Tag: Fantasy

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Interview: Kamizen: Fortress of Lost Memories by William Yamaguchi Dobson

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Recently, we not only got to attend the brilliant book launch for Kamizen: Fortress of Lost Memories, but we also interviewed the author, William Yamaguchi Dobson. Read on to discover more about this magical and heartfelt debut, based on Japanese myth and folklore.

Could you introduce us to your book, Kamizen: Fortress of Lost Memories?

It’s a middle-grade fantasy about a boy called Jonty who meets a mystical bonobo in Yorkshire and is offered the chance to enter through The Gate of Memory so that he can recover lost memories belonging to his beloved grandfather and help him finish his memoir about life as a primatologist.

What can you share with us about the inspiration behind the book?

Inspiration, I find, is a mystical thing in itself – if I could pinpoint the exact source, I would drop a GPS pin and camp there for the rest of my writing life. Thinking back now, I would say there were several whispers in my ear. I wanted to write a story about the relationship between a child and grandparent. One of my all-time favourite stories is Tove Jansson’s The Summer Book. I then wondered if I could combine that with my interest in primatology and jazz, as one does on a quiet afternoon. And because of the experience I had with my father’s dementia for over a decade, I had been reading widely about the science of memory. Everything slowly fell into place.

… memories are what make us human and it’s through stories that we remember those who no longer remember us.

The story combines real-life sensitive topics with a highly fantastical world. How hard was it to balance the two? And what do you hope readers take from this story?

The book is aimed at children eight and over. My children witnessed my father’s cognitive and physical decline from a very young age. They had never known him other than “Grandad is poorly”. Many families I imagined were in the same boat. So I wanted to write a story for my children and fellow passengers about preserving the memory of a person before the anarchy of dementia changed them – a time before grandad became poorly. I don’t think I necessarily planned it this way at the outset, but the message I wanted to convey gently is that memories are what make us human and it’s through stories that we remember those who no longer remember us.

I didn’t find it too difficult carrying out the balancing exercise between telling the fantastical story and handling the topic of dementia. The reality of end stage dementia is that it’s relentlessly grim, but you can’t write a children’s story (or an adult one) with relentless grimness. Nobody would read that and nobody should. You sow enough hints about the reality and let your readers water it with their imagination, because the primary duty you have to the reader is that your book is there to entertain them.

There are so many wonderful characters in the book, including a talking bonobo and lots of brilliant yōkai characters. Were all these taken from Japanese mythology and folklore, or did you create anyone specially for this book. And, also, did you have a favourite to write?

A few characters were borrowed from folklore and myth. The kappa is one of the best known yōkai, alongside the tengu. The earth spider is also from a legendary tale. The talking bonobo, however, is entirely my invention, although there is a yōkai known as a satori, which has monkey-like features.

Lafcadio, the Irish kappa, wrote himself. Once I figured out his voice, he was telling me how he would say things and crossing out what I’d written. And to give PaperBound an exclusive, did you know the paintbrush yōkai, Kaita Zanko has several layers of hidden meaning? Kaita is the past tense of “to write” in Japanese. Kaita Zanko is an anagram of Takai Kozan, patron of the Edo period artist Hokusai and himself a painter of nightmarish yōkai.

Zanko is a one-armed yōkai in tribute to Shigeru Mizuki, one of Japan’s most treasured manga artists and folklorists who repopularised yōkai among postwar audiences.

This is your debut book, but it also came out first with Audible. Could you share a little about your experience with the creation of the audio book, and your journey to publication?

Audible acquired the book first and Scholastic bought the print rights shortly after. I had simultaneous edits and a smooth journey through production on both counts. The team Audible assembled was out of this world and you can tell from the quality of the production. There are so many highlights from the time, but two that stand out are: (1) when I was sent the audition clip for Tomoya Errington, who went on to be cast in the lead role. He stars in every single scene and is brilliant in every way; (2) when I first heard Timothy Spall playing Gramps I was walking along Tottenham Court Road and burst into tears as he sounded so much like my father (it happened opposite Waterstones, where I ended up holding my book launch!).

What has been the best publishing experience so far? And has there been a worst?

Working with Polly Lyall Grant and Karen Ball, my editors at Scholastic, and the wider team there has been a joy and painless experience. I wish I could find something to quibble about to give a juicy answer, but I’ll have to disappoint you! Best publishing experience? I received my first copy of Kamizen on my mother’s birthday when she happened to be staying with us, so I let her open the parcel without telling her what was inside. That was a lovely shared moment, entirely coincidental. 

Can you tell us about anything else that you are currently working on?

I am reverting to writing longhand for a new project that may result in a highly illustrated middle-grade novel about a boy, a forest spirit and an unforgettable summer in the mountains of Japan.

What piece of advice would you give an aspiring writer thinking about writing for young people?

Know your audience. If you have children, watch what they’re watching – see what makes them laugh and holds their attention: you can translate some of this to print fiction. You should already know what they’re reading and be familiar with the latest titles. Most importantly, in the words of Inspector Harold Francis Callahan, “you’ve got to ask yourself one question.” Why would a [insert age] child want to read the book I’m thinking of writing?

Kamizen: Fortress of Lost Memories by William Yamaguchi Dobson is out now, and published by Scholastic.

William Yamaguchi Dobson

William Yamaguchi Dobson worked as a barrister before turning his hand to writing fiction. His childhood in Japan and love of manga influence his stories. When not looking after his children, he can be found reading or writing and likes to start the day with a cup of matcha and a smile.

PaperBound Magazine is an online magazine and blog for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

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Interview: Tig Wallace on whirlwind YA debut Storm Bringer

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Author Tig Wallace joins the PaperBound blog to chat about his debut YA novel, Storm Bringer, the first in a series, following protagonist Amelio in a fantasy world where magical storms are deadly and nations stand divided. As Publishing Director of Little, Brown Book Group, Tig shares how he wrote the novel and his take on the publishing industry sitting on the other side of the fence.

Could you tell us a little about your thrilling debut novel, Storm Bringer? 

Absolutely, and thank you for having me. Storm Bringer is a YA fantasy novel, set in a world besieged by big magical storms. The protagonist, Amelio, has lived in relative shelter for the past ten years, but has to, quite literally, venture into the storm when his mother goes missing. He encounters a world he never really knew and has to come to terms with a power he didn’t know he had, as the biggest storm ever threatens to destroy everything. It’s a bit like the movie Twisters but with tons of magic and a younger – and more rebellious – cast.  

You have a background in publishing from working as an editor for Penguin and Hachette Children’s and now as Publishing Director at Little, Brown Book Group. How does it feel to be on the other side of the industry? 

It’s wonderful, if a little strange, to be on the other side of the table – I feel very lucky to get to do both. What’s surprised me the most is how brand new everything feels as an author. I went into it thinking I’d be able to anticipate some of how I’d feel, having a bit of inside scoop on the process, but that hasn’t been the case at all. I feel just as excited, nervous, and caught up in a whole range of emotions as every other author. People are kind and gerenous and I’ve been very well supported by everyone. I do sometimes have to turn my editor brain off though! 

From the start of the novel, the reader is plunged into action and adventure. How did you come up with the premise for Storm Bringer? Was it something that had been brewing for a while before you started writing? 

I read an article years ago about a woman who chased eclipses – catching flights west during lunar events to see them as many times as she could, or for as long as possible. It stuck with me and morphed into an idea about chasing storms instead and eventually into an image in my mind of a teenager facing down an apocalyptic tornado. That was the seed of it all. I put it on the back burner initially to try writing other things, but kept coming back to it, and finally decided to write it. 

I knew I wanted to write fantasy that was action-packed and pacy, and hopefully also funny amidst all the peril. I always loved fantasy, whether classic or modern in feel, from Ursula Le Guin to Garth Nix to Leigh Bardugo, but also books that feel like blockbusters, like Matthew Reilly’s and Anthony Horowitz’s Alex Rider. I also love a disaster movie. So I thought, what if I bring all those things I love together…and the result is Storm Bringer. 

Write the book you really want to write, not the one you think you should write – I can vouch for that first hand …

The storms that appear throughout the novel, in their many fashions, seem terrifying. Did you always know you wanted the elements to be such a striking force in this novel? 

I’m glad they are terrifying! Yes, that was always the vision, and I knew I wanted to open with something big and startling to set the tone for what’s to come. There’s of course a great tradition of weather magic in fantasy novels, but I didn’t feel like I’d read anything where storms themselves are so innately magical and destructive. When I landed on that as an idea, it just seemed like something that made this world unique…and that it would be fun to write. I love a big set piece and I had a great time working out what would feel most dramatic on the page. But I also loved the idea that we might learn a lot about the characters by throwing them into massive storms. In Storm Bringer, life and death scenarios bring true feelings to the surface in the most intense moments. 

The two settings of Amrigo and Nimira are very distinct. How did you craft them into fruition, and were they inspired by anything in particular?

From the first iteration of the book I had ‘the Fault’ – the abyss that separates the two sides – but the rest took a long time to craft and work out. The magic vs no magic distinction wasn’t enough, so I spent time thinking about the history of the two places, their geographies, their mythologies, their beliefs, and tried to bring that through in the text. It’s funny, there’s actually loads more I wrote about Amrigo that didn’t make it into the final version of the book, for good reason. The thrust of the action takes place in Nimira and the book would have been much too long if we spent longer in Amrigo, but I was sad to leave Dex behind so soon in the story. Watch this space though! 

In The Hunger Games I love that Panem is a fantasy world based in reality, set on the North American continent. I drew inspiration from that a little for Storm Bringer – although it’s a pure fantasy world, I wanted it to feel like it could be ours with a big twist. A bit like the alternate Oxford we see in Northern Lights. I’m a huge sci-fi fan as well and I guess when I pictured Amrigo – at least where Amelio lives – I imagined something like the dusty, solitary peripheral towns in Blade Runner or the industrial off-world settlements in the Alien franchise. A place that’s gritty and unforgiving, geared towards function. 

One of the most captivating things about this novel is how it contrasts magic with science. Are you drawn, personally, to one more than the other?  

Ooh, what a great question. I would have to say magic: I think however you define it, there is an exciting, unknown about it that represents something distinct from our own world. 

When it comes to Storm Bringer I’m most interested in how both magic and science are changing. As the book starts, we see magic has been declining, science on the rise, and the different attitudes and beliefs towards both, depending where you are in the world. These beliefs stem from history that has become mythology, and I’ve enjoyed exploring this through Amelio’s eyes. We see that both originate from the same source and I think there’s lots to explore in the grey area where the two meet. 

Can you tell us what other projects you are currently working on, or what readers can expect from you next?   

I am busy working away on the sequel to Storm Bringer, which is the first of three of books. Book two picks up pretty soon after the events of book one and readers can expect lots more from our three main characters, each of them dealing with something pretty major after the conclusion of the previous story. Book two roves further across the map, deepens the mythology of the world, showcases bigger magic and, of course, features lots of massive storms.  

What top tips would you give to readers looking to pursue their dream of becoming a published author?    

I’m going to start by telling you my worst habit – as both an author and editor – which is that my default is to think I need a big chunk of time to start writing or editing. It’s not true. Big chunks of time are great of course, but don’t always present themselves. So, my first piece of advice is to sit down and write, even if you only have half an hour. 

The second tip is also about the writing itself: help tomorrow’s you by where you leave your writing today. I feel much less daunted, and much better equipped, to start writing when I’ve left myself in a good spot in the previous session. I leave myself scrappy notes in the document to remind myself what I have to do next, and I often pause writing before I’ve finished a scene or chapter, because I find it’s easier to get back into the flow that way, rather than starting a brand new scene from cold. 

My final tip is a classic with a twist I guess. Write the book you really want to write, not the one you think you should write – I can vouch for that first hand. That said, I think it’s really smart to equip yourself with as much market knowledge as you can. Go to book shops, trawl online, look at publisher catalogues to get a sense of what else is out there and working well. Think about which books you’d love to see yours sitting alongside in a shop. When it comes to approaching an agent, a publisher, or self-publishing, it will make your book feel more commercial and help it find its audience. 

Storm Bringer by Tig Wallace is out now from Chicken House

Tig Wallace

Tig Wallace grew up in a town between London and Oxford, reading as much fantasy as possible. After work as a runner on movies, and a brief, eye-opening experience working in magazines, Tig started a career in book publishing as an editor. Tig is a keen tennis fan, as both spectator and player, a cat enthusiast, and has never been known to say no to karaoke. He lives in London. Storm Bringer is his first book. 

PaperBound Magazine is an online magazine and blog for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Aphrodite by Bryony Pearce book cover. Bright pink background against a single yellow eye with long lashes
article, Blog, Blog series, Bookshelf, Interview, Interviews, on writing, Writing craft

Interview: Aphrodite by Bryony Pearce

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Join us as we chat to Bryony Pearce about her new YA novel, Aphrodite, a powerful Greek mythology retelling which introduces readers to goddess Aphrodite in a way they’ve never seen before …

Could you tell us about your novel, Aphrodite, and what made you decide to write it?

Aphrodite is a retelling of the life of the Greek goddess of love and beauty, a story that contains themes of power, love, betrayal and family.  

I have always loved myths from around the world and characters from mythology have appeared in many of my other novels: Angels Fury contains Nephilim; The Weight of Souls, Anubis; in Savage Island Carmen is a modern day Maenad; Hannah Messenger and the Gods of Hockwold contains many of the Greek gods.  

I have a particular fascination with Greek mythology and have been wanting to construct a complete Greek myth retelling for some time. Aphrodite struck me as the perfect vehicle for a modern rewrite, with the confusion about her birth, the possibilities of her power and the way she is a catalyst in so many stories.

This Greek retelling gives Aphrodite a powerful voice in a way that she hasn’t had before. What elements of her story did you enjoy writing the most?

I am so glad you saw the power in Aphrodite, as I was keen to give her that strength. In many ways she represents womanhood as a whole, and her story highlights the dangers for powerful women when they threaten the status quo.  

I loved writing the scenes where her power emerges, where she literally battles for her life. I also loved writing the scenes where she uses her cunning, hidden behind the mask of her pretty face.

From the beginning, parts of Aphrodite’s character are quite innocent, despite the violent nature of the world all around her and how she must protect herself. Was this balance hard to get right as you were drafting?

What I found most difficult was remembering to make sure that she retained her innocence and didn’t have more knowledge than she should. It is easy to allow authorial voice to creep in, for example, in naming plants, animals and so on, so I had to keep checking myself – does she know this yet? How would she react to this thing that is so strange to her? What would she do here? How would she learn? Who will teach her?

What does your writing process look like? Do you plot or pants your way through a novel, and what was it like working with an editor on this book?

I am one of the strictest plotters you’ll ever meet. I do character work, world-building research (I researched an awful lot about Ancient Greece from food to clothes to geography, politics, marriage customs and religious observations). Then I plan every beat of the story in advance. Following this, I write a chapter outline. And only then do I start to write.  

Some writers feel that writing like this removes the freshness from their work and cannot bring themselves to do it, but I feel that it allows me to focus on the language rather than worrying about what is going to happen next, to construct beautiful scenes, to ensure that everything fits together, that every action has consequences, that every scene moves the story on and every word has a role to play, and I can seed, early on, themes and elements that will be important much later.

You obviously know Greek mythology very well. Did you always love these stories growing up, or did you come to them later on?

I have always been a fan of world mythology. From a pre-teen I I had books about various myths, Egyptian tombs, the lives of the Mayans and Aztecs and explorations of religions and how they developed.  

My favourite stories have always been folklore and myths, from Havelock the Dane to King Arthur. Pantheons and heroes fascinate me and have so much to say about the values of a culture and how, ultimately, we are all so similar.

What has your writing journey looked like so far, leading up to the publication of this novel? Do you have any tips for other writers on a similar journey?

This is the thirteenth full length novel I have had published (and I’m hoping it isn’t unlucky number thirteen). I started to write in 2004, with the aim of seeing if it was possible for me to write a novel. I had no intention of trying for publication. However, once it was ‘finished’, I realised that I had a lot of love for it, and approached agents, who sent me to Cornerstones Literary Consultancy for feedback. After a rewrite following their advice, I entered the SCBWI Undiscovered Voices Competition 2008 and was one of the winners. From there I got my first agent and, in 2009, my first book deal.  

I also write short stories for adults which have appeared in various anthologies and magazines.  

In terms of tips for other writers, I would recommend that you read widely within your genre, and that once you have taken your first draft as far as you can alone, seek constructive feedback before approaching agents, whether that be through paid support such as literary consultancies, or through writing groups, mentors, or critique centres such as Wattpad.

I also recommend entering competitions, which are usually run by industry professionals, who might remember you and which often have great prizes from free feedback to book deals. Be polite, persistent, resilient and keep your love of writing – that is the most important thing, that you keep loving what you do

What can readers expect from you next, and can you share what you are writing at the moment?

I am hoping to see my third adult thriller on the shelves, which is doing the rounds with publishers at the moment. This is set in London, and involves a woman who ends up entangled in a children’s game, gone terribly wrong. The current title is Simon Says.  

I am hoping also to write a sequel to Aphrodite, which goes into her role in the Trojan War (which in my version she starts deliberately, as a gift to her lover, Ares).  

I will be able to write the sequel if Aphrodite does well, so … hint, hint …

Bryony’s writing prompt:

Imagine that you wake, full grown, in a strange world, naked and alone, with no memory and no skills. Where are you? Why and how did you end up there? Do you have the ability to survive, or are you helpless? What are your priorities (shelter, clothing, food, exploration, weapons etc.)? Do you receive help and support from the locals, or are you in great danger? What do you find when you explore? What do you become?

Aphrodite is out now, published by UCLan. It is available on Amazon and, if it isn’t on the shelf in your favourite bookshop, you will be able to order it from them.

Bryony Pearce

Bryony Pearce is a multi-award-winning novelist and short story writer. She has written a mixture of thrillers, paranormal adventures, science fiction and horror, for Mid-grade, Young Adult and Adult readers. Her most recent novels are based on Greek mythology: Hannah Messenger and the Gods of Hockwold, for readers aged 9-12, and Aphrodite, for young adults.

In addition to writing her own novels, Bryony teaches creative writing at City University (London) and works as a consultant and mentor, in order to help aspiring authors achieve their dreams.

She lives in Gloucestershire and has two teenagers. Consequently she spends a lot of time at the side of sports fields, listening to concerts and being creative in car-parks.

www.bryonypearce.co.uk

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

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Interview: The Notorious Virtues by Alwyn Hamilton

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We spoke to author Alwyn Hamilton about her glitzy new YA fantasy thriller, The Notorious Virtues, full of power, money, magic and… murder!

Could you introduce us to your novel, The Notorious Virtues, and tell us a bit about the inspiration behind it?

The Notorious Virtues is 1920’s New York meets Grimm Fairytales. A group of heiresses compete to win their family’s money and magic in a tournament of virtues.

There are so many pieces that came together to make this story. It’s partly inspired by all the folktales of “The King had 3 sons and he sent them on a quest for a McGuffin to decide the heir”.

It’s also inspired by my friend who is a social worker and once pointed out that there is a recurring narrative in fantasy of glorifying a young person’s lost birth parent at the expense of the adoptive parents. It’s very you were raised by peasants but secretly you’re royalty, which is a terrible narrative for adoptive kids or kids in the foster system. She wished that fantasy would include more positive adoption stories. Apparently what I heard was write a story that subverts the narrative of the glorious perfect birth family that makes you special.

The Notorious Virtues has such a fascinating world and magic system, with a long history. Do you have any tips for aspiring writers attempting their own fantasy?

Well since you bring up world, one of the number one mistakes I see aspiring fantasy writers make is feeling like they need to have the whole world built before they start writing the story. Yes, of course you need to know some things, but the world will grow as you write it. No matter how prepared you are, you will inevitably hit something you have to invent on the fly. Don’t let building the world stop you from telling the story. Most of the time it’s an excuse.

Not only is this book a fantasy, but it brilliantly and seamlessly weaves in a mystery, romance, a competition and fairy tales, while also exploring themes of family bonds and power. How tricky was this to do? And was this always the plan or did some elements appear as you wrote the novel?

This book was a built over such a long period of time that I would struggle to tell you what originally was in there and what came in the writing. The character of August is probably the biggest component that came in after I had pitched it. I realized quickly that Nora needed someone to talk to and be her mystery investigator sidekick (August would say she is the sidekick). And I think with him the mystery became a more active part of the book.

This novel is packed full of magic and charms. If you could choose to have one charm yourself, what would it be able to do?

A lot of the charms were born from necessity in the world. I think it got cut in editing, but there was a charm that kept high heels from sinking into the grass at garden parties. I have been to enough outdoor weddings that I would gladly take a charmed shoe!

The Notorious Virtues is told from multiple POVs and there are so many brilliant characters – did you have a favourite to write? And why?

Authors aren’t supposed to have favourites… but my favourite is Nora, also known as Honora Holtzfall, the once heiress apparent trying to win back her place in the family, while also solving her mother’s murder. Nora is such a mix of brains, sass and reckless self-confidence. Writing her, and especially her banter with August, was the most fun.

Could you tell us a little about your writing routine? Do you have a method to plotting and writing your books, or does each book have its own unique journey?

I’ve heard the saying that you never learn to write a book, you only learn how to write the book you’re currently writing (and the next one is a whole new beast). I think that’s true to an extent, but I have always written better in a café than in my house, so I try to have a rhythm of leaving the house.

We cannot wait for the next book in this series! Can you tell us about anything we can expect (more Nora and August scenes please!) or about anything else you are working on?

I feel like if I reveal anything about book 2 a sniper will appear pointed at my head. I am currently writing it, the fairy tale aspect is way bigger than in book 1, lots of fun creatures to see. And after that I have an idea I am so so so excited by. But we’ll just have to wait to see if I sell it!

The Notorious Virtues is out on 27th March 2025 in the UK and published by Faber. It will also be publishing in the US and Canada on 1st April 2025 with Penguin Random House, and will be available in multiple countries worldwide, including France, Poland, Brazil, Spain and Italy.

Credit: Alexandra Hamilton

Alwyn Hamilton

New York Times bestselling author Alwyn Hamilton was born in Toronto and spent her early years bouncing between Europe and Canada until her parents settled in France. She moved to the UK when she was 18 and has been here ever since as an author/bookseller. Her first novel Rebel of the Sands was sold in 14 territories and won the Goodreads Choice Award for best debut. Her fourth book The Notorious Virtues will release in 2025. Follow @alwynhamilton on TikTok.

https://www.alwynhamilton.com/

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Blog series, Bookshelf, Interview, Interviews, Writing craft

Interview: Robin Jarvis on the relaunch of his popular Deptford Mice series, starting with the release of Book One: ‘The Dark Portal’

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Is there anything better than reading a much-loved classic from our childhood? Join us on the PaperBound Blog as we chat with fantasy author Robin Jarvis all about the return of his tantalisingly dark-edged series, The Deptford Mice, starting with Book One: The Dark Portal.

Your book, The Dark Portal, is the first in a series that captivated many readers’ imaginations over the years, and is now back with an updated text and brand new illustrations. Can you tell us a little more about it, and why you decided to give a new lease of life to this series?

Daniel Seton, editor at Pushkin Children’s Books contacted me and said he’d love to reissue the series, as he was a fan of the mice back in the day. It’s also the 35th anniversary too, so it was absolutely the right time and it’s given me the chance to cram as many new illustrations in there as possible.

You are returning to this series after working on other things for a number of years. Are you excited about inspiring a new generation of readers? What are you looking forward to most?

I was actually a bit nervous at first, as it’s been a while since I last ventured into those Deptford sewers, but the characters have never been far from my thoughts. They really have continued to live out their lives in my head, so I know what they’ve been up to. I hope new readers will be able to dive into that world and be excited and a bit scared by it. I’ve had brilliant feedback already from the original fans who now have children of their own, and it’s been such a pleasure to hear that the stories have stayed with them all this time.

The best stories are those with fright and menace in them. From a young age I watched anything with a monster in and enjoyed escaping into other worlds.

What do you think readers gain from your books, and do you think elements of fear in stories for younger readers can be a good thing?

Oh absolutely. The best stories are those with fright and menace in them. The original versions of fairy tales contained some really gruesome aspects, such as the stepsisters hacking off their toes and heels to squeeze their feet into the slipper, or the wicked queen in Snow White being made to wear red hot iron shoes and dance until she dropped dead. When I was young (a very long time ago) I was mad about monsters – still am. The scares in my books are safe scares. The threats are fantastical, the sort you’d never encounter in real life. I like to think of my books as white knuckle reads.

Is there anything you had to change when coming back to this book as you thought about it for a new audience?

Yes, apart from giving the writing a good old dusting, there were certain things that I wasn’t comfortable with, such as the Raddle sisters, two elderly mice who I originally described as ‘old maids’. Deary me, that had to go. The biggest change was Madame Akkikuyu, over recent years I’ve noticed she’s attracted criticism because some people thought there was a racial element and bolted human concerns onto her. She was a black rat, as in her fur was black, just as Piccadilly’s fur is grey and Oswald’s is white, but they all have pink skin. In fact, if Akkikuyu’s skin wasn’t pink, the tattoo on her ear wouldn’t stand out and that’s the big plot point of The Crystal Prison. Still, I don’t want anyone to get the wrong idea about her, so her fur is now a rich brown instead and the bone with which she stirred her potions has become a key from a tin of corned beef – which is a much better image anyway.

Your writing has been described as Brian Jacques’ Redwall meets Kieran Larwood’s Podkin One-Ear books. What other stories, writers or media have you been influenced by in your own writing?

From a young age I watched anything with a monster in and enjoyed escaping into other worlds. The Green Knowe series was a favourite, as was Tolkien.

You’ve had such a creative career so far. Do you have any tips for readers wanting to write or do something creative with their future?

Just read and absorb everything, until you decide what stories/styles/themes/characters you enjoy the most and that should give you an idea of what you want to do. 

The Dark Portal by Robin Jarvis is published by Pushkin Children’s Books and out now. The next two books in the series, The Crystal Prison and The Final Reckoning, will be released in June and autumn of this year.

Robin Jarvis

When Robin isn’t writing, he’s probably making something, usually a creature from one of his books to take with him to events and signings. It’s something he’s always done.

Before he started writing, he was a model maker and he gets grumpy if he can’t make something. It’s so much easier now he has a resin printer, no more mess on the kitchen table for weeks on end. At the moment he’s making Madame Akkikuyu, which brings him full circle, as he first made a wearable version of her all the way back at the beginning, 35 years ago. 

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Blog series, Interview, Interviews, Writing craft

Interview: Jennifer Burkinshaw on her new YA book ‘Happiness Seeker’.

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To celebrate the launch of Jennifer Burkinshaw’s new YA release, Happiness Seeker, we are delighted to bring you an interview with the author herself on all things writing, inspiration and what she’ll be working on next.

Your thrilling new YA book, Happiness Seeker, has just been released. Can you tell us a little more about it?

Happiness Seeker tells the story of just one week’s sixth form field trip to the beautiful but lethal Morecambe Bay. On her very first afternoon, Allie meets a mysterious lad on the shore which changes the lives of everyone involved. One reviewer has described Happiness Seeker as a ‘thriller-mystery-love story’ which does sum it up its genres neatly; I’d add in ‘tragedy’, as the prologue tells you someone is lost in the vast, dark seas of Morecambe Bay.

We’ve been lucky enough to catch a glimpse of the first quarter of Happiness Seeker and can’t wait for readers to discover Allie’s journey too. What inspired you to write this story?

Places seem to be what spark a story in me, both in my debut Igloo and Happiness Seeker. Visiting my parents in Grange-over-Sands on Morecambe Bay so often; learning about the history of the Bay and seeing people, every day, still walking out onto the treacherous sands despite all the warning signs. Before my parents even moved there, though, I once took a Drama group to a hostel near Grange to rehearse, which is pretty close to the set up in the novel; however, none of my group broke every rule in the book and we all went home safely.

At the heart of the story is what could be described as a political issue which particularly concerns me, so I recruited the advice of the charity Unseen during my writing process.

Map and plan of the novel’s setting by Douglas McCleery, architecture student

Have you always wanted to write for young adults? Can you tell us a little bit about your route to publication?

I first started to feel an irresistible pull to write about twenty years ago and knew I had to start to learn the craft, an endless journey, of course. Since I still feel seventeen in my head, writing for young adults was a natural move to me; I love the intensity of feeling you need to create in YA fiction; the need to be immediate and and pacy, as well as reflective; I love how so much of YA fiction deals with first and life-changing experiences for its characters. So, I did an MA in Creative Writing for Children at Manchester Met; after that I joined the Golden Egg Academy and was mentored by Imogen Cooper. I count myself as extremely fortunate that then Debbie McGowan, my genuinely brilliant editor and publisher at Beaten Track, offered to publish my debut, Igloo, and now Happiness Seeker.

Drama is a huge theme in this novel, as well as the dangers of the elements when underestimated. Did you always want to include these themes, or did they take shape organically when writing?

As a former Drama teacher, I couldn’t resist creating a group who, having to script a piece for their A Level, choose to write it about Morecambe Bay and the many who have drowned there over the centuries. These past tragedies soon bleed into the present of the story. I also include some reference to Arthur Miller’s A View from the Bridge which Allie is reading that fateful week; Miller is my favourite playwright but, also, the action of his tragedy has some echoes in the story happening ‘now’ in Happiness Seeker.

Map and plan of the novel’s setting by Douglas McCleery, architecture student

Your book also features the magnetic yet mysterious boy, Mareno, who Allie is drawn to when they first meet. Was it difficult to strike the balance between intriguing the reader and revealing too much when it came to his character, and/or the message for the book?

What was really tricky was to work out what Mareno would reveal to Allie and when – especially since he has such compelling reasons not to tell her his whole truth. I spent ages thinking what he would least mind Allie knowing and what he’d try to keep from her at all costs. I hope he intrigues the reader; I tried so hard to see him through Allie’s eyes – what draws her to him even as she finds him such a ‘dark horse’.

I love the intensity of feeling you need to create in YA fiction.

The friendships and rivalries Allie deals with throughout this novel are captured incredibly well and full of tension. Did you draw from any personal experience when writing these characters, or scenes?

Allie has a painful rivalry with Courtney, a girl in her drama group who has bullied her since Allie joined the school late in Year 9. To some extent, I am like Allie – quieter, on the fringe of groups and I do remember girls at my single-sex school who could be cutting like Courtney. Allie’s best friend is Finn but unfortunately, he falls for Courtney which causes Allie a lot of heartache. I haven’t experienced having a boy as a best friend but I relished creating their deep friendship which is at the heart of the story just as much as Allie’s new relationships in Grange.

We’d love to read what you write next. Can you tell us about anything else you are working on right now?

I need to get back to ‘Going West’, a story told from the POV of a member of each of three generations in a family who move from Essex back to the mum’s childhood home in Wales. I’m toying whether to tell some of it in verse …

Jennifer Burkinshaw

Jennifer’s debut book is Igloo, a winter coming-of-age story of first love set in the French Alps and Lancashire, where she grew up. Happiness Seeker is her second book.
Now, she’s a bit of a nomad – loves spending time by the sea as much as in the mountains and with her growing family.
You can visit her website here.

Happiness Seeker is out now and published by Beaten Track Publishing.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Blog series, Interview, Interviews, Writing craft

Interview: Author Jennifer Claessen chats about her new book ‘The November Witches’.

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We are delighted to bring you an interview with Jennifer Claessen, who spoke to us all about the sequel to The October Witches.

Your book, The November Witches, is a delightful new release perfect for reading at this time of year. Can you tell us a little more about it, and what inspired you to tell this story?

The November Witches picks up Clemmie’s story immediately after all of the things she did – and feels bad about! – in October. She’s expecting a magic-free month and all of the witches are mostly miserable about it but, of course, magical mayhem is about to ensue. It’s up to Clemmie to learn to speak up for herself and the young hags though, as it’s only together that they can fight back against the fires and knights plaguing them.

The November Witches is a spectacular sequel to The October Witches. Did you always want to write a sequel to continue Clemmie’s story?

Thank you so much! And yes, I was already thinking about Bonfire Night and marshmallows and a strange knight knocking on the door even as I wrote The October Witches! November doesn’t always get the festive love that October and December get but it’s an amazing month for forest walks. I moved house just before writing this book and now live on the edge of an incredible, ever-changing forest which definitely inspired the story.

Autumn is one of our favourite times of year here at PaperBound. Do you have any family traditions in your household at this time of year?

My family is costume-obsessed so we usually dress up at least three times for Halloween, always cute, never creepy! This year one of our fancy dress outfits was the ‘soot sprites’ from My Neighbour Totoro which was pure chaos and so fun. Toasting marshmallows outdoors is a must of course. Like the Merlyns, I have mixed feelings about fireworks but I love a bonfire. Oh, and Pie Night, like Aunt Connie creates, is essential too! Autumn clothes are the best too – the season begins for me when I put on a scarf and a big pair of boots, or for Clemmie and her coven, a binbag.

You have a brilliant way of weaving witchy story elements with traditional Arthurian legends, such as witch-hunting knights, magic, and strong bonds. Did anything surprise you along the way when you started writing this story?

In The October Witches, Clemmie wrestles with coming into her power but now, in a magicless November, she’s struggling with using her voice. I write generally knowing the ending as I love a big, busy, bustly finale where the covens get together and finally sort out their problems! I think this is officially a spoiler but, just between us, there’s a dragon in The November Witches, too hot to even touch, and she was a surprise!

Do you have any book recommendations on the theme of witches and/or magic?

I love everything magical! I’m currently reading The Thief of Farrowfell Hall by Ravena Guron which has a really cool magical system as the magic is edible. I love the world which is believable and compelling and the magic itself, though it often sounds disgusting to eat!

I went to the Fitzwilliam Museum in Cambridge to be completely surrounded by armour and imagine what it was like to be a knight – mostly pretty uncomfortable it turns out!

Although this book is fantasy, did you have to delve into lots of research when writing/editing?

I’m always super happy digging deep into some magical research! For the whole ‘A Month of Magic’ trilogy I did lots of reading about the old, wise, male Merlin (versus my young, self-conscious and female Merlyns!) and what happened to him. I’d never even heard of ‘Avalon’ where some Arthurian scholars believe the Once and Future King will still rise again from but became pretty fascinated by it. For The November Witches I went to the Fitzwilliam Museum in Cambridge to be completely surrounded by armour and imagine what it was like to be a knight – mostly pretty uncomfortable it turns out!

We’d love to read what you write next. Can you tell us about anything else you are working on right now?

Well, now we’re this deep into autumn, we have to finish the trilogy! The December Witches comes out in 2024 and I’ve just had a sneak peek of early cover designs and it is looking gorgeously sparkly and snowy! Writing-wise, I’m working on new myth-inspired tales, this time set in Ancient Greece – and in a summer holiday!

Photo by Jack Barnes

Jennifer Claessen

Jennifer was born in Reading and grew up a book worm. She studied literature and theatre at the University of Sheffield, the Chinese University of Hong Kong, Canterbury Christchurch University and Central School of Speech and Drama. A teacher and theatre-maker, Jennifer loves stories, especially for children, whether on stage or page. Jennifer currently works in the West End, taking children to the theatre and lives in the East End with her partner, a Dutch toymaker, and their baby daughter. She loves reading, travel and ice cream. You can find her on her yellow bike or in a red velvet seat in the stalls, applauding.

The November Witches is out now and published by UCLan Publishing.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Interview, Interviews

Interview: Millie Florence on being a Teenage Published Author, Navigating Negativity, and Middle Grade Book Deals

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PaperBound Magazine are thrilled to feature a blog Q&A with author Millie Florence.

This interview has been composed and written by freelance writer Cailey Tin.

Q&A with Millie Florence

You published your debut book, Honey Butter, at age thirteen. What was the process of writing and publishing it like for you? Were there any resources or help you got at the start?

I may not have finished Honey Butter without NaNoWriMo. NaNoWriMo stands for National Novel Writing Month, which is every November. It’s the challenge to write the entire first draft of a novel in thirty days. Their official website provides you with tools to track your word count goal, advice, and inspirational pep talks to keep you motivated. The program was definitely what pushed me to write the first draft of Honey Butter. 
I’ve been obsessed with writing and storytelling for as long as I can remember, but always struggled to finish anything longer than a short story. My goal in writing Honey Butter was to write something a step up from a short story. Something simple and short and sweet, but something I could write with excellence. Something I could be proud of. Although all my projects before this had been epic fantasy and sci-fi novels, for this I purposefully kept myself to a limit of 30k words and a contemporary story set in an ordinary suburban neighborhood. 
I have a video on my YouTube channel about the process of writing Honey Butter, which I highly recommend. I explain everything more eloquently and in depth there, with some advice for young writers who are experiencing the same struggles I did! 

Do you read your book reviews? How do you deal with both positive and negative reviews? 

So far, yes, I have read my book reviews, but that’s mostly because there aren’t very many of them. Due to having a smaller number of reviews, there also aren’t many hateful ones. I anticipate receiving a lot more reviews once my traditionally published books are released, because those companies have a built-in audience that I don’t, and it has been on my mind lately, how I should approach reviews once I start getting large numbers of them. 
Abbie Emmons, an author and YouTuber I follow, mentioned getting in a very bad mental place with reviews when her first novel came out. She read every single review for a while, and whether she had a good day or a bad day depended on the reviews she got. Obviously, that’s not healthy. 
I think it’s a balance. You need to be able to take feedback and hear what your readers are saying, but you can’t let it consume your life. It comes down to having confidence in your story. You have to be able to see through both flattery and hate to recognize your story for what is truly is. 

How was your journey from going through traditional publishing after self publishing your other projects? Which method do you prefer?   

It’s been a really interesting experience, and I love both! I love the control of self-publishing and the fact that I get to be intimately a part of how the book is produced. Still, traditional publishing has a wonderful collaborative nature to it, and it’s amazing to work with such talented and hard-working individuals. The process and experience with traditional publishing can also really change depending on what company you work with. 
In the future, I’ll choose a route depending on what I think each book needs. 

What aspect of your books do you treasure the most? Were there any scenes that felt particularly easier or harder to write? 

My favorite part of writing is when the characters come to life. If you develop characters well, they’ll sort of start talking and acting on their own, or, to put it in less whimsical terms, you know exactly what they would do or say in any situation. Thus, all you have to do is create the right situations, put your characters in them, sit back, and type as fast as you can. It’s like building a marble run and then experiencing the satisfaction of watching your marble zoom through it exactly as you intended. Those are my favorite scenes to write, with characters bouncing off each other and their environment until they land exactly where they need to be to further the plot. 
Of course, sometimes it’s not that easy. Sometimes you’ve miscalculated the placement of a few pieces in your marble run, and when you put the marble in it falls out off the track, or goes in a different direction entirely. That’s when adjustments need to be made.

How long do you take to draft your books, and what does your author process look like? How many hours a day do you usually write? 

I always write my first draft as quickly as possible, which takes one to three months, depending on the length of the draft. I have to strike while the iron is hot, so to speak, and take advantage of that initial burst of inspiration. The drafts after that vary, they can less or more time than the first draft, it all depends on what changes I decide to make. I alternate between receiving feedback from beta readers and author friends, and implementing the changes until I feel that the story is the best it can possibly be! It usually takes me four or five drafts to get there. 
When I’m writing a first draft I spend anywhere from one to five hours a day writing. That’s the most intensive part of the process. Once I get to later drafts progress it a bit more difficult to measure. I’ll often go days or weeks without writing in drafts two and three, but I never stop brainstorming and thinking through the best way to improve the storyline. That way, when I do sit down to write, I don’t spend too much time staring at my blinking cursor. Half the battle is sorting out what I’m going to write. After that, it comes pretty easily to me. 

How did you navigate the publishing process and “break into it”? Did it feel exciting or intimidating?  

I always knew I wanted to publish my books someday, so I would say it felt a lot more exciting than intimidating. There was definitely a lot to learn, but I loved every minute of the learning process. I started out by researching publishing in-depth and eventually settled on using Ingramspark for my self-publishing distributor. Later, when I wanted to explore traditional publishing, I did a lot of research on how to query and the different pieces that went into that avenue. 

What is the most difficult part of being a writer for you?  

Getting distracted. Our modern world is full of distractions, and writing, by nature, requires you to be bored enough to come up with your own imaginative entertainment. When social media is always at my fingertips, that can be very difficult. Those distractions have always been a struggle for me, but I learn and grow every day! 

Has middle grade always been your favorite genre, and do you plan to write something else in the future?   

I follow my inspiration, and so far all the story ideas I’ve come up with have been middle-grade! If I get an idea in the future that better lends itself to YA, then yes, I’ll write a YA book, but otherwise, I don’t have any plans to. I do have plans to write more picture books in the future! Picture books are a very special medium to me–they’re like an art gallery and a short story rolled into one. I can’t draw, but I love working with people who can, and I love the challenge that comes with telling a story in such a short format. 

If you could be anything but an author, what would it be? 

A stage actor. 
I’ve been acting in community theater since I was very young, and I absolutely love it. The collaboration with the cast and crew and the opportunity to bring a character to life is a very special experience. I love working with fellow creative people, and I love putting on a show. There’s something beautiful about hearing your audience’s reaction in real-time, and for a few hours, in one room, a group of strangers are all fully immersed in a story together.

Since you’re also an avid reader, what books inspired aspects of your own projects? Do you read the same genres you write?  

Yes! I’m a big fan of middle-grade, and I always will be. Two books that were influential to me at a young age were Anne of Green Gables by L. M. Montgomery and A Little Princess by Frances Hodgson Burnett. I listened to those two audiobooks over and over and over again when I was little, and they definitely instilled in me a sense of wonder for everyday life, and the importance of imagination and hope. 
One of my favorite quotes about storytelling is “The two most engaging powers of an author are to make new things familiar, and familiar things new.” Anne of Green Gables and A Little Princess are in the category of making familiar things new. 
In the category of making new things familiar, I also grew up reading Harry Potter, The Lord of the Rings, and The Chronicles of Narnia. 

On the topic of books, who are your favorite authors and what aspect of their writing do you admire the most?  

My favorite book of all time is The Mysterious Benedict Society by Trenton Lee Stewart. It checks all the boxes of everything I love in a middle-grade novel and executes them to near perfection. Mystery and adventure, lively characters, subtly quirky narration, impossible odds, and yet everlasting hope. It’s an adventure that is fun and fantastic, while simultaneously holding great depth and wisdom that leaves a lingering warmth in your chest when you finish. It’s the sort of book I want to write!

If you could tell your younger self anything writing-related—whether it be publishing advice, marketing tips, anything, what would it be? 

Quite honestly, I would say “Don’t worry so much.” 
I’m very passionate and motivated when it comes to my writing, but there is a dark side to that when doubts start to creep in. What if I don’t make it? What if my writing isn’t good? What if it is good but it doesn’t matter because it gets lost on the internet and no one ever reads it? What if I do everything right, but I just wasn’t lucky enough? What if I’m still here in fifteen years? 
But worrying about those questions doesn’t answer them. Doubting if a dream will come true doesn’t make it any more likely to do so. Worrying doesn’t make a difference in the outcome, but it does make a difference in our mood, and not in a good way. What does make a difference in the outcome is excitement and creativity and passion for the stories we write, and you’ll live a happier life along the way. 

Millie Florence

Millie Florence is an adventurous homeschooler who published her first book, ‘Honey Butter’, at age 13, and another middle grade book at age 15. Currently, she has two books on the way. She loves sushi, zip lines, and just about all things yellow. 

Connect with Millie on Instagram: @millieflorenceauthor.

Cailey Tin

Cailey Tin is an interview editor of Paper Crane Journal. She is an Asia-based staff writer and podcast co-host at The Incandescent Review, a columnist in Incognito Press and Spiritus Mundi Review, and her work has been published in Fairfield Scribes, Alien Magazine, Cathartic Lit, and more.
Her work is forthcoming in the Eunoia Review and Dragon Bone Publishing. Visit her Instagram @itscaileynotkylie.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Blog series, Writing craft

Guest blog post: Patricia Forde on Returning to Speculative Fiction

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PaperBound Magazine are thrilled to feature our first ever guest blog post in a series on the craft of writing from established authors.

Take a look to see award-winning author Patricia Forde’s take on writing speculative fiction.

Her new book The Girl Who Fell to Earth is out now.

Patricia Forde: Return to Speculative Fiction

I have always loved speculative fiction. I cut my teeth on Margaret Atwood’s fantastic books and swiftly moved on to writers like Philip Pullman and his amazing Northern Lights series.  

There are many definitions of speculative fiction as a genre, but I see it as all fiction that is not based in the real world. That includes science fiction, fantasy and tales of magic realism.  

In these types of books, writers speculate about other worlds. In my first novel, The Wordsmith, I was looking at a post-apocalyptic world. This was a future version of Earth, showing Ark – a world that was much kinder to the environment, producing energy in natural ways and leaving a very mild footprint on the planet.  

But Ark had its own problems. It was a harsh place for the human spirit. Music was banned, art was banned, and the language of Ark was List – a list of five hundred words. The people in power used the list to suppress free speech and to exercise total control over its people. 

Writing post-apocalyptic fiction is very similar in my head to writing historical fiction. In historical fiction you are writing about a world that was, building on some facts and imagining the rest, and with the other you are writing about a time that might happen in the future. Both demand a certain amount of inventiveness!  

When I was writing The Wordsmith duology, I took some advice from an article I read by Margaret Atwood. Amongst other things, she said that her speculative novels borrowed a lot from history. So, I turned to Irish history and was reminded of the time when the Irish language was being suppressed by the British.  

During Penal times tally sticks were introduced to suppress language.  A stick was hung around a child’s neck, and each time the child spoke Irish at school, a notch was put on the stick and the child received a slap for each notch at the end of the day.  

I took that idea and applied it to the citizens of Ark. Punishment using forbidden words involved the sinner being thrown into the woods to be eaten by wolves!  

In the second book of that duology Mother Tongue, I used the ancient Irish hedge schools as a model for the rebels in Ark to teach language. Some readers might have noticed that the rebels borrowed quite a bit from Michael Collins in their political structure – using small independent cells so that no one group held all the information! 

In my new novel The Girl Who Fell To Earth I returned to the realm of what-if and looked at what might happen if someone from a far more advanced Planet came to Earth.  

Terros is a planet run by scientists, where the environment is protected, and people live forever. Aria, the protagonist, has been brought up to despise humans who are well on the way to destroying their own planet.  When she is sent to Earth on a mission to destroy human life, she finds that, for all their faults, humans have some excellent qualities, and she sets about saving them and herself. 

In this book as in The Wordsmith I want children to get a glimpse of other possibilities, other ways of living, and other ways of co-existing with fellow creatures on their planet. I don’t believe in Utopias and these worlds that I create are far from perfect, but I think all of us, and maybe young people in particular, should be encouraged through literature to explore possibilities, and see that other models of living are possible.  

Some of those models are there to sound a warning; others to encourage a better way of living. 

For me, I don’t think I’ll ever stop wondering what-if and hopefully those musings will inspire me to write more speculative books!

Photo credited to Julien Behal

Patricia Forde

Patricia Forde lives in Galway, in the west of Ireland. She has published many books for children, in Irish and in English, as well as plays, soap operas and television drama series.
In another life, she was a primary school teacher and the artistic director of Galway Arts Festival. Two of her novels with Little Island, Bumpfizzle the Best on Planet Earth and The Wordsmith, a Library Association of America Notable Book for Children (published in the USA by SourceBooks as The List), were awarded White Raven awards by the International Youth Library.
Her picture book To the Island was co-published by Little Island and Galway 2020 European City of Culture. She is the seventh Laureate na nÓg, Ireland’s Children’s Literature Laureate. 

The Girl Who Fell to Earth is out now and published by Little Island.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

Blog, Interview, Interviews

Interview: Julia Turk talks her Debut Trilogy, Writing Dystopian Novels, & Publishing Deals

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PaperBound Magazine are thrilled to feature a blog Q&A with sci-fi and fantasy author Julia Turk.

This interview has been composed and written by freelance writer Cailey Tin.

Q&A with Julia Turk

What was the core idea that inspired your debut novel, Lone Player? And its name is also super cool, where did you get it from? ?

I found my inspiration for Lone Player when I was about twelve years old. I was scrolling through Pinterest and found a photo of a playing card tattoo that I really liked. It got me thinking – what if everyone had playing card tattoos? What would that society look like? I eventually tied in population control, and after that I developed the system of Running and Chasing.
While this is what inspired the world-building aspects for me, at its core, I suppose the main thing that inspired Lone Player was the concept of a Runner and a Chaser actually knowing each other. I was really interested in this relationship dynamic. I kept thinking, how can you unlearn that kind of hate? Or is there even hate there to begin with? I wondered what would drive a person to Run or Chase in the first place, even if they knew the consequences, which is how I eventually came up with the relationship between Ren and Eddie.
As far as the title goes, it actually took me quite a bit of time to find one that I felt suited the book best. I tested out a lot of different names, but I didn’t come up with Lone Player until I was scrolling through a list of playing card terms, and that one immediately caught my eye. The term refers to an independent card player, essentially, and I thought it really tied into the overall theme of the book. 

When did you know that you wanted to be an author? Did you write any books before Lone Player ?

I’ve been a writer for as long as I can remember. I’ve spent my whole life planning story ideas and starting books I never finished. Storytelling is just something I’ve always done and I’ve never not been writing something.
I’ve always wanted to publish a book. However, in terms of my career, I didn’t realize I wanted to be a professional author until quarantine. I grew up wanting to be a marine biologist so I could study cartilaginous fishes (sharks, rays, etc.), but after my chronic Lyme disease and co-infections took a turn for the worst in the middle of my sophomore year in high school (which was also the start of quarantine), I realized a physically-demanding job like that might not have been too realistic for me, especially after I had a couple of major leg surgeries. Plus, while I love science, I hate the math that comes with it.
So during this time, when I was about fifteen, I realized I wanted to be an author instead. Writing was the perfect solution. It was flexible enough to work around my illness and bad legs, and I just really felt drawn to it. Maybe I’ll do something else on the side someday to keep me busy— like working the front desk of some haunted Victorian-style inn or antique shop— but writing is at the centre of what I want to do.
I haven’t written any books before Lone Player. As I mentioned before, I grew up writing, but I never actually finished an entire project until this book. I don’t think I would have finished it if it weren’t for the Lost Island contest, which gave me the deadline and pressure I needed to get over my fears and simply write. I still can’t believe my very first (and very rough) manuscript won, but to me, it’s an important symbol of what might happen if you do things that scare you now and then.  

What would you say is your interesting writing quirk?

I’d say my most interesting writing quirk is the fact that I dream in stories. A lot of book ideas come to me in my sleep. Sometimes it’s literally like I’m watching a movie. There are characters played by actors, plots, movie trailers, a soundtrack, even a credits sequence at the end. It’s really bizarre. One of my most vivid ones even has its own folder in my Google Drive as a potential writing project.

What is the most difficult part of being a writer for you?

For me, the most difficult part of being a writer is the insecurity. Thanks to my anxiety and OCD, I struggle with a really bad imposter’s syndrome. I always feel like the things I’m writing make no sense, or that I’m upsetting people, or that I’m just not good. Another thing I worry about is that my story has already been written, or that it’s too simple.
There are so many worries a person can have as an author, especially if you’re a perfectionist like me. But by writing through the worries, I’ve learned a lot about how to handle my fears and perfectionism. The best thing you can do if you struggle with something similar is to write anyway, even if it’s scary. 

Since you’re also an avid reader, what books inspired aspects of your own projects? Do you read the same genres you write?  

Yes, I’m definitely an avid reader! Scythe, The Fifth Wave, and The Hunger Games were definitely huge inspirations for Lone Player, since I read those books in middle school (around the same time that I developed the idea for LP).
I usually read the same genres I write, mostly fantasy. But I’ve also been enjoying a few contemporary romances lately, which isn’t something I expected. 

On the topic of books, who are your favourite authors and what aspect of their writing do you admire the most?  

My favorite authors include Holly Black of course, Brandon Sanderson, and Margaret Rogerson, among many others. I love the characters and fairy folklore in Holly Black’s work, the world-building and intricate plots in Brandon Sanderson’s, and the really immersive, almost Ghibli-esque quality of Margaret Rogerson’s writing.

If you could tell your younger self anything writing related – whether it be publishing advice, drafting tips, anything, what would it be?

If I could tell my younger self anything writing-related, I think I’d tell myself to just write. I know you’re afraid. I know you’re scared of getting things wrong or not being good enough. But write anyway, because there is no such thing as bad writing. You can’t edit a blank page, and you can’t improve without actually getting the words out first. Always remember that writing is healing, and writing is growth—and it’s okay to do things that scare you every now and then. 

Julia Turk

Julia Rosemary Turk is an author and artist based in Northern California. She loves all things creative, and she spends her days downing matcha lattes and writing stories. Julia is the winner of the Lost Island writing contest and will have her debut novel, Lone Player, published by Lost Island Press this July 2023.

In addition to writing, Julia loves spending time with family, playing cosy games, and listening to indie rock. She’s been battling chronic Lyme disease since childhood and considers her illness a crucial part of her identity. 

Connect with Julia on her website, her own blog, and follow her on Instagram: @juliarosemaryturk.

Cailey Tin

Cailey Tin is an interview editor of Paper Crane Journal. She is an Asia-based staff writer and podcast co-host at The Incandescent Review, a columnist in Incognito Press and Spiritus Mundi Review, and her work has been published in Fairfield Scribes, Alien Magazine, Cathartic Lit, and more.
Her work is forthcoming in the Eunoia Review and Dragon Bone Publishing. Visit her Instagram @itscaileynotkylie.

Lone Player is out now and published by Lost Island Press.

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