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About the author and blogger ...

Anne Goodwin’s drive to understand what makes people tick led to a career in clinical psychology. That same curiosity now powers her fiction.
A prize-winning short-story writer, she has published three novels and a short story collection with small independent press, Inspired Quill. Her debut novel, Sugar and Snails, was shortlisted for the 2016 Polari First Book Prize.
Away from her desk, Anne guides book-loving walkers through the Derbyshire landscape that inspired Charlotte Brontë’s Jane Eyre.
Subscribers to her newsletter can download a free e-book of award-winning short stories.

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Fictional affairs in Paris and Dublin

22/5/2017

20 Comments

 
If you’ve ever held back from having an affair for fear of the hurt it might cause other people, let me offer you a risk-free alternative. These two novels about women with roots in America who stray from marriages to European men can furnish the excitement and eroticism without the guilt or fear of discovery. If you like to read on-screen, no-one need even know you’re having a fictional affair.

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Paris Mon Amour by Isabel Costello

At the start of Isabel Costello’s sensitive and sensual debut novel, Alexandra, a British-American living in France, tells her therapist, “The first time I caused terrible harm to those I love it was an accident. The second is the reason I’m here.” After the dreadful accident that blighted her childhood, the trauma of endometriosis and associated infertility leading to a brutal end to a long engagement, she’s found
happiness in Paris with a job in publishing and marriage to Philippe. But her narcissistic mother is the last person she’d want to draw attention to the fact that her husband of five years is having an affair.

Yet this is Paris, city of lovers, and the French are much more relaxed about adultery than the Anglophone nations. So, when the opportunity arises, why shouldn’t Alexandra find some passion outside marriage too? It shouldn’t matter that Jean-Luc is seventeen years her junior but it certainly matters that he’s the idolised only child of Philippe’s best friend. She ought to know better but, over that hot summer, the relationship becomes an addiction. It’s not only that she’s flattered that a younger man should so delight in her, but that the sex takes her imperfect body where it’s never been before.

As love and lust increasingly mimics madness, Alexandra struggles to appear sane amid the demands of her work, socialising with Jean-Luc’s parents and the arrival Philippe’s teenage daughter from his first marriage. While concerned from the start about the hurt her actions might cause others she cares about, even Alexandra can’t anticipate the enormous risks she’s undertaken in becoming embroiled with Jean-Luc.

The therapist in Paris Mon Amour does not have a voice but provides the frame through which Alexandra tells her story. I’m not sure she’s entirely necessary but, like a good real-life therapist, she doesn’t intrude and Alexandra’s occasional breaks from the narrative to speak to her directly definitely ring true.

Having received my copy directly from the author, whom I’ve known online for a few years through her deservedly-popular
Literary Sofa blog, I hoped I’d like it enough not to feel awkward about my review. It turns out it’s been a delight to read, review and hopefully tempt other readers to give it a try. The language is lovely, the Parisian setting beautifully realised, the plot expertly handled, the predicament psychologically astute and the characters all have emotional depth. With sensual and unflinching descriptions of sex, it’s a risk-free alternative to an affair if you’re that way inclined. (And, if the USPs of “the real Paris” and “a grown-up take on sexual politics” don’t sell it to you, as they didn’t particularly to me, be reassured by the epigraph from Baudelaire reminding us that, like any good novel, this one is about “the horror of life and the ecstasy of life”.)

Anyone who still believes the book business is a meritocracy will be chilled by the story of Isabel Costello’s publication journey. Her blog followers rejoiced when
she found herself with a choice of agents and commiserated when the novel didn’t attract a publisher. Then we raised another cheer when, like I did, she signed a contract with a small press. Canelo published Paris Mon Amour in e-book and audio last year. Unfortunately, however, they couldn’t cater for the dinosaurs for whom book equals print. So she decided to self-publish in paperback under the Literary Sofa imprint on 22nd May this year. I’m very glad she did.

For another novel a woman’s affair in the context of fictional infertility, see
The Daughter of Lady Macbeth which I reviewed a few days ago.


When Light Is like Water by Molly McCloskey

At the tail end of the 1980s, at the age of twenty-four, Alice packed up her belongings to store at her mother’s house in Portland, Oregon, to set off with no particular plan, to Ireland. A chance encounter took her to Sligo where she eventually settled down to marriage to local man, Eddie, without being entirely sure why. At the heart of Alice’s character, perhaps through her father dying so soon after she met him in early adolescence, is a sense of free-floating longing and fear of abandonment. Perhaps that’s why, a few years into her marriage, she embarked on a passionate affair that felt “like enlightenment, it was like being in the truth, which is a funny thing to say about deceit …”

Years later, and mourning her mother’s death, Alice is back in Ireland, this time in Dublin, after a career writing reports for NGOs in some of the most troubled parts of the world. Here, she reflects on her past as she tries to heal herself sufficiently to face the future.

Like real life, Molly McCloskey’s fifth book follows a meandering path to an unclear destination. While beautifully written, I found the style, with a different balance of
showing and telling than usually recommended by the creative writing industry, overly distancing initially. In addition, Alice’s passivity militates against forming a strong sense of her character until we get a taste of her grown-up career. Nevertheless, if you’re frustrated with heavyweight plotting and formulaic novels, it’s definitely worth persevering for what turns out to be an intelligent and articulate examination of love, life, ambivalence and home. Thanks to Penguin Ireland for my review copy.

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A quick mention for my two short stories about fictional affairs (Silver Bangles; Four Hail Marys) before we turn our attention to the question of whether it’s ever wise to have an affair. I ask because wisdom is the topic of this week’s flash fiction challenge. It’s a tricky one: I wondered about the difference between wisdom about ourselves versus wisdom about the world, and finally came up with more of a meditation than a story.
The getting of wisdom
It’s easy, they said, as easy as breathing, just follow this five-point plan. It’s hard, camel-through-the-eye-of-the-needle difficult, but, if you give us the money, we’ll show you how it’s done. No-one can tell you the answer, you’ve got to seek it inside yourself. There’s a pattern, proofed against any fool prepared to apply herself to the task. There’s so much to learn, you can’t waste a minute. There’s so much, you might as well not try. What’s wisdom, the nub of ice that melts in your fingers or the mountain of knowledge the ocean obscures?

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Grab your reduced-priced Kindle copy before publication on 25th May.
Thanks for reading. I'd love to know what you think. If you've enjoyed this post, you might like to sign up via the sidebar for regular email updates and/or my quarterly Newsletter.
20 Comments
Norah Colvin link
23/5/2017 11:21:53 am

I enjoyed reading these reviews, Anne. You certainly give a glowing account of Paris Mon Amour. I was interested to see it is available as audiobook. I'm not sure it may not be a bit distracting for reading while driving though! I'll keep it in mind for a future lull. How exciting for you to watch a blogging pal move into publication, as you have.
I hadn't read Four Hail Marys before, but enjoyed reading it now. I agree with Mary's conclusion at the end. It was an interesting path to get there.
I enjoyed your flash - the contradictions of wisdom. What is a wise choice? You made it in writing your fiction piece.

Reply
Annecdotist
23/5/2017 03:57:50 pm

Thanks, Norah, I hope you don’t think I was exaggerating the praise for Isabel Costello’s novel. Although I enjoyed both these books, I preferred Paris and genuinely couldn’t fault it though it might not be to everyone’s taste. I thought it was interesting that the original publisher could bring it out in audio but not paperback – I’d have thought the former would be more costly with having to pay for an actor. Glad you enjoyed my short story and the flash.

Reply
Charli Mills
23/5/2017 07:07:13 pm

Interesting reviews, including the use of a therapist as a framework to the story by Isabel Costello's book. Glad she finally got her story out. Your flash actually reminds me of publishing. Considering I have 20 year old writing degree and no published books, I can still hear my professor emphasizing, "It [manuscript] takes 13 revisions to begin to sing." In other words, eye-of- the-needle difficult. And yet, you can't throw a rock into the pool of publishing waters without hitting some sort of 5-step technique to publish your first draft. Somewhere in between old school and modern publish by submit button and are many paths. You are wise in the path you've found through building up credibility through publishing short stories and finding a small press. Costello lost time with agents who couldn't land her a publisher, and quite frankly that had nothing to do with her book or writing, but the reality that traditional publishing houses want established credibility -- MFA networks, celebrity, or social media prowess. As a side note, yes it is cheaper to do audio than print, thanks to advanced in audio technology and the sad state that actors in early carers don't get paid any more than writers for gigs. I've been exploring multiple options for the Carrot Ranch anthology from agents to small regional presses to hybrid to self publishing. The small press option would have worked had I not become homeless and left the region. But it took about 8 months of negotiation, setting up a library program and planning a local writers conference. Leaving the area, lost the deal. Now I feel pressured because "it's so easy" to self publish. Yes and no. I've been working with an American self publisher who has the capacity of a traditional publisher, but at cost to the author. Similar to a hybrid, but built on components. Once it gets going it can be a good deal for establishing an imprint and setting up profit sharing for a collective of writers. And as to why establish a platform for others and not just myself, why not? I have to do the same roll up my sleeves elbow work, and I like the idea of a platform that benefits many. Because, as you so beautifully state in your last sentence of your flash, the answer is both. Wisdom is knowing which, when. :-)

Reply
Annecdotist
24/5/2017 12:24:41 pm

Thanks for your detailed comment, Charli, and I like that quote about a lucky 13 revisions. Publishing is so complex and constantly changing. But do note Isabel’s comment about her agent – I hadn’t meant to imply securing an agent has been no help, only that it’s not a guarantee of getting a strong publisher. As she says, many writers find other benefits from the relationship even when they don’t secure the much anticipated deal. But I do know of others who have been disappointed to be picked up and then dropped. I really don’t think anyone really knows what will work with readers, although agents and publishers believing that they do affects how much effort they’ll put into a particular work.

Reply
Annecdotist
24/5/2017 12:32:23 pm

Oh, and nearly forgot, thanks for that sad but true point about audio publishing and actors.

Reply
Isabel Costello link
24/5/2017 08:02:58 am

Thank you, Anne, for this generous and insightful review. Your opinion means a lot to me, and is rightly respected by many. Thanks also to Norah and Charli for your comments. Given the very unusual trajectory of this novel, it's not surprising it's hard to get a handle on it, and to convey succinctly in a press release, etc, which I may not have. The ebook was released in June 2016 by Canelo, a digital only publisher, and the audiobook in fact by Audible. I am very grateful to them both for taking a chance on it - but also to my wonderful and loyal agent who secured both of those deals, was hugely involved in editing and shaping the novel with me, has supported my self-publishing venture (which many agents would not) and, I'm happy to say, is very much by my side for whatever lies ahead in my writing career! It's never boring, that's for sure...

Reply
Annecdotist
24/5/2017 12:15:03 pm

I’m glad you liked the review, Isabel, and thanks for clarifying about the audiobook. Naïvely, I see now, I actually thought Audible was a format (like an e-book) rather than a publisher, so that’s something I’ve learned (and might want to follow up). Thanks also for acknowledging your agent’s support in getting you to this point. As you say, it’s never boring and flexibility is the author of the day. Hope the book’s going well.

Reply
Charli Mills
24/5/2017 05:32:49 pm

Thank you both Anne and Isabel for clarifying your agent's role and the good relationship. When I went to LA to sell one of my own, I met many author's who had been dried after not finding placement for their books. The agents I met with were concerned more with how marketers at publishing houses would perceive me as an author than with the quality of my writing or my novel's story. It did compel me to look elsewhere. Maybe I didn't meet with the right agents. It's tricky finding a path, but I'm happy for you both, finding solid paths for your books!

Reply
Annecdotist
25/5/2017 06:53:11 pm

I wonder if there are any data on agents’ collective ability to predict what will and won’t be attractive to publishers. No business or profession can be 100% effective but it is interesting to find a role established to serve as an intermediary between writers and publishers not managing to achieve that successfully for some authors (and books to which they have committed) – whether that’s a substantial number is difficult to judge.

Charli Mills
25/5/2017 07:05:06 pm

That's a good point, Anne. It's probably a good question for any agents a writer is considering. I submitted to agents I thought matched up my book, and the ones I spoke with talked about industry connections. M any want clear genres and the ones they represent. It's harder​ to place a story that's not a clear genre. An agent may really like the story, but not have a market.

Annecdotist
26/5/2017 12:52:26 pm

I think you are right about agents wanting clear genres although I do still see quirky books getting published by presses that will only take submissions from agents, even within the Big Five. I suppose it depends what kind of quirky – impossible to answer.
I suppose if agents were pressurised to publish their success rates it could make them even more conservative in their choices. I was even more fanciful in my imagination, thinking of a randomised controlled trial of “submission packages” assessed by panels of readers, agents and publishers – perhaps a PhD in creative writing could take that on!
I shouldn’t underestimate the boost to a writer’s confidence in having someone from within the industry appreciate their work, as I get from my publisher and Isabel from her agent but sometimes we have to plough on without that and believe in ourselves. Also, an agent is taking a risk each time they sign up a new client, especially if they put time and energy into an edit before sending it on to publishers. I’m sure they have to believe in a writer to take that chance. It’s almost like a marriage market hoping to find a partner you can connect with and I imagine soon there will be some kind of brokerage between writers and agents and on and on …
I wonder if there’s a difference between how agents work in the UK versus US. Although maybe not so much – when I was submitting Sugar and Snails to agents I did get a “very nearly” from a US agency.

Isabel Costello link
26/5/2017 01:53:47 pm

This is too interesting a discussion for me not to dip in again! (Thanks for your kind words, Charli, by the way.) I am not an expert on the publishing industry, and these are personal observations, but to pick up on a couple of your points:

The publishing business isn't always comparable to other fields where decisions are made and outcomes measured on strictly objective criteria. There is a large element of risk at every level, gambling, almost (just as we gamble, by spending years on a manuscript with no idea of its fate). What I didn't realise until I had a (good) agent was just how much time and energy they invest upfront, also with no guaranteed return. No reputable agent will promise a client a deal, just as no publisher can be certain a book will work commercially - I gather many don't. In the UK at least, an agent-client relationship is usually not on a book by book basis, but a longer term, all being well...

I didn't realise at the time that it is pretty common to be signed by an agent and then not get a deal for that book - this is one of the reasons that, with my agent's blessing, I spoke about it publicly. It doesn't necessarily indicate lack of effort, commitment etc, and even if they were ever available (which I seriously doubt), IMO they wouldn't mean all that much. It's a harsh reality that an agent is accountable to their clients, not to those seeking representation; just as publishers get to choose who they publish.Sometimes there isn't an obvious reason one book makes it and many others don't, and nobody can be right all the time!

I strongly agree with Anne's point about believing in our work whether or not external validation arrives - it's very easy to get dragged down by 'the system'. I also think it's true that quirky, different etc books that don't fit genres or have obvious huge commercial appeal can and do get published and find an audience. That is true of my novel, and I hope people take heart from that!

Reply
Isabel Costello link
26/5/2017 01:57:39 pm

CORRECTION: Sorry, in the third paragraph I meant to say 'if FIGURES were ever available...'

Reply
Annecdotist
26/5/2017 04:33:48 pm

Thanks for coming back to this, Isabel, I’m always happy when a conversation ensues around my posts. And your openness about your own ups and downs in the publishing world is deservedly well-regarded.
I suppose in this area, as in many others where there are no objective criteria of quality, we can only go by our own experience. Based on my experience as a reader I found it hard to see how Paris could be considered risky when there’s so much for readers to connect with.
I do hope your relationship with your agent continues to work for you both and I’m sure, like me, you’ve come across examples of writers being dropped by agents for writing the “wrong” book that then goes on to satisfy a lot of readers when finally published.

Reply
Charli Mills
28/5/2017 10:52:06 pm

Thank you, Isabel and Anne for furthering this fascinating discussion. Agents certainly do much work on behalf of clients, but I do believe distribution and marketing are key elements to getting a big publishing contract in the US. Regional publishing houses matter more out west where true Western writers, and readers, have a quirk of place that doesn't show up in East coast writing and published books. Of course a writer from the West can write East coast style, and I've heard rumors from other writers from the West that the UK has a greater​ interest in the West than the East coast does. I knew several Idaho authors published regionally or in the UK. My passion is historical fiction of the West, and I have an interested publisher without an agent. They are an imprint of one of the Big Five. What they want is a female voice in the western historical genre to write multiple books. However they are not interested in my first novel because it's modern. I'm rewriting it to make it fit the western setting, and acknowledge it's something I will likely self publish. The historical fiction takes longer because of the research, but it pays off in the end for the readership. It's not large, but it's loyal. I have two other manuscripts, one climate fiction and the other another commercial fiction set in the 1980s. It's not that I have a quirky book, it's that I'm a quirky writer with mismatched genres and I've not found an agent interested in that! I believe I'll get picked up in the western historical genre and I'll self publish the other books. Seeing other authors like both of you finding the path through the writing to publication is certainly encouraging. And I know with Anne's second novel and third WIP, I'm seeing her voice coming through strongly as the link to her different books. It's not a clear genre she has, so much as a clear and compelling voice. Isabel, you seem to have a clear and compelling story you were able to bring to publication, and that certainly gives me hope for my non-genre work. I'm not sure there's an agent who'd be interested in an eclectic author, and with the publisher not requiring one, I may not get that opportunity. One thing is for certain, though, publishing is not like other industries and it is always evolving. It's hard to believe in our work without credible feedback, but that can be fostered along the way. What I don't believe in is not getting feedback, not getting rejected/accepted and simply feeling satisfied enough to punch a submit button for a digital version. We each have to find our place somewhere between vanity publishing and a Big Five contract. And that's a wide swath!

Reply
Annecdotist
29/5/2017 05:42:56 pm

Thanks for going back, Charli. Interesting those East/West differences in the US, probably similar to how it used to be here between London and the provinces but I’m not sure that’s still the case.
I think you make an important point about quirky writers versus quirky books. It could be that I qualify for both, given that it looks as if I’ve switched genre with Underneath because the blurb reads like that of a thriller but it doesn’t tick all the boxes of that genre. As I’ve said before, I love that you’ve picked up on the continuities within my writing but I’m not sure that’s so clear to everyone. I know that I’ve still got a lot to learn about how to present my work in a way that will spark the interest of the “right” readers. I’ve always located my writing within literary fiction, partly for the psychological depth and because that’s where I see writers having most freedom to forge their own unique path, but it’s literary-commercial which ought to open up more doors but not necessarily.

Charli Mills
30/5/2017 06:14:28 pm

I wonder if readers are the ones who ultimately discover a writer's voice. Distributors have trouble shelving non specific genres; marketers might indicate the wrong direction (like a thriller); and publishers aren't sure to take the risk. If we could recategorize books by themes and topics maybe it would be common ground within the industry. But hard to change their standards of thinking about books. You've done well to hold your ground and it will be through readers, I believe, you'll reach other readers.

Reply
Annecdotist
31/5/2017 05:46:38 pm

Thanks for your encouragement, Charli. I think it’s really hard with books because there are so many factors influencing our enjoyment. For example we might be interested in the topic but not like the style etc. But yes, there are distinct advantages to developing a readership over a number of books. Fortunately it’s a job you can keep at well into old age.

Reply
Norah Colvin link
2/6/2017 08:20:37 am

What a fascinating discussion. Thank you all.

Reply
Annecdotist
2/6/2017 12:28:41 pm

There's certainly a lot of it! Thanks for reading.

Reply



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    Annecdotist is the blogging persona of Anne Goodwin: 
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