Tuesday, 2 February 2016

Olga by Ted Kelsey

Underground Book Reviews, an online magazine aimed at Inde Authors and their work have voted Ted Kelsey's Olga, a YA novel I reviewed last summer,  Novel of The Year. 
Well done Ted and I recommend this lovely story I was delighted to receive a paperback copy from the author.


I don't usually read children's or YA books, but this one had such an engaging cover I was intrigued to discover what it was about.

PUBLISHER'S BLURB

Magic weapons, white tigers, cat-faced moths and giants on motorcycles… OLGA is Ted Kelsey’s captivating first novel and features illustrations by the fine artist and illustrator, Dillon Samuelson.

When a mysterious figure is seen floating and dancing in the field near their house, Jack and Sally decide to investigate. This decision will lead them to an exciting place far beyond their imagination, the home of OLGA.
Nothing in the clouds is as it appears, and in order to get home safely, Jack and Sally must first learn whom to trust, and find a way to believe in themselves.
A story of spirit and imagination that the Online Book Club has described as “interwoven with comedy and deeper emotions of freedom and loneliness”, OLGA will delight readers of all ages.



REVIEW 

Olga by Ted Kelsey is an engaging fairy story written for the new age where Sally, a girl who can look after herself and doesn't need a hero to rescue her, sets off with her friend Jack into the cloud kingdom where they meet Olga, the sad daughter of an evil cloud giant who has been plotting with his brothers to destroy the earth and make it their own. 

This tale has magic, courage and adventure and is just long enough to keep the attention of the younger reader used to living with texts, tweets and soundbites. The story has a scary element which will also appeal to today's young who seem to like their fiction dark as well as a moral message too. This story can be enjoyed by any age group.  I'm well into adulthood and almost out the other side, and I enjoyed it.

The illustrations, which first attracted me are by Dillon Samuelson and are quite lovely.

Ted Kelsey's Website


Sunday, 13 December 2015

Is Self-Publishing For Everyone?

‘With its authors starting to regularly hit the bestseller lists, the world of self-publishing no longer carries the negative connotations it used to.’  says the Writers and Artists website:


When my first historical novels were published some years ago by a small digital publisher, I was made aware by other authors at conferences and writer’s groups that I wasn’t a ‘real author’ and wouldn't be until I was published by a mainstream publisher. 

Digital publishing was new and viewed with suspicion – a fad which would never last. Self-publishing was seen as vanity publishing by authors who couldn't attract the attention of a traditional publisher, and besides, everyone believed that once your novel was 'out there' no publisher would look at it.

The online writer community continued to send out query letters in the quest for an agent and/or a publisher, while some resorted to self-publishing when all other avenues had been exhausted. We wished them every success, but secretly believed being traditionally published was the better route - until it became clear that many were earning far more than their traditionally published counterparts.

Attitudes to self publishing have altered in the last five years, and recently my quiet superiority was swept away when I was told my current publisher has sold out to a larger concern who may, or may not continue with their current fiction list. Therefore they will not be publishing, albeit reluctantly, the second book in my cosy mystery series.

I am about to embark on another round of submissions, or rather my agent is, then someone asked me a question. ‘What is your publisher doing for you that you cannot do for yourself, other than take the lion’s share of the royalties?’

That got me thinking. Was I viewing self-publishing from the wrong perspective?

To help me find out, I attended a group of the Alliance of Independent Authors or ALLi as it is known, made up of self-motivated authors who offer networking and practical help in all aspects of writing. They proved to be a fascinating and knowledgeable group of authors who showed me that local exposure can go a long way to increase your author profile. 

In the three years since its inception, this national organisation has accumulated a vast array of resources ranging from editing services, cover art design, legal advice on contracts, critique and review groups, advice on increasing your book sales, local literary festivals where authors can showcase their work, library talks, seminars, book groups, the list goes on.

By the end of my first meeting, the thought of being in total control of my own work was more appealing, and with so many resources available to make self-publishing easy, maybe I do have the confidence to strike out on my own after all - and even make sales.

Further Reading
ALLi
Publetariat
Spiffing Covers
Draft2Digital
Self Publishing Review
The Book Designer

Tuesday, 27 October 2015

Evelina Hospital For Sick Children, Southwark

My research for the fourth novel in the Flora Maguire Mysteries series brought my amateur sleuth  to the year 1904 - the year the Entente Cordial with France was signed, and Frederick Henry Royce meets with Charles Stewart Rolls to start their exclusive motor car factory.  I discovered the Evelina Hospital in Quilp Street off the Southwark Bridge Road in one of the poorest areas in Victorian London.

Evalina Rothschild
In December, 1866, Evelina de Rothschild, [Evy] the English,wife of Austrian Baron Ferdinand James Anselm de Rothschild, gave birth to a premature son following a railway accident. The baby was stillborn and Evelina died later the same day. In her memory, Ferdinand built, equipped and endowed the Evelina Hospital for Sick Children.

That area of Southwark was the scene of Charles Dicken's Oliver Twist, where Bill Sykes is chased to his death in The Rookery.  The pollution from the docks, leather works, spice wharves and factories combined with poor sanitation to make children die of infectious diseases whooping cough, pneumonia, bronchitis and tuberculosis were rife, although the hospital recovery rate was good. Child mortality remained high, mainly due to the weakened state of the children brought in and the fact they returned to the same conditions on discharge.

Charles Booth's Survey of London wrote of the area in 1899:

'This bit is known as The Grottos: many children [in the streets], all well fed but dirty; with sores on faces: clothes ragged, too large; too small, windows broken; patched : there may be a few thieves ; prostitutes but Barton does not know them as such : they make their appearance in the police court for drunks and assaults.'

The Evelina opened in June 1869 in a four storey building with 30 beds, expanding quickly to 100. The basement contained the kitchens and offices, while the ground floor had a Board Room and accommodation for the Matron and the medical staff.  Two floors were devoted to the wards and the top floor contained dormitories for the nurses and servants, as well as a small quarantine ward.  There was a separate kitchen for the preparation of food for Jewish patients. Outbuildings contained the wash-house, a disinfecting oven and a post-mortem room, while a detached wing held the dispensary and the Out-Patients Department.

A Ward in the Evalina Hospital c1900. Reproduced from The Evalina: the History of a London 
Children's Hospital, 1869-1969, by Harold Priestley.
The wards were 100 feet long, each containing four fireplaces so that the space could be sectioned off into smaller rooms if needed.  A small ward with its own kitchen was set apart for Jewish children; as well as a play room, and an isolation room for children with whooping cough; claimed to be the only one of its kind in London when it opened in 1877.

During its second year, the hospital charged 1d for each bottle of medicine, and began to recruit trainee nurses.  Infants under two years 'should be refused save under very exceptional circumstances', but numbers continued to grow, and the rule was rescinded. By 1900 babies and toddlers accounted for 50% of all admissions.

A subscription scheme was established where those who promised 30 guineas a year or more could have a cot named after them. They were allowed to recommend patients for admission or out patient treatment, the number determined by the size of their donation. Even with a charity health was still bought.
Matron Alice Cross

The hospital always struggled for funds, and by 1900, only 60 beds were in use, although the hospital treated 20,000 patients a year .

Unlike Great Ormond Street, which had its own convalescent home, the Evelina relied on a network of seaside and country homes, places paid for through a special fund.

A local newspaper described the dilemma of local children:
'It is piteous … to see the little ones … return to the dark, unfurnished, overcrowded rooms … One of the nurses told us the pity she felt [when] she met a child who had not long left her care clinging to a drunken mother's skirts, and following her zigzag plunges from one side of the street to the other'.

Alice Cross was appointed Matron in 1879, though nothing is known about her other than she trained at St Bartholomew's, and some of London's best respected physicians and surgeons offered their services to the Evelina.

In 1946, The National Health Service merged the Evelina into Guy's Hospital and in the early 70’s, the building on Southwark Bridge Road was closed and the hospital moved onto the Guy's site and became the children's ward - its name and independence lost. In 2005, a new building was opened across the road from St Thomas's Hospital, named Evelina London Children’s Hospital, dominated by a huge glass atrium and multiple play areas.

It's nice to know Baron Rothchild's tribute to his lost wife and son continues.
Evelina Hospital for Sick Children
Source:

Historic Hospital Admissions Records Project  - Which has some biographies of some of the children admitted to the Evelina and details about their families.

Evelina History

The Old Operating Theatre

The Woulfes of Loxsbeare

The Rebel's Daughter and The Goldsmith's Wife 
now available in paperback


Helena Woulfe's adventures in 17th Century Devon and London during the days of the Monmouth Rebellion and The Glorious Revolution

Tuesday, 6 October 2015

Review-The Lost Child by Ann Troup



BLURB

Mandy Miller disappeared from Hallow’s End when she was just 3 years old. She was never found.
Thirty years on, Elaine Ellis is carrying her mother’s ashes back to Hallow’s End to scatter them in the place that she once called home. Elaine has never been there, but it’s the only place Jean talked about while she was growing up – so it seems as good a place as any.
As Elaine settles into her holiday cottage in the peaceful Devonshire village, she gets to know the locals; family she never knew she had, eccentric and old-fashioned gentry, and new friends where she would least expect them. But she is intrigued by the tale of the missing girl that the village still carries at its heart, and which somehow continues to overshadow them all. Little does she know how much more involved in the mystery she will become…

REVIEW


This story opens with a wonderful description of Elaine driving to a holiday home with the ashes of her mother Jean, in the car – intending to scatter them at Hallows End where Jean once lived.

Elaine was difficult to engage with at first, but it soon becomes clear that her upbringing has unusual in that she has been closeted in a semi-abusive relationship with her controlling mother – as a result she is na├»ve, insecure and introverted. She relishes the final breaking of the bond with Jean, but also feels guilty about it and has to fight to let her go mentally.

I loved the use of Jean’s ashes as a constant presence insinuating themselves into the world of the living as if unwilling to let go. Slightly creepy and  brilliantly handled although I don’t think it was meant to be a paranormal element as some reviewers believed, more a constant and physical reminder of Jean’s insidious influence. 

The character of Brodie, who latches onto Elaine, is a fifteen-year-old girl from a council estate who hid behind baggy clothes and had learned very early that all grownups in her life have lied to her and will always let her down. Yet the child in her refuses to stop loving them no matter how they behave. The drunken mother, the avaricious sister, the disinterested brother. She latches onto Elaine and they have a unique mother/child relationship which keeps alternating.

The story isn’t so much about who the missing Mandy Miller is, but what happens to the lives of those involved when the truth is revealed. An unusual, beautifully written mystery

Books We Love

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