Marketing & Publicity Internship

Irish publishing house The O’Brien Press is seeking a Marketing & Publicity Intern.

The position involves providing administrative assistance to the department across all areas of marketing, publicity and events and offers the opportunity to gain valuable knowledge and experience in marketing & publicity as well as other aspects of the publishing environment.

The successful candidate will be energetic, enthusiastic, highly organised and will be able to work well on their own and as part of a team. They will be able to work well under pressure. They will be proficient in MS Office (Word, Excel) and Outlook. Experience with InDesign and/or an interest in social media would be a bonus. This position would be ideally suited to graduates who are seeking to gain experience in publishing, and in the area of marketing and publicity, in particular.

This is a paid internship starting in July, finishing in November 2017, 5 days a week.

Please apply with CV to The O’Brien Press at publicity@obrien.ie

Closing date for receipt of applications is 5pm on Friday 23rd June 2017.

A Week of Blooming Wisdom

Jamie O’Connell, editor and selector of Best-Loved Joyce, guides us through a week of Joycean quotes in the lead up to Bloomsday. Jamie also chats about James Joyce and what Bloomsday means to him.

A Week of Blooming Wisdom

All moanday, tearsday, wailsday, thumpday, frightday, shatterday…

Finnegans Wake

To celebrate the Bloomsday Festival that runs over the coming days (Bloomsday being Friday 16th), I’ve taken some quotes from Best-Loved Joyce that have inspired me, and I hope they inspire you. Using Joyce’s iconic days of the week in Finnegans Wake, here are seven(ish!) of my favourite Joyce quotes, which showcase some of his profound insights:

Moanday

I want to see everyone… all creeds and classes… having a comfortable tidysized income… I call that patriotism.

Ulysses

Tearsday

The object of the artist is the creation of the beautiful. What is beautiful is another question.

A Portrait of the Artist as a Young Man

Wailsday

If Socrates leave his house today he will find the sage seated on his doorstep. If Judas go forth tonight it is to Judas his steps will tend. Every life is many days, day after day. We walk through ourselves, meeting robbers, ghosts, giants, old men, young men, wives, widows, brothers-in-law, but always meeting ourselves

Ulysses

Thumpday

One by one they were all becoming shades. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.

‘The Dead’, Dubliners

Frightday

She respected her husband in the same way as she respected the General Post Office, as something large, secure and fixed

‘A Mother’, Dubliners

Shatterday

To learn one must be humble. But life is the great teacher

Ulysses

What is it about James Joyce that you love? Is it the man himself or his work or both?

For me, Joyce is the epitome of the Oscar Wilde quote, ‘We are all in the gutter, but some of us are looking at the stars’. Many of the personal choices he made in his life would not have been choices I would’ve made; in fact, some of them were extremely destructive (he put his poor wife Nora Barnacle, along with other members of his family, through the wringer!). However, he had great integrity and vision when it came to his art. Out of the ‘lumps of earth’ (as he called it) he created work of great beauty and integrity, unflinching in it’s descriptions of human nature. His commitment and courage when it came to his craft/art is a inspiration for any writer.

If you could meet James Joyce today what would you ask him?

You took the ‘road less traveled’. What gave you the courage to do this?

What is your favourite James Joyce book or piece of literature?

My favourite work has shifted throughout the years. It is as Marcel Proust says (I paraphrase): we don’t read books, we read ourselves. As someone who was brought up in an extremely religious environment, in my twenties I could see myself in the struggles of Stephen Dedalus in A Portrait of the Artist as a Young Man. Of course, Dubliners was the most accessible of his work – it’s a cliché, I know, but ‘The Dead’ is definitely a favourite! Right now, I think Ulysses is my favourite work – it’s the work that I found the most wisdom and riches in when I was compiling Best-Loved Joyce.

Do you think Bloomsday is an important celebration and if so, why?

I think anything that highlights great literature can only be a good thing. Studies have repeatedly show that people who read regularly have higher levels of empathy and, in a world where it seems like empathy is vanishing and being replaced by fear of ‘the other’, literary festivals like Bloomsday, which encourage people to pick up a book, are not simply ‘entertainment’ or a form of ‘distraction’, they are part of the movement that keeps human nature from being drawn towards it’s more dangerous instincts.

Do you celebrate Bloomsday every year and if so what do you do?

For the last couple of years, while working on this text, I’ve had a ‘Bloomsday’ experience on a regular basis! This year I’m actually delighted to be giving a talk on Bloomsday (Friday 16th June) in Rathgar on ‘How Joyce can Change Your Life.’ (giving my event a little plug there!). Ten years ago, I avoided Joyce like the plague – now I have great admiration for him as a fan – I’m no academic. I’d like to contribute to the Bloomsday celebrations by offering people like myself, non-academics, a chance to understand some of the beauty and wisdom of Joyce’s work.

Jamie O’Connell, June 2017

Best-Loved Joyce is a beautiful and accessible introduction to the writings of James Joyce. Short, entertaining quotes from his major works: Dubliners, A Portrait of the Artist as a Young Man, Ulysses and Finnegans Wake, with more from his poetry & letters, and some family anecdotes handed down to grand-nephew Bob Joyce.
Best-Loved Joyce was published in May 2017 and is available here and in all good bookshops!
To celebrate Bloomsday we are offering 20% discount on all James Joyce related titles if you buy online at www.obrien.ie until Friday 23rd June –  Blooming Marvellous!

What It’s Like To Finish A Trilogy

Matt Griffin, author of The Ayla Trilogy, chats about his experience of writing a trilogy: the inspiration, the method and his three central thoughts!

Ayla’s adventure was always envisioned as a trilogy. The sacrosanct Three Acts; beginning, middle and end; the ‘monomyth’ of the hero’s journey. Three books in which to take a character from normality to abnormality and back again, nicely tied off at the end, with everything as it should be.

But I wanted to put my own stamp on that, the same way I wanted to filter the mysticism of ancient Ireland through my own (somewhat macabre) imagination. So my first thought was:

I’m going to start with my hero already in trouble.

So on the very first page of the first book, Ayla (our hero) is trapped underground, far from home (very, very far – not in terms of distance, but in terms of time) and she has no idea how she got there. She will have to work it out herself, and while she does that, the reader does too. You will learn about the how and why just as she does, and her three best friends do too. Which brings me to my second thought:

 I want this whole thing to be about loyalty. 

The bonds of loyalty between a person and their friends and family is something I consider myself well-versed in, being blessed as I am with abundance of both. And so I wanted to see what happens to the bonds between friends when those friends are placed in lethal levels of danger, in an environment that has no relation to what they think of as reality. And what happens to the bonds of family when you realise that they are not who they say they are. Or worse, they are behaving unlike themselves – in a very unsettling way. With these ties tested under severe stress, the characters learn about themselves, and surprise themselves (and hopefully the reader) with what they are capable of. When the world you know is swiped from under your feet, and you are faced with an 80-foot ogre who wants to eat you, you’ll be amazed at how quickly your true nature comes to the surface.

My final thought was:

I do not want to tie this off neatly at the end.

Ok, the whole thing was not just based on three thoughts. There was a lot more I wanted to explore thematically – like what happens when fantasy meets reality head-on, and is ‘magic’ necessarily super- or preternatural (maybe our mundane reality is magic. I certainly like to think so). But sticking to the tidy three-acts trope, my last major consideration was that everything would not go back to normal at the end of the adventure. No story ends with everything as it was at the start –  – characters have to undergo change. Ending a story with a ‘their-lives-will-never-be-the-same-again’ sunset is hardly a first – I’m not claiming otherwise. But it was important to me that when you finish this trilogy you, the reader, might find yourself imagining what happens next, and wonder: do they all really live happily ever after? I don’t want to spoil anything, but suffice to say the characters are equipped for more adventure.

And so that brings me to the question I was meant to address at the start: what is it like to finish it?

Before I wrote books, I admit I used to cringe slightly at authors who referred to their characters as if they were real people. How misguided I was. When you start to create these characters, they are just that: characters. They have names, some personality traits, a bit of family background. And then you throw these barely-known characters into the wringer of high adventure and they become people. You actually get to know them as you write. That may sound slightly cheesy, but it’s true. And I bet if you read a story where the writer didn’t believe his characters were real people, you didn’t like it. If the writer doesn’t believe them, why would they expect anyone else to? As the story unfolds while you write, the cast of your story reacts just as they should because you believe in them. And, I don’t mind telling you, you love them. And I don’t mind telling you more: as I wrote the last lines of The Ayla Trilogy, I had tears rolling down my cheeks because I knew I was saying goodbye to them forever. Finishing their story was both happy (the sense of achievement) and sad (the sense of loss). Bittersweet, like releasing a bird you nurtured back to health over weeks and months with a blubbering cry of: ‘Fly! Be free!’; missing it terribly, but knowing you are doing the right thing.

Of course, the hope is that they are strong enough to live on in the imagination of the reader. And in that sense, they can go on indefinitely. That is a warming thought.

Now, it’s on to the next adventure, and new characters to write and love and let fly. But I will certainly never forget Ayla, Benvy, Sean and Finny. And I hope that if you (or a young reader belonging to you) loved them too, they’ll linger a while in that vast expansive imagination of yours.

Matt Griffin, May 2017

The Ayla Trilogy is available here and in all good bookshops!

 

Erika McGann on Forts, Childhood Rebellion, and the Legend of Farmer Hearty

Erika McGann, author of the Demon Notebook Series, chats to us about her new Cass and the Bubble Street Gang series. The Clubhouse Mystery is the first book in this new series!

The greatest fort I’ve ever seen was one I didn’t help to build. It was built by the big kids. And it was probably a crime.

Nicknamed ‘The Tunnel’, it was a huge crater dug in the middle of a field; the crater was covered by aluminium sheeting, which was covered by soil, which was covered by branches, leaves and grass. It was entirely underground and it was awesome.

I wasn’t allowed into the Tunnel. None of the small kids were. We had to watch enviously, hidden in the hedgerows, while the big kids crawled in and out through a narrow trapdoor on one side. I’d forgotten about that bit – it had a freakin’ trapdoor.

The forts me and my friends made (or acquired) were much less impressive, but I remember the kick we got out of naming a secret camp and vowing to stash a bin bag full of sweets there (to be bought with months of saved pocket money … if we could just get around to actually saving it). That seemed to be the main function of a secret fort – somewhere to stash the loot. A limitless supply of chocolate, crisps and penny sweets was the dream. For the sake of our local shopkeeper, it’s a good thing that never came true. Spending 30p could easily take twenty minutes or more of careful consideration at the sweet counter. Choosing a bagful would have taken weeks.

There were secret forts and camps dotted all over the fields that stretched beyond the housing estate where I lived, and they were made all the more exciting and dangerous by the legend of Farmer Hearty.

Farmer Hearty was a huge man who wore a flat cap and a tweed jacket, sleeves rolled up to the elbows, and a shotgun over one shoulder. At his heel followed a hound of horrible ferocity – it was, depending on who told the story, a cross between a Rottweiler, an Alsatian, a pit bull and a wolf.

I’d never seen Farmer Hearty – none of my friends had seen him either – but we had heard wild tales from the older kids about being chased across the fields, bullets whizzing past their ears, the Baskerville Hound snapping at their heels as they ran, and we knew to be afraid. Because, like any good cartoon villain, Farmer Hearty hated kids. And he would shoot any he caught trespassing on his lands.

I remember sunny days, playing by the stream, crossing by the log that didn’t quite make it all the way to the other side, when my blood would suddenly run cold at the sound of the word ‘Hearty!’ echoing through the trees. I could have outrun an Olympian then. Nothing powers sprinting legs like sheer terror.

And I must have run that fast because Farmer Hearty never got me. I never so much as caught a glimpse of that huge man’s towering shadow spilling over the waves of wheat as he gave chase.

In all the years I lived there, fleeing under electric fences, through holes in hedges, wading through waist-deep water, suffering scrapes and bruises and humiliating face-plants in shallow, muddy pools, I never once saw Farmer Hearty in the flesh. None of my friends ever saw him either. Throughout those summers, the big kids taught us a valuable lesson … and the meaning of the word gullible. Thank you, big kids.

All of this stuff has been coming back to me more and more as I write the Cass and the Bubble Street Gang books; a series about a group of friends with a secret club, a secret clubhouse, and a longing for adventure.

I can still feel that spark of excitement in my belly that Cass and her friends get as they make their covert plans for a hidden fortress. Me and my friends were obsessed with having something secret, something that was just our own. I guess that comes from being a kid, and everything about your life being someone else’s business all of the time. You want your own space, your own stuff, your own adventures. Maybe it’s the very beginning of growing up – your first little rebellion. And it is a little rebellion.

A secret fort is like your very own house, and in your house you’re the boss. You decide what time you go to bed (though you’ll never actually be there at night-time), you decide what you’re going to eat (which will be junk food for as long as your pocket money lasts, but let’s face it, you’re going to go home for dinner when you’re properly hungry), and you decide who comes in and who doesn’t (through the clever use of a password, changed fortnightly – a security system that’s totally unenforceable, and you all know it, but nobody says anything).

Cass, Lex and Nicholas are in the middle of their little rebellion. They risk climbing the fence into Mr McCall’s field, braving the snorting threats of angry bulls (never that scary in cartoons but terrifying in real life) and leaping over ditches into bramble-filled hedges just to find the perfect spot for their secret clubhouse. With the hidden hideout built and packed to the paddling pool roof with muffins and cookies, they go looking for adventure. It finds them first; something I lived in very great fear of as a child – a clubhouse intruder.

In the second book they move on to entrepreneurial adventures, determined to make millions through jumble sales, ghost tours and virtual holidays. That’s also inspired by my own childhood efforts, but it would take an entire other blog post to list all the money-making ideas that never made us a bean. The dream of the bottomless bag of chocolate, crisps and penny sweets remained forever beyond our reach.

I’ve lost the desire for it anyway. I am a fan of junk food, but a black plastic bag stashed in the corner seems ridiculous. And I haven’t built a fort in years, not even a temporary indoor one with chairs and cushions and blankets (and a mop for height; it was always a killer getting height). I have grown-up adventures instead. I’ve travelled a bit, I’ve had some quirky hobbies, I’ve been scuba diving and abseiling and white water rafting, and I once slept through a hurricane. But nothing’s ever quite matched the thrill of watching someone dig a big hole in the ground and cover it up with soil and twigs.

It felt like the Tunnel existed for months – an entire summer at least – but it probably only lasted a week or two. It was a foot that did it. One single careless foot that slipped between the sheets of aluminium and ploughed right through the roof of the tunnel below. I can remember one corner of aluminium sheeting poking skywards through the soil – the beginning of the end. The big kids hadn’t the motivation to fix it, and we hadn’t the know-how. The Tunnel collapsed like a bad soufflé, but what it lacked in structural integrity it more than made up for in wow factor. It is, ironically, cemented in my mind as the greatest fort that has ever been.

Erika McGann, April 2017

The Clubhouse Mystery is available here and in all good bookshops!

The O’Brien Press seeks Production Administrator

 

Ireland’s leading independent publisher is seeking an experienced book production administrator for a challenging and interesting position.

This is a full-time job. The job includes the following key roles: managing relationships with, and buying print from, a wide selection of international printers. Preparing files for print for all of our titles, approx. 150 per annum. Schedule management for these jobs. Strong working knowledge of InDesign, Photoshop and Acrobat are essential. The successful candidate will be highly organised and accurate, working well in a dynamic team environment.

CV and cover letter to jobs@obrien.ie by 20 March

 

Natasha Mac a’Bháird on the Star Club Series

With the publication of Starring Meg nearly upon us, Natasha Mac a’Bháird talks about her inspirations for the Star Club Series. Natasha chats about her narrators and how she finds herself becoming attached to them.

When I visit schools to talk about my books, they always want to know where I get my ideas. It’s a really tough one to answer. Ideas come from all sorts of places – something I’ve read, a conversation with someone – but they rarely have a clear form, more like something vague emerging from a fog that I try to grasp on to.

My new series, Star Club, is a bit easier to explain. I can trace the roots of this idea right back to when I was the same age as the four girls in the books. At twelve the thing I was most passionate about was reading (no change there then!), but a close second was drama. I loved everything about it from creating characters to dressing up to making up stories. Like the Star Club girls, I used to put on shows, roping in my sister and brothers and sometimes friends and neighbours too to act and sing and dance with me. Hannah’s brothers, Zach and Bobby, are loosely based on my own brothers – when we wanted them to be in one of our plays, my sister and I always had to make sure there was a sword fight in it, so we could send them off to practise that scene on their own when they were starting to lose interest (or getting in our way …)

The other part of my idea for this series was the concept of a club, with all the fun of making plans, arranging meetings and the excitement of keeping secrets. I especially liked the idea of a group of girls sharing their talents and working together to achieve a goal that means a lot to all of them. I was a big fan of the Babysitters Club books growing up, and those books helped inspire me too.

I started writing the first book with new girl Meg as the narrator, but after the first three chapters I got stuck. I left it for a while, not sure why it wasn’t working for me. When I went back to it a few months later and read over what I’d written, I realised I was trying to tell the story from the wrong point of view. It would work much better to have Hannah as the narrator, allowing me to describe her sense of intrigue with the mysterious Meg moving in next door. I started all over again, and with Hannah’s voice clear in my head I was soon flying along. The second book gave me the chance to bring the story on from Meg’s perspective, and to reveal the full extent of Meg’s secret past.

It’s very exciting seeing Hannah and Meg in print, side by side, with the amazing covers designed by Rachel Corcoran. The lovely thing about writing a series is not having to let go of characters I’ve come to know and love. I’m now writing the third book, which is Laura’s story. So I have a new voice in my head, full of Laura’s feistiness and overactive imagination, as I find out what these four girls get up to next.

Starring Meg is out 6th March.

Natasha Mac a’Bháird, March 2017

Starring Meg is available here and in all good bookshops!

Design Internship

The O’Brien Press, Dublin is seeking a paid graphic design intern for a busy, highly creative publishing environment, for a period of 3-4 months (probably April, May, June, and July – but this is negotiable).

Ireland’s leading independent publisher produces a huge range of books, from children’s picture books to biography and fiction for adults. The position will provide invaluable skills and experience in editorial design and other aspects of the publishing environment.
The applicant will work with and answer to the Design Manager in the editorial office for 3 days a week: 9 – 5.

Applicants must be proficient in Adobe CS, in particular InDesign and Photoshop, and have an interest in editorial design. Please send your CV along with samples of design work to Emma Byrne, Design Manager, The O’Brien Press, 12 Terenure Road East, Rathgar, Dublin 6 or emma@obrien.ie

Also see www.obrien.ie

Attachments over 10MB will not be considered

Closing date for applications March 31st  2017

Gerard Siggins on Rugby and Writing

Gerard Siggins chats about his love for rugby and his passion for books ahead of the publication of the fifth book in the Rugby Spirit series – Rugby Runner!

I never really intended to write for young readers. I had enough problems making older ones engage with my weekly column on that esoteric (for Ireland) sport of cricket. But a series of coincidences and chance meetings led me to write the Rugby Spirit series, the fifth of which has just been published.

I grew up – and still live – beside Lansdowne Road, a magical site soaked in the sweat of 100,000 sportsmen and women where the dramas and delights of sport have been played out for nearly a century and a half. As boys, we used it as a playground – in those pre-security guard days we had free run of the stadium and even got to kick and run on the holy turf of the main pitch.

I grew up and became a sports journalist, and found myself returning to Lansdowne Road for big games. Every visit was special, and always brought back memories of my own and of the deeds of the past.

When it was decided to level the grand-stands and bring it back as a shiny, kidney-bowl shaped stadium, I resolved to capture those deeds in a book. With colleague Paul Howard, (later replaced by Malachy Clerkin when Paul, by then busy with Ross O’Carroll-Kelly, “couldn’t be orsed”), we put together a series of tales under the title Lansdowne Road, the Stadium, the Matches, the Greatest Days (O’Brien Press 2010).

Malachy was a youngster, so he got to do the easy work of talking to players and those who had seen action on the ground. I got the front half of the book, which involved burrowing in the Gilbert and National Libraries, and other dusty archives.

One of the stories I came across was that of Brian Hanrahan, the only player ever to die from injuries sustained in the ground. He was largely a forgotten figure, ignored in several histories of Irish rugby, so I resolved to find out as much as I could about his life and death, and it became a chapter, ‘The Fatal Scrum’, in our book.

Brian’s story stayed with me, however, and I wanted to write about him again.

I had been making up bedtime stories for my youngest son Billy, who particularly enjoyed the story of a kid who meets a ghost who helps him play soccer and become the best player in his team.

I met Joe (Little Croker and Legends Lair) O’Brien at an awards dinner and, chatting about children’s books, I told him about my story. He encouraged me to write it down and gave me a few hints. I struggled at first, but had a brainwave to turn Billy the soccer player into Eoin the rugby player – the ghost became Brian and the location Lansdowne Road.

As they had published two previous non-fiction books of mine, I sent the first draft to O’Brien Press and happily they accepted it. Since then, Eoin and Brian have gone on to have several adventures, each time being joined by a new real-life rugby-playing ghost such as All Blacks WW1 hero Dave Gallaher; Irish rebel and Belvedere winger Kevin Barry; Russian Prince and England winger Alexander Obolensky; and the man credited with inventing rugby, William Webb Ellis.

At the time of writing this blog, Rugby Runner is just hitting the shelves of the nation’s bookshops, and I’ve just finished writing the 17th chapter in book six. Looking outside, the glass-wrapped wall of the stadium fills my back window and reminds me every day of the power of sport to bring joy.

* Rugby Runner is out on February 13th.

Gerard Siggins, February 2017

The Rugby Spirit series is available here and in all good bookshops!

 

The Making of The Making of Mollie!

Anna Carey tells us about the compelling research process for her latest novel The Making of Mollie!

When I started writing my book The Making of Mollie, the story of a would-be teenage suffragette in 1912 Dublin, I didn’t have to think long about where to set it. When it was founded back in 1883, my old school, Dominican College, was at the forefront of girls’ education in Ireland, and it was known for its progressive ethos – its old girls include the famous suffragette leader Hanna Sheehy-Skeffington. Since 1984, the school has been on Griffith Avenue in Drumcondra, but for just over 100 years it was in Eccles Street in Dublin (when I was there, from 1988 to 1993, lots of people still referred to the school simply as ‘Eccles Street’). As my fictional heroine, Mollie, was a middle-class girl living in Drumcondra, it made sense that she would have gone to Eccles Street – which was handy for me, because I live down the road from the school’s current location.

And so a rainy day in February, I went back to school, thanks to Sr Catherine Gibson, the nun (and former teacher at the school) who looks after the archive. In a cosy room in the convent next to the school building (I’d walked past it every day for five years but never entered it before), I ate biscuits, drank a particularly delicious pot of tea, and immersed myself in the past. Dominican College began producing a yearbook called The Lanthorn in 1913, and there was a complete collection in the archive. I was able to pore through the pages for several hours, taking copious notes and photographs and finally photographing entire pages.

The Lanthorn was an incredible source of information. It told me what subjects the girls studied at school, some of which were mystifying over a century later (historical geography?). It showed me that the girls called their lay teachers “professor” (the historian Dr Senia Paseta later told me this wasn’t unusual). In the school class lists, it gave me dozens of authentic girls’ names of the period which inspired the names of many characters in the book (there were several Mollies, a LOT of Noras – and yes, at least one Grace and Stella and a few Gerties). There were accounts of “a year in Eccles Street” which told me when the girls had exams and when they put on plays (which they seemed to do surprisingly often). Best of all were the short stories about school life by the girls themselves, which were often very funny and which provided me with a lot of authentic contemporary slang. They were the parts I enjoyed the most.

The Making of Mollie is my first historical novel, and I cared a lot about making it as authentic as possible while still being entertaining. So it’s a good thing that I turned out to love the research. In fact, in an ideal world I’d have spent even longer on it. And no part of the research was more fun than throwing myself into the world of the girls who’d gone to my school 75 years before I did – and seeing they weren’t always so different from me and my friends after all.

Anna Carey, December 2016

The Making of Mollie is available here and in all good bookshops!