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!

Eric Luke Looks Back

Upon the release of his photographic collection, Eric Luke looks back over forty years capturing the changing faces of Ireland.

The Garda put his two hands together to form a stirrup. I placed my foot in the hold and he hoisted me over the high wall. Shimmying down the other side, I looked for a gap in the crowd of protesters, then landed squarely on Lansdowne Road. Not a glamorous exit from the oldest rugby ground in the world, but I was on a mission. I barged my way through the mass of people and headed for Jury’s Hotel, Ballsbridge. There, a telex-operator took the Press Association copy and transmitted the breaking news directly to London.

The occasion was an international rugby match between Ireland and South Africa in 1970. A large group of anti-apartheid protesters had gathered outside Lansdowne Road, and I was delivering copy for my brother, a news reporter with the Press Association in London’s famous Fleet Street. This was my first time to experience the excitement of a hot news story, breaking before my very own eyes, and I was a part of it. A small link in the chain from eyewitness to reader. While I didn’t own a camera to capture this bit of history, I believe it was here I got my love for a great news story.

Moving from being a press messenger for one day off school to being a staff photographer with the largest newspaper group in Ireland proved as big a jump as over that stadium wall. Yet in 1973 I was offered the position of staff photographer with the Irish Press Group. Shooting pictures for the morning daily and The Evening Press, alongside excursions for The Sunday Press, saw the start of a forty-three-year journey that culminated with my current position on The Irish Times. A four-decade whirlwind, and a bit of a blur.

I photographed presidential inaugurations and state funerals, rioting on the streets and peaceful protests, everyday life in rural Ireland and a vastly changing capital city; the job was never predictable. But what was predictable was the necessity to put ‘my old negatives’ in some form of order. And so when I was invited by The O’Brien Press to publish a selection of my work, I jumped at the opportunity.

Poitín-making in Mayo shot on colour transparency film in the 1980s, Tory Island life in black & white in the 1970s, rock music by Rory Gallagher, Thin Lizzy and U2 over three decades – it all fell into place. With a good editor and a great layout, all that was required of me was to assemble a selection of work and write some copy to accompany the images.

Everybody at The O’Brien Press came on board, and with their guidance and encouragement I managed to put my photographs in order. In many ways the experience was as much fun as taking the original pictures.

Dalkey barber Dom McClure:

Photograph: Eric Luke

It’s funny how we overlook what’s sitting on our own doorstep. Growing up in Dalkey, County Dublin, the local barber, Dom McClure, featured regularly, providing a short-back-and-sides to satisfy the demands of the local school principal. Years later in the 1980s, I went back to photograph his barber shop, and spending the day observing him at work helped to produce a small piece of local history which I now look back fondly on. The interior of his establishment looking somewhat like a theatre set, with Dom on stage in the spotlight. These pictures provided a neat selection for the chapter on Dalkey in Looking Back.

 

Photograph: Eric Luke

Martin Sheen on Main Street:

Sifting back over ‘my old negatives’ I also came across a photograph of local man Des O’Brien with the actor Martin Sheen. This was not a Hollywood-style photo shoot but a pint interrupted and a favour for a friend, recording the movie star’s appearance on Dalkey’s Main Street to film the Hugh Leonard film Da.

 

Photograph: Eric Luke

Tory Island, Donegal:

My first visit to photograph Tory Island in the 1970s was not as simple as planned. Without transport to the island, I worked my passage by helping to load a boat with turf. On arrival I was surprised to find the island didn’t support a hotel or pub, and I was eventually accommodated in a local cottage. With great hospitality the islanders welcomed me, and the selection of photographs taken over the following ten days provided the bones for a chapter in the book on Tory. Many trips since have brought this work up to date.

Looking Back has given me a platform to show photographs that otherwise would be gathering dust in my attic; the archive of forty years has now got a new lease of life. Working for newspapers, I’m used to a photograph getting great exposure on the front page only to be replaced twenty-four hours later by a new front page and a new accompanying photograph. This lovely hardback presentation by The O’Brien Press is here to stay, and I look forward to leafing through the pages for years to come.

Eric Luke, December 2016

Looking Back – The Changing Faces of Ireland is available here and in all good bookshops!

Illustrating The Moon Spun Round – W.B. Yeats for Children

The Moon Spun Round – W.B. Yeats for Children Edited by Noreen Doody and Illustrated by Shona Shirley MacDonald

Shona Shirley MacDonald chats to us about her experience of illustrating this beautiful book. Emma Byrne, who designed the book, describes the commissioning process and the importance of illustration for a book like this.

 

Shona Shirley MacDonald

When I first heard about the project I was instantly keen to get started and already imagining how the finished book might look. Near the beginning I was lent a biography of W.B. Yeats and ended up reading it all in one sitting, which I think was quite useful and must have helped to inform the working-in-studioway I interpreted his poems. The introduction and background about Yeats as a child by Noreen Doody also added to that. Apart from learning a bit about his life, however, I didn’t search for any analyses of his text (with the exception of ‘Running to Paradise’), so for the most part I just illustrated it the way it made sense to me, taking into consideration that the anthology is aimed at children.

I was already familiar with some of the poems, including ‘He Wishes for the Cloths of Heaven’, but I hadn’t realised they were written by Yeats. Mostly the poems and stories were new to me, but they were not hugely difficult to conjure images for, as they are already rich in imagery. Each illustration had its own meandering and tricky journey, though. The most difficult poem to illustrate was ‘Running to Paradise’, it seemed quite obscure, and it took me some time to fully get to grips with it. Also I was initially worried about what to do with ‘The Man in His Boots’, but then I realised it was set in a haunted house, and if I couldn’t make that look interesting then I shouldn’t be an illustrator. Perhaps my favourite illustrations in the book are the ones I did for ‘The Wisdom of the King’, as they were some of the last ones I illustrated, and it was nice at that point to create a series that belonged together rather than individual images, as for many of the poems.

With all the detail that went into each illustration it was certainly a time-consuming project to work on, but it was enjoyable. However you always need another set of eyes. Emma, the designer, was great at guiding the project, allowing me space to interpret the poems, but also giving feedback and constructive criticism. My partner Ciarán who is also an artist was another huge help throughout the project.

There is still much I have to read of Yeats’s poetry, but working on this book has brought me an appreciation of his work. It was brilliant to have the chance to create strange and magical images for such beautiful poetry, and my hope is that children and adults alike will get enjoyment out of reading the book too.

fiddler-of-dooney-progression_higher-resto-a-squirrel_progression

Emma Byrne – Commissioning The Moon Spun Round 

As a fan of the work of our national poet, I was hugely excited when this book came across my desk. I also knew it would be an enormous challenge to find an illustrator who could interpret, embellish and visualise the work yet enhance it – without overpowering it. This takes discipline and sensitivity – where both the text and visuals combined take the reader on a road, a journey the reader needs to finish themselves.

The physical book was important to Yeats, and it seemed fitting to convey that in this exploration of his work for children . The packaging, which included the flaps, a secret poster, and different laminate cover all enhanced this, but the lynchpin, was always going to be the illustration.

I hadn’t worked with Shona before, but had asked her to do a sample for another project. It wasn’t right for that particular book, but I saw a magic in it, and kept her work in mind. I saw her work online, and saw these imagined worlds full of strange creatures at play and thought, this is perfect! I asked her to do a fully worked sample for ‘The Lake Isle of Innisfree,’ to see if she could do the whole project.

I told her to lose all inhibitions and immerse herself in the work – and interpret freely. I told her a little of the world of Yeats and some of his obsessions with fairies and the magic in nature, but really it was just all in the text. When the resulting sample came in, to say I was blown away was putting it mildly. I knew it was going to be very special.

The initial concept, which starts as the poet is standing ‘… on the roadway, or on the pavements grey,’ and the explosion of life and colour that works its way up the page, was in itself very strong. But it’s exceptional beauty came in the detail that revealed itself in creatures and unfolding colour as the poem progressed. All of this whilst creating an atmosphere and visual tension. This artwork, like the poem, would reward by revisiting again and again.

I showed it to the inhouse team, and they all agreed, this was the illustrator for the project. Also the author, Noreen Doody, was suitably impressed. So we set out a schedule and all got to work. Each illustration had a series of rough approaches before we went to colour – so hugely time consuming. Each poem brought a different interpretation, and a different approach in concept and visualisation.

It is difficult to choose favourites, but if I had to, I think the second illustration for ‘The Wild Swans at Coole’, where the swan becomes the lake is genius, as is the power in the illustration for ‘To A Child Dancing in the Wind. The cover art, which features characters from the whole book, is also very clever stuff.

These illuminations of Shona Shirley MacDonald, would, I have no doubt, have pleased W.B. Yeats very much. The combined work of Noreen Doody and Shona makes for an exceptional book that will bring young and old great enjoyment – for years to come.

Shona Shirley MacDonald and Emma Byrne, October 2016

The Moon Spun Round is available here and in all good bookshops!

 

Three Things About a Trilogy by Ruth Frances Long

ruthfranceslong

“When I finished A Crack in Everything, I thought that was that, to be honest. I had finished the story. But the story hadn’t finished with me.”

With the recent release of A Darkness at the End, the third and final instalment in her contemporary fantasy series, Ruth Frances Long chats to us about beginning, continuing and completing a trilogy.

I started A Crack in Everything, the first in my series of Dubh Linn books, after seeing a piece of graffiti on a door in Dublin. It was like the first breadcrumb in a trail that led me a very long way, down some unexpected paths, and took up several years altogether. Of course it didn’t all happen at once. Stories sometimes tease themselves out of the writer’s brain; they are tricky like that, waiting for the writer to discover the relevant pieces that will slot into place.

Dublin is an amazing place in which to set an urban fantasy. It’s been here for over a thousand years, and the oldest parts still peek through the various modernisations. It has been home to so many writers, it seems to be made of stories. Every street, every building, every corner … You never know what might be embedded in those stones. It is easy to trace the original Black Pool after which Dublin (and indeed Dubh Linn) is named, to walk around the park where it is said to have been. We can climb the hills surrounding the city, wander down alleyways that could lead anywhere, visit libraries that are like slices of another time. Research comes easy when the stories are right there, waiting to be read. It’s not just the big important buildings either: it’s the streets, the lanes, the public parks, even the basement of a coffee shop. They’re all in there. Even the fantastical elements of Dubh Linn, while fictional creations, are composed of elements found in the city and surrounding hills. Perhaps the stories seep up from the land itself.

The second thing was the legend of how the Sídhe – angels who refused to take part in the war in heaven and were expelled to earth, to Ireland, instead – came to be. The blend of Celtic and Judeo-Christian stories shouldn’t have really worked. But somehow it did. I’m always amazed at the wealth of stories in the Irish Celtic tradition. From the earliest to the medieval, from un-dateable folklore to its descendants, the modern urban legends we all know so well, the stories link together. Sometimes I didn’t even expect them to, but on some fundamental level I found links, similarities and shared themes, a way for stories to just lock together and work.

And finally: Izzy and Jinx. And Dylan and Silver. Clodagh, Ash and Marianne … All of these characters who started off as ideas and became something more, people that seem so very real to me now that they have a habit of wandering around elsewhere when I try to make them follow what I laughingly call ‘the plot’.

Setting, folklore and characters: three things which came together to make a story of three parts. It was an exhilarating and exciting adventure, telling this story. When I finished A Crack in Everything, I thought that was that, to be honest. I had finished the story.

But the story hadn’t finished with me. When the idea of a trilogy was suggested, my poor brain immediately started coming up with ideas, with myths that would work, monsters that would slot into that world. Places in Dublin suddenly jumped to mind, places that would make wonderful, eerie settings. New characters started to form, ready to help continue the tale.

Of course it wasn’t that easy, because my characters were my characters and my brain doesn’t work that way. I had a plan. I was going to take them all over Ireland this time. We were going to visit ancient sites and wonderful, different locations. If A Crack in Everything had explored Dublin, I wanted A Hollow in the Hills and A Darkness at the End to do the same thing with Ireland. I started into the research – the Giant’s Causeway, the Dunmore Caves, the Poulnabrón Dolmen and Newgrange.

But no. Not my characters. They were not going to leave their city, no matter what I thought. The furthest I could get them was Bray Head. A Hollow in the Hills turned out to be hard work. At one point I cut over 30,000 words, leaving me with only 8,000 – but those 8,000 words were still the beginning. They were solid. Once I gave up trying to explore further afield, I decided to go deeper into the city, just like before, and suddenly it all clicked. It worked. Once that happened, the book just flowed.

I approached the third book with a bit more trepidation. I thought, well, if book two was hard, book three might actually kill me. And with my characters, anything was possible.

In another twist of fate, this didn’t happen at all. I spent a wonderful summer and autumn writing A Darkness at the End. Things just slotted into place. The story took on a life of its own, and those characters who had been so stubborn and difficult the year before just let the story unfold for me. Things I had never planned fitted into place and made the story so much stronger.

I’d love to say I had intricately mapped it all out after the beginning, with charts and spreadsheets … I didn’t. I was as surprised as anyone.

This is part of the real magic of writing, the way stories wind themselves around the places and the people we create. The way they draw in all the unexpected items that you come across – the stories, the places, the little details – and use them to create a whole new world. The way the mind keeps track of all those threads, subconsciously of course (no, I don’t really believe that my characters have minds of their own, honestly).

I never meant to write a trilogy. It just kind of happened.

Ruth Frances Long, October 2016

An Interview with Judi

This week The O’Brien Press chatted with the wonderful Judi Curtin about her forthcoming book Time After Time. We got down to the good stuff like time travel and friendship!

Where did you get the idea for this new book?Judi Curtin 1

It started when I thought about the regret a young girl would feel at never having the chance to know her mum. Then I had to find a way for them to be together, even though the mum had died many years earlier.

Time travel is such a cool concept, what was your inspiration for this?

Time travel has always fascinated me. Who wouldn’t want the chance to revisit the past? Who wouldn’t want to experience historical events? Who wouldn’t want to see their parents as teenagers?

If you could travel through a porthole to any decade/period in history, when would it be?

I think I’d go back to the 1920’s, when my grandparents were young. It’s an interesting era, and I’d love to see the lives my grandparents had, many years before I came along.

Is Molly based on someone in particular?

No. Except for Domino the cat, all of my characters are completely fictional. (But that doesn’t stop people saying they recognize themselves in my books!)

Did you have fun writing about the 80s?

I loved it. I know it’s ancient history to my readers, but for me I’m writing about my youth.

What is your favourite thing about the 80s?

The fashions might seem gross now, but they were wonderful too. Everything was big and loud and colourful.

When you were writing Time After Time did you miss your other characters from the Alice series or the Eva series?

I always miss my old characters, and more than once I’ve sneaked a few from one series into another.

What was your favourite part of writing Time after Time?

I loved writing the part where Beth meets her mother – the first time I’ve made myself cry. Sad, but very rewarding.

Do you read children’s books yourself?

Only rarely (which might be controversial). I read voraciously when I was a child, and as a teacher and parent, I continued that for many years. Now though, I mostly read books written for people like me.

When you write, how much do you think about the reader?

In the first draft I’m very much writing what I want to write. In later drafts, with the help of my wonderful editor, Helen, I do try to consider how the reader is going to engage with my characters and story.

How does your interaction with real children affect the way you write and what you write about?

I do very many events with young people, who can be quite transparent. They seem to like my stories about families and friendship, and as I like writing these, it’s easy to continue.

What advice do you have for aspiring writers?

Read everything you can get your hands on. Keep a diary. Enter competitions – not necessarily to win, but so you get practice at polishing your work.

Time for the mean question: What is your favourite book in the entire world?

Today I’m going to say The Voyage of the Dawn Treader, by C.S. Lewis. It’s the only Narnia book I read as a child, and I’ve always loved it. (But if you ask me again next week, it could be Heidi, First Term at Malory Towers, The Great Gatsby, or even whatever book I read tonight!)

What one item would you like to banish into history and is there anything you’d like to bring back from the past?

The thing I’d like to banish into history is internet shopping – who really needs to buy a pair of shoes at three in the morning?

The thing I’d like to bring back from the past is Angel Delight dessert. The wonderful name completely made up for the fact that it tasted so terrible. It evokes such happy memories from my childhood that I had to mention it in Time After Time.

Judi Curtin, August 2016.

We will be having a launch for Time After Time at Eason O’Connell Street on Thursday 8th September. Come back in time with Judi and get ready to party 80s style this September! See your invite below:
Come to the launch of Time After Time
Time After Time is available to pre-order here and will be available in all good bookshops from 5th September 2016!

Fruit on the Table by Theresa Storey

The wonderful Theresa Storey tells us her fruitful tale .rsz_img_3647

In every group of friends, there are specialists: there’s the one you call if your computer has the blue screen of death, the one you call when your kid just ate that weird berry, or the one you call when water pours from the ceiling or a tap just came off in your hand. I’m the food and gardening specialist for our gang. If you have wilting trees, an aphid infestation or a glut of berries you don’t know what to do with, I’m your girl. And I’m not just the adviser to my friends – people often come up to me at my stall in the Limerick Milk Market IMG_2906 (2)to ask how to use their wild fruit, for help in identifying plants, or to tell me their stories and recipes. I also get phone calls from strangers asking me how to fix non-setting apple jelly, or what to use their redcurrants for. I’m happy to talk and share what I know, and I’m happy to learn. Just last week, one of my customers told me that the ginger mint plants I sell are called ‘eel herb’ in Belgium, because they’re eaten with jellied eels. He didn’t know it was a ginger mint, and I didn’t know it was eel herb – good knowledge exchange.

That’s pretty much why I started my blog, www.thegreenapron.ie: to share some of what I know and to start a conversation.

The logical extension from the blog was to write a book. A seasonal fruit cookbook. I wanted to show how we use fruit through the year, so I put in lots of preserve recipes – that’s what we specialise in at The Green Apron – but also other recipes using both fresh and raw fruit to make both sweet and savoury dishes.jams (2)

Writing a recipe book felt a lot like writing a thesis in college. Lots of research, lots of notes, and then cutting the information down and deciding what to include and what to discard. Lots of experimentation too – why does it work with that fruit but not this other one? What happens if you substitute this or change the temperature? Why didn’t it work that time? How can I make it better?

While many of the recipes in my book are ones we’ve been using in the family for years, there were some challenges in getting them into a useable format. I had to rewrite our single-line recipes into something anyone could use. ‘Bang it in a pot and cook for three hours’ isn’t enough instruction! I also added lots of whys and why nots, and lots of substitutions. What seems obvious to one person leaves someone else baffled, but thankfully after years of teaching workshops on cooking, growing and foraging, I have a good idea of what gaps people have in their knowledge, and what kind of questions they usually need answered. I also sent the recipes to my friend Barry – who doesn’t cook. I figured if he could follow them, anyone could.

Many of the recipes in Fruit on the Table are American, and translating their measures to Me making chutney (2)metric and imperial was an exercise in exciting mathematics. American fluid ounces aren’t the same size as imperial, nor are their pints. American recipes are often in cups, and since that’s a volume measurement, I had to weigh cups of everything. That was another interesting exercise, since, for instatheresa's phone pictures 041 (2)nce, a cup of sliced strawberries weighs more than a cup of whole strawberries. Anyway, after much weighing and  second-guessing and research on the net, I converted the American measurements to metric and then converted metric to imperial. Another problem then reared its head: the metric measurement might equate to an unwieldy number of ounces (like 4.75oz rather than 5oz), so I had to round up or down and then remake the recipe a few times to be sure it worked perfectly. We ate a lot of cakes and pies that month.

Most of the photographs for the book were taken last summer, for two reasons: I wanted to wait until the summer fruit was in season, and I also wanted the best naIMG_2259 (2)tural light (though it seemed to drizzle every day through the summer). On Sundays, the girls and I would cook a selection of the recipe dishes (thank goodness for my diligent daughters). Val O’Connor, our photographer, would come on Monday morning, and we’d style and photograph until late in the evening. For the rest of the week, I would experiment and write recipes, work in the garden and orchards, pick fruit, and make jam and chutney for the Saturday market. That was a pretty hectic few months.

Then came the editing. Thanks go to Liz Hudson, my editor, who tightened and streamlined everything and caught all the silly omissions and mistakes I made. (I sometimes forgot to add in tin-size or temperature or left out a step.) And who encouraged me when I was mithered from editing.

So now I have a shiny new book in which I share my recipes and my foraging and growing knowledge. I hope it expands the reader’s fruit-recipe repertoire and encourages them to grow their own – or at least to pick some wild fruit. I know writing it encouraged me to experiment with using fruit in ways I hadn’t thought of before, and I learned a great deal.

Now it’s time to write the vegetable version.

Phillip liks to assist in the photography (2)

And Phillip says “That’s a wrap!”

Theresa Storey, July 2016.

Fruit on the Table is available here and in all good bookshops!

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 but not essential.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 August, finishing in November 2016, 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 15th July.