Tag Archives: Susanna Bavin

CARIADS’ CHOICE: SEPTEMBER 2022 BOOK REVIEWS

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Lynne Francis’ A Maid’s Ruin reviewed by Susanna Bavin

This thoroughly engaging and enjoyable story follows the fortunes of young Molly Goodchild, a dairymaid whose life is one of unrelenting hard work. She dreams of better things, but this doesn’t mean she isn’t a practical person, well versed in the demands of everyday life and family responsibilities.

I was enormously fond of Molly. She is a naturally strong character who shows both determination and tenacity in the face of adversity, but at the same time, her youth and inexperience make her vulnerable. I found her utterly believable and I rooted for her all the way.

This emotional and dramatic story is set in Georgian times and Lynne Francis has filled the pages with period detail and beautifully written descriptions of the various settings. A lot of research has gone into this book, adding vibrancy, immediacy and depth to the telling.

This is the coming-of-age story at its best.

 

Sandy Barker’s The Dating Game, reviewed by Jessie Cahalin

What happens when a journalist goes undercover on a reality show?

I absolutely loved The Dating Game. Abby is a wonderful character guiding the reader through her hilarious observations of the world of reality television. This smart, witty character exposes the micro-politics behind the scenes. This is a romance novel with so many twists and turns you’ll be dizzy, and you’ll giggle your way to the end. Besides entertaining me, this was an astute observation on reality TV culture. The novel is jam packed with wit, sensitivity and humour. I could not put this novel down! A perfect beach read, and I wanted to book a holiday in Sydney by the end.

 

Jules Wake’s The Wednesday Morning Wild Swim reviewed by Carol Thomas

This was a fun, feel-good read with a cast of wonderful characters. I enjoyed the setting and the unfolding romance between Ettie and Dominic. There was plenty of humour; I even laughed out loud at times. I loved Ettie for her moments of candour, albeit she was also prone to the odd little white lie. The characters were from a broad age range, leading to realistic and funny interactions and a community feel. I enjoyed the blossoming friendship of the wild swimmers and getting to know what spurred them to need their swim. It was also great to check in with returning characters from The Saturday Morning Park Run, a book I also greatly enjoyed. While I was a little unsure about the set-up for the penultimate scene, I welcomed the happy ending. Overall, it is escapism that will make you smile!

 

Josie Lloyd’s Lifesaving for Beginners reviewed by Jane Cable

There was nothing I didn’t love about this book. How often do you read that in a review, but it isn’t a phrase I use often and I really mean it.

The stories of the five women who meet on Brighton beach to swim during the pandemic are wound seamlessly together to make a cohesive whole. Maddy, whose marriage and Instagram-perfect lifestyle have fallen apart; Helga the elder stateswoman who refuses to accept the limitations of her advancing years; Claire, the wife and mother who feels she has become invisible; Dominica struggling with grief; and Tor who is afraid to tell her family about the woman she loves.

This is a book about the power of friendship and the ability to move on. There is no one central shared ‘quest’ and really no central character. Their stories blend and twist together in such a powerful way I found it impossible to put down.

 

 

 

 

 

 

 

 

CARIADS’ CHOICE: BANK HOLIDAY SPECIAL BOOK REVIEWS

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Lizzie Lamb’s Harper’s Highland Fling, reviewed by Jessie Cahalin

Harper expected to travel to Tibet on her holiday adventure, but her niece decided to run away to Scotland with the son of the local car mechanic. Witty, feisty headmistress, Harper, meets her match and is forced to squeeze into biker’s leathers to travel with Rocco to Scotland.

‘At least she hadn’t fallen off the motorbike…or clung to him like a medieval maiden slung across a knight’s errant saddle.’

Forget Nepal, Harper must save Ariel, or does Harper really need to save herself? The novel is packed with expectation, and stereotypes of a headmistress and car mechanic are challenged as we get to know and love the characters – perfect.

Rocco is not about to save the feisty maiden but ‘without meaning to she’d got under his skin and he couldn’t resist winding her up.’ On the other hand, Harper thinks Rocco is ‘an enigma wrapped in a conundrum.’

 

Maggie Mason’s The Halfpenny Girls, reviewed by Susanna Bavin

What I loved about this book, and what made it, for me, a stand-out saga, was the concentration on family life. Sagas often revolve around the work-place, but this pre-war story is firmly rooted in the hardships faced by three close friends because of their family circumstances. Violence, alcoholism, betrayal and dementia are all woven into the tale – alongside love, loyalty and the determination of the three young heroines to do their very best for their nearest and dearest, despite every hardship. There are no easy answers to the problems each family faces – just a wealth of warmth and understanding from an accomplished author. This is a complex story with strong, cleverly interwoven plots; well-drawn, multi-layered characters; and, above all, a powerful sense of the importance of family.

 

Faith Hogan’s The Ladies’ Midnight Swimming Club, reviewed by Morton Gray

Loved this book on so many different levels – the characters and the challenges they face. I didn’t think I would like the book being written from so many different points of view, but it was seamless and added to the story. He doesn’t even feature in the novel, but I wanted to bop Elizabeth’s late husband on the nose, especially towards the end of the book. I was praying for Lucy’s son, Niall to make the right choices, shed tears over Jo and Dan. I want to go and stay in Dan’s rented house on the hill and take part in the Ladies’ Midnight Swimming Club. Great book and I’m off to find the author’s other stories.

 

Helga Jensen’s Twice in a Lifetime, reviewed by Natalie Normann

This book is pure enjoyment from start to finish.

Amelia is the mother of twin boys, recently divorced and mostly a sensible woman. She struggles  with how her life has turned out. When Amelia finds the phone number of a gorgeous man she met in New York years earlier, her best friend Sian starts looking for him. And despite all of Amelia’s attempts to hold back, she soon finds herself in a huge mess. It’s hilarious!

This book got me through tax season, by providing a wonderful distraction and lots of laughs. Amelia is such a lovely person who tries so hard, you can’t help falling in love with her. There are twists that I didn’t see coming, and I loved the surprises. All I wanted was for it not to end! Helga Jensen knows how to tell a good story that stands out in the crowd. It’s right there on my top romcoms list now. That’s a five stars from me!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SISTER SCRIBES’ READING ROUND UP: NOVEMBER

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Kitty

Our Story – Miranda Dickinson

How I loved this book and Otty and Joe. Miranda Dickinson writes with such heart that it spills over into her characters and I fell a little in love with both of them, was desperately willing them to get together and getting a little cross when they were making poor decisions. I love reacting this way, it means the author has completely pulled me into her world. Our Story is a wonderful novel to escape with. Fun, empathetic and engaging, it was delightful reading and an absolutely perfect rom-com.

Christmas Island – Natalie Normann

I have been so excited about this book. I read Summer Island earlier this year and fell in love with Natalie Normann’s writing style and the setting and could not wait to read this second in the series (which can easily be read as a stand-alone). As with the first, this book truly delivers on the cosy or Koselig and as Holly and Tor’s romance builds from their first meeting the reader is taken on a whirlwind tour of Norwegian Christmas food and traditions. I loved so much of the detail of this book and it provided me with the perfect Christmassy escape.

The Single Dad’s Handbook – Lynsey James

This book is the story of Evan – a widower bringing up his small daughter – and how his grief has, understandably, upended his life. He discovers a book of letters written by his wife before she dies to help him deal with the issues she anticipates once she is gone. The letters are poignant and witty, which is a fair summary of the book itself. I read it very quickly, fell utterly in love with Evan’s daughter Violet and thought the way that Lynsey James manages to combine this story of loss with comic moments and the hope that a new romance can bring was very skilfully done.

 

Susanna

The Ferryman’s Daughter by Juliet Greenwood

Wow! What a book. I was utterly caught up in this enthralling family saga set in rural and coastal Cornwall in the early part of the 20th century. In Hester, Juliet Greenwood has created an exceptionally strong and appealing heroine and I loved and admired her as she fought to follow her dream in spite of numerous setbacks that occurred thanks to the conventions and expectations of the day. This is a thoroughly engrossing and satisfying book, packed with drama and emotion and enhanced by a strong sense of time and place, all served up by a gifted writer.

 

Jane

Glynis Peters’ The Forgotten Orphan is about as far away from a traditional orphan story as it’s possible to be. For a start the protagonist, Maisie, is an older teenager, and secondly, she is in the middle of a world at war. That said, it is a story of friends, family and loves lost and found, and it doesn’t shy away from the harsh realities of life and death in World War Two.

From a personal point of view I loved the fact the book was set in Southampton, a city I know well. It was well researched and well written, with a host of characters I came to care about. Family saga, wartime tale, love story – this book was all of these and so much more than the sum of its parts.

 

 

 

 

 

SISTER SCRIBES: SUSANNA BAVIN ON CREATING A SENSE OF TIME

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In my previous article for Frost, I celebrated two novels, A Mother’s Secret and The Italian House, which are notable for their wonderful sense of place. In these stories, the authors, respectively Jan Baynham and Teresa Crane, created their settings so evocatively that they produced books of the type that make readers say, ‘It made me feel I was there.’

This time, I’m writing about novels that have a particular depth and interest thanks to the attention paid to the historical detail. Part of the authors’ skill in this is the way each of them has woven the details into the narrative with a deft touch. Their historical details are never popped in just for the sake of it, but always to enrich the story.

The first book is A Borrowed Past by Juliette Lawson, a clever and increasingly intriguing family mystery set in the Victorian era. A strong narrative is combined with  believable dialogue and a lively mixture of characters, not all of whom are what they seem. Add to this the many tiny details of life at the time and the result is an engrossing read.

Of one historical aspect of the book, Juliette says: “ Class distinctions were strong. Well-off families paid pew rents to reserve their seats in church (you can still see the brass name-card holders) and ran the Local Board to keep the village well-ordered. Children in poorer families were sent into service at a young age or they became mini-entrepreneurs, doing little jobs around the village for a few coins: blowing the bellows for the church organ, delivering meat for the butcher, carrying pails of sea water to the bath houses for visitors to bathe in, or baiting hooks on fishing trips.”

The other book I’ve chosen is the utterly wonderful The Gunpowder Girl (which was originally published as Cherrybrook Rose and A Bouquet of Thorns) by Tania Crosse. This book could just as easily have appeared in my previous blog about stories with a strong sense of place, but it also has its position here, thanks to the author’s characteristic attention to research. Tania Crosse has created an absorbing story laced with powerful themes, a relatable heroine and a gripping plot.

Tania says: “The rugged, savage beauty of Dartmoor is inspirational enough in itself, but its secret history has provided the basis for so many of my novels. In the case of The Gunpowder Girl, the discovery of the ruins of the 19th century Cherrybrook Gunpowder Mills drove me to write a story to illustrate what it would have been like for a beautiful, intelligent young woman to live at this remote, unforgiving location. The other element in the book, still very much in evidence and currently still in use, are the forbidding buildings of Dartmoor Prison. In Victorian times, life there could be hell, not just for the inmates – some of whom were guilty of what today would be considered relatively minor offences – but also for the prison warders and their families who were forced to live in the isolated and exposed prison settlement of Princetown.”

Both of these books drew me into their world. The stories are page-turners in which the characters face secrets and tragedy and both Juliette and Tania have have sprinkled historical details into their narratives in such a way as to make their books come alive.

 

 

 

 

SISTER SCRIBES: SUSANNA BAVIN ON A SPOT OF ARMCHAIR TRAVEL

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I look for various things in a book – well-rounded characters and a gripping plot are the two obvious ones. I’m sure many other readers require the same of their reading. But there is another feature that I don’t regard as an essential, although when I come across it in a story, it is, for me, quite simply the cherry on the cake – and that is a strong sense of place. There are some writers who possess the ability to create the setting of their story in a vivid way that makes the reader experience the place where the story is happening to a degree that transcends the story itself.

One book that achieves this beautifully is Jan Baynham’s debut novel, the Not The Booker Prize long-listed Her Mother’s Secret: the Summer of ’69. This is a dual-time story, which shows what happened to a talented young artist one summer back in the ’60s and then, years later, how her daughter follows in her footsteps to try to uncover the truth of what took place that during fateful summer. It is an engrossing, well-paced story, with characters to care about – a love story with dark and unexpected undercurrents. But for me, there was an additional character in the book – and that was the Greek setting itself. This wonderful book gave me a sense of the Greek landscape that I last experienced years ago when I read My Family and Other Animals for the first time. Through her mesmerising descriptions, Jan Baynham expertly transports her readers to the idyllic, sun-drenched island with its turquoise waters, spectacular views, sparkling sunshine and the warm breeze shifting through the leaves of the olive trees. In these uncertain days, if a holiday abroad doesn’t feel like the right thing for you, then, by bringing the landscape alive in this book, Jan Baynham has provided the next best thing.

Another book that for me falls into this special category is The Italian House by Teresa Crane, which was published in 1995. It is the story of a downtrodden young wife, who, shortly after the First World War, unexpectedly inherits her grandmother’s villa in Italy. A quirk of Italian law requires her to take possession in person, so she travels alone to Tuscany, where she falls in love with the place and with another man. But the Villa Castellini is a place of secrets, and strange events in the present form a link to disturbing family secrets from the past.

With its descriptions of the Tuscan hills beneath the clearest of skies, the river twisting and foaming through the village in the valley, and the track winding up the steep mountain to the villa, the sense of place in this novel is so strong and assured that the book ought to have a warning blazoned across the cover: this book will make you want to sell everything you possess and move to Tuscany. Don’t say you haven’t been warned.

 

 

SISTER SCRIBES: SUSANNA BAVIN ON A WORD WRITERS SHOULD USE FREELY

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I say, I say, I say…

When you were at school, were you taught to avoid using ‘said’ in your writing? Were you told it was dull? Were you instructed to use other, better words? Let me explain why teachers try to get you to do that. It isn’t because there’s anything wrong with ‘said’. It’s because teachers have to teach children from a young age (a) to use a variety of vocabulary and (b) to find words that convey precise meaning. ‘Strolled’, ‘wandered’, ‘hurried’ or ‘marched’, as opposed to ‘walked’ – that kind of thing. If you think about it, that’s quite a tall order, especially with infant school children.

And so we come to the first reason why ‘said’ is a wonderful word. It has umpteen alternatives, all of which convey precise meaning. Children are already familiar with many of these words and find them easy to use, which means that when they write their stories, they have ample opportunity to use and develop their new skill and hence their stories are filled with characters asking, answering, replying, exclaiming, whispering, shouting and so on.

And that is why teachers tell you not to use ‘said’. Ta da!

In the world of adult writing, it’s different, because – and here we come to the second reason why I believe ‘said’ is a wonderful word – ‘said’ is invisible. You could read it or write it a dozen times on every single page without its ever jarring. Every time an alternative is used, it isn’t invisible. There’s nothing wrong with that – in moderation. But the more times alternatives are used, and the wider their variety, the more visible they become.

I’m thinking of a novel I read some years ago in which the author seemed determined to avoid ‘said’ at all costs. The characters did all the usual things – they asked, answered, replied and exclaimed. They also did more ‘visible’ things – they wondered, whispered, chuckled and muttered. They shouted, snorted, cajoled and observed. They mentioned, uttered, declared and ranted. And it was all highly visible. Every single one of those verbs (which would have thrilled any primary school teacher – I speak as a former infant school teacher) was visible and the more of them there were, the more visible they became. For ‘more visible,’ read ‘more annoying.’

Then, in the middle of an argument, the heroine riposted.

After 200 pages of confirming, suggesting, murmuring and giggling, it was the final, pretentious straw. I didn’t know whether to laugh out loud or groan in anguish. I closed the book and never went back to it.

Sorry about my little rant, but I hope it’s helped to illustrate my point. Humble, under-rated ‘said’ is a dependable workhorse of a word. Use it freely and don’t let anybody put you off.

And unless you want me to come back and haunt you, please don’t ever let your characters do any riposting.

 

SISTER SCRIBES GUEST: TANIA CROSSE ON AN AWARD WINNING SAGA

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Susanna invites Tania Crosse to talk about winning the first ever Saga of the Year award from the Romantic Novelists’ Association as it celebrates its Diamond Anniversary

I was utterly thrilled when I learnt at Christmas that The Street of Broken Dreams had been shortlisted for the new saga category in the RNA’s major annual awards. With the other contenders, Lesley Eames, Jean Fullerton, Rosie Goodwin and Kate Thompson being such wonderful writers, I went to the ceremony in London with no expectations, just looking forward to a glittering evening out. So when my name was read out as the winner, I was totally overwhelmed. I managed to gabble a few incoherent words up on the podium, but I must confess, it was all a bit of a blur at the time.

It really is fantastic that this new saga award has come into existence. It remains an enormously popular genre, and the quality of so many of the brilliant sagas available, covering a huge range of different topics, deserves such recognition. I feel honoured that as the first ever recipient of this award, I can represent saga lovers everywhere.

Tania (left) with agent Broo Doherty

So what is considered ‘saga’? That is a good question, so here is my interpretation. Whatever length of time the story spans, the entire action must take place at least fifty years in the past. Secondly, the actual romance is not necessarily the main focus of the book. Characters must fight their way through extreme adversity, often – though by no means always – generated by the historical circumstances of the period, with the romance intertwined within it. Sagas are normally gritty, hard-hitting stories illustrating strong themes.

Like all sagas, The Street of Broken Dreams is a tale of spirit, warmth, courage and heart, and has been described as ‘searing emotional drama’ and as being ‘beautifully compelling and poignant’. It’s 1945 and WW2 is drawing to a close. But the consequences of war can be far reaching. Can dancer Cissie ever recover from the brutal night back in 1944 that destroyed her life? Will it take the love of a good man or the guilt and self-sacrifice of a stranger from across the sea to bring her peace? Does Mildred really know the man to whom she so hastily became engaged before he went off to war? Will she able to face the tearing conflict of loyalty on his return?  Can golden-hearted Eva, matriarch of the street and linchpin of the story, help them unite against the future?

I actually lived in Banbury Street, the street of the title, as a small girl, so writing the book brought back many childhood memories. Cissie’s story was inspired by an ‘encounter’ my mother experienced during the blackout, though fortunately it had a different outcome and my mother was unharmed. During the war, my father served in submarines in the Far East, which gave me the idea for Mildred’s story. Dance has been a lifetime passion of mine, and my ballet mistress with whom I kept in contact all her life, told me about her experiences as a dancer in wartime repertory, and this became the Romaine Theatre Company in the book.

So I think you can appreciate that this award means so much to me, not just in itself, but because so much of myself was poured into the book. As my fourteenth published novel, it feels like a lifetime achievement and I thank from the bottom of my heart the Romantic Novelists’ Association and the readers and judges who put me on the podium.

SISTER SCRIBES GUEST: JAN BAYNHAM ON WRITING HER DEBUT NOVEL

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Jan Baynham is a good friend to all the Sister Scribes and here she provides an insight into writing her debut novel, Her Mother’s Secret: The Summer of ’69. Susanna Bavin asks the questions.

You started out as a short story and flash fiction writer. What made you decide to write a full-length novel?

On retirement, I joined a writing group where I wrote my first short story. Very soon, I could see my stories getting longer and longer. After enrolling on a novel-writing course at Cardiff University, I enjoyed being able to explore characters in more depth and delve further into their stories. I still write shorts but now it tends to be when I’m editing or doing research for a novel. When writing a novel, I love getting to know my characters so well that I miss them when I come to the end and I enjoy visiting new locations with them. The length of a novel allows me to create more involved plots and sub-plots for the characters to experience than I’m able to do in a short story or piece of flash fiction.

What was the initial idea behind the story from which it all grew?

The novel started out as a short story. At the time, I’d been reading a novel where the rustling in the trees sounded like whispers and inanimate statues took on the form of the ghosts of people they represented. Combining both ideas, I asked myself what if the whispering could show the presence of a past family member. Always fascinated by family secrets and the bond between mothers and daughters, I knew I had the basis for a story. In both the story and the novel, I leave it to the reader to decide what the whispering represents. In the short story, Alexandra’s search for the truth was resolved quite quickly whereas in the novel there are many more twists and turns, obstacles and setbacks before the story concludes.

Tell us about the places that feature as the backdrops of the story.

Once I’d decided that my main character Elin would be an artist, I chose a setting where the surrounding colours would be more vibrant and intense than in her home country of Wales. Having visited many times and being struck by the wonderful palette of colours seen in every landscape, Greece was my choice of background. The island is not based on one particular place but is an amalgam of areas I’ve visited. Every holiday has contributed to the whole backdrop where I’ve tried to show the climate, the vivid colours of the sea and the flowers as well as the warmth of its people.

How important is the mother-daughter dynamic to the story?

The mother/daughter relationship is central to the novel. Alexandra is grieving after the untimely death of her mother, Elin. She experiences a whole gamut of emotions from deep loss and its accompanying sadness, through to anger that her mother has abandoned her. When she learns there is part of her mother’s life she knew nothing about, Alexandra goes to Greece with the hope of finding answers.

What have you learned about the writing/editing process? Is there a piece of advice you’d like to share?

Everything suggested by my lovely editor at Ruby Fiction was very clear and straight-forward, but one thing stood out. I hadn’t always got the dates or passing of time issues right. Elin’s story is interspersed with diary entries and these didn’t always tally! The way I dealt with these continuity edits was to have a calendar in front of me and highlight the dates as events happened. Although a diary may not feature in another novel, I will definitely use a calendar to check the passing of time in future.