Quite often when I go into schools to run writing workshops, I get the children writing about objects. This is useful because it’s something that can be done at any level of confidence or ability in writing, but also because there’s something about having the subject of your poem physically in front of you that makes matters easier; if you get stuck, you can just look a bit more closely at your object.

Of course, I don’t just give the children an object and then let them get on with it. That would be incredibly uninspiring. Instead, I give them prompts – ways of examining their object that they might not have thought of before. Usually, we spend quite a while just getting ideas down on paper before we actually think about the ‘poemness’ of our writing.

NB: While I usually do this as a poetry exercise in schools, it can just as easily be a prose exercise, helping you to practise your description, or to give particular weight to an object within a story.

Choosing an object:

Ok, so what sort of object can you write about?

The simple answer is, of course: anything. When I go into schools, I have a bag of objects that I take in with me, most of which are mundane artefacts you’d find in pretty much any household. These include:

  • a candle
  • a fork
  • a ladle
  • a glove
  • a scarf
  • a top hat
  • a claw hair clip
  • a clothes peg
  • a shell

There’s nothing dramatic or special about any of these objects. The only meaning they have is the meaning that the poet chooses to give them. In many ways, this makes them the perfect subjects for poetry, as they’re essentially blank canvases.

Then again, you could choose something that isn’t a blank canvas at all: an object that has particular emotional or historic significance for you. A wedding ring. Your grandmother’s spoons. A ticket stub from the concert where you had your first kiss. Choosing an object like this, that already has its own story lurking inside it, could also really work, giving the writing added depth, and a sense of an entier life behind it.

Why not try the exercise twice, once with a significant object, and once with something random you’ve picked up from around the house.

5 ways to write about your object:

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1 – Physicality

This is perhaps the most obvious way of looking at your object, but this means it’s a good palce to start. Begin by putting your object on the table in front of you, and looking at it. Set a timer, and look at it for a whole minute. Try to notice every detail, as though at the end of the minute, someone is going to take the object away and you’re going to have to conjur it entirely from memory. Think about what colour(s) it is. Does it look hard or soft? Big or small? Comfortable to hold or not? Heavy or light? Think about what shapes make it up. What is it made of? Something natural or man-made, delicate or industrial-looking? Does it look shiny or dull?

Once you’ve looked at it for a good long while, pick it up.

Think about what it feels like, how it sits in your hand. Does it make a sound of its own accord? What about when you tap it against a surface? If it’s safe to do so, see how it smells & even tastes. I’m forever telling children to use all of their senses, but it’s worth remembering that as an adult as well.

This is how your object physically occupies space within the world.

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2 – Uses & Changes

Once you’ve examined its physical properties, exploring it as an artefact in its own right, you can start to think about it in a social context, and within the context of time.

Think about what the object is used for. Does it have a purpose, or is it merely decorative? If it does have a purpose, does it have just one? Maybe it has a primary and secondary use. Maybe it’s an all-purpose gadget. If it’s an ornament with no particular use, then how does it work decoratively? What makes it a piece of decoration?

Then think about how the object might change. For example, a candle can burn, and it can melt (either from being burned, or from being left in the sun). What causes it to change? How does it look / feel / sound / smell / taste in its new form? Is the change reversible? Is it a desired end (such as with the candle), or a problem (such as a fork that might tarnish / bend out of shape, for instance).

From merely being a physical object existing in the world, the object now has context.

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3 – What is it?

This is a great poetry game (nicked from Liz Berry) to get children thinking metaphorically, without using offputting grammar words, like ‘simile’ or ‘metaphor’. It’s called: it’s not this, it’s that.

Essentially, you’re trying to get back to your inner child, and to use your imagination. We’re not interested in what the object actually is – we’re interested in what it could be.

So, a candle might be a rocket, or a unicorn’s horn, or a wax crayon, or a skyscraper, or a rolling pin. A top hat might be a steering wheel, or a boat, or a drum.

Don’t be afraid to play with the object. Turn it upside down, or back-to-front. Put it on your head. Look through it. Make it move in some way.

It’s not a scarf, it’s a road leading over the horizon.

It’s not a glove, it’s a spider scuttling across a bedroom floor.

And of course, the richer you can make these metaphors, the better.

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4 – History

From thinking about the object as a general version of its kind (for instance, a fork like any other fork, or a candle like any other candle), now you’re going to think of it as specific.

Every object has a history. Even a brand new one has been bought from somewhere, or given to you as a gift. It has a life before the present moment. Whether it was on the shelf in a supermarket two days ago, or it’s been passed down through the family for generations, think about where this object has been. What journey has it been on? Whose hands has it passed through? Has it changed at all in that process?

Depending on the object, this could be something deeply personal. If you’re writing about your great grandmother’s wedding ring, for instance, then there’s going to be a lot of family stuff going on there. If you’re writing about that friendship necklace you traded with someone when you were seven, who you haven’t seen since you were twelve, then maybe you’ll end up exploring your childhood through the object.

This is the point where your poem opens out, from thinking about the object itself, to thinking about the world beyond – whether through the lens of your own life or otherwise. It’s often (but not necessarily) the point where the poem gains meaning.

And if you’re struggling to think of a historical journey for your object, think about what it’s made from. What’s the history of those materials? Where did they come from? Are they natural or man-made? What was their existence like before they were turned into this object here in front of you? Go as far back as you want. After all, every wooden spoon started out as a seed.

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5 – Who Am I?

One last little prompt, to take you in a slightly different direction: give your object consciousness.

You don’t have to give it agency, like the toys in Toy Story – but imagine it’s aware of the world around it. What does it see? What does it remember? (This is another way to approach the ‘history’ prompt.) Specifically as this object, does it feel to be held? To be used for whatever purpose it’s used for? What does your object want?

Try writing about the object in first person. What you may find, is that the poem becomes a kind of self-portrait, from the perspective of an everyday household object. If that’s the case, roll with it. If not, treat it as a useful exercise in exploring perspective within a poem.

And good luck!

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If you’re looking some ways to expand on these prompts, using the language generated here to create something more, with a rich sound-world, check out Five Poetry Prompts: Generating Material for a Poem.

I have some exciting news! And also a (very small, very simple) request.

Next Sunday, I’ll be in Edinburgh, reading from and talking about My Name is Monster at Edinburgh International Book Festival. And, as if this weren’t exciting enough, I’m also up for the festival’s First Book Award!

The Award is decided based on a popular vote, so what I’m asking is very simple: please vote for My Name is Monster to win the award!

It’s really straightforward – there’s an option to leave a short review, but you don’t have to. You just have to register your name & email address, and then click the big button marked ‘VOTE’. What could be simpler?

VOTE HERE

And if you’re still undecided, why not read the first page of My Name is Monster, to help you make up your mind:

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Extract from My Name is Monster:

When the world is burning, it’s easy to forget about ice.

Easy for most people, that is. I knew nothing but freeze for over a year. I lived with the ice, on the ice, inside it – locked on the island as the rest of the world grew desperate with rage and disease. As the missiles fell and cities were blasted by a thousand-degree heat, I struggled to keep warm.

Frostbite and a chill so keen it cuts right through the heart: that’s the price of survival.

Then what?

After everyone else was dead, I sat by a window for three days watching the glacier creak and break. When I took off my trousers, my skin flaked away and my legs itched. I scratched at the dead skin until I was pink and sore, then I got dressed again.

I thought about the scientists who had vanished into a crevasse twenty years earlier and were never found, how their little bodies would one day tumble out of the glacier’s mouth like babies being born, frozen solid and perfectly preserved in their brightly coloured thermals.

People used to think that ice is white, but it isn’t. There is all kinds of history inside it, waiting to be brought out.

… want to carry on reading? Click here to buy the book.

If May felt like the eye of the storm, then June has been full-on hurricane. But, unlike most busy months, it’s mostly been busy with just one thing: the novel.

On Thursday 6th June, my debut novel, My Name is Monster, was officially released. If you weren’t aware of that, then either you’re new to this blog (in which case: welcome!) or you simply haven’t been paying attention. I’ve been talking about it a lot.

Understandably, the rest of the month has been pretty solidly dominated by that. I’ve just finished a run of talks and readings in libraries and bookshops – mostly around Cumbria, but also straying as far as Lancaster, and even to ‘that London’.

(Side note: when publishers put you up in a hotel that’s right next to a heap of excellent independent bookshops, it can be a dangerous thing…)

But the month hasn’t all been novel-related.

Tongue & Talk: The Dialect Poets

This month I also made my Radio 4 debut, with an episode of Tongue & Talk: The Dialect Poets. The programme aired on 2nd June, during the Sunday afternoon poetry slot. And, for some reason I’m still not entirely sure about – maybe becaue my parents couldn’t get the house radio working properly? – we ended up parked in my driveway and listening to it in the car.

Poet and novelist Katie Hale explores the legacy of early dialect poets in her native county of Cumbria, to discover if dialect poetry is a way of expressing local identity.

Cumbria has a long history of dialect poetry, beginning with poets like Josiah Relph, Susanna Blamire and Robert Anderson, and continuing right up to the present day. Katie finds out more about some of these historic poets and their contemporary counterparts. She also speaks to Cedric Robinson – the Queen’s Guide to the Sands of Morecambe Bay – and to farmer and writer James Rebanks, trying to understand the connection between dialect, identity and the land itself. How does the place we live in shape who we are and how we choose to express ourselves?

From a ‘writing life’ point of view, this programme is a perfect example of how one project can lead to another. In 2017, I was commissioned to write a poem for National Poetry Day, in conjunction with BBC local radio. The poem had to be about a Cumbrian dialect word: ‘twining’ (moaning / complaining). As a result, the word ‘twining’ then made it into the Oxford English Dictionary, and BBC Radio Cumbria made a video of the poem.

Because the poem was part of a national project (with 12 poets around the country writing dialect-inspired poems), it was well shared and had pretty good SEO. Which meant that when the production company, Made in Manchester, were googling ‘Cumbria dialect poetry’, my name came up.

At the other end, following the programme’s broadcast on Radio 4, the Lakeleand Dialect Society (who I interviewed as part of the programme) was celebrating its 80th birthday. And so, Radio Cumbria had a few of us on to talk about the importance of dialect – and to give the Radio 4 programme a bit of an extra push. One thing leading to another, leading to another. It often surprises me how much of my career ends up working like that. (Maybe I’ll dedicate a full post to it at some point in the future.)

You can listen to the Cumbria episode of Tongue & Talk: The Dialect Poets here, till Monday 8th July.

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Under Northern Skies

Back in summer 2018, I worked with a group of former miners from Whitehaven on an oral history project, as part of Tables Turned, a three year participation project run by the National Trust and partners, which is all about bringing together community groups, young people, historians, curators and artists in projects that deepen understanding, build new partnerships and inspire creativity.

After meeting the miners and listening to them recount their experiences of working in the mines on Cumbria’s West Coast, I was commissioned by the National Trust to write a poem in response.

Earlier this year, I was commissioned to write two more poems, inspired by the work the National Trust had done with other groups: pupils from Keswick School, and members of Glenmore art group and Glenmore creative writing group. These poems were a mix of original work, and words collaged from the work and conversation of participants.

The result: three poems, each then filmed by John Hamlett, which were played as part of an exhibition alongside artwork from the groups, at Carlisle Old Fire Station.

The month in books:

This month has been a bit slower than last month in the reading department. Blame it on all that dashing about between book events! It’s also been largely fiction-based, rather than my usual attempt at balancing fiction with poetry (and a smattering of non-fiction thrown in). Still, that’s ok. I’m on a bit of a fiction bender at the moment, and I’m sure in a month or so that will flip and I’ll be devouring nothing but poetry.

  • The Last, by Hanna Jameson
  • A Roll of the Dice, by Mona Dash
  • Crudo, by Olivia Laing
  • Ghost Wall, by Sarah Moss
  • Being Haunted, by Jennifer Copley
  • Fen, by Daisy Johnson

The month in pictures:

If you’ve glanced at this blog any time over the past few months, or if you follow me even vaguely on any social media platform, you’ll likely have noticed that my debut novel came out just over a week ago. ‘What’s that?’ you yell in mock surprise, a sarcastic hand flying to your cheek, ‘A novel? Well why didn’t you say something?’

Alright, I get the point. My Name is Monster came out ten days ago, and (with the exception of a photo of a giant bee) I haven’t really talked about much else since.

(Not really relevant to the post, but it was enormous!)

What actually happens when you launch a book?

In some ways, not a lot. One day your book isn’t available to buy in shops; the next day it is. This doesn’t always happen on the day you expect it to, either. Unless your book is embargoed till a specific date (think: queuing up at midnight for Harry Potter and the Deathly Hallows), bookshops tend to just put the copies on the shelves the moment they arrive in stock. This could be a few days before the book’s official release date, so that rather than some momentous arrival, they sort of trickle into the public. I didn’t realise this until it was actually happening, so it was a bit of a surprise when people started sending me pictures of the book out and about in the wild, before its official release date.

Books are a bit like elections, in that they almost always come out on a Thursday. Presumably this is due to some social study about us being more receptive to culture, or more likely to spend money, or just in a better mood in general, towards the end of the week. Who knows? My secondary school concerts were always on a Thursday too.

This means that some writers will wait to have their official launch celebration till the Friday, or the Saturday. Some will have it on the launch day itself. I’m not sure it matters really – I think it’s about what’s most convenient for the writer and the venue.

Usually, a launch will consist of a reading, usually in a bookshop or a library, followed by a signing and maybe some wine. This is what I did on the Thursday that my book came out, at Cakes & Ale: the cafe run by the wonderful independent Carlisle bookshop, Bookends. It was a lovely evening, filled with lovely people, and a nice long signing queue! This, I suppose, was my informal formal bookshop launch, and it was a lovely way to begin the process of sending Monster out into the world.

But I remember reading an article once, a long time ago, where someone said: You can do anything to launch a book. 

So of course, I also channeled my inner royalty, and had a garden party.

Obviously, since this is Cumbria, I planned for the rain, and borrowed a couple of party tents from Morland Choristers’ Camp, as well as a bell tent from touring Shakespeare company, The Three Inch Fools. (Who says being well-connected in the arts doesn’t pay off?) It was lucky I did, as well, because although the morning’s torrential downpour had eased off slightly by the time the party got underway, it was still a bit drizzly throughout the afternoon – not to mention cold!

But, weather aside, it was a joyful event: totally informal (although I did do a couple of readings from the book during the course of the party, and I signed a lot of copies). It was an opportunity to celebrate and to drink plenty of Pimms with plenty of friends. I highly recommend it as a way of launching a debut novel!

So what now?

Although the official launch events are over, I’ve still got plenty of opportunities lined up for talking about the book. Most of these are in Cumbria, but there are also a few a little further afield.

This is what I suppose most people would call a book tour – though I always find that term a bit misleading, because when you talk about being ‘on tour’, I think a lot of people imagine you’re away for long periods of time, staying in hotels every night as you travel from place to place. Whereas for me, I’m spending most nights in my own bed and just driving to each event the same way I’d drive to anywhere I was working on a project.

(Thanks to Will Smith from Sam Read Bookseller in Grasmere for this infographic!)

The exception to this is the London bit of the tour, where of course I will be staying overnight:

19 June:
The Feminist Book Society presents: Motherhood – the last feminist taboo // Waterstones, Tottenham Court Road, London, 6.30pm

20 June:
Writers’ Night: Katie Hale & Hanna Jameson // Foyles, Charing Cross Road, London, 7pm

So how do you organise a book tour?

Like everything else when it comes to publishing a book, it has to be done in advance. You can’t just decide a week before the book comes out that you’d like to do some events. I started talking to Bookends about my launch night back in November, and to Cumbria Library Service in about January. This advanced planning was particularly important for me, because I knew I would be out of the country for about 7 weeks in the lead-up to the book coming out, so I had to be on my toes from the start. (When in doubt, I always make lists – and I made a lot of lists in the months leading up to the launch.)

This is also where those contacts I was talking about earlier can come in handy. I already had a relationship with Bookends: apart from being my local bookshop (or one of them), they supported me with a guest slot at an open mic when my first poetry pamphlet came out, and are jointly responsible for Borderlines Book Festival (along with Cumbria the Library Service & Tullie House Museum & Art Gallery), where I ran a poetry workshop last year. Similarly, I had a contact at the Library Service, through a network we both used to sit on when I was working as a project officer for a literary project a few years ago. These sorts of connections aren’t essential, but it always helps if people know who you are before you ask them for a favour!

As for the other bits of the tour, they just sort of fell into place by themselves. The London events, and the Kendal & Lancaster Waterstones events, were organised for me by my publisher, Canongate. And the event at Sam Read Bookseller also came about through a personal connection: the lovely Will Smith & Polly Atkin, who fed me lots of pasta and jacket potatoes (not at the same time), while I was their neighbour as Poet in Residence at the Wordsworth Trust back in February.

How’s it all going so far?

Busy.

I don’t think I realised quite how much of an emotional and physical toll the stress / pressure / need to always be alert and sound intelligent would take on me. And that’s on top of all the worrying about whether people are going to actually like this book you’ve written.

Luckily, I’m starting from a good place. Not only do I have a healthy smattering of events lined up, but the book itself looks beautiful. The cover design is the work of Canongate artist Gill Heeley, and I think that goes a long way towards how the book has been received at a bookseller level. For instance, most places I’ve seen it, the cover has been face out (so that the front of the book is visible, rather than just the spine), and in some cases it’s even been on freestanding displays or on tables. All of these things increase the prominence of the book in the shop, and push towards it (hopefully) selling more copies. So I’m keeping my fingers crossed that it all continues to go well.

And in the meantime, I have this weekend to catch up on sleep, hoover my kitchen and curl up by the fire with a book – which means that next week, I’ll be raring and ready to try to sound intelligent in book events once again.

10 pieces of advice for launching a book:

  1. Do your preparation in advance. This goes from physical preparation like organising book events, to getting in touch with local press contacts, to writing blog posts etc that will go live on the day. Part of this is about creating some sort of hype around the book, getting people excited, and part is just reducing work for yourself. You want to make things as easy as possible for yourself when the launch day finally comes around. Also bear in mind, you’re going to have to talk about your book a lot, so make sure you know in advance what you’re going to say about it. I worked out my elevator pitch with my publicist back around Christmastime, and I’ve been practising things to say about the book ever since – usually in the car when nobody can hear me!
  2. Take lots of pretty pictures of your book. You’re going to be posting about the book a lot on social media. Whether you’re talking about receptions it’s had, or trying to promote book events, these things always look better if there’s an eyecatching picture to go with them. So make sure you have a stock of these (and maybe keep them in a separate album on your phone / computer for ease), because you don’t want to keep using the same picture every time.
  3. Plan your outfits. This sounds shallow, but deciding what to wear is hard enough even when you’re not stressing about the fact that your book has just been released to the world at large. If you have a selection of outfits that you know you can wear to book events, which you’ve chosen in advance, then it takes the pressure off. Also, these outfits can become part of your ‘look’ as a writer – which I suppose is a way of branding yourself. Maybe I’ll do another post sometime about branding yourself as a writer, as there’s too much to fit into one little corner of this post.
  4. Don’t try to go on a diet in the weeks directly before or after the launch. I know, I know. Even looking at this now it sounds like a stupid idea. Why give myself extra pressure? Besides, when you’re bombing around the county / country doing book events, sometimes you just need to stop on the way back home for late-night chips & gravy.
  5. Don’t try to squeeze writing funding bids in between a full week of book events. Or any particularly stressful work, for that matter. Save your time and energy for promoting your book. And if there are funding applications with deadlines around the same time as your book launch, try to find out about them in advance, so you don’t give yourself a frantic few days of multitasking. That said, don’t forget about the rest of your work life either. Emails don’t just go away just because you have a book out – if anything, they increase. Remember to factor in admin time.
  6. If you have to work on something, make it a creative project. Almost certainly, you write because it’s something you enjoy, because it’s a drive that comes from deep within you and you can’t ignore it, because it’s some sort of unhealthy addiction and there’s a peace to be found in giving in to the urge to write. This might actually be the exact antidote to all that pressure of the book being launched. While you’re writing, you can forget the stress and the hype and the pressure of the book you’ve just launched doing well, and focus instead on the craft of a new project. Lose yourself in something new.
  7. Eat well. Late-night chips & gravy notwithstanding, it’s important to eat well. Don’t skip breakfast. Don’t try to subsist on leftover chocolate cake from launch event number one. Don’t spend every evening valiantly trying to get through the leftover open bottles of wine and prosecco. Honestly.
  8. Get plenty of sleep. Promoting a book is tiring. The physical toll of doing numerous events on consecutive nights is bad enough, but the emotional toll of the stress of it, the worry over how the book will be received, and the mental toll of having to think of intelligent-sounding things to say all the time – all of these add up. Make sure to factor in days off when you can have early nights and lie-ins.
  9. Take time to enjoy it. I’ve talked a lot about the stress and the pressure of launching a book, but obviously it’s also a pretty exciting time. After all, this is something you’ve been working towards for years. For as long as you’ve wanted to be a writer. For a long time, this was your end-goal. Your I’ve-made-it moment. Enjoy it, because it’s going to go quickly, and you don’t want to back on it and realise that you were too stressed to actually savour your own achievement. You’ve produced a book and should be proud of yourself. Take moments to appreciate that.
  10. Give yourself something to look forward to when it’s over. As I said, most likely this was your end-goal for a long time. You’ll be hectically busy, but you’ll also be on an emotional high. But, as every parent-of-a-toddler knows, emotional highs are nearly always followed by an emotional crash. The likelihood is, once your manic couple of weeks are done, you’ll be feeling pretty flat. So give yourself something to look forward to. It could be a holiday. It could be meeting up with friends. It could just be sitting by the fire with a pile of books and an unlimited supply of pizza. Whatever floats your boat.

A Book Launch Week in Pictures:

 

‘When the world is burning, it’s easy to forget about ice…’

It’s here! Two and a half years after I sat down by the fire and wrote that opening sentence, not really sure whether it would ever amount to anything other than ‘that night I decided not to watch Netflix’, My Name is Monster is a real live book, for sale in regular (and irregular) bookshops.

It’s a slightly odd feeling, knowing that the book is out there in the public. It feels a little bit like going to the supermarket in your underwear – not that I’ve ever done that. It’s the knowledge that people will be reading it (hopefully) and judging it (hopefully not too harshly) and that it’s now completely beyond my control.

In a way, of course, it’s also very liberating – just as I assume it must be walking through the fruit & veg aisle in your knickers.

BUY MY NAME IS MONSTER ONLINE

What other people have said about the book:

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‘A terrific piece of writing; tough and tender and insightful. I loved it.’
– Joanne Harris, author of Chocolat

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‘A complex, accomplished debut. The prose dazzles while the themes of feminism, power and fertility sneak in for a gut-punch. It kept me gripped from the first page, and the characters continue to live and breathe in my imagination.’
– Kirsty Logan, author of The Gracekeepers

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‘Katie Hale has written two fascinating, flawed and compelling characters and, with only two people and an empty world, has created a novel that is gripping, insightful and unique.’
– Claire Fuller, author of Our Endless Numbered Days

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‘A riveting and disturbing novel, part twisted fairy tale and part dystopian nightmare, in which the primal human need to find meaning and love shines through the darkness of a ruined world.’
– Mick Kitson, author of Sal

Events:

Over the coming weeks, I’ve got a number of events lined up to help promote the book, both close to home around Cumbria, and further afield – specifically London and Cornwall. If you’re near any of these, it would be lovely to see you there:

  • 6 June: My Name is Monster book launch // Cakes & Ale Cafe, Carlisle, 7.30pm
  • 10 June: My Name is Monster talk & book signing // Waterstones, King Street, Lancaster, 6.30pm
  • 11 June: My Name is Monster book talk // Cumbria Library Services // Ambleside Library, Cumbria, 3pm
  • 13 June: My Name is Monster book talk // Cumbria Library Services // Roose Library, Cumbria, 2.30pm
  • 13 June: My Name is Monster book talk // Cumbria Library Services // Ulverston Library, Cumbria, 7pm
  • 18 June: My Name is Monster book talk // Sam Read Books // Emma’s Dell, Grasmere, Cumbria, 7.30pm
  • 19 June: The Feminist Book Society presents: Motherhood – the last feminist taboo // Waterstones, Tottenham Court Road, London, 6.30pm
  • 20 June: Writers’ Night: Katie Hale & Hanna Jameson // Foyles, Charing Cross Road, London, 7pm
  • 25 June: My Name is Monster book talk // Cumbria Library Services // Penrith Library, Cumbria, 2pm
  • 25 June: My Name is Monster book talk // Cumbria Library Services // The Old Courthouse, Shap, Cumbria, 7.30pm
  • 27 June: My Name is Monster talk & book signing // Waterstones, Kendal, Cumbria, 6.30pm
  • 28 June: My Name is Monster book talk // Cumbria Library Services // Dalton in Furness Library, Cumbria, 10.30am
  • 28 June: My Name is Monster book talk // Cumbria Library Services // Grange over Sands Library, Cumbria, 2.30pm
  • 27 July: My Name is Monster book event // Port Eliot Festival // Walled Garden, 11am

Or, in case you prefer things in a visual format, here’s a handy infographic of my Cumbria events (plus one in Lancaster), created by the lovely Sam Read bookshop:

Related posts:

My Name is Monster: the books that opened the door

From Idea to Book: My Journey to Publication

My debut novel, My Name is Monster, hits the shelves in just two and a half weeks, and it’s got me thinking about how there’s something magical – something almost metaphysical – about the creation of a book. How something can go from being the tiniest flicker of an idea, to being a fully fledged novel, a physical thing you can hold in your hands.

Even when it’s your own book, it can still feel like something of a mysterious process.

Did you know you can pre-order My Name is Monster from a lovely independent bookshop?

Every book’s path to publication is different. It can depend on so many factors: the genre of book, the stage of the writer’s career, the agency or particular publisher, the availability of funding or mentoring schemes, how much of a platform the writer has to begin with.

Since The Bookseller announced the acquisition of My Name is Monster by Canongate back in 2018, a few people have asked my advice on various aspects of the publishing process. As a debut novelist, I’m still working some of this stuff out for myself, but it always surprises me to look back and see just how much I’ve learned since all this started. How does it all work? How do you get an agent? How long does it take to get published? What does the writer get offered in a typical contract?

I can’t speak for every book, but I can share my own experiences. How did My Name is Monster go from being nothing more than a thought, to being on the verge of publication in a couple of weeks?

My Name is Monster - editing, by Katie Hale

Let’s start at the very beginning…

Like every story, My Name is Monster started with an idea. Unlike J K Rowling (who famously gave an account of having the idea for Harry Potter while on a train journey), I don’t remember exactly what that first spark of a story was. I do remember that it started with Frankenstein, and the extent to which we can create another human, and that this initial idea was a long long way from the eventual narrative of the book. I’m also pretty sure that it came to me during a service in St Patrick’s Cathedral in Melbourne, where I used to sing in the choir on Sundays. This dates it to the early part of 2011, probably a few weeks after the National Theatre had broadcast their double productions of Frankenstein starring Benedict Cumberbatch & Johnny Lee Miller.

But if that was the birth of the novel, it wasn’t really it’s beginning in any concrete sense. Sure, I played with the idea now and again, when I was feeling carsick or bored on the bus, but it was just fantasy really. (Then again, aren’t all stories?) It was just a story I told myself from time to time – albeit one that developed in my head with each retelling.

Back then, I didn’t think of myself as a novelist at all. I was a poet, and I had this feeling that if I wanted to remain a poet, I ought not to focus on anything else. I’d put myself in my little poetry box, and I think as much as anything, I was afraid to come out.

My Writing Life: February - Katie Hale, Cumbrian writer
WriteNow insight day with Penguin Random House

WriteNow:

Fast-forward to August 2016. I was in Oregon, having just finished an epic West Coast road trip with two friends. In about a week’s time, I would be making my way home, pretty certain that I didn’t have a job to come back to.

Up until the end of 2015, I’d been working two part-time jobs while trying to build my freelance writing work – adding up to around 8 days a week and requiring unsustainable energy levels. Towards the end of 2015, my freelance work was increasing, and it became clear that one of the part-time jobs had to go. Arts funding being what it is, by the time I left for the US, the other one looked on the verge of drying up as well.

In other words, I was panicking slightly and applying for everything.

That was when WriteNow landed in my inbox, flagged up by my editor at Flipped Eye, Jacob Sam-La Rose. WriteNow is a mentoring scheme run by Penguin Random House, for emerging writers from demographics facing barriers to traditional publishing. The first round offered 150 writers a place on one of 3 insight days, with author/agent/publisher panels, and a chance to have a section of your manuscript critiqued by a Penguin Random House editor. The second round offered a year’s mentoring.

The opportunity seemed to good to pass up. There was only one problem: they didn’t accept poetry.

So, two days before the application was due, I sat down and wrote the opening section of the novel. The following day, on the train down to my grandma’s, I wrote the rest of the application. I wasn’t sure whether or not it was any good. Could I write fiction? Who knew? I made a pact with myself: if I got a place on one of the insight days, I would write the rest of the novel.

I never even dreamed that I would make it all the way to the final group – but wonderfully, incredibly, that’s what happened.

I worked on the manuscript with Heinemann editor Tom Avery, whose guidance was invaluable in helping me to navigate the nuts and bolts of the story I was telling – and in giving me the confidence to start thinking of myself as a novelist as well as a poet. During the course of the year, I completed the first draft of the novel, and then another six subsequent drafts. It was also during this year that I signed with my agent: Lucy Luck, and Conville & Walsh.

writing life

Getting an Agent:

For a lot of people, this is the first barrier they face to getting their work published. So few publishers will accept unsolicited manuscripts (manuscripts not sent by an agent), that it’s quite rare for writers of fiction and non-fiction not to have an agent – though of course there are exceptions to every rule.

I was lucky. The WriteNow scheme meant that Tom put me in touch with a number of fantastic agents – one of whom was Lucy. She read my manuscript, liked my work, and agreed to take me on. From my end, it really was that simple – though of course I know that for many people it’s much more difficult than that. Like anything, it helps to be recommended by someone.

I may write a more detailed post at some point in the future about what an agent does for a writer, and why I’ve already found it hugely beneficial, but for now I’ll just say: signing with Lucy was the next step towards My Name is Monster becoming a real live book.

Proof pages of My Name is Monster, by Katie Hale

Acquisitions:

Again, I may go into this in more detail in a future post, but put simply, ‘acquisitions’ is when a publisher buys (or acquires) the right to publish your manuscript.

Because of WriteNow, Penguin Random House had first refusal on whether or not they wanted to publish. Eventually, after a lot of conversations, they decided against it, and so Lucy sent the manuscript out to other editors at other publishers.

After an agonising period of waiting, two publishers came back positive. I had conversations with both editors, and Lucy negotiated with both publishing houses on the offers made, until we had something we were happy with. I chose to sign with Canongate.

There are many reasons I went with Canongate in the end. One of these was financial (like any job, you have to think about the bottom line, and the advance from Canongate would buy me more time to work on a future novel). But it wasn’t the only reason. I really got on with Jo Dingley, my editor – another northerner, who I found I had a lot in common with. I liked the fact that Canongate were based in Edinburgh (much closer and easier to get to than London). I liked the fact that they were a smaller publisher, and independent, but still had enough presence in the publishing world. I liked the books they published – not only in terms of content, but also in terms of design. I liked the care they put into creating books that were also beautiful objects. On a slightly more frivolous note, I liked that they had an office dog.

My Name is Monster by Katie Hale - proof copy

Working with the publisher:

Understandably, a lot of people tend to think that, once a book has been acquired, that’s it. It’s been given the seal of approval and will be available in shops soon after. But that isn’t quite the case.

For me, the turnaround was relatively quick. The book comes out roughly a year after I signed with Canongate. Because of all the editing work through WriteNow, the manuscript was in pretty good shape at the point of signing. I think I only did one edit through with Jo (alright, maybe one and a half), followed by a number of proofreads.

And by ‘a number of proofreads’, I mean ‘absolutely loads of proofreads’. Proofs once the novel has been edited. Then more proofs following typsetting. Then more proofs once the ARC (Advance Reading Copy) is published. And then one final sweep after that.

Somewhere in amongst all that comes the beautiful moment when you see the first designs for the cover. Somewhere else in amongst all that come the terrifying first quotes from other writers, about what they thought of your book.

Most of this excitement came in fits and starts throughout the year. Gradually, though, it all starts to build towards…

Publication day

What happens on publication day? Well, this is the day that the book finally goes on sale in shops – although it is available to pre-order before then.

For me, I’m officially launching the book during the evening on publication day, at my local independent bookshop: Bookends in Carlisle.

My Name is Monster: Book Launch

Cakes and Ale Cafe, Carlisle
Thursday 6th June, 7.30pm
Tickets: £3 (includes £3 off the book)
Cumbrian author Katie Hale will join us in Cakes and Ale Cafe to launch her debut novel My Name Is Monster. She will discuss the story and her writing before taking questions and signing copies.
ORDER TICKETS HERE

And what happens after that? Well, I guess we’ll just have to wait and see.

If you follow me on Twitter, you might have noticed me posting photos of a sleek blue chapbook with a bold yellow title. This is my new pamphlet! Hurrah!

Assembly Instructions is published by Southword, after it won the Munster Fool for Poetry Chapbook Competition. It’s a slim & visually stylish volume (thanks, lovely Southword folks!) about how we put ourselves together, and the formative experiences that make us who we are.

AVAILABLE TO BUY HERE

Although it technically came out a couple of weeks ago (and is available on Amazon here, and will soon be available directly from Southword here), I’ve only just got my hands on them. 

This week, I was invited to Cork International Poetry Festival, to launch the pamphlet at a reading. I read in the Grand Parade library, at a free event alongside two other poets, also launching chapbooks: Brenda Spaight and Regina O’Mulveny. Sometimes, I feel as though pamphlets or chapbooks published by the same press, or discovered through the same competition, can have a sort of homogeneity to them – but it was a lovely event, with a really interesting combination of voices, each of which felt very different to each other. 

In fact, it was a lovely festival overall. I almost want to say that everyone should go and enjoy Cork International Poetry Festival – but then if everyone descended on it, it might lose some of that intimate feel that it currently has. Because although the festival is international (and very much so, pulling an impressive list of participants from Ireland, the U.K., the rest of Europe and beyond), it feels like a small, friendly community. A well-kept secret that everybody is sort of in on. During the three days that I was there, I met some lovely people, and discovered some incredible poetry. What a wonderful festival to be a part of! 

*

I was born in the morning

slithered out of the cut in my mother,
a thing no bigger than a bacon rind

and squalling. There was something
of the nymph about you
, she said later,

a dragonfly lifted too soon from the lake.
She watched my birth

in the sheet-metal ceiling,
her other self a storm cloud

brewing at dusk, a small fire
far too far from the beach.

When my mother unfurled her body,
her arms were scrubbed toufh

and she caught me. All through my life
she has rocked my reflection,

as we head for the unchartered deep.

*

‘I was born in the morning’ is taken from Assembly Instructions. It was first published as part of a group of poems shortlisted for the 2018 Manchester Poetry Prize.

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