Something weird in your neighbourhood? You better call Tigerman. Or possibly just Nick Harkaway

What is the connection between Twitter, the CIA, Graham Greene, crowdsourced space elevators and superheroes with secret identities?

The answer is author Nick Harkaway, who was a guest in Abingdon on Wednesday, and who took us on a prodigiously entertaining journey between how all these links led up to his latest book ‘Tigerman’.

The evening felt like being taken on rollercoaster of thoughts and ideas, but then so does reading his books.

‘Tigerman’ is an impressively intelligent novel of big thinking, search for purpose, international shenaningans, multiple identities, fatherhood and explosive action.

It is the story of burnt-out soldier Lester Ferris, sent to the ends of the earth and the island of Mancreu, who may possibly oversee the end of the world.

Nick was a screenwriter for ten years before becoming a novelist – and the restriction of screenwriting led almost directly to the delight of him being able to give full reign to his imagination in writing in a medium where nothing is impossible to film or to find a budget for.

Perhaps no surprise then that his first two books were packed full of breakneck plotting, shadow worlds, ninjas, mechanical bees and near-planetary destruction. He doesn't so much push the boundaries of genre, he kind of bends them to his will, moving between science fiction and literary fiction. In doing so, his novel ‘Angelmaker’ won him the Kitschies Red Tentacle award (which goes to books that "elevate the tone" of genre fiction) –  for the most intelligent, progressive and entertaining speculative novel of the year.

‘Tigerman’ is placed more firmly in reality, which, in a way, makes it more frightening. Set in a post-colonial world and an island on the verge of environmental collapse, Mancreu has become home to all the worst things in the world: the notorious, the powerful, the criminal – the natural home of everything from drug barons to extraordinary rendition and torture.

International forces agree that the best solution for Mancreu is obliteration, but when Lester teams up with a small local boy it becomes as much a novel about the need to humanise and our responsibilities to the next generation, as it does about power and the price of eternal vigilance.

It's a joyous rollercoaster for the reader, but - as Nick tells it - probably way more fun to write. ‘Tigerman’ is a seriously impressive novel. A sincere 'thank you' to Nick for making our evening just as seriously impressive - and a great deal of fun. As one of our audience said '"I fell like my brain has been given a massage - and I mean that in a good way".

During the evening we managed a big discussion about the joys - and horrors - of social media, particularly Twitter. Via plenty of commentary on technology - and his book 'The Blind Giant' - Nick explained his accessibility online, and his love of the micro-blogging world (the power of now - 'hey, let's crowdsource a space elevator'). We talked about power, its ludicrousness, and how Nick's experience of firing a handgun for the first time led him to think 'this is too easy to be this powerful and dangerous'. As we had a father's day theme, we touched very briefly on his famous father (and we were secretly delighted at how many of the audience didn't know) and ended up on a nice discussion about how he does a nice line in romance - and love - which runs subtly through all his writing.

This was our first event in the newly refurbished Crown and Thistle in Abingdon, and a huge thank you to them for looking after us brilliantly - we will definitely be doing more events here. It was a sublime venue for such a thrilling rollercoaster of an evening.

From page to pane: creating a bookshop window, with a little help from Suzanne Barton, The Dawn Chorus, and Peep

Ah Spring. Season of new life and fresh starts, so when we were offered the chance of a window make-over by a talented new author and illustrator by publisher Bloomsbury - we jumped at the chance.

So on Tuesday, we welcomed Suzanne Barton (and just a few family and friends 'helpers'!) who set out to transform the shop...

Suzanne Barton is an Oxford-based author and illustrator, who began making picture books after finishing an MA in Children’s Book Illustration at the Cambridge School of Art.

Her first picture book is the story of a small bird called Peep, and what happens when he endeavours to join the wonderful 'dawn chorus'...

Mark appeared on BBC Radio Oxford on Monday talking about the book with broadcasting legend Sybil Ruscoe as part of the Afternoon Bookclub - click on the link and fast-forward to 1 hour 10 minutes to get a feel for the how special the book is.

We wanted to involve as many of our customers as possible, so for the past few weeks, we'd been handing out some custom-made bird templates for children to decorate - and on Tuesday, children brought them in or made them in the shop... 

They were able to meet the author and get copies signed...

...whilst all the time we were adding their creations to an impressive growing flock in the window:

The finished result is - we have to say - breathtaking and delightful...

Huge thanks to Suzanne - and her team - for working incredibly hard the whole day on Tuesday.

Thanks also to Bloomsbury for making it happen - and being so supportive throughout the day.

We took the opportunity to ask Suzanne a few quick questions about her writing life. So we'll leave you with these, and a few more stunning pictures...

Five questions with...Suzanne Barton's Writing (and Drawing) Life

1.    What are you working on at the moment? 

I’m working on my next book for Bloomsbury. (on being pressed for more details) Can’t say too much about it at the moment, but it might feature another bird character…

2.    What is the best writing tip you’ve ever been given? 

Can I do an illustration tip? When I first started out as an illustrator, I thought ‘I can’t be an illustrator because I can’t draw everything from memory’. And then I learned that to draw things you need to observe things from real-life, you need to absorb information and get inspiration from things around you to be able to get your ‘version’ of whatever it is you are drawing. And that version may not bear any resemblance to the things you’ve seen. I learned that you need to put something in to get something out – does that make sense?

3.    What’s the best thing and the worst thing about being a children’s writer?

The best thing is doing what I love. I can't believe I get to do a job where you stick and draw. The worst thing? Nope, can't think of one...

4.    Do you have a writer’s survival kit, eg a place, thing of snack essential before you can start work? 

My cat! She’s usually there, drinking out of the water, often sitting in a drawer. Once she’s there, I can begin work!

5.    What was your biggest breakthrough?

Doing my MA in children’s illustration at Cambridge – lots of breakthroughs came after that. Then it was having my first book at Bologna. 

Discover much more about Suzanne, the book - and have a chance of winning one of her drawings - over on the Space On The Bookshelf blog...

To Kepe a Hufband Faithfull - Five Questions with Ruth Warburton, author of Witch Finder

Last Thursday, we took YA author Ruth Warburton to John Mason School in our first event of 2014.

About 150 children listened to Ruth tell the story of how she came to write her Winter Trilogy, and read from her latest book 'Witch Finder'.

The series tells the story of Anna, whose life changes forever when she moves to the small town of Winter and events conspire to lead her - unwittingly and inexorably - to the discovery that she is a witch.

The books are a fabulous combination of adventure and romance - but with the trilogy at an end, Ruth has now taken her readers back a century or so to Victorian London and an altogether darker tale told in 'Witch Finder'. The story features the fearsome brotherhood of the Malleus Maleficorum, dedicated to hunting witches in the name of justice in Victorian London.

Ruth explained to her audience about the background to her books, the reality of witch hunts in the 15th and 16th century, and the religious-backed groups that set the laws for witch trials - and hunted down witches.

In researching her books, and to get inspiration for the spells that her characters use, Ruth has had to delve into some very old books indeed, getting to grips with anglo-saxon spellbooks, spells - and spelling.

As she explained, there was no real spelling 'standards' back then - if people could basically understand what you wrote, then words could be spelled in many different ways. There were also more characters in our alphabet. For example, the 'thorn' (written as Þ) was our 'th' sound, descended from the runic alphabet. This letter only slowly got replaced, often being substituted by 'y' when the printing press arrived (hence 'ye olde').

Ruth read from her books, and there were a lot of questions from the students, including my personal favourite 'if you were to write your books again, what would you change?' (the answer: I couldn't bring myself to rewrite my books, so nothing!).

A big thank you to Ruth and her publisher Hodder for travelling up from London for the event, and to John Mason School for being such great hosts. We had a chance to have a chat afterwards and find out a little bit about Ruth's writing life...

Five Questions with...Ruth Warburton's Writing Life

1.    What are you working on at the moment?

I’m currently editing the sequel to Witch Finder (Witch Hunt). I’m just going through editing changes with my editor. It’s quite enjoyable, a bit like homework! Once that is over, I’ve got a new idea which I’m going to be working on.

2.    What is the best writing tip you’ve ever been given?

Almost everyone experiences a dip at 30,000 words. Lots of writers give up at this point. The reality is that, with a new idea, the momentum carries you through, and those first 30,000 words get you set up. You need to take stock, appreciate that it’s a natural lull and PUSH ON THROUGH!

3.    What’s the best thing and the worst thing about being a children’s writer?

The best thing is that children’s writing is cross-genre. With adults, there’s a lot of pigeonholing, and someone who reads (for example) fantasy might never read crime. Kids don’t read like that, they will usually be quite happy to read different genres. The worst thing is that there is less and less coverage for children’s books across the media and broadsheets. It’s a shame.

4.    Do you have a writer’s survival kit, eg a place, thing, thing or snack essential before you can start work?

A proper chair! I used to write on the sofa, or curled up in bed, but I gave myself back problems. I was given some advice that, when you get your advance, go out and buy a proper chair – it’s great advice! I went out and bought myself the ugliest office chair, but it’s really helped.

5.    What was your biggest breakthrough?
The decision to write for children. I’d always written for adults, but as I work in that world (publicity for a large publisher) I didn’t think I could possibly show my writing to my fellow professionals, particularly if they had turned round and rejected me! Then I had an idea for a young adult book, and when I thought about who to send it to, I thought – I don’t know anyone, they're all completely different people!

All These Worlds Are Yours: Ben Jeapes and Jonathan Oliver launch 'Phoenicia's Worlds'

One moment it was the perfect summer’s evening, sat in the courtyard of Mostly Books and enjoying a glass of wine. The next moment we were transported to another time, aboard a spacecraft re-entering the atmosphere of an unknown world, our short-term memory shot, struggling to understand what was going on...

In fact, we were celebrating the publication of ‘Phoenicia's Worlds’, the latest novel by Abingdon sci-fi writer, Ben Jeapes. Reading an extract from the book, he was then joined in discussion by his editor at publisher Solaris, Jonathan Oliver. Together they discussed Ben's writing, his influences - and over a glass of wine, discussed the question: ‘What makes good science fiction?’

‘Phoenicia's Worlds’ is about humankind's first attempt to colonise another world – an Earth-type planet caught in the grip of an Ice Age. Tragedy strikes the colony, and to save it from starvation and collapse Alex Mateo must reluctantly entrust himself to the only starship in existence to make the long, slower-than-light journey back to Earth.

Given the interest in recent discoveries of Earth-like planets that may be orbiting nearby stars, Ben's setting and theme seems to be extremely timely. Ben explained that the seeds of the book were actually sown many years before, with themes closer to home influenced by world events and Ben's sometimes pessimistic view of human nature... 

Ben has published science fiction for both children and adults, and has recently had a collection of his short stories published. He explained that one of the real pleasures of writing science fiction for him is the thinking up and describing of appropriate technology for the stories.

He explained that the idea for his first book - His Majesty's Starship - was driven in part by a desire to correct some of the problems in the way spaceflight was portrayed in the Star Trek universe. Being thrown off seats in a space battle? How about seat belts. And when one considers that a modern jetliner can take off from Heathrow and land in New York with little of no direct involvement from the pilot - the idea of sitting at consoles actively controlling the ship might be considered a little, well, antiquated.

Jonathan quizzed Ben as to his SF influences, and Ben cited Arthur C Clarke and Asimov, to Alastair Reynolds, Iain Banks and Stephen Baxter.

His book published for children ‘New World Order’ is a time travelling story that returns to the English Civil War, but for ‘Phoenicia's Worlds’ he has gone forward in time, and it is full of well-imagined detail of what it might be like in the future to actually travel on a spaceship between star systems.

Trying to get to the heart of what makes good science fiction, Jonathan said he liked Ben’s writing because it celebrates the strong traditions of the genre, while also looking to the future – and also that it has good characterisation and characters he cared about. Good SF was, he said, primarily good writing. A big idea is not enough.

Jon also explained a little about the process of publication at Solaris and Abaddon Books. Speaking about the differences between large and small publishers, he said: ‘The best thing about being an indie publisher is that you can move really quickly. You can trust your initiative and publish the books you love publishing and you don’t have to convince a whole load of people because they trust my taste (on the whole!)’

There were discussions on cover designs - Solaris have some very talented designers, even if there are some last-minute revisions to cover designs. We have to agree - Phoenicia's Worlds has a stunning - and subtly appropriate - cover.

Ben also talked about his experiences of writing as a ghostwriter on a number of projects - and the challenges and opportunities this affords in terms of (almost) being a full-time fiction writer.

It was our first science fiction event at Mostly Books, and also the first time we've had a discussion between editor and author. We'll definitely be doing both again.

A big thank you to both Jonathan and Ben for making it a lively summer’s evening event. Phoenicia's Worlds deserves to do extremely well - and of course we have signed copies at Mostly Books...

Old Bear guest stars at Teddy Bear’s Picnic

We were delighted to have a real VIP visitor on Tuesday, when one of the most loved bears visited in person as guest of honour at our teddy bear’s picnic.

Our courtyard garden was packed out with picnickers - and their bears - who came along in the sunshine to listen to Old Bear stories and to meet some very famous bears indeed.

Author and illustrator, Jane Hissey, explained that Old Bear was the original inspiration and features in most of her books, which have been loved by children around the world for over 25 years.

In fact, Old Bear is now so old he very rarely makes a guest appearance, so Mostly Books felt particularly honoured that such a venerable bear made such a very long journey from Jane’s home in Sussex (and also very grateful to Jane for making such a long journey and bringing us all her delightful characters).

Old Bear was her very own bear. She had studied on an illustration and design course and worked as a teacher, but started drawing Old Bear when she had free moments after she started a family. She finally found a publisher who was interested in publishing her stories and quickly found readers who loved the books.

Old Bear was quickly joined by other characters – Hoot the owl, Little Bear – and her most recent creations – Ruby, Blue and Blanket. In the eighties the characters featured on everything from jigsaws to china figures.

Our audience featured lots of children and plenty of mums who had loved the books when they were young, as well as some new fans. And lots of sandwiches, cake and much-loved teds.

It was a glorious day and we were extremely lucky as a torrential downpour in the morning had flooded the garden and threatened our plans to be outside. We spent a good hour trying to clear all the water! But luckily the sun shone again and the weather was perfect by the time the picnic started.

Jane brought along all the original characters for us to meet and all of them had their own story of where they had all come from and how they ended up with starring roles in her books.

The stories would make a book in themselves.

It was as delightful a way to spend an hour as you could possibly have.

Her books are popular the world over and were made into an animated television series and they have been praised not only for their charming stories and colourful pictures, but also use of texture and perspective.

It was great that Jane also gave us an insight into how the books come to life.

She explained how she first writes the stories and then uses the characters to set up the scenes that will appear alongside the text, sometimes using pins, hooks and threads if the characters need to be in action or flying.

It was a unique insight into the meticulous attention to detail that goes into producing children’s book. It really gave an idea of how much work goes into the books, but also why they seem so full of life and texture. There are really no other books like them.

She also says she only uses coloured pencils to draw with and brought some of the original drawings for us to see.

With an audience from babes in arms, they appeal to a great range of ages. Now celebrating twenty-five years since being published, the Old Bear stories will now be delighting a whole new generation of children.

A tremendous thank you to Jane for such a delightful hour of insight and stories and for being generous enough to share them with us. We had a lovely time.

(Want to get a parent's view on the event - visit Child-Led Chaos's report on the day, and also visit Jane Hissey's own website for much more on the story behind Old Bear)

Miss Vickers' Angel: Salley Vickers and her journey to Chartres

Last Thursday, in a sultry, packed Roysse Room in Abingdon's Guildhall, we welcomed novelist Salley Vickers to what was a very special event.

The evening started with a conversation about bookselling. This might have been because Mark was on stage putting the questions to Salley, but mainly it was because - in the long and eclectic list of jobs that Salley had before becoming a full-time writer - she had once been a bookseller, at an independent bookshop in Richmond.

And although her CV lists far more glamorous career choices, including a university teacher and a psychoanalyst, she’s very aware of the difference independent booksellers have made to her, since she became a novelist.

Her first book was ‘Miss Garnet’s Angel’, a book published when she was 50 and knew nothing about the book trade. It became a word-of-mouth bestseller.

‘My publisher said it was a “quiet” book, which I now know means a book on which they didn't spend any money. But...I use that word often when I review books myself, because I often think quiet books are the books I like best.’

It may have started out quietly, with none of the chains agreeing to take it, and with a initial print run of just 1,000 copies. But Salley said she knew it had taken off when eight months after that initial print run and several reprintings, her publisher had to rush out a final reprint of the hardback in time for Christmas.

That book has gone on to sell more than 350,000 copies. Salley is very clear how important independent booksellers were during those early days.

Salley was keen to explain how ideas for books seem to come from collisions of experiences past and present. In the case of 'Miss Garnet's Angel', the seeds were sown with a trip to Italy when she was very young and steeled to think Venice over-hyped and too touristy. Wandering off the beaten track she came to a dilapidated church and stumbled across a series of wonderful paintings.

Years later she did the very same thing, stumbling accidentally on the very same church, but had recently been teaching the story of 'Tobias and the Angel' on a continuing education course in Oxford. When she recognised that this was the story those paintings told, she went back to her hotel room, and started to write what she initially believed would be a short story - but became ‘Miss Garnet’s Angel’. 

But the importance of place is often the very first thing that gives her the start of the idea that will grow into a novel.

Her latest book ‘The Cleaner of Chartres’ came about from a similar mix of experiences. Having originally been taken round the cathedral when young, when travelling through France she decided to take a detour to see the cathedral again. And after a long night involving an accident and a visit to a hospital, she found herself - unable to sleep - in the cathedral very early in the morning when it was being cleaned.

‘I thought that a cleaner will know things about the cathedral that no-one else will know and have access to different parts. Thus the character of Agnes emerged, although at that time I didn’t even know what her history was.’

Salley gave insights into more than just the inspiration for her novels, but also how her ideas and characters grow.

She likes to write first thing in the morning, as it is the best time to tap directly into her unconscious mind. And although she loves books with good plots and stories, she doesn’t really plot, but instead does a lot of 'mulling and pondering' - and then writes very, very fast. 

She also likes to put in a character who is not like her, but to whom she gives her own views and opinions.

It is details like this which probably help to explain the huge popularity of her books and manage to be both fun and page-turning whilst at the same time allowing shadows and darkness to intrude.

Mark confessed to worrying a lot about Agnes (actually, he declared himself 'smitten'), concerned that the main character in 'The Cleaner of Chartres' would manage to have a happy ending herself, despite being a catalyst in improving the lives of the people around her.

It is that ability to draw readers into her world that many people care deeply about in her stories. Many people who have read 'Miss Garnet's Angel' have managed to take a detour while in Venice to visit the places mentioned in the book, and book groups have even visited expressly for that purpose.

Salley said it was a privilege to write books that she knows make a difference to people. She even heard from the owner of the cafe mentioned in 'Miss Garnet's Angel' who told her he had been about to close down when she wrote the book - and has recently expanded. Now that's a very tangible difference indeed. How many authors can say that?

We have a list of thank yous as long as our arm - but briefly - the team at Abingdon's Guildhall for looking after us splendidly, to some emergency staging supplied by Thomas Reade Primary School, a huge thank you must go to Penguin for making it all happen as part of Independent Bookseller's Week. But mostly to Salley herself for a wonderful evening - thank you.