Canary Island Novels - Coming Soon.

 

Miel de Palma from La Gomera

Unusually, I've been neglecting this blog. 

We had a small interruption from Storm Eowyn when we lost all power, including heating, for three chilly days, played a lot of Monopoly and Scrabble by candlelight but eventually had to take refuge in a hotel for one happy night. We stayed in a wonderful old hotel in Ayr called The Chestnuts, and I can recommend it if you're ever looking for somewhere to stay or just to eat. They were beyond welcoming - even putting an extra heater in the room to thaw us out. The bed was incredibly comfortable, the food was fabulous and the staff were kind and helpful. I wish we could have stayed on for a few more nights, but Scottish Power turned up and switched everything on again so we had to go home. 

Anyway, the knock on effect of that was a certain amount of delay with my latest project, which involves the first two novels in what I hope will be a trilogy of books set in the gorgeous Canary Isles, but especially on one of my favourite places of all time - La Gomera. 

There is a long and complicated story to these Canary Island novels, which I'll write about in a later post. We had a couple of blissful winters there when my husband was working as a yacht charter skipper. I've spent the past few months editing the first two books in the series. And then editing them again. And again. Ever more reluctant to let them go.

Essentially, it's the story of a cross-cultural relationship and I suppose one of the other inspirations behind it was my parents' own long and loving marriage. Mum was from a working class Leeds Irish family. Dad was a refugee from an aristocratic landowning Polish family. They met at the dancing in Leeds. And they never ever stopped loving each other. 

Much later, when I wanted to write about this kind of relationship, albeit in quite a different setting, I started on these books. It was a rocky road and it has taken years and several incarnations including a radio play.  Latterly, I think I just couldn't bear to leave the people and the setting, so because I too want to know what happens next, there will have to be a third novel.

In many ways it's a simple love story - but with inevitable complications. 

Anyway, now that the files are off to the designer, they'll be coming out soon as eBooks and paperbacks: Hera's Orchard and Bitter Oranges. Watch this space for more about them.

Good friends have just come back from La Gomera, and they brought us a bottle of Miel de Palma - palm honey, which is a sweet syrup produced from the sap of palm trees - and delicious. A very fitting taste of the island where we spent some of the happiest times of our life and where - in some alternate universe - we might still be living. 

 

An Unexpected Use for AI

 

Image, courtesy of hotpot.ai/art-generator 

 He's rather nice, isn't he? 

I have to admit, up front, that I'm not a big fan of AI. I never use it for writing (I can do that all by myself.), I don't like the way it harvests the work of genuine creatives, and I keep seeing these appalling AI images drifting past my eyes on social media, most of them ridiculous or inaccurate or both. 

My book covers so far - the ones I source myself - are supplied by my artist husband, Alan Lees, my own collection of very old photographs, or more recently, some spectacularly beautiful photographs by our friend Michal Piasecki  licenced only for this single use. The cover designs are made from these images by Lumphanan Press who also format the books for me.

But here's a thing. Like many writers, when I'm working on a book, whether it's fiction or non-fiction, I do like to surround myself with images of all kinds. They can be photographs, postcards, paintings, landscapes, houses, maps, and characters that reflect whoever or whatever I'm writing about - a whole miscellany of images that will never appear in the book as themselves, but will feed into the inspiration behind it. It's one of the pleasures of creating. My work-space becomes a kind of mega mood board. 

I do the same thing on Pinterest as well, making a board for each project. 

My latest project is going to be a trilogy. I've written two books in the series, and hope to publish them either before Christmas, or soon after: Hera's Orchard and Bitter Oranges. I'll be tackling the third in 2025. The books are set mostly on the Canary Isles, and they are about the challenges and joys of a cross cultural relationship. 

I'm going back to an old project here that has had several incarnations, including a radio play, a short story, and a novel that was so skewed by my then publisher that it bore only a faint resemblance to the book I had written. 'You wrote a sensitive exploration of a marriage and we turned it into a beach bonk buster' said my editor, regretfully, many years later. She wasn't wrong. What I really wanted to do was get back to my original idea, and see where it took me.

I wrote the first book, published it briefly on Amazon as Orange Blossoms, unpublished it quite quickly, because I wasn't happy with it, and then revised it drastically, while working flat out on the sequel. It has taken a while, but I'm finalising edits of both books. 

My husband used to be a charter yacht skipper, so we spent a couple of winters in the Canaries, aboard a 50 foot catamaran. It was probably where my love of all things Spanish began. I'm looking at some of my old photographs as I type this, as well as maps, and a little heap of reference books. 

So - where does AI come in? Well, in an idle moment, last night, I found a site called hotpot.ai, and even more idly typed into the little box the simple line  'handsome Spanish man sitting under an orange tree.' Within a couple of seconds, the site had generated the picture at the top of this post. I was surprised. I mean, not only is he handsome, but he genuinely looks Spanish. (Where was this 'harvested' from, I wonder?) The oranges are a bit OTT  in the way of so much AI, but for a book called Hera's Orchard in which the oranges themselves take on a kind of magical quality, it's fine by me.

Today, I had another go, because my 'hero' for want of a better word, plays the guitar. But it has to be a Spanish guitar. And so it is. Not sure about the beard, but it's still a pretty good image. 

As I say, I won't be using this in any commercial sense. My husband has already supplied me with three lovely cover images. But many writers like to play about with visual images as additional sources of inspiration ...  which these are. Thanks, hotpot!

Guitarrista - hotpot.ai/art-generator

Writing About the Canary Isles: A Handsome People.

Teide in the snow.

There has been a small gap in my Canary Island Winter posts, mainly because I've been so busy with the first in my Canary Island trilogy of novels - Orange Blossom Love - that I've had very little time for blogging. The result has been that I've been neglecting Wordarts a bit in favour of my regular Authors Electric blog post (on the 18th of every month) although I'll sometimes reblog it on here if I think it deserves a second outing.

Writing about the Canary Isles has brought the place back to me with almost heartrending immediacy. I want to be there right now although it doesn't look as though that will be possible for a little while at least.  Luis, my hero in the novel, is a 'Gomero' born and bred, fiercely proud of his heritage, a guitarist and a chef. A slightly quirky combination, I know, but that's the way he turned out and whom am I to challenge him? Every writer knows that there is a stage in any novel when a character decides to be what he or she wants to be and there will be little you can do to change it. It's one reason why writers react so badly to other people saying 'can't you make him do this or that?' Many of us don't feel as if we're 'making' anyone do anything. We can shape the story, of course, change the structure, polish and prune and even change what happens, but there's a sense in which the characters make themselves, and that's an uncanny feeling. So, Luis is who he is. And good looking with it.

Earlier this year, when I was in the middle of doing some additional research for this trilogy, I discovered two fat volumes about the Canaries written by one Olivia M Stone, an Englishwoman who had visited the islands back in 1884. This was wholly thanks to Amazon. I didn't know about these books at all. A Canarian academic friend, who had helped me with the translation of some traditional poems, confessed that she didn't know about them either, but then they had been written in English, published in England in 1887 and had long been out of print. The re-emergence of facsimile editions on Amazon was only very recent. I typed 'Canary Islands History' into Amazon and these two volumes instantly popped up, with a long, engaging and informative review by a previous reader. I ordered them and was enchanted by them. Olivia had obviously fallen in love with the Canaries too.

Back when we were living there for that short time, it had struck me what good looking people the locals were. Olivia thought so too. She found the men handsome, especially their guide, the divine Lorenzo, and was not afraid to say as much. Even though she seems to have been a happily married woman, accompanied by her photographer husband, she was also quite a young woman and her obvious appreciation of a handsome and mildly flirtatious man seems curiously modern. She also noted several times that the island girls too were unselfconciously beautiful.

All of this is still true. Spaniards are a handsome people, but there is a fair mixture of the DNA of the original inhabitants of these islands - as recent tests have proved - especially on La Gomera. This isn't too surprising. Historians used to posit the idea that the Spanish invaders had massacred all the original inhabitants, but wholesale genocide is (mercifully) rare. Youth, life, sexual attraction tends to have its way. Like the early Scandinavian invaders of Scotland and Northern England, it seems as though those Spanish invaders - as well as shedding a lot of blood - did a lot of what we had better call intermarrying, although initially at any rate I doubt if it was as benevolent as that term suggests. But these were young Spanish settlers on a fertile land with a kindly climate and the surviving Guanche women were a handsome people of Berber ancestry. And sooner or later, men grow tired of war. The DNA evidence suggests that a great many of those incoming Spaniards must have taken Guanche wives, settled down and raised families, becoming Canary Islanders themselves.

This seems to have resulted in a happy combination in more ways than one. The Canarians are still a handsome, sunny natured people. It's as though the fierce energy of the incomers - but one which could all too easily tip over into cruelty - was tempered by the more peaceful qualities of the indigenous people. This is to oversimplify, of course. The Guanches were as capable of brutality in a brutal age as their conquerers. But it doesn't seem to have been their natural inclination. Whatever the truth of it, it does seem as though a partiality for artistry, cultivation, music, courtesy, peacefulness and a natural appreciation of beauty have to a large extent prevailed on these islands so that the old perception of them as 'blest' - as the garden of the Gods - is not too far from the truth.

www.wordarts.co.uk

List Making for Beginners: How To Organize Your Writing Life

I'm taking a little break this week from my Canary Isles Odyssey, mainly because I'm so obsessed with my Canary Isles novel, Orange Blossom Love, that I can't find creative space for very much else. Instead, I'm going to be writing about another obsession: lists. A recent excellent blog post by Laura Resnick all about the writing process and how we work as individuals (I can recommend it, especially if you've ever found yourself not so much 'blocked' as 'stuck') mentioned her liking for lists and I immediately thought 'that's me, too!'

I'm a compulsive list maker. A few years ago, I had a conversation with my lovely laid back sister-in-law, in which she mentioned, quite casually, that she 'never ever made lists.' It was my own response to this that fascinated me. I imagined doing without lists and instantly felt queasy. Then I felt a spasm of envy. Wouldn't it be nice, I thought, to be free from the tyranny of the list?  So I tried. I really did. I went cold turkey, tore up my lists. (Sneakily left them on my PC though, just in case.) I lasted about five days. Then panic set in. Just one little list, I thought. But you know how it is? One thing led to another and soon I was hooked, back in full list making mode again.

I sometimes go away for a few days and deliberately leave my lists behind. It's very liberating and I enjoy the break but I can only do it for so long and in specific places. My beloved Isle of Gigha is a pretty good place for doing without lists, a place where mañana is a concept with altogether too much urgency about it. But once I get home, I'm back on them again.

Gigha: a good place for doing without lists.

On the other hand, list making may be a virtue rather than a vice. I'm so reliant on mine that I'm phased by people who - in a professional situation - seem to forget to do the urgent things while concentrating on the unimportant. Don't they ever make lists? Don't they know about organizing and prioritizing? Well, perhaps not. So in case you're a list making novice, and especially if you're a writer and a list making novice, let me give you a few tips from the depths (and believe me they are very deep) of my own experience.

One of our big problems as writers is that we often have an embarrassment of ideas, but don't know which to choose. Or we have said 'yes' to too many proposals and don't know which to work on first. Or we simply have too much to do and find ourselves trying to do everything at once, in a panic. We need to prioritize and the easiest way to do that is by means of a list. Or several lists. Ongoing, organic lists where nothing is fixed. And the easiest way to manage this is on your PC, because you can shift things around. Although I'm a compulsive printer-outer as well. I like to see my lists on paper! You should take a conscious decision to divide your lists into at least two kinds: work and life. If you try to amalgamate the two it will all go pear shaped. Writers love displacement activity and including 'mow the lawn' or (in my case, at the moment) 'sort out the flower pot mountain at the bottom of the garden' on the work list is inadvisable. Work lists are just that - professional projects which involve your business. And if nothing else, the list habit might encourage us all to be more businesslike.

First and foremost, I have a Mega List of planned projects. This includes all kinds of proposals and ideas, everything I may or may not be working on over the next few years, everything from the novel I'm working on right now to the tenuous ideas that intrigue me but may come to nothing. This is a long but fairly uncomplicated list, by the way. I keep detailed notes for each project, not just on the computer but in folders too. I'm paranoid that way. At the moment, my Mega List consists of brief descriptions of fiction, long and short, with one or two non-fiction projects. If I've promised an article to somebody, it might be on there too, but not blog posts like this one. They belong on a different list altogether. I revise the Mega List often and I use it mainly to prioritize but also to sort out my own thoughts about the work. The projects at the top of the list are what I'm working on right now. And they are important to me. The projects at the bottom of the list are interesting but non urgent. I may never work on them, and some of them will almost certainly fall right off the end but that's fine. If I grow bored with an idea, I shouldn't be working on it anyway. Also, outside factors will influence this list. If I find that I have a potential project which is pretty high on my list, and has suddenly become flavour of the year for reasons beyond my control, I can push it up the list. If I'm reluctant to do it, then that tells me something about my own commitment, so I'll think again. I will often add projected dates, but I do try to be realistic. And often - especially at the top of the list - there will be projects which I know will run in parallel with each other so this list will allow me to allocate time to each and to see where I'm overstretching myself. Most of all, this list allows me to focus, set some things aside but remember them and think about them from time to time. And sometimes, for no particular reason other than my own preoccupations, a project will leap over everything else and find itself at the top of the list.

Next is my Things to Do This Week list. 'This week' is a little ambitious, I'll admit. 'This month' would be a better title. This is also a work list, and again the trick is to be realistic in what you can achieve. (I give myself some very good advice but I don't always follow it!) And once more, you need to prioritize. At the top of mine, right now, is 'Short story proofs to be read and sent back' as well as 'Orange Blossom Love, onscreen revisions.' Everything else, including 'For God's sake do your tax returns' can be shuffled down the list a bit, because my accountant has gone on holiday for a few weeks. But he'll be back by the 21st July, so 'You have really GOT to do your tax returns' will probably be top of the list by the end of next week, and I'll bite the bullet and do them.

Finally, for work, I have a Today list and that really is all the things I need to do today in order of priority, including meetings, phonecalls etc. I sometimes allow other things to intrude on this list, but only if they're genuinely urgent and even then I always try to prioritize the work above the household tasks.

Because I sometimes sell antique textiles on eBay to help the budget along, I have an occasional 'Listings list' but the more I self publish, the less I trade on eBay and this is a fairly simple affair. Come October, though, when people turn to eBay for their linen tablecloths for the Thanksgiving or Christmas holiday seasons, as well as quirky gift items, it might grow longer and more complicated.

Besides these, I have a House list and a Garden list and a Shopping list. (I told you, I'm compulsive) The House list involves all the biggish jobs that need doing. This changes - sometimes it's in order of urgency and sometimes, like now, when I'm having a bit of a clear-out, it lists jobs from room to room. It's a very static list! The Garden list is always in order of priority. And yes, sorting out the pot mountain at the bottom of the garden is definitely top of that list. So is the weeding. But even with the weeds it's quite a pretty garden, so the garden list can run and run and run, like the bindweed.

The garden manages quite well on its own!

Recently, I introduced another list. Ever since I started self publishing, I've been uneasily aware that I should be wearing two hats: my publishing hat and my writing hat. My Mega List is a writing list. But this second big list is a sort of Promotion and Publicity list and at the moment, it's in the form of a dialogue with myself. What exactly do I write? What do I want out of the business? What do I want to work on right now? Can I market everything at once? (NO) What's the solution? This has turned out to be the most useful list of all. I don't know where the answers to those questions are coming from, but they have helped me to organize the publishing and promotion side of my business, balancing it with the need to spend the majority of my time on the writing. And it has influenced my Mega List in all kinds of unforeseen but useful ways.

Now it may sound as though I spend all my time writing lists, but I don't. Honestly! Once you've set this up, it only takes a few minutes each day (or the night before) to adjust the To Do Today list, while the Mega List and the Promotion List are only revised once a week - if that. Once a month would probably be enough.

The benefits are considerable - but only if you like lists! You don't forget urgent things. You consciously send non-urgent things to the bottom of the list and stop pretending you have to do them now and using them as displacement activity. You can clarify things in your own mind and get on with what you need to do first. Best of all, you can tick things off!

I do have a small confession to make. I have been known to write things on the list after I've done them, just so that I can have the satisfaction of marking them as done. But I suspect I'm not alone.

So go on, are you a list maker or not? If you are, what's your system? I'd love to know. Why not post a few of your own ideas below!

Canary Island Winters - Part Five: Harbour Life

Spinning Jenny of Lune

When you're lying at anchor in a busy harbour for any length of time, you make friends with a great many people and a regular sense of community begins to grow. Los Cristianos was no exception. We met all kinds of interesting people during that winter in the Canaries, from those who were on their way around the world in impossibly small craft to early retirees who had decided to fulfill the dreams of a lifetime by wintering aboard their boats in the sun.

All these years later, there are people we still remember and talk about. Bob and Mary Mason had a beautiful yacht called Spinning Jenny of Lune. She was built of concrete (yes - it is possible!) with a pretty little tender called Mule - naturally. Bob had retired early from his own business, built a boat and with Mary had headed south. We were rafted up alongside them for quite a while, for companionship and security and we got to know them very well and like them very much. In fact we still count them as friends.

Beautiful Mule

We were all afraid of cockroaches and with good reason. Once you get cockroaches aboard a yacht, they're very difficult indeed to get rid of and there are plenty of them in the Canaries: big, brown cockroaches. I hated them with a passion. On one memorable occasion, Alan took a party of charterers ashore at the big port of Santa Cruz. landing them at the fish quay, which was the most convenient place for putting them ashore at the time. They were very smart people and they had dressed up for a night out on the town, the women in lovely strappy sandals. As they walked across the hard standing, one of the women remarked that the gravel underfoot was quite uncomfortable to walk on. 'I didn't like to tell her,' said Alan afterwards, 'that the crunching underfoot wasn't gravel at all. There was no gravel. It was a carpet of cockroaches.'

One day, Bob and Mary decided that it would make sense to buy a whole stalk of bananas to last them some time, so we went ashore with them, drove to a plantation, wrestled an enormously heavy and cumbersome stalk of semi-ripe bananas aboard the dinghy and ferried it back to Spinning Jenny. It weighed a ton and took four of us to haul it on board. Then, a day or two later, somebody told Bob and Mary that the banana plantations were infested with cockroaches and that they laid their eggs among the bananas. Thoroughly alarmed, they decided that they would have to wash all their bananas. If you wash them, they ripen in double quick time. For some weeks, whenever we visited Spinning Jenny, we weren't allowed to leave without eating one or two bananas. Mary discovered new and exciting ways of cooking them: bananas fried in rum and brown sugar were a particular favourite. Although after a while, even those began to pall a bit.

Bob and Mary and a whole lot of bananas

Then, there was handsome Mirek who owned a classy sandwich bar (back when such things were new and exciting) in central Glasgow and one of the classiest yachts in the harbour to go with it - a sleek and elegant Amel, made in France with everything about it just perfect. I must confess I'm a bit of a fair weather sailor, but even I could see that it was something really special. Mirek was a lovely guy but terrified of rats and cockroaches invading his beautiful boat. With good reason.

Rats are as ubiquitous as cockroaches, especially in the bigger harbours. Sometimes you would see them peering out at you from holes in the wooden piles as you sailed in. Alan would cut plastic water or lemonade bottles in half, crossways, and slide them along the mooring ropes so that the rats couldn't scurry along them once you were tied up. One day, Mirek returned to his gorgeous Amel to find little ratty footprints crossing his pristine pillowcases. He turned the whole boat upside down looking for it, but it had been a temporary visitor and he never saw or heard it again. It didn't help his stress levels though. For some nights he would lie awake, listening for sinister rustling. 

We met another couple, a property developer and his wife. She had answered his (perfectly genuine) advert for a cook, fallen in love with her boss and married him. They had a beautiful yacht, much bigger even than Simba, bigger than your average house. One day, he remarked to Alan that he was considering buying some property in Tenerife. Alan thought he meant an apartment, but it turned out that he meant a whole village. They were, however, as sociable as all harbour dwellers at that time and in that place. They had a new baby and an elderly parrot, who would walk about the saloon and every so often, tweak up the skirts of women visitors to peer underneath. The bird always seemed faintly irritated by what he found there. Not quite sure what he was looking for, but much later on, I put him in a novel! (The Physic Garden)

During that winter, we had many evenings where everyone would gather on one boat and contribute a course and a bottle of wine to what was generally a very hilarious meal. We still have happy memories of rowing across Los Cristianos Bay in a dinghy, well, Alan would be rowing (since we were aware that we were going to be drinking rather a lot of alcohol, we wouldn't take the outboard) and I would be clutching a large and wobbly trifle or something similar. Returning to Simba was even more of an adventure since Canary nights are warm but very dark, Alan would, of course, be rowing backwards and I would be peering into the gloom, trying to find our anchor lights in the distance.

Running Bear

We would invariably sing as we rowed. It was always Running Bear. With its 'Oompa Ugga' chorus. I still can't hear it now without smiling. 

Falling In Love (All Over) Again - Reblogged from Authors Electric

I'm reblogging my recent post on Authors Electric here today. Incidentally, if you haven't been to Authors Electric before, do have a look. You'll find a miscellany of interesting posts - a new one every day - by 29 independent and independently published writers including myself. Some of us have been traditionally published as well - some of us still are which I suppose makes us 'hybrid' writers, to use the current buzz word - while some have elected to go wholly indie. We're none of us too keen on labels, but our group includes genre, literary and mid-list writers (sometimes all within the same versatile person!)  award winning writers of all kinds, poets and playwrights, novelists and storytellers and non fiction writers. Many of us have held Royal Literary Fund fellowships or have been involved with teaching creative writing. Most but not all of us are UK based. What we have in common is experience and professionalism, coupled with an enthusiasm for writing and for our lovely readers. 

The post below will be the first in a whole season of Canary Isle themed posts here on my own Wordarts blog, because I'm working on a major new project, a trilogy of novels set largely in the Canaries and loosely based on an old back-list title, but substantially different from that early novel. There's also an interesting back story to all this, the inspiration behind it, and it struck me that it might be nice to tell it here, on my blog as I prepare the new novels for publication. 

When I first started this project, I thought it would involve typing up the manuscript, revising as I went along, but it soon became obvious that it needed much more than that. Major changes were in order. The book was originally bought by a medium sized publisher a long time ago. I think the central story is fine, but I’ve matured as a writer. Just as well, really. When I reread it before starting work on it, my chief emotion was a sort of horrified embarrassment and NOT, I might add, embarrassment at the significantly erotic content. It was more a question of writing technique and not the other sort. What, I kept wondering, was I thinking about? More to the point, what was my editor thinking about?

Happy days on board  'Big Cat' Simba

When I look at the novel now, I can see so many elements of it which need work, not least a confused and confusing perception of point of view. It began as a tale told from a limited third person point of view.It’s a story about Margaret Sinclair, in her thirties, newly divorced, shy, rather innocent and a little depressed. Desperate to get away from Scotland, she secures a job in property sales on the Canarian island of Tenerife. My editor at the time suggested that we also needed to see things from the perspective of the other main character, a Canarian called Luis. She may have been right about that (I'm still thinking about it) because (a) this is a story about a cross cultural relationship and we need to know what is going on in the head of the other half and (b) musician Luis comes from the small island of La Gomera which is central to the story, so his background is both interesting and important to the plot. 

Back then, and although feedback after publication was good, I don’t think I did it very well. To be fair, it isn’t easy. It’s the kind of thing I wrestled with in The Amber Heart where sometimes we needed to be with Maryanna and sometimes with Piotro, but not both at the same time. I think, eventually, I got it right in that novel, moving between the two without too many clunky changes, but learning how to handle it was a steep and very long learning curve. Now I need to go back to my Canary Isles novel with all the benefit of experience.

I reckon I also didn’t do it very well because we were in something of a hurry. If the novel had been published by the (old, distinguished) publisher who bought it, there might well have been a modicum of nurturing. But because the publisher was immediately bought over by a major corporation, it was published differently and with a garish cover. The novel was and will remain a sexy read. I don’t think there’s anything wrong with that, but it was a bit OTT, a bit too ‘80s’ – like the cover - in no good way. And why did I spend so much of it telling the reader what people said instead of having them actually say it? Beats me!

A close friend, a whole generation older than I am, has said to me that the central story is still good and vividly filmic. I hope she’s right. But I knew immediately I started working on it that it needed to be retold. There’s another thing about it: I can remember a phone call from the girl who was involved with publicity when it was first published. ‘I fell in love with Luis,’ she confided. ‘I mean really fell in love with Luis. I’ve never ever felt like that about a fictional hero before.’ Clearly I’d got something right then.

So what am I doing now?

Apart from listening to/watching this, on a loop, (OK, OK, I'll admit it, my hero was that young Banderas) I’m wrestling with point of view, and making it work, making it better.
I'm writing a lot more dialogue.
I’m working on the sexy bits, making them better. (This is a lot of fun, have to admit.)

Above all, I’m turning the basic story into three new and quite different novels, which involves a lot of extra writing, as well as drastic changes: The Golden Apple, (which was my old title because the one thing I really like about it is the title), Orange Blossom Love and a third novel called Hera’s Orchard. I’m planning to publish the first one in June, the second in the autumn some time and the third at Christmas, if I apply myself.

I’m also falling in love with my hero all over again. It’s a strange thing this writing love stories. You have to be a little bit in love with your characters, warts and all, to be able write about them. It doesn’t just apply to love stories either. When I was writing The Physic Garden, I had to crawl inside William Lang’s head and stay there for a very long time. I was passionate about William, emotional about him, even though The Physic Garden is a story about friendship and betrayal and by no means a romance. I felt for him in my heart as well as my head. But Luis was a dimly remembered affair and I had to rediscover him, find out what it was I liked about him all those years ago, find out what it was about him that made that young publicist fall in love with him so comprehensively.

It has been a surprisingly slow process. There's a part of me still hankering after Joe and Helen from Ice Dancing, to the extent that I know there’s a sequel to that novel kicking around somewhere in my imagination. And some part of my head is still back there with William Lang in 1800s Glasgow, in the physic garden of the old college of Glasgow University.

But I’m getting there. Luis is undeniably attractive. That's why Margaret falls for him against all her cautious instincts. He plays the guitar and sings. He’s impulsive, sensuous, fiercely proud and when all’s said and done, a wee bit too tempestuous for poor Margaret’s comfort. You know what? When I went back to this story, I felt the same way. Like when you meet an old boyfriend and wonder what you ever saw in him.

Sitting on board in the sun, writing. 

When I first drafted the story – like Kathleen Turner in The Jewel of the Nile - I was sitting on board a boat in the sun, writing, and I was madly in love with the Canary Isles myself. I'll tell you a bit more about that time in the coming weeks and months. The new Golden Apple is a story full of life and sunshine and music and that’s kind of what I need right now. I always liked Margaret, quiet, sweet, sensible, put-upon Margaret, with her hidden depths. Now I’m getting to know Luis all over again. Falling a little bit in love again. I think. I hope. Finding out a lot more about him. 

Or as one of the traditional Canary Island poems which run through the novel would have it: 
‘I love you because I love you.
Nobody tells me what to do with my love.
I love you because I feel it
deep in my heart.'