriend made while editing my book was that things for Stus happen too quickly. Because of the timeline, and the places where the different stories intertwine, I have no choice but to have those events happen to Stus when they do (or it would be confusing for the reader). After that, Stus is a lot more passive as he loses control of the situation. So his story peaks quite early on.

Lacie’s story, on the other hand, is the opposite. For most of the story she is passive. I know - I'm selling my character really well! So she doesn't act like a strong character, but I think her story is interesting because she eventually takes on a strong role. By the end of the story, when both Rowan and Stus have become powerless she is the one making the choices and making things happen. She becomes strong, when she wasn’t to start with. To me, over and above the plot resolution, that’s what makes the climax interesting.

I suppose that is why I need my three POV (point of view) characters: they take turns leading the story. Now I can see how that’s a little unorthodox (to say it nicely), but it’s not done for the sake of being original. It’s part of the story and how I need to tell it.


Relay race, anyone?


Whether or not it’s effective… well that’s a good question. But you'll let me know, right?

Sunday 2 November 2014

Editing example

Back in March (how time flies...) I posted my prologue. Big shout out to the lovely people who commented, privately or on the blog, to give me their feedback. It is much appreciated.

I have since edited said prologue, and I thought it might be interesting to show you what butchering editing looks like. In red is additions, crossed out are deletions and in green is where the sentence was kept the same but was moved. Needless to say the original prologue was itself far from a first draft.

~*~


A shadow sneaked through the small opening. A cat flap closed without a sound. Velvet paws jumped onto the counter and pushed the lock open. A small click of the keyhole later, the door opened shyly to reveal the dark and sleeping house. The hinge should have creaked, but the spell muffled the sound. A cloak billowed through the dark and sleeping house. Yet there were noises, so many noises: buzzing from the refrigerator, a tick-tock from a grandfather clock, a car revving past on its way back from a drunken night. Probably. Who knew, with these foreign sounds? Back home it would have been creaking wood and wind in the trees, perhaps hooves striking damp earth and friendly barking. But he was a long way from home.
The man He waited until he was sure his entrance had not set off any alarm, then he crept up the staircase. It was pitch black there – they must have closed all doors before going to bed – but he knew which door to head for. He had studied the comings and goings on the inhabitants enough to know. Not enough to displace himself straight to the room – no, that would have been too dangerous. In any case, he did not need to. The shadows he had summoned cloaked him. It was as close to being invisible as he could, without overexerting himself with illusory magic. He felt his way along the rough painted wall, his fingers exploring the surface for clues as to where he was. A corner later Around a corner, his hand closed around a handle and pushed it down.
He tiptoed past the chest of drawers to the bed and the girl stirred as though she felt his presence. As though she sensed all that would happen next. A silver blade appeared from the darkness and neared moved towards the pillow. The moonlight shone through the window, but he was safe. Even if she woke up now, all she would see was shadows.
If she woke up now, she would be able to see him. “But she won’t”, he told himself.
The dagger fell toward the girl's bare neck.

In a flash of silver and the swish of a cloak, he was down the stairs and out of the house, clutching a lock of silvery-blonde hair.

~*~
Now if you found that a bit confusing, this is what the prologue looks like now:

Prologue



A shadow sneaked through the small opening. A cat flap closed without a sound. Velvet paws jumped onto the counter and pushed the lock open. A small click of the keyhole later, the door opened shyly to reveal the dark and sleeping house. The hinge should have creaked, but the spell muffled the sound. Yet there were noises: buzzing from the refrigerator, a tick-tock from a grandfather clock, a car revving past on its way back from a drunken night. Probably. Who knew, with these foreign sounds? Back home it would have been the wind in the trees, hooves striking damp earth and friendly barking. But he was a long way from home.
He waited until he was sure his entrance had not set off any alarm, then crept up the staircase. It was pitch black there – they must have closed all doors before going to bed – but he knew which door to head for. He had studied the comings and goings of the inhabitants enough to know. Not enough to displace himself straight into the room - no, that would have been too dangerous. In any case, he did not need to. The shadows he had summoned cloaked him; it was as close to being invisible as he could, without overexerting himself with illusory magic. He felt his way along the rough painted wall, his fingers exploring the surface for clues as to where he was. Around a corner his hand closed around a handle and pushed it down.
He tiptoed past the chest of drawers to the bed and the girl stirred as though she felt his presence. As though she sensed all that would happen next. A silver blade appeared from the darkness and moved towards the pillow. The moonlight shone through the window, but he was safe. Even if she woke up now, all she would see was shadows. The dagger fell toward the girl's bare neck.

In a flash of silver and the swish of a cloak, he was down the stairs and out of the house, clutching a lock of silvery-blonde hair.

Monday 27 October 2014

Shiny and new!

Welcome to the new version of the blog! If you have visited before, you will notice things look quite different. A massive THANK YOU to Caroline who has done my banner and character profiles. She has spent a lot of her (limited) free time making them, and for that I am immensely grateful. You're amazing and this one's for you:



It all looks quite a bit more girly than it used to, but I like it and I don't think it clashes with my target audience (although that's not really my current blog audience).

I have also added lots of new content! As I mentioned, I have added character profiles for all my main characters. You can find them on their page together with the quiz results (from the 'Which That Grey Area Character Are you?' quiz). You will also notice there is a drop-down menu which I made myself! (again thank you Caroline for sending me this tutorial) It even included a bit of coding on my part to customize them, so go me!

I have also added a library. It's a made-up place where you can read extracts from fictional books from my world. If you are a Harry Potter fan and have read 'Magical Beasts and Where to Find Them' or 'The Tales of Beedle the Bard', you will know what I mean. If you haven't read my book and want to find out a little bit more about what kind of things there are in it, then it might be worth a read.

Ok, now time to actually do some work on my book...



Sunday 28 September 2014

Editing out the ego


From the moment I printed that first copy of my book and gave it to a friend to read, I exposed myself to judgment. It was the most terrifying experience of my life, except perhaps my first day of teaching and singing a solo in my singing class last year – I learned the true meaning of ‘petrified’.

Petrificus totalus


But in return for my bravery, I got advice.

I have done my fair share of editing and reviewing others’ work (not least because I’m a teacher and in my field that’s called marking English books), and I know how hard it is to be constructive, to point at the things that require improvement without being negative or imposing how you would have written it.

But I also know that receiving advice is harder still. First of all you have to get over the part of yourself that says your work is flawless and couldn’t possibly be improved. Then it’s to lick your wounds and recover some pride. And finally, you need to decide what to do with the advice. Not all advice is good or will make sense to you, but I’ve often heard it said that if you get the same comment over and over again, or if it rings true to you, then it’s probably worth acting on. Out of all the advice and comments I have received thus far, I have only ignored a couple and that’s because they went against what my book was about fundamentally. You can imagine what I thought of it. Images of cattle and feces come to mind.

I have to say, though, that it’s been a lot less painful than I had anticipated. Like my ‘writing coming-out’, receiving advice becomes easier the more you get. I have recently given my book to beta-read to my boyfriend, and his insights (and massacre of my book) have not even wounded my ego one bit – and for once I say this sincerely. Not a tear, not even a flinch of the heart.
The fact that I had stalled in the editing process has helped, because I am grateful for a fresh pair of eyes to point out what I no longer see but know needs improving. If anything it has actually got me quite excited about seeing what changes he has made, and I enjoy being able to discuss what I could change.

Another proof that, as many things (plasters and exams amongst other things) it’s the worrying beforehand that’s painful. Once you get it over and done with, it’s fine. Really.

So if you’re a scared amateur-writer, go ahead, take the plunge and share your words. Yes, you know who you are. It gets better, I promise.

Just let it go.

Saturday 13 September 2014

Quiz time!

This is what I spent my Saturday afternoon doing: a quiz! Which 'That Grey Area' character would YOU be? I've improvise myself psychoanalyst and delved deep into your soul to find your true self... ok, maybe not.

I've only included 8 characters, and I did the quiz thinking as the character and got the right one, so phew! At least that bit works.

As I mention, some of my characters are not very nice people, and very few are people I'd like to hang out with, so don't be offended by who you get. Also, worth mentioning... this is just for fun, so don't take any of my analyses seriously!

Do go and have a look, though! You might also learn something about the story, though I'm fairly sure it's spoiler free.

Soon I will add the character profiles so you can have a closer look. Enjoy!

Sunday 7 September 2014

Update


A quick one to update my progress. As I haven’t been here much, you can guess that I didn’t meet my August objectives.
About two thirds of the way into reading my book I hit some ‘tension’ issues, or lack thereof, and decided it would need a heavier editing than I had thought.
I have also given my book to some close friends to read – cue round of applause for my courage. Overall relieved by the feedback, but since I need to do some editing I might as well wait for their comments.

It has also been the new school year, which has kept me busy, and kept my mind worried about other things.

Still…  more than halfway through the ‘year’ I gave myself to finish the book, so I need to keep going. I think the Christmas holidays are going to come in handy.

Wednesday 20 August 2014

Hear the geeky fangirl scream


Hiiiiiiiiiiiiiiiiiiiiii!!!!

Hear that sound?

Yep, it’s my geeky fangirl scream. What’s yours?

Yesterday there was a Q&A with BOTH George R R Martin and Robin Hobb. If you’ve missed it, then you can start communal prayers with me that someone will put it on YouTube, because there’s some gems in there that I’d really like to watch again.



Needless to say it was amazing. Not just because they are fantastic authors and I love their books, but also because even though they are incredibly successful they’ve remained humble and human and relatable and lovely and amazing people...

They covered a lot of ground so I won’t bore you by recapping it all, but they made some points that I really wanted to share. It was the kind of comments that made me go, ‘Me too!’, and when you say ‘Me too!’ to something George R R Martin has said, it makes you glow inside a little bit.

‘Me too’ number 1: What makes a good book?

I can’t quite remember how the subject came up, but George (Yes, I’m going on first name terms with them, it’s shorter that way!) was talking about what makes a reader be hooked to a book. He was explaining that sometimes he’s reading a book that the critical part of his mind thinks is not very well written, yet he carries on reading and reading. Then sometimes he reads a book that the critical part of his mind thinks is wonderfully written and the critics acclaimed, yet he puts it down and never touches it again.
Now I completely agree, which is why I read the Twilight series (and enjoyed them! Yes, it’s out there now!). I think even twihards will agree they’re not literary, but it’s bit like chocolate: it’s not nourishing, but you love it! I’ve been reading a lot of books recently, in my attempt to cut down on the number of books on my bookshelves, and so I’ve come across a lot more of the latter kind.
I read them and I think, ‘Wow, I could never string sentences so cleverly,’ or ‘Wow, the way that idea was put across was intelligent.’ But it takes me weeks to get through 150 pages. You see? They’re clever books. They’re interesting at an intellectual level. But they’re not very engaging.


Now of course the best kind of books, in my opinion, does both. And of course it’s largely a matter of personal opinion. I’m a huge Harry Potter fan, and that’s because they struck a chord with me, as well as being unputdownable. I wouldn’t go as far as saying they are literary, but they stayed with me long after I’d read them. They were more than just entertaining.




What I found interesting was that, not only is it highly subjective, but both George and the editor who was leading the interviews said they can’t tell what makes a book so addictive. Now he’s doing it right for sure, even if he doesn’t know how, but that’s not going to help me. Still, it’s kind of reassuring to know that even the big guys don’t know. Kind of scary, too…


‘Me too’ number 2: Catching butterflies

A beautiful analogy from Robin: writing is like catching butterflies. The ideas are lovely floating around, but then you have to try and chase them and pin them down.
As George put it, when you write you have an idea, and as long as it’s in your head it’s perfect and beautiful, but once you put them on paper, they become this ugly mess that was nothing like what you had in mind. The butterflies end up all squashed and then you cry on your manuscript.
It was the reason it took him so long to finish any story when he was younger (cue: ‘Me too!’). A new idea would appear, and being unwritten, was much more beautiful than what he was currently working on.


As Robin said, writing is hard, which is why she prefers re-writing than first drafts, as there is something to work with (cue: ‘Me too!’). And again, it’s both reassuring and scary to learn that it’s hard for them too.

‘Me too’ number 3: Doubts

I won’t go into a lot of detail about this one, it's fairly simple: famous writers doubt too.

Robin explained that she doubts the most once she has pressed the ‘send’ button. She had thought she was finished, then she thinks back to her work and worries. ‘Did I change that paragraph I wanted to change? I don’t think I did.’
And George saying that there had been times when he had thought his writing career was over. And talking of rejection slips. Fat chance of that now, George!

So the conclusion? Hey, famous writers are human beings too!

They also talked about killing characters, which is always fun. New tip for predicting who’s going to die next in A Song of Ice and Fire: if they’re the only point of view character in a particular place, they’re unlikely to die.


But enough talking. Time to go and chase some butterflies.

Tuesday 19 August 2014

In need of some editing advice


Hello! I am back after 18 days of absence from the world of writing. I haven’t touched my book since but hopefully this means I am now refreshed and ready to see it with new eyes!

I have this week set aside for that, and I made a pledge on a French writing forum I visit, full of amazingly friendly people who really helped me get motivated during the camp NaNo. I set myself some objectives for this month, or rather what’s left of it.

It goes something like this:

In August I will:
1/ Read my novel to see if all the changes I made during the camp NaNo work and do the job they were supposed to.
2/ Write at least 3 articles on my blog.
3/ Edit 3 chapters of the novel.

If I succeed, I will: post a surprise on my blog, don’t know what yet.
If I fail, I will: have a lot of work to do during term-time, which will be bad.

Regarding the editing, I have been wondering how to go about it. Usually I edit in order, then I get stuck in the same first chapters I have edited 1000 times over or lose momentum by the end. Or forget I I’m in ‘editing mode’ and just become a reader. 
This time I’m thinking of doing chapters out of order, to focus on the sentence-level work, since I’ll have checked for flow during my read-through (and it was the whole point of the camp NaNo to start with).

So this is where I need advice. Does this sound like a really bad idea? Writing friends, have you ever tried it? What’s your editing approach?

Friday 1 August 2014

The other surprise

This is quite fitting, considering the extract I posted refers to some places.

This is the hand-drawn map of my world - or the main country where the action is set, anyway. It's pretty hard to read any of the place names, to be honest. I'm trying to get a better version drawn, either by hand or digitally. If you fancy helping, feel free to leave me a message!


The promised surprise

I said I would post an extract, so here it is. 
I wrote this at the very end of the NaNo and I was quite tired - I'd been writing 3k a day for a week by that point - so it might show. It's still very rough, I haven't gone over it yet. Don't be too hard on me!

The reason I picked this one is because the character I'm introducing popped into my head as I was writing. I knew the characters had to get into the town, find their way to the pub and that the owner there would be difficult. But I made up the rest as I went, and suddenly this woman became their guide, and I hadn't planned that at all.

It's quite a long extract, but it also gives you a insight into the world I have imagined.

Anyway, this is what it looks like when characters crash my story uninvited:


~*~


The sun is piercing through the clouds when we reach the harbour. Row after row, sailing ships are moored along quays, their masts clinging and swaying as the waves rock the hulls. The smell of the sea is stronger here, mixed with paint and resin and less noble scents. The buildings are even more impressive than they had been near the entrance, so glossy I can see my reflection in the walls. Steps lead to grand entrances with arches and statues carved from the same dark stone.
‘How do they get it so beautiful?’ I ask.
Rowan shrugs, his wings flapping as he does so, and for a second I am so distracted I forget I asked a question. But Izzie’s voice brings me back. ‘The rock around here is obsidian, that’s why the mountains are so dark. They used to be volcanoes. The rock elves polish the rock to make it gleam, but they also use spells on it so that the seawater does not erode it. Very costly. But they have the Worth. Morin is one of the main trading ports in Meuriaden, and only a handful of families own the trading fellowships.’
And indeed men and women are busy hoarding goods from the ships, scuttling about with their loads. It is obviously a working place, and I can’t see many children around unless they are helping carry goods. Transactions are not made in the street, but rooms behind balcony windows hint at luxurious offices.
The ships, on the other hand, vary in stature and condition. Some are tall, with many masts, their hulls freshly painted and their lower decks loaded with richly decorated cabins. Some of the larger ships are so narrow they look like fuselier fish, perhaps designed for speed. Other ships are hardly more than sailing boats or are decrepit. The paint is peeling off hulls covered in shells and their rotting masts creak as their frayed flags flap about in the wind.
Izzie tries her luck a few more times, but she is still unsuccessful.
‘Maybe you should ask, Lacie. You’re younger, and you look quite innocent. You almost look like an elf yourself. They might be more willing to help you.’
‘Nnno nonononononono!’
I think the expression of sheer panic on my face is enough to make Izzie think twice, but she has no time to argue. A roar of laughter behind us makes us turn around.
A young woman is sitting on the pier, her legs crossed and her arms folded behind her head, as though she were reclining in a lounge. Her hair is light and floats in the wind along with a scarf she wears around her neck. Her pale tunic and skirt puff as the wind rushes into their folds and leaves again. She seems so unsubstantial for a moment I wonder if she is one of the sprites they have told me about.
‘May I ask what’s so funny?’ Izzie asks, her chin raised.
‘You may,’ the young woman says, but she tilts her head back and closes her eyes.
‘What’s so funny?’ Izzie repeats.
‘You come into an elvish town asking for help while you’re pulling that poor beast around? And then you wonder why they won’t help you?’
We all stare at each other then at the unicorn. She looks happy enough to me, but I remember what Theo said about elves thinking animals can’t be owned.
‘Well, Lacie, maybe you can go back to the entrance to the town with Cleo and we’ll…’
‘No, no, please no!’ I protest. ‘I don’t want to stay by myself!’
‘But Lacie…’
‘Take the bridle off,’ I say in a brilliant flash of inspiration.
‘What? But Lacie, she might run away.’
‘She won’t! Take it off!’
Izzie hesitates. The elvish woman opens an eye and smirks.
‘Fine. But stay close in case she… you know.’
Very carefully, Izzie unbuckles the bridle and slides it off.
Cleo takes a few steps forward, and Izzie holds her breath. But the univorn turns her head to me and nudges my shoulder.
‘See, I told you it would be okay,’ I say.
‘Well, that was quite entertaining,’ the elf says, stretching her arms as though he’d just woken up. ‘But quite unnecessary. I’ll help you. For a price.’
Rowan and Izzie share a look, while Cleo begs me for more scratches.
‘How much do you want?’ Rowan asks.
‘How much are you willing the pay?’ the elf asks.
‘A featherweight, but no more.’
The woman tilts her head to consider them.
‘Two featherweights,’ she declares.
‘That’s too much,’ Izzie says. ‘We’ll meet you halfway.’
They continue haggling until they agree on a featherweight and a half of Worth and two unicorn hairs. Cleo is not happy about the last part of the deal and snorts and nibbles by shoulder in protest when I pull the two hairs off her mane, but she doesn’t run away.
‘My name is Emerald Spall,’ the elf says, offering us a slender hand to shake. ‘Now, what can I do for you?’
‘We are looking for a pub called the Dark Crow’s Start. It was here a really long…’
‘Oh that dank place?’ Emerald interrupts. She makes a face like she’s just tasted something nasty. ‘You’re sure you want to go there?’
‘Why? What’s wrong with it?’ Rowan asks.
‘Well, it’s not shiny like here, that’s for sure.’
‘We’re… er…’ Izzie starts, throwing glances at Rowan. ‘We’re looking for a place around here that sounds similar. Something with references to crows and eagles maybe.’
‘Don’t know about eagles, but there are crows plenty around here. And gulls. The damn thing stole some of my lunch!’
Rowan winces, but Emerald continues. ‘I’ll take you to the Dark Crow, though, that’s no problem.’

We follow Emerald through the town, or up, since part of the town clings onto the mountain side. Every now and then she greets someone and the looks we get are less threatening now that Cleo is following us of her own free will, but the elves’ welcome could hardly be described as warm.
Soon the mansions of the seafront become sparse, replaced by more modest houses of black slabs. The mountain is now visible behind the roofs. The uncertain weather and the colour of the rock, covering every inch as far as the eye can see, give the town a grim atmosphere. My thighs are beginning to sting from the climb when we enter a part of town that would look completely abandoned if it wasn’t for the ribbons of smoke coming out of the chimneys. The houses are tall and narrow, as though the people who built them had tried to squish them together to make space for more. The smell of seawater is long gone, replaced by the stench of sewage. A river of brown liquid flows down the sides of the street, and I don’t want to know what is in it.
Our pub is at the top of the street, ensconced into the mountain side, which now towers around us on all three sides. A wooden door has been drilled into the rock and a stone sign hangs off rusty hinges; letters and pictures were carved into it once, but the wind, the rain and the brine have long eroded any meaning. I look up at the vertical plane of rock rising above it, and notice a series of large holes, regularly interspersed.
‘What are those? I ask Emerald, pointing at the holes.
‘Windows, of course! The whole of the old town is inside the mountain, but the rich folks left a long time ago. Bit too dark and damp. Still, it makes for a cosy place when the sea is stormy.’
A tunnel on the left of the pub catches my attention. It is a hole of darkness and I have no idea how far it extends, but something about it is attracting me towards it.
‘Wouldn’t go in there, if I were you,’ Emerald says, catching my arm. ‘Bad people down there.’
‘What is it?’
‘It’s the entrance to the old town. But the folk in the old town aren’t very nice, are they? No money, and all those beautiful ships with exotic goods on their doorsteps… Would try to rip all of you apart to get your valuables, and if you don’t have any, they’d rip all of you apart trying to find them all the same.’
I give the tunnel one last look and shudder.
Izzie is still staring at the stone sign hanging above the pub door, as if to find any clues.
‘Shall we go in?’ Emerald says, and she barges past Rowan and Izzie to make her grand entrance.
I come in last, trying to make myself very small. The inside of the pub is so dark it takes my eyes a few seconds to adjust. The only light comes from the tiny holes in the rock above our heads and a feeble blue light in a lantern hanging in the middle of the room. But perhaps that is for the better. The absence of light makes it easier to ignore the sores and scabs covering the faces and arms of the pub regulars, the layers of grime on the counter top and the rivulets of undetermined liquid on the floor. The stench on the other hand, is suffocating. A mixture of rancid sweat, unwashed feet, old beer, with an undertone of urine and mouldy linen that has seen too much seawater and not enough sunshine. Breathing with my mouth open is not much help, and the smell is so strong I can almost taste it. It is all I can do not to run out of the door. My feet stick to the floor each time I try to take a step.
The pub is quite busy considering it is only early afternoon, but Emerald strolls in as if she owned the place and elbows a few people until she has a space at the bar. We manage to squash in beside her, and I try not to look at the faces around us; the few I caught were not friendly, and I find it difficult not to stare at the missing teeth and broken noses. Better not look at all. Emerald hollers at the man behind the counter, who was wiping some glasses with a dirty towel, until he turns his attention to us.
‘What’ you doing here, you bloody useless leech? I told you I didn’t want no business from you!’
Emerald doesn’t seem put off by his greeting, nor by the fact that he spits when he talks and is missing an ear. On the contrary, she beams and points at us.
‘I brought you customers!’ she says.
‘And are those customers of yours gonna pay what you owe me?’
‘Maybe,’ she says with a wink.
‘We just want to ask you some questions,’ Izzie says, having managed to wedge herself against the counter.
‘I don’t answer no questions. This is a pub, lady. I serve customers. What’ you getting?’
‘A round of cider and some of your chestnnut stew,’ Emerald says before I have time to look around and realise there isn’t a menu.
‘We’re not of age!’ Izzie protests. ‘And sylphs can’t eat stew.’
‘Arf, don’t fret, girl,’ Emerald laughs. ‘You’re not gonna wanna eat or drink any of it anyway. If you’re turning up your nose at this place, wait ‘til you see kitchen! Ts’all to keep old grumpy here talking, isn’it!.’
Emerald leaves the counter as suddenly as she had come and finds a table in a corner. I lean on the table as I sit down on the stone stools and put my hand leaves with a gooey residue. I try to wipe it on a corner of my stool without anybody looking and hug myself tight to avoid touching anything else. At least the smell in the corner is not as bad as near the bar. The order we came in means that I end up sitting between Izzie and Rowan, which rather pleases me, though they are both so much taller than me that I suddenly realise how small I must look to them.
‘You have nice clothes,’ Izzie says to Emerald.
‘Why, thank you!’ Emerald replies.
‘Why do you have debt, then? If you can afford nice clothes.’
‘Ah, but would you rather look like them lot, grimy and stinky, or owe a grumpy man a bit of worth? When we get off the ships, they give us only some of our worth. Some men drink it all in the first night, you see. I choose to have a bath and some clean clothes. The grumpy old sod’ll get his money when I get mine. Only fair.’
The one-eared pub owner soon brings us glasses of frothy cider, limping as he walks and spilling half of it on the floor. He’s back moments later with four cups of broth with a couple of lonely chestnuts floating in it. We all look at it in disgust except Emerald, who grabs a spoon and slurps the stew, washing it down with large gulps of cider. In spite of her warnings to us, she seems to be rather enjoying it. All three of us watch her, half with awe and half with revulsion. 

Surprise!


Last night, I not only exceeded my 25 000 words goal for July, but I also finished the current draft on my book.

This is cause for some serious celebration, guys!


And because I got loooaaads of comments, I have not only 1 but 3 surprises for you! I know, I'm spoiling you, right?

The first surprise is for Chatou, who beat everybody when it came to message-posting. So first, this is the full view, since you asked:





Second... cat! That's also for Mark who told me to have a cat. This is the cat I'm having.
        

Cat! Cat everywhere! Ok, fine, I promise the other two surprises are much more relevant.