It was a cold and gloomy winter morning in the North West of England. As I drove through the suburbs of Birkenhead, my thoughts suddenly flicked to the opening scenes of a book I had read as a child. Elidor is a magical adventure, set in the back streets of Manchester. I remember little of the story, but the images of a gloomy deserted streets still live with me to this day.

Once back at the office I tweeted out to see if anyone else remembered Elidor and to my surprise I received a flood of nostalgic tweets. The result (with the help of few friends) is this brief interview with Elidor writer Alan Garner.

This is a selection of what Wiki has to say about Alan Garner:

Alan Garner spent his early childhood in Alderley Edge, Cheshire, England, and he remains associated with the area. Many of his works, including The Weirdstone of Brisingamen and The Moon of Gomrath, are drawn from local legends and locations.

His early books were fantasy, marketed for children, although he was never comfortable with being labelled simply as a “children’s writer”, saying that he had no intention one way or the other about writing specifically for children. His most recent works, Strandloper and Thursbitch, are more suited for adult readers. The Stone Book (which received the Phoenix Award in 1996) is poetic in style and inspiration.

His works have won the Guardian Award, the Carnegie Medal, and the Lewis Carroll Shelf Award, as well as the Chicago International Film Festival 1st Prize for his educational film Images.

He was awarded the OBE for services to literature in the 2001 New Year’s Honours list.

This interview is a collection of tweets and emails which I forwarded to Alan Garner.

@clinkingdog A lot of inspiration seems to come from myths. I’d like to know what is your favourite mythological story?

AG: I have no favourite. Myth doesn’t work that way. The important myth, at any given moment, is the myth that provides an understanding of that moment. As an example, Alderley Edge has an oral version of the Sleeping Hero myth. I can remember, during World War II, listening to adults nervously joking, but only half joking, that if the sleeping knights were ever going to wake then now was the time; but their white horses should be replaced with white tanks.

@brianclegg Sense of place is central to Garner’s work. Does he see an equivalent for the Facebook generation?

AG: It’s a fact of modern life that few people are able to live in the environment where they were born, or to live for a long period in any one place. Society is becoming rootless. And what I’ve seen of Facebook is rootless.

AG: Why not? Tower blocks stand on their earth. This shows in much of American horror fantasy: the occupation by the modern materialist of an ancient site leads to nasty events (e.g. “The Shinning”). But America is at a disadvantage, in that it has a relatively brief history and a non-homogeneous culture. The place hasn’t had time to gel in the way that Europe has. It’s not in touch with its soul, because that soul isn’t yet fully formed. I’m fortunate in that I have spent all my life within 4 miles of where my family have sat since at least 1592, and for the past 52 years I’ve lived in a 600-year-old house on a site that archaeology shows to have been occupied since the end of the last ice age, 10,000 years ago. See: http://www.theblackdentrust.org.uk/index.php

Miladysa Miladysa: I read once, that you believe a book exists and that an author is only a channel for it. That being the case, in what manner does a book introduce itself to you?

AG: I was describing the subjective experience; which doesn’t mean it’s not true. Every writer’s different. For me, I always see a picture spontaneously. I couldn’t go looking for one, or for an idea. Sometimes I see the answer and have to write the book in order to discover the question. Experience convinces me that the intellect has never had a flicker of originality. It’s a fine analyst, researcher and copy editor, but it doesn’t bring anything new into the world. That’s done by the unconscious mind, which acts more in the way of a vision or dream. It makes connections. Philosophers and mathematicians in particular frequently describe their work in these terms.

Miladysa Miladysa: When you are writing a book, do you plan each chapter methodically or fly by the seat of your pants?

AG: Seat of the pants every time. No planning. It’s all discovery. If I knew what the story was I’d lose all interest in writing it. With the book I’ve been working on for the past 6 years (on p.27 now), I know how the last page ends, but I’ve very little knowledge of how it’s going to get there and none at all of what it’s ‘about’, or of what’s going to happen on p.28. This feeds back into the last question. I suspect the unconscious part of my mind had seen the whole before I had the first inkling.

Miladysa Miladysa: The past and its influence on the present is a strong theme throughout your writing. At this time in your life, which has the most influence?

AG: You’re looking at time as a linear phenomenon only. Most cultures of the world aren’t so hampered. For instance, the most sophisticated philosophy I’ve come across, that of the Australian Aborigines, moves within 9 temporal dimensions and the closest we have to that is quantum theory. Increasing age simply makes it all the more obvious and intelligible – as it is for infants. Something goes wrong when we learn to think with logic only; which I’d define as the thought patterns of adult Athenian males in the 5th. Century BC.

To discover Alan’s advice for writers and what he is currently reading (you will be surprised!). Just subscribe to BubbleCow’s newsletter, which will contain the unedited interview.

…and as a bonus here’s the great man himself.

Go here for the rest of the interview.

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Recent weeks have seen a growing debate regarding the best route to publication, and perhaps more importantly, the role of self publishing. Matthew Watkinson’s story is one of a vet-turned-writer who wrote a book that secured representation from an agent, only to give it all up to self publish his own book.

This interview will not only tell you why Matthew turned his back on the traditional publishing world but offers timely advice and guidance to any writer looking to get published.

Tell us a bit about On The Destiny of Species…

On the Destiny of Species is a full frontal attack on the sentimental corruption of natural selection that has led to all sorts of unnecessary suffering in the domestic species and to the complete destruction of objective, Charles Darwin style natural history. Based on my experiences as a veterinary surgeon, it’s a brutally honest assessment of the relationship between superficial appearance (i.e. fashion) and compassion.

Why did you decide to write the book?

To be perfectly honest, I’m not sure I did decide to write it. I just kind of started writing. Perhaps there was some sort of subconscious cathartic motivation but, when I look back, all I really remember is a complete inability to not write it (if that makes sense?). I just had to find an outlet and this book is the result.

How did you find the writing process?

Having left the veterinary profession for good I started writing full time. Like a demented robot I remortgaged the house to fund a totally unnecessary search for the truth. I wasn’t even pursuing a dream of becoming a successful writer. I just wanted to get to the bottom of everything and work out why I disagreed so vehemently with orthodox cultural belief. The clearer it became, the more I worked. Day and night sometimes. Sometimes my brain would wake me up at three in the morning and force me to carry on. I have never been poorer but, also, I have never been happier.

Tell us more about the ideas behind the book?

The idea for the book emerged while reading On the Origin of Species in November 2008 and the rather naïve plan was to write it in a few months, get an agent and then get it published on the 24th November 2009 (the 150th anniversary of On the Origin of Species). I really thought a year was more than enough time to write it, get it edited (absolutely critical), write it again, get it edited again (absolutely critical) etc. etc. and then find a publisher. The system works at a snail’s pace and Bubblecow’s 10 day guarantee is very definitely the exception, not the rule. Each reply from the agent I was working with was taking a month and I was getting more and more frustrated (patience has never been my strongest point). Indeed, he was working with a publication date in 2011 which, given that one of the most important goals was to publish it on the 150th anniversary of Charles Darwin’s original, was clearly not going to work. I even gave up on the goal to stay with the traditional route at one point, but then, after another month long wait for an email reply, I served notice on my contract with the agent and decided to go it alone. Publishing this book on that date has always been a very important part of my plan and, for better or for worse, that meant self-publishing.

Most people dream of finding an agent willing to work with them, was it difficult to sack your agent once you realised you both had different goals?

By the time I started thinking about sacking him, the decision was already made. All that was left then was to work out how to do it without being rude (or blacklisted). The really hard decision was the one I made when I accepted his offer of representation in the first place. That cost me five months and was almost entirely based on the fact that representation is such a difficult thing to secure.

So what happened next? I know you went down the self publishing route but what did that entail?

Another critical edit (edit, edit, edit!) and then it was all about finding a quality self-publishing company. I have to admit, I haven’t really worked out the difference between a vanity press and a self-publishing company, but I have always thought that I would have to do all the publicity myself so I was never going to trust a publishers marketing promises either way. Of much more importance to me was the quality of the final book and that’s where Bubblecow helped out (again). They were able to recommend a high-quality self-publisher (matador) who focused on production standards rather than wild sales promises and the rest is history. All I have to do now is sell some books.

So what advice would you give to a writer considering self publishing?

Not sure really. I only did it because I needed control of the publication date and because I knew that someone in the publishing industry thought the book would sell. That doesn’t guarantee that it will sell of course, but it was an independent opinion (beyond family and friends) that confirmed that my belief in the project wasn’t just hopeful optimism and that gave me the confidence to go it alone. I guess each case is different. Perhaps the real advice is don’t rule it out. Self-publishing is a legitimate option and, if you can ensure the book won’t be poorly produced, it’s an option that definitely should be considered.

Do you have a marketing plan? Where can people get your book?

I always knew the veterinary controversy would be of interest to the press. It is my ace in the pack and so I have managed to convince the Daily Mail to run a double page spread on it in the next couple of weeks. That should generate a bit of publicity and inspire people to find out more by buying the book (available through amazon.co.uk or destinyofspecies.com). Other than that I have just sent sixty copies to key opinion leaders in the field of natural history in the optimistic hope that one of them will read it and comment publicly. I suspect that most will dismiss it without a second thought, but all it takes is one. Indeed, Sir David Attenborough has replied to say that he is looking forward to reading it. Whether he will or not is a different matter, but if he did there would at least be a possibility that he would comment publicly and generate some more publicity. If nobody comments and the Daily Mail article doesn’t work I will just have to keep plugging away. As an unknown author the task will be enormous, but I know that the case is strong and I know that I mustn’t give up, however many times I get ignored.

The full (and unedited) interview will appear in BubbleCow’s newsletter and you can read it by subscribing below before the end of November 2009…

Even if you don’t visit BubbleCow on a regular basis, you can stay tuned by having the latest BubbleCow post and news delivered to you for free via RSS, Email or Twitter.

To help you produce the best possible query letter, book synopsis and fifty page extract, BubbleCow have put together a FREE five day email course.

I have a copy of Inbound Marketing to giveaway. Leave a ‘pick me’ comment and I will choose the winner at random on Wednesday 18 November 2009.

This year has seen the publication of a seemingly unending list of books dedicated to teaching us about social media. Some have been excellent, some OK and others downright useless. I have tried to include reviews for a few that have stood out from the crowd with Trust Agents and Twitter Power worth a look. However, this month I was sent a copy of a book that, for me, is simply a must read for any writer who is looking to build their online presence. It’s called Inbound Marketing and is written by Brian Halligan and Dharmesh Shah.

What sets Inbound Marketing aside from the crowd is that it’s written by people who know what they are talking about. Instead of an over paid consultant, social media guru or business expert we find two industry leaders who have put their words into practice by building the impressive Hubspot website. Hubspot offers tools and advice to companies looking to improve their online presence but has free tools that are useful for anyone looking to be found more often on the internet.

Inbound Marketing is very much a practical guide to making your site more ‘discoverable’ on the internet. The opening of the book contains all the required chapters explaining how the world has changed and that we all need to have a better online presence. Nothing new! Yet the second part of the book is remarkable. It explains the following key elements in detailed practical and applicable steps:

• How to create remarkable content that people will share,
• How to make your blog more findable,
• How to make your blog easier to read on a regular basis,
• How to make your pages more google friendly, completely demystifying the process of Search Engine Optimisation,
• How to use social media channels to promote your site and work.

The book does have a final two sections, which looks at how to stimulate readers of your website to take certain actions, such as downloading free content or subscribing to a mailing list. These sections also go into some more business orientated discussion regarding customers and the structure of business. They are good but may or may not be of interest to a writer looking to build a web presence.

All in all this book contains the best description and advice I have ever come across regarding the best ways to make your blog and website not only more visible, but also more appealing to more potential readers/customers.

I have a copy of Inbound Marketing to giveaway, just leave a ‘pick me’ comment and I will pick the winner at random on Wednesday 18 November 2009.

If you wish to buy a copy then hop over here.

And the winner is…

Meryl K. EVans

(Note to reader: I’ve a copy of Trust Agents by Chris Brogan and Julian Smith to giveaway. All details can be found at the end of this post.)

Occasionally you come across a book that changes the way you think. The Cluetrain Manifesto did this for me, as did Seth Godin’s Tribes. Well I think that Trust Agents is another one to add to that list. I say, I think, because strangely Trust Agents contains nothing I didn’t already know, though much of it was bubbling away at a subconscious level. What this book does is to bring these thoughts to clarity, condensing years of experience of interacting on the internet into a set of clear rules that will alter the way I work on a day-to-day basis.

In summary Chris Brogan and Julian Smith suggest that the way to gain influence in any community (especially those based online) is to become, what they term, a Trust Agent. In essence this is a person that helps to facilitate other people’s interactions, adding value along the way. The pair offer a guideline of six areas in which a person can focus to develop their talents as a Trust Agent.

1. Make Your Own Game – This is a technique where an individual finds their own niche, or way of doing business, that separates them from their competitors.

2. One of Us - A mixture of building empathy and conversation with the people you are trying to influence and connecting with the key players in any given market area.

3. Archimedes Effect – Understanding how to spot and manipulate leverage.

4. Agent Zero – Connecting with others and building small but powerful networks.

5. Human Artist – Learning how to interact effectively with people on a daily basis.

6. Build Armies - How to build and lead groups of people to achieve mutually beneficial goals.

Ultimately it is difficult to do this excellent book justice in a short review. What I can say is that the content of the book will change the way you think about the internet. If you are serious about doing business, or building a community, online then this is a must read book.

To have a chance to win a copy of Trust Agents all you have to do is leave a ‘pick me’ comment by 3pm (GMT) October 23, then I’ll pick a winner at random. This competition is open to all.

Alternatively you can buy a copy of Trust Agents here.

(Note to reader: Caroline Smailes has TWO COPIES of How to Write to giveaway and all details can be found at the end of this post)

Cross posted by BubbleCow’s Caroline Smailes from her blog:

For anyone considering a career in writing, How to Write presents advice from a range of leading professionals who reveal the tricks of their respective trades, as well as insights into the way they work.

Amongst others, Catherine Tate offers her advice on navigating the troubled waters of writing funny stuff, Michael Rosen discusses how to construct stories that will captivate a young audience, Tony Benn suggests how to write a diary and Philippa Gregory shares advice on how to research a historical novel. For budding journalists, Max Arthur looks at the basic rules of interview etiquette, Simon Jenkins asks ‘Are journalists born or made?’ and Lynn Barber advises on interviewing celebrities.

How to Write is brimming with information that will be useful to any number of new writers. There are dedicated chapters on fiction, books for children, memoir and biography, journalism, plays and screenplays and comedy. There are practical exercises and inspiring ideas, complete with checklists, exercises and further reading sections throughout. A comprehensive guide to style, grammar and punctuation is provided, as well as an A to Z of style terms. For writers ready to submit, there is a writers’ directory with advice on how to make that first approach, as well as a directory of publishers, literary agents, trade press, societies and associations. This directory will provide a basis, but further research will be needed before submission (for contact names and individual submission guidelines).

When I was considering approaching agents and publishers, I bought both Writer’s Market UK and The Writer’s Handbook. They were heavy directories and this is where How to Write differs. Packed with lots of accessible anecdotes and advice, this book offers very rounded guidance and delves into numerous aspects of writing. How to Write is the size of a standard paperback, will fit into your handbag or manbag and will help any aspiring writer to polish both their focus, their ambition and their writing style. It is an essential read for any would-be writer.

How to Write can be bought here.

And, the people at Guardian Books have agreed that I can give away TWO copies of How to Write. All you have to do is leave a ‘please pick me’ comment here by 3pm (GMT) August 20, then I’ll pop all names in a mug and ask a small child to select a winner. This competition is open to all.