I've had such a tremendous response to the CROW MOON cover that I thought it would be interesting to show you some of the developments it went through before it became the stunning, modern-yet-esoteric image we know and love.
Quercus went through a few different concepts before coming to me with the beginnings of the cover which uses US artist Alex Cherry's Little Bird graphic of a girl's head in profile. As you can see in these initial "mood" designs, the profile is blanked out against a seascape background, but the idea for the crow profiled against the girl was there from early on. These initial images were sent to me with a firm message that they were for me to get a rough sense of the feel they were going for, rather than being finished pieces. The feel was romantic but mystical, with a nod to the Cornish sea which is a huge part of the imagery of the book. It was also an early decision that it would be a girl's profile rather than a boy's, even though the main character in CROW MOON is a boy, Danny. The rationale was that even though Danny is the point of view character, the story itself is driven forward by a cast of strong female characters; and, realistically, the main readership for the book would likely be girls rather than boys.
The next stage of the cover was one I really liked actually (though I prefer what we ended up with) - it was more representative of the feel of the Greenworld, but I think ultimately Quercus knew they should go for something with more of a sharp, modern edge. So we went from the green-tinted folded paper texture background and a light green font to the red, black and white of the final. You'll notice that the shape of the crow changed, though. Interestingly, red, black and white are the classic colours associated with what pagans call the triple goddess: the three stages of womanhood, often reflected in mythology - maid (white, crescent moon, virgin) mother (red, full moon, fertile woman) and crone (black, dark moon, wise woman). So I like to think that the Goddess had a hand in the final colour scheme.
MAGIC JUST GOT REAL was mine, I'm proud to say; I've always had a fondness for copy and titles.
In terms of titles, also, CROW MOON went through a few. It started off at a very early stage as THE YOUNG WITCH'S SURVIVAL GUIDE, which I'm still going to use somewhere. Then it became THE FIVE HANDS, which was pretty rubbish (although it makes sense in the context of the story) then GREENWORLD, which I liked, but it was apparently "too middle grade fantasy" - which I could see. A WANTED WITCH was suggested, but I didn't like that. The path to CROW MOON involved a day of brainstorming about circles and spirals, curses and witches and spells (I put the question up on Facebook and a summary of the book for title ideas - one friend suggested PASTY SPELLS in response to "a book about witches in Cornwall" - obviously the best suggestion ever). CROW MOON was in a list I emailed to my editor and my agent in the late afternoon; I really didn't think they'd go for anything so (to me) obviously witchy, but they did. And I knew it was the right choice.
It could be said that Crow Moon was influenced by every book I ever read. I know that there are books that I’ve read over and over again that have little or nothing to do with witches, or Cornwall, or any other thematic elements of the Greenworld trilogy – but they’ve probably had a huge impact on my prose writing style. Some novels I’ve reread so frequently that their rhythms, language use, even their style of punctuation have infiltrated my brain, like Dracula, Rebecca, Stephen Kings’s Firestarter and The Running Man, Annie Proulx’s The Shipping News, Alias Grace, Lady Oracle by Margaret Atwood, The World According to Garp, The Story of San Michele, 1984, Brave New World. As well, there’s a raft of poetry collections and short stories that I love – being a poet as well as a YA writer. Film and TV too – nothing was ever the same in my brain after The X Files, Buffy The Vampire Slayer, Alien, Battlestar, Twin Peaks and Star Wars. However, Crow Moon has some particular influences which I thought it might be fun to share with you here.
1. Woman on the Edge of Time – Marge Piercy
I first read this 1970s second wave feminist utopia/dystopia novel for my A Level extended essay in 1995 (God I’m so old) and reread it many times since; it is always thought-provoking. The story is of a woman undergoing psychiatric treatment in a hospital that starts to “visit” a strange utopian land. As the reader you are unsure whether it is real somehow or delusional. The utopia is a free and anti-capitalist community based on love and sharing. Romantic relationships are open, unheteronormative and for pleasure; parenting happens within the community rather than in the traditional family unit; the community are self sufficient and organic. By contrast, in the “real” world, the main character suffers within an entirely repressive and dystopian contemporary society which treats her unstated mental illness harshly; she is a poor woman of colour that is exploited by an all-too-familiar patriarchal, capitalist medical culture.
The utopia/dystopia juxtaposition and the feminist nature of the utopian land fed into the Greenworld and the Redworld. The Greenworld shares much of Piercy’s anti-capitalist, organic and environmental focus, as well as its community emphasis. However, as it is a “real” society and not (potentially) a fantasy or vision, it had to have downsides and people that lived within it that weren’t happy with things. Similarly, the Redworld has many bad elements – pollution, corruption etc, which is explored more in books 2 and 3, but it’s not all bad. It’s short sighted and unrealistic to paint one side all good and the other all bad – nothing is ever that way in life, after all. And as Arthur C Clarke said “Utopia was here at last: its novelty had not yet been assailed by the supreme enemy of all Utopias—boredom.”
So I had to introduce this actually quite wonderful green feminist nature-loving, woman-centred utopia through the eyes of a disaffected teenage boy within it, partly because when you’re a teen, whatever your parents do, even if they’re rock musicians or Nobel Prizewinners or heart surgeons or astronauts, you think they’re totally boring and uncool. And partly so that Danny could show us the chinks in the armour of this apparently wonderful place – partly because nothing is perfect – the Greenworld witches are human, and therefore subject to human weaknesses – and partly so that conflict could occur. There would be no story if everything was perfect in the Greenworld. For me, the ultimate message about both cultures – the Green and the Red – are that they can learn from each other. There’s a fair amount of thought on my part in the books about the relationship between magic, spirituality and science and technology too, and how, in my view, the way forward is to learn from each other and not persist in this false idea that they are opposites.
2. The Sea Priestess – Dion Fortune
This book is a beautiful, readable fiction novel underpinned with a great deal of witchcraft practice, kind of in the same way that the Narnia books have Christian mysticism at their core. Dion Fortune was a great mystic and her work was one of the important precursors of the development of modern Wicca and paganism in the 1950s. In The Sea Priestess, a man suffering from severe asthma recuperates by the sea where he meets a mysterious woman that teaches him about connecting with the natural energies of the sea. It is a beautiful book, full of mystery, imagery and symbolism of the wild magic of water and of the strong connections of the Goddess principle to tides, water and the moon.
I deliberately set Crow Moon in Cornwall because of the intense magic in the landscape and the drama of the North Cornwall coast at Tintagel. I wanted to explore a sense of the natural power that comes from the waves crashing against rocks and sucking into the caves; I knew also that Tintagel and Boscastle, just next door, are traditionally very witchy places, not least because of the Witchcraft Museum and the King Arthur myth. Cornwall has a strong tradition of natural magic, wise women, herbalists and healers. It really was the case not that long ago that each village did have its own witch. So I started thinking – what would happen if each village had one again (some of them still do – there’s lots of traditional and modern witches in Cornwall and Devon still, and all over the UK) but they had the ultimate power, instead of being an outsider or whatever? And what if the culture was like 1970s feminism/goddess religion had won and taken over?
3. Oryx and Crake/The Year of the Flood – Margaret Atwood
Possibly one of my favourite fictional worlds ever, the Oryx and Crake series has been a strong influence on the Greenworld books. I mean, I’m a massive Atwood fan anyway. In this world, you have genetic engineering gone so astray that ultimately it wipes out the planet and a few survivors have to start again – and some of those survivors are Gods Gardeners, a kind of semi-pagan environmentalist group. I loved how the Gods Gardeners had made their own mythos, to some degree, about foreseeing a mass extinction event like the biblical Flood, and in its wake, canonising real people from the pre-Flood world as saints (my favourite is St Diane Fossey). Gods Gardeners also have the skills to survive the chemical-induced end of humanity – permaculture, beekeeping, wilderness survival etc – and the foresight to hole up until the worst is over. In MADDADDAM, ultimately, it’s ecology, wilderness survival and a respect for the natural world that wins out over science (which brought the world as we know it to an end) and technology. I also liked Atwood’s pre-Flood polarised society, where the rich and priveliged live in gated communities and the poor live in the crime- and filth-ridden “pleeblands” – but that the rich and priveliged live under close watch by a ruthless government and military and the poor are, at least, freer in some ways.
4. 1984 – George Orwell
As for many people, 1984 is the classic fictional dystopia that provides a horrifying and dark inspiration – the effect of absolute power upon an initially utopian ideology. Sadly, in some ways and as I get older, it feels like 1984 is closer upon us than ever, with government surveillance increasing, the capitalist-driven media and growing gap between the super rich and the poor. The Redworld is not as deeply propagandist as 1984, but it is a dark world of suffering and corruption where only the super rich have access to an extremely limited supply of fuel and the “proles” are repressed by ever more violent means. However, the Greenworld too is increasingly in danger of moving away from its beautiful ideals and towards a less tolerant stance.
5. Anthem of a Reluctant Prophet – Joanne Proulx
I don’t hear as much as I’d like about this great Canadian YA title, but I read it around 2009 and the voice of the main boy teen character inspired Danny. Like a lot of YA it’s 1st person POV and I just loved Luke’s disengaged, apathetic approach. The book has a slightly paranormal theme, in that Luke appears to be able to predict people’s deaths, but it is absolutely not a classic paranormal story. The story is completely rooted in real life and the boring town Luke lives in; about being a teenage boy, having a crush on someone, hanging out with your friends, swearing, smoking and music.
6. How I Live Now – Meg Rosoff
HILN was probably the book that made me want to write for young people. I was (and still am) so impressed by its sparseness (Crow Moon is nowhere near as sparse) and emotional punch. Again, the “I” point of view works brilliantly; there’s a strong character voice and the coming-of-age and self realisation themes against a wider social conflict really stood out for me.
7. Glastonbury: Avalon of the Heart – Dion Fortune
I’m from the west country and it is a huge part of who I am. For me and many others, Glastonbury (the location of some of book 2) is the spiritual heart of this wonderful country we live in. The UK has a rich pagan history and our ancestors had a deep connection to the land, as is demonstrated by the many stone circles, burial mounds and sacred wells you can find in most regions. We are lucky to have these things. It makes me sad that more people don’t visit them more often and connect to the land we live in; take comfort from it, respect it and learn its history and the history of the people that once lived here.
This book looks at the spiritual history of Glastonbury and speculates what the Tor might once have been; it charts the development of the town into its current incarnation as a new age mecca and considers the King Arthur connection to Glastonbury as Avalon. For me, it’s a book that really exemplifies the importance of the sacred UK landscape, which is very important in Crow Moon. It’s important because it’s full of magic, but also because it is our natural environment that sustains us, and it’s being threatened by pollution, fracking and rampant, unchecked consumerism. Which needs to stop.
8. A Witch Alone - Marian Green
When I was thinking about the magic and the style of witchcraft the Greenworld would use, I knew it had to be particularly the nature-based part of Wicca and the general environment-loving element of paganism. I think most people think instantly of spells and potions when they think about witches, real or caricature, but the thing that is key about real witchcraft is that it’s a nature religion. One observes and appreciates the elements, and the Earth as a living source of wonder. All pagans and witches, then, are basically environmentalists. If Nature is your God, you want to look after it.
Marian Green is the poster-woman-witch for the Greenworld, in that case. Her books (nonfiction) are all about how to become in tune with the natural world around you and work with it to effect change in your own life and generally make the world awesome around you. In the Greenworld, everyone is deeply in tune with the rhythms of the earth. They notice the phases of the moon, the calls of the birds; they know the energies of plants; they mark each passing season with the old, traditional festivals.
9. Celtic Lore & Spellcraft of the Dark Goddess: Invoking the Morrigan - Stephanie Woodfield
The central belief system in the Greenworld is a Celtic pagan one, drawing on the ancient myths and legends of Ireland which is just as present in Cornwall as a Celtic region. There are a lot of Irish, Welsh and Scottish gods and goddesses, so for Crow Moon I had to simplify and focus on a trinity of Brighid, Morrigan and Lugh as three deities from the Celtic belief system. I knew of Brighid and Lugh already – Brighid, the Irish goddess of heavenly cleansing fire and inspiration, poetry, farming (she is represented by a cow – cows were important then. Still are) and Lugh, a sun god and warrior. I was not so knowledgeable about The Morrigan, though.
I learned, though, that the Morrigan is the Irish goddess of battle, death and rebirth, sex (wooh!) and is a protectress of the land, and it was that element of her in particular that made her appropriate for Crow Moon. Crows, ravens, horses, cows and eels are her animals. Brighid, the lovely light goddess of agriculture, poetry and fire, sea and earth made a good general Goddess for Greenworlders to worship, but the Morrigan’s feistier environmental warrior aspect that really came to power the book along, and into book 2. She also fit well with the feisty Melz character, as Brighid fit with her more pleasing sister Saba.
10. The Vanishing Face of Gaia – James Lovelock
Kind of massive downer, this book, but it needs to be heeded: the message is that we can expect huge environmental collapse quite soon. Lovelock reckons that we currently have about 20 years to enjoy ourselves before an energy crisis/global warming turns all the lights out and vast areas of land are flooded, leaving our poor largely-capitalist butts in the midst of basic survival without power, thousands/millions displaced, resources stretched and basically if you do still have your house to live in, be prepared to protect it from looters or worse.
We are as a society so poorly prepared for the reasonably likely consequences of global warming, even just as one part of a huge brewing cocktail of chaos that Gaia (the living, breathing world) is about to unleash on us, the irritating fleas on her back which have got out of control, that the future really is likely to turn into a dystopian epic unless something really quite major happens now. According to Lovelock, even if we did stop doing all the bad stuff right now it would still happen anyway. I mean, think about it. Look what happens if we have a heavy snow. What would happen if East Anglia and Cornwall flooded? Permanently? We’re not prepared.
In the Redworld there’s an energy crisis and a pointless war to try and get whatever tiny bit of fuel there is left. Rather than prepare for an existence with less or no power and empower its citizens with Greenworld agricultural and survival skills, The Redworld chooses to use its remaining resources to fight each other. Hmmmm.