I’ve put the novel away for a short while. This has partly
been enforced because I’ve had edits to do for The House on Schellberg Street and a heap of marking as part of the
day job. Actually, though, this has been somewhat of an advantage. It’s given
me some distance. Also, some of the issues that have cropped up there are also relevant
here.
Who is the reader?
I’m concentrating now on getting this right for the specific
readers. For this particular text the reader is quite difficult to define.
·
Is it someone who has read The House on Schellberg Street? Possibly, though that is a arguably
a text for younger teen girls. Certainly, younger teens could read Clara’s Story if they’ve read The House on Schellberg Street.
·
Is it for a Transita reader? This is quite likely
– except sadly, Transita no longer exists. This may be because middle aged
women don’t like reading about middle-aged women. Possibly nobody does. Clara
is right at the end of middle-age when her story really begins.
·
Is it for history-lovers? Or more precisely herstory-lovers?
Almost certainly. It is after all, a biography, though written using fiction
techniques. Her story has to be told, sad as it is, because she was such an
extraordinary woman.
In the end, I guess, it’s just a matter of making it as
engaging as I can. Thankfully, she is becoming more real. That has to be good.
The Schellberg Cycle
Working with an editor on The House on Schellberg Street has made me realise that I do in
fact have another books to write. So, my sabbatical has led to a collection of five
texts. I’d like to name this The
Schellberg Cycle. The books can actually be read in any order. Three are
for younger readers and two for adults though as long as someone has started with
something for the right age, all others can be read. So we have:
·
The House on Schellberg Street
·
Clara’s Story
·
The BDM girl ( working title only)
·
The Woman Who Nearly Shot Hitler
·
The Class Letter
Quite exciting, really.
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