The story opens with 12-year-old Liam trapped in a rocket that’s spun out-of-control beyond earth orbit. It uses the well-established diary device to allow Liam to tell his tale of how he got stuck in space, taking us back a few months to when it all began – around the time when he first realised he had grown facial hair.
Liam describes himself as “above average in height and maths,” and his unlikely presence on the rocket is down to a number of factors, some to do with him (wanderlust, stubble) and others to do with the adults around him (pettiness, an inability to listen).
Early in the book, Liam and his friend from drama class, a girl called Florida, are mistaken for father and daughter because of Liam’s unusual height. Being mistaken for a grown-up gives Liam a holiday from the misery of premature puberty, and he encourages Florida to take their playacting as far as they can push it. Things go awry when Liam gives his worried parents the slip and gets Florida to compete with him (Charlie and the Chocolate Factory-style) in a ‘Best Dad Ever’ contest: the grand prize is a rocket trip.
The book has plenty of space gaga for fans like me, from zero g training in the vomit comet to a terrifying EVA in space (NASA even co-sponsored a competition for readers to win a trip to NASA, yay!) but the exploration of fatherhood is the best part of this story. Boyce comes at it from every angle: Liam and his dad, Liam and Florida, Florida and her absentee father, the other dads in the contest…it goes on.
Writer’s lessons from Cosmic
Deadpan has a peculiar power: having read A Curious Incident of the Dog in the Nighttime just before this, Liam’s deadpan delivery was especially noticeable for me. Liam’s way of describing events, with real economy and restraint in the writing, has a great power.
Brilliant in-character reactions: you can almost feel Boyce sinking into the persona of Liam when he writes his reactions to events; Liam reaches to his best frame of reference, his World of Warcraft gaming experience, when trying to describe how things feel for him. Scottish author and speaker Nicola Morgan says voice is the quality that allows the writing to disappear, so readers suspend their disbelief and become lost in the story…the difference between an amateur theatrical production and a professional. Boyce does voice flawlessly.
Secondary character’s emotional arc: Florida’s journey is as satisfying as Liam’s own, intertwined but discrete. Florida’s metamorphosis is just about credible, and like Liam, she is not overdrawn, but sketched with delightfully restrained strokes.
Boyce wrote a hasty, flawed draft first: that’s what he reveals in the interview at the book’s end (I read the US version). He was excited about the story and tore through draft one rapidly. Boyce’s daughter pointed out the problems with it, which he addressed carefully, seeking also the input of NASA veterans. This should give all writers heart: you might have your story, but your book takes a bit more chiseling before it comes forth from the stone.
I need to read more brilliant adventures for age 9-11…please help me by leaving a comment below with your suggestion.