In case you were wondering: Yes, it does have references to Time Travelling with a Hamster. Once again, it's set near Culvercot, and there are even a few trips to Culvercot bay. I caught 3 references (one with a spelling "mistake"(?), as it was a name, one thing that was a small detail in TTWAH (and an even smaller detail in WNTDIYTI), and one that just mentioned the same sliproad from TTWAH. The one at the bay - if you've read it you'll know which one I mean.) These are all very minor details, though, and they're not important in the slightest to the plot. Set in the Tynemouth and Whitley Bay area of the north-east of England, thirteen year old Ethel Leatherhead desperately tries to find a cure for her acne. An accidental combination of methods causes a startled Ethel to turn invisible. The invisibility proves to be temporary but that doesn’t stop Ethel from trying again, convinced that being invisible will solve all her problems. That would involve copy-pasting it and as I'm typing this on a tablet via the goodreads app, I can't do that right now. Stories about invisible people are plentiful and ancient. Plato, writing in Greece around 400BC, tells a story of the “Ring of Gyges” which will render the wearer invisible. It's like explaining a Disney film to someone. A Disney film (or DreamWorks, for that matter) looks like this:

The other characters are also nicely done, especially the twins. The only bad thing about them is their names ("Jarrow"?? Seriously?! And you named the dog "Lady"?!), which I can't really blame Ross Welford for. And yet, when you watch a Disney film it's like that doesn't matter. It's not something you think about and it's just a rough outline, like a sketch. Like concept art. The end product is (and feels) completely different.

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Decisamente è temeraria quando assume la lozione anti acne cinese, ma è un gesto di frustrazione che deriva dai precedenti rimedi che non hanno portato miglioramenti alla sua pelle se non peggiorarla ulteriormente e la spavalderia viene sostituita con la paura quando si accorge dell’effetto collaterale che le accade: diventa invisibile. But you know what grown-ups say, in that way they have that’s designed to make them seem clever: “Ah, you see--it’s always the quiet ones, isn’t it?”

The main character in the book is a girl this time – 12 year-old Ethel Leatherhead; yes, it is an unusually old-fashioned name, but that is significant. Ethel lives with her ‘Gram’, a very conservative, very proper lady who has strong views about things that are ‘common’ or undesirable. We learn that Ethel’s mother died when she was young, and that she is not aware of her father. Ethel also has a great-grandmother, who turns 100 in the course of the novel. Great-gram lives in a nursing home and speaks very little until one day, after Ethel visits her, she grabs her by the arm and says to Ethel, rather mysteriously, “Tiger. Pussycat.” Military scientists have long been working on ways to make weapons and troops invisible. We already have “stealth” aircraft – that is, aeroplanes that cannot be detected by things like radar (although they are perfectly visible if you stand next to them!) I got this book two days before it was officially published, on the 29th. That's the only reason I've finished it now. PDF / EPUB File Name: What_Not_to_Do_If_You_Turn_Invisible_-_Ross_Welford.pdf, What_Not_to_Do_If_You_Turn_Invisible_-_Ross_Welford.epubFrom the title alone I had expected a comedy novel full of hi-jinks and amusing anecdotes. While there are light-hearted moments, such as when Ethel pretends to be a ghost to avoid being detected by a classmate, author Ross Welford creates a much deeper and more complex plot about the struggles of family, friendship, secrets and lies, and the struggles of navigating teenage life at secondary school. I look down at my legs. They’re not there either, although I can touch them. I can touch my face. I can touch every bit of me, and feel it, but I just cannot see it. One of the things I enjoyed most about the novel was the realistic voice of Ethel’s narration. Written in first person, it really feels as though when Ethel is telling her story she is speaking directly to the reader like a friend. The beginning of What Not to Do… is not told chronologically, instead the story stops and starts as Ethel remembers things she has previously forgotten to mention. It is an effective tool that mimics real speech. Welford also plays around with different fonts and frequently includes lists to organise Ethel’s thoughts and plans. The lists sometimes feel overused but Welford is at least consisted in their placement throughout the book. However the result is a novel that visually stands out.