‘The Lost Valley’

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1.1 The Lost Valley E-Book Cover NO LOGO

The Lost Valley – COMING SOON!

I can finally reveal the beautiful cover for my new novel, The Lost Valley, out August 27th. It follows the lives and loves of the Abbott family, introduced in my last book, Fortune’s Son. The Lost Valley is a sweeping saga of ambition, betrayal and dangerous love.

Tasmania, 1929: Ten-year-old-twins, Tom and Harry Abbott, are orphaned by a tragedy that shocks Hobart society. They find sanctuary with their reclusive grandmother, growing up in the remote and rugged Binburra ranges – a place where kind-hearted Tom discovers a love of the wild, Harry nurses a growing resentment towards his brother and where the mountains hold secrets that will transform both their lives.

The chaos of World War II divides the brothers, and their passion for two very different women fuels a deadly rivalry. Can Tom and Harry survive to heal their rift? And what will happen when Binburra finally reveals its astonishing secrets?

From Tasmania’s highlands to the Battle of Britain, and all the way to the golden age of Hollywood, The Lost Valley is a lush family saga about two brothers whose fates are entwined with the land and the women they love.

Fortune’s Son

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I am thrilled to announce that a new edition of Fortune’s Son will soon be available for overseas readers. As a bonus, it sports a gorgeous new cover!

Can one man’s revenge become his redemption?

Young Luke Tyler has everything going for him: brains, looks and a larrikin charm that turns heads. The future looks bright, until he defends his sister from the powerful Sir Henry Abbot. His reward is fifteen years hard labour on a prison farm in Tasmania’s remote highlands.

Luke escapes, finding sanctuary with a local philanthropist and starting a forbidden relationship with his daughter, Belle. But when Luke is betrayed, he must flee or be hanged.

With all seeming lost, Luke sails to South Africa to start afresh. Yet he remains haunted by the past, and by Belle, the woman he can’t forget. When he returns to seek revenge and reclaim his life, his actions will have shattering consequences – for the innocent as well as the guilty.

Set against a backdrop of wild Tasmania, Australian gold and African diamonds, Fortune’s Son is an epic story of betrayal, love and one man’s struggle to triumph over adversity and find his way home.

PRAISE FOR JENNIFER SCOULLAR

‘Lovely lyrical prose. Scoullar, it turns out, is a writer of documentary calibre.’
The Australian

‘An excellent read!’ Newcastle Herald

‘Superb! … Scoullar’s writing has a rich complexity. Poetic and visual … the landscape vivid and alive.’ Reading, Writing and Riesling

Winners Of ‘The Lost Valley’ Giveaway Draw!

I’m pleased to announce the winners of the random draw for ARC copies of The Lost Valley (Book 2 of the Tasmanian Tales trilogy) Drum roll please! Congratulations to:-


Julie Winston
Rachel Crossley
Steve Llewellyn
Jenny Evans
Veronica @ The Burgeoning Bookshelf
Christine Nehemiah
Charlotte Creeley
Kel Spence
Annie Pink Shoes
Clair Holderness

I’ll be emailing you all soon for your postal addresses. If you are outside Australia, I’ll send you a Book Funnel link which allows you to download the eBook onto any device.

Please be aware that these ARCs (advanced reader copies) have not undergone a final proofread, and may contain minor errors not present in the final published version.

Thanks for entering and happy reading!

 

 

 

For The Love Of Historical Fiction – Plus a Giveaway!

I’m an eclectic reader who enjoys a wide variety of genres: romance, suspense, literary fiction, crime – although I do draw the line at horror. The first Stephen King novel I attempted scared me witless! But among the genres, historical fiction is one of my absolute favourites.

From Jean M. Auel’s The Clan Of The Cave Bear to Hilary Mantel’s Wolf Hall — I love them all. It’s intriguing to contemplate life without modern conventions and conveniences. Without advanced science and medicine. Without the women’s movement, workers unions and children’s welfare laws. Without the general understanding that poverty can drive good people to do bad things. Living in the past involved hardships and injustice that we can barely imagine.

But what about the advantages of living in the past? Village life offered a powerful sense of community, with strong family ties. Children played outside instead of watching screens all day. People lived closer to nature, and died in their own beds surrounded by loved ones, instead of in hospitals surrounded by tubes and machines.

History books tell us what happened, but novels give us a sense of the how and why. They draw us into the inner lives of people across time and place — inviting us to imagine their untold stories. The best historical fiction also reminds us of the mistakes of our past, so we can avoid repeating them.

They say history is written by the winners. In my historical novels Fortune’s Son and its sequel The Lost Valley, I wanted to write a fresh version of history, giving a voice to the outsiders, including the animals teetering on the extinction precipice.

The books follow the trials and tribulations of the Abbott family from the 1880’s to post World War 2 Tasmania. But they also tell the story of the last Tasmanian tigers (thylacines) soon to disappear from the Earth after a twenty-five-million-year reign. Apart from a little gem, Coorinna, written in 1953, there is no historical fiction concerning the thylacine. It’s time to fill the gap

To celebrate the upcoming release of The Lost Valley I’m giving away five Advance Reader Copies (Aust addresses only) and five eBooks (overseas readers). To enter, just comment below naming one of your favourite historical novels. Good luck! (drawn 02/09/2018)  

 

Building A Launch Team – The Lost Valley

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The Lost Valley

Gone are the days when authors could simply write books and then rely on their publishers for marketing and publicity. To be frank, this has pretty much been my default setting. But it’s now best practice for authors to take control of their publishing journey, and an important first step is to build a launch team – so here goes!

A launch team consists of a select group of fans and supporters, who will help build some buzz around a new title. The main way they can help is by writing reviews, particularly on Amazon. Nothing boosts a book’s chances like having a solid number of online reviews shortly after its release. This can be achieved by letting people read your book early. For many readers, it’s a cool perk to be the first ones in the know. They get to give early feedback. They get to tell their friends, “I’m reading a great book that isn’t yet available to the public.” That’s the plan, anyway.

So in light of this, I’m enlisting interested people to join my marketing team by giving away digital advanced readers’ copies of my upcoming release. The Lost Valley is Book 2 in my Tasmanian Tales trilogy, that began last year with the publication of Fortune’s Son. The trilogy tracks the lives and loves of the Abbott family, from the late 1800’s to present day. The final book, The Memory Tree will be released next year.

Fortune’s Son

Billed as a Tasmanian East Of Eden, The Lost Valley follows the trials and tribulations of Tom and Harry Abbott, grandsons of Isabelle Abbott, whose story is told in Fortune’s Son. The Lost Valley is now available for preorder and will be released on 27th August (eBooks release on the 20th August). However I’ll provide an early digital copy for those of you interested in joining my launch team. Members will review and/or rate The Lost Valley online when it’s officially released. I’d also appreciate early feedback either by email or by joining my Facebook launch group. Simply leave a reply below, and I’ll send you the download link. Included is a free eBook giveaway of Fortune’s Son for those yet to read it. I’m looking forward to hearing from you!

 

Rewilding Our Homes and Hearts

When I was a child I lived in suburban Melbourne. Our house backed onto a railway line, and I could tell the time by the trains. Our back gate opened onto a broad, shady laneway and wild paddocks lay between it and the tracks. A canal, where I wasn’t supposed to play, flowed past the end of the lane.

emperor-gum-caterpillarThat was decades ago now, and the overgrown paddocks and canal are long gone. Yet I still recall each detail of that special world. Waiting for the spotty, stone-coloured eggs of the purple swamp hens to hatch. Collecting handsome emperor gum caterpillars, resplendent in emerald coats and bright red standards. Raising them on leafy sprigs kept in jars of water until they spun cocoons and emerged as moths as large as my hand. Stalking the handsome water skinks, which when startled, would spring into the water and swim away with sinuous grace. I knew some of them by name, telling them apart by a distinctive stripe here, or a missing toe there. The heartfelt connection I formed with the natural world has lasted me a lifetime. It caused me to seek out wild places, and for the last thirty years I’ve lived on a hilltop overlooking the beautiful Bunyip State forest.

As a keen amateur naturalist, I’m fascinated by the notion of rewilding – restoring flora and fauna to their historical range. The theory has gained popularity after conservation success stories such as bringing wolves back to Yellowstone National Park and the large-scale return of Europe’s apex predators like lynx, bears and wolverines.

Zealandia Sanctuary

Zealandia Sanctuary

New Zealand provides a shining example. It is restoring Wellington’s former water catchment to forest. The sanctuary known as Zealandia, is an ecological island in the centre of the city, and home to some of the country’s rarest species. Now an important tourist attraction, it’s responsible for increased sightings of birds like tui and the endangered kaka in surrounding suburbs.

Australia is beginning to embrace rewilding. Quolls, bilbies, bandicoots and bettongs are being returned to parts of their natural range. Plans are afoot to bring Tasmanian devils back to the mainland after a four-hundred-year absence. Many ecologists advocate reintroducing dingoes to control introduced pests like rabbits, cats and foxes – a concept I explore in my new novel, Journey’s End.

Yet rewilding isn’t restricted to sexy, large-scale conservation efforts. We can all play our part. Rewilding Australia founder, Rob Brewster, says ‘It’s about filling those vacant rock crevices, and hollow logs with the marsupials that evolved over millions of years to fill these niches. It’s about acknowledging that the world should be a wilder place – and that humankind merely shares a spot in this wild world!’

wildscapes_008And it can start in our own backyard. Wildscaping is the new gardening buzzword for mingling layers of native trees, shrubs and ground cover. Throw in a pond, a rock wall and a nesting box or two. This provides shelter and foraging areas for species that prefer different heights and micro-habitats. Then sit back and watch the garden come to life. Even pots of natives on a balcony provide vital habitat. Nature wins by growing stronger and more diverse. We win by reconnecting in a small way with the earth. Imagine local communities wildscaping schools, railway corridors, vacant lots and parks. Before long our urban landscapes could be transformed into thriving webs of life.

I’m very fortunate, where I live. Yet many of us lead lives so far removed from nature, that we rarely even touch the earth. We delude ourselves that we are somehow immune to and separate from the natural world. But at what cost? The cost to our declining environment? The cost to our hearts? Rewilding isn’t just for our land. It’s a concept for our minds and spirits as well.

The Supporting Cast

cross blogI finally have the first draft of my new novel in. Hurray! Now I can get back to regular blogging. This week I’m discussing a story’s supporting cast with friend and writing mentor Sydney Smith.

When I told my agent that I was writing a sweeping historical saga, the first thing she did after asking about my main characters, was to ask about my secondary characters and subplots. We all lead lives surrounded by family, friends, mentors, bosses, competitors and even enemies. Main characters are no different. I give my top-level secondary players their own character arcs – ongoing personal struggles that form sub-plots running alongside the major one, adding complexity and depth.

My rule for these secondary character arcs is that they must support and supplement the main action. Challenging the protagonist for example, or getting them into trouble. Helping them learn lessons or see things from different points of view. Their arcs must conclude before or at the same time as the main plot.

catch-22A good example can be found In Catch-22 by Joseph Heller. The main plot concerns U.S. Army Air Corps Captain Yossarian’s attempt to avoid dying in World War II. A subplot develops around mess hall officer Milo Minderbinder’s rise as the king of a black-market food selling operation. It provides countless connections and reflections on the main plot.

SYDNEY:-
Gawd, it’s been decades since I read Catch-22. I don’t recall Minderbinder at all, though I remember Major Major because of his unfortunate name and his role as victim and loser extraordinaire. He looked like Henry Fonda, I recall.

Yes, I agree with all that you say about secondary characters. I would add only that a secondary character must want something, have a goal they pursue, a problem they work on. That gives shape and direction to their character arc. That goal must interfere in some way with that of a main character. The intersection points are places where the conflict detonates into action.

I find that new writers do everything possible to limit their secondary characters. If they build up those characters into vital players in the narrative, the writer’s job suddenly becomes more complicated. Writing a novel is hard work. But in fact, while getting your secondary characters to add vitality to the story increases your work – you have to think about them and how they affect the main action – it also fills in that blankness that surrounds these characters. All new writers know what it feels like to have a character but have no idea what they should say or do. The writer gives them things to say, actions to perform, but it’s unsatisfying. A puzzle surrounds the secondary character, a puzzle that is solved when you give them a problem to solve in pursuit of a goal. Suddenly, the character has direction and meaning in the story. Suddenly, the writer feels energised in their relationship with that character. It’s like a character who was mute opens their mouth and speaks.

JENNY:-
secondary-charactersYes, characters need to clash. Your protagonist is desperate for a baby? Give her best friend an unwanted pregnancy. Protagonist wants to breed dingoes? Have her neighbour breed sheep. Protagonist policewoman has been raped? Have her boss assign her to the sexual assault squad. Protagonist is scared of water? Have her mother need rescuing from a flood. It’s easy when you get the hang of it.

Some other tips. Give your supporting character quirks, to make them instantly recognizable. Maybe they’re the witty one, or the forgetful one, or the funny side-kick. Maybe they’re a taxi driver who always gets lost.

Know their back story. Help readers understand the relevance of the supporting character by providing a few details about their life. This ties in with giving them their own character arc.

And most important of all, know what their function is in relation to your main character. Are they friend or foe? Are they a mirror or foil to the main character, showing contrasting choices and behaviours. Are they a false ally—seeming to help the main character while actually pursuing their own agenda? Understand this function before you start writing them.

SYDNEY:-
supporting-characters-2I go with everything you say, Jenny, except the last bit. The imagination needs time to brew on characters and story. I find in the work of my students that a character might appear in draft after draft but their purpose in the story is unclear. I never advise a writer to get rid of a character who doesn’t appear to have a purpose in the story, or advise them to foist a purpose onto that character. I work closely with the writer’s imagination and trust it the way I trust my own – even when the student doesn’t! Given time, the imagination will work out what this character is doing in the story. If the character is obstinate in maintaining a foothold despite their apparent lack of purpose, it will turn out that they have a vital function in the story, one that spins the story into the stratosphere. I love it when that happens.

Some Thoughts On Character Arc

cross blogI am madly writing in order to reach a deadline for my new novel, so my blog has been neglected lately. But there’s always time for some thoughts on craft, especially when in the throws of finishing a novel. Today, author and writing mentor Sydney Smith and I talk about character arcs.

 

SYDNEY:-
A character arc is the journey a character takes through the course of a story, from someone whose actions and decisions are shaped by their internal antagonist (also known as their character flaw), to someone who has modified or overcome their internal antagonist and is rewarded with the thing or person they most want in the world.

Mr DarcyMr Darcy in Pride and Prejudice is a good example. He begins the story being proud and disdainful of others, judging people on their social standing, and ends by having a more open and accepting attitude. His reward is marriage to the woman he loves.

In The Last Coyote, by Michael Connelly, Harry Bosch’s internal antagonist is his refusal to accept that he is having a mental breakdown which is endangering the welfare of himself and others. Through the course of his investigation into the murder of his mother many years ago, he is confronted with the consequences of his reckless refusal to acknowledge that he is dangerous. His actions bring about the torture and murder of his supervising officer. By the end of the novel, he has acknowledged his flaw and has changed it. His reward is the solution to his mother’s murder.

The important thing to note is the vital role of the internal antagonist. If the character has no internal antagonist to overcome, they cannot change. They will be at the end of the story the same person they were at the start. Their circumstances will be different. But they themselves will not be different. They will not have learned an important lesson about themselves. They will not have been tested and will not have met that challenge.

JENNY:-
ScroogeWhen planning my character arcs, I focus on the personal lie the protagonist lives by. What false belief about himself and/or the world is causing his life to be unfulfilled?This fundamental misconception can take many forms, but it must be deep-seated – influencing the character’s every thought and action. Usually it can be simply stated in a sentence. For example, in A Christmas Carol, Scrooge believes a man’s worth is based on how much money he makes. In Schindler’s Ark, Schindler believes it is okay to exploit other people for profit. In Toy Story, Woody believes that his worth only lies in being the favourite. In Jane Eyre, Jane believes the only way to earn love is by serving other people.

The lie is born of a wound in the character’s past. Barely realised at first, it acts as an obstacle to achieving his goals. I always identify this lie right at the beginning. It becomes the foundation for planning the character’s transformative journey.

SYDNEY:-
Character FlawThat’s an interesting take on the issue of internal antagonist, Jenny. Some people put it that way, as a lie the character tells themselves, or a secret they keep from themselves. Whichever way the writer phrases it to themselves, the vital thing is that they understand ths aspect of character and the role it plays in the story as a whole.

As a teacher and manuscript assessor, I have seen how writers avoid this whole concept of internal antagonist. They desperately want their character to be liked, and believe the best way to achieve that is by making them free of this kind of character flaw. But that is death to a character. Readers want to identify with flawed people. The great stories in literature show that the flawed characters are the ones we love and who endure.

So I look for ways to help writers get around that fear of making their character flawed and unlikeable. Sometimes, it’s simply the way it’s expressed. I thinking referring to the internal antagonist as a lie or a secret is a good way of doing that. I’ll have to use it in future!