Wednesday, 18 October 2017

Crime, Calcutta and the End of the Raj - interview with author Abir Mukherjee

Abir Mukherjee is the author of historical crime fiction novels A Rising Man and A Necessary Evil, both set in Calcutta in the aftermath of WWI. A third novel, Smoke and Ashes, is due out next year, and he has just received a contract for another two. 

Here he talks to Catriona Troth about his inspirations, his research and his plans for the series.

As someone who began as an applied mathematician, I am always fascinated by others who have made a less-than-conventional journey into writing. Can you tell us a bit about how you got started?

Thanks so much for having me on your blog!

I suppose it was a bit of a mid-life crisis. I’m an accountant by profession and had spent the past twenty years in finance. I was thirty-nine, hurtling towards forty and I thought, maybe there might be more to life than accounting.

Then I saw an interview with Lee Child on BBC Breakfast where he talked about how, at the age of forty, he started writing, and I thought, why not? I’d always wanted to write a book but had never had the confidence, and anyway, it seemed safer than other methods of dealing with my stage of life, like buying a motorbike and piercing my ear.

I started writing A Rising Man in September 2013 and a few weeks later I came across details of the Telegraph Harvill Secker Crime Writing Competition, looking for new and unpublished crime writers. The judges were looking for the first five thousand words of a novel, together with a two page synopsis of the whole thing. The only other stipulation was that, in keeping with Harvill Secker’s focus on the best of international crime fiction, there be some ‘international element’ to the submission. By this point I’d already written about ten thousand words, and as the plot was set in Calcutta, it seemed as though what I was writing was tailor made for the competition, so I tidied up the first few chapters, wrote the synopsis and sent off my entry. I really didn’t expect to win.


Why Calcutta and why this particular period of Indian history?

I find the period of British rule in India a particularly fascinating place and time, unique in many respects and one that’s been overlooked, especially in terms of crime fiction. I think that period in history has contributed so much to modern India and Britain, and it was a time that saw the best and the worst of both peoples.

I made a conscious decision to set the series in Calcutta, not just because it was the place my parents came from, but it’s a fascinating city, unique in many respects and in the period that the series is set, it was the premier city in Asia, as glamorous and exotic a location as anywhere in the world. But it was a city undergoing immense change and it was the centre of the freedom movement, a hotbed of agitation against British rule. The history of Calcutta is the history of the British in India. Their presence still cries out from its streets, its buildings and in its outlook.

It would have been harder for me to write authentically while setting it in another Indian city. While I know Bombay and Delhi quite well, I don’t speak the language. Also, I don’t think either city had the same hothouse atmosphere that Calcutta had during the period.


Your books are brim-full of period and location detail. How do you go about researching the background to your books? And conversely, how do you avoid the trap of getting so lost in the research that you forget about the writing?

My research tends to happen in several phases. In the first stage, I’ll do a lot of general reading about the time I’m hoping to write about – in the next book, Smoke and Ashes, which comes out next June, I knew I wanted to set the book in 1921, so I started my general research on that year in India. It turns out that 1921 was the year that Gandhi launched his first all-out non-cooperation campaign and that seemed really interesting to me, so I decided to set the book against that backdrop. I then narrowed my research to the effects of that campaign, both on the Raj and on Indians, so that I could get the background to the book to be as authentic as possible.

At the same time, I’m working on the plot, and deciding how to enmesh it into the period and the setting. I’ll then start writing the first draft, and that is where the next stage of research comes in. At this point it tends to be very specific, micro-issues, that are fundamental to the authenticity of the action. For example there is scene at a fairground in the new book and I needed to make sure I knew what sort of stalls and entertainments there would have been at a fair in India at that time.

You’re right though, sometimes there is the temptation to get bogged down in the research and then put as much of it as I can in the story. But then I remember that no one is likely to be interested in intricacies of things like the Calcutta sewer system.


You have two brilliant main characters – Captain Sam Wyndham, British war veteran, newly arrived in Calcutta, and Surendrenath (Surrender-Not) Banerjee, his Harrow-educated, Bengali detective sergeant. But it is Sam whom you chose as your point of view character and the voice of the narrative. Why him and not Surrender-Not?

There were a couple of reasons for that. Firstly, I needed my narrator to have access to all levels of society – from the Viceroy all the way down to the poorest sections of Calcutta society, and at that time, an Indian policeman, even one educated at Harrow and Cambridge, just wouldn’t have been able to access the British parts of that society.

At the same time, and more fundamentally, I just didn’t feel I could write authentically from an Indian’s perspective, even though my parents and heritage are Indian. I’d like to write something from Surrender-not's perspective – maybe one day when I’m more confident in my writing.


You say in your Author’s Note that A Necessary Evil was inspired by the Begums of Bhopal. Can you tell us a bit more about them, and how they triggered the kernel of your second novel?
Between 1819 and 1926 four Muslim women rulers reigned over Bhopal, the second largest Muslim state of India, despite staunch opposition from powerful neighbors and male claimants. The British East India Company also opposed female rule in Bhopal until the Begums quoted Queen Victoria as their model and inspiration.

As I researched the period, I found that these women, and others like them in other kingdoms, seem to have been very influential and somewhat forgotten by history. Often, while the maharajahs became debauched, it was the their maharanis and princesses who became the true keepers of the traditions of the kingdoms. I found this fascinating and wanted to make it a part of my story.


The line that made me laugh out loud came when Sam tells Surrender-not that Indian women are just as capable of murdering their spouses as English women. “Not Bengali women, sir,” Surrender-not replies, “They just browbeat their husbands into submission. I doubt the need for murder would arise.” Reminded me of a couple of friends of ours! I have a feeling there might be a story behind this, if you’re willing to share.

Of course!

Rather than one story, though, it’s more an amalgam of many examples I’ve seen over the years, both from my parents' generation and my own. It might be because Bengal has historically been a pretty liberal part of India, where women have played a more equal role in society than their peers in other parts of the country, be it in terms of education or workplace opportunities. Whatever the reason, Bengali women can be fearsome!

In terms of stories, probably the best illustration is the tale of the weekly poker game which my father and some of his friends used to hold most Saturdays. One of his Bengali friends who lived close by, was given strict instructions by his wife that he was not to attend as he tended to lose money most of the time. So he gave her his word that he wouldn’t. Instead he told her to go up to bed for a nap while he tidied the house. Being a clever chap, however, he simply switched on the hoover, and leaving it running, he left the house and came over to ours for the card game. Half an hour later, there was a terrible banging on the front door and an irate auntie looking for her husband, who by this time was fleeing out the back way.


I believe you have some pretty long-reaching plans for this series. Can you tell us a bit about that?

Ideally I’d like to look at the whole period of British India between the end of the First World War and Indian Independence in 1947, which is almost thirty years. I want to see how the relationships between the British and the Indians evolve during this period, and I think that will be mirrored in the changing relationship between Sam and Surrender-not.


And I think Ian Rankin has told you that you really ought to write something contemporary as well. Any temptation to follow his advice? And if so, what might you write about?

I would love to write something set in the present day, looking at issues around radicalisation of Muslim youth or some of the other problems facing British society. The problem really is one of time. I’m still working full time and my publishers, Penguin Random House have just given me a new contract for another two Sam Wyndham novels. I’d like to think that once I’ve written them, I’ll be able to take a break to write something more contemporary.

Thank you, Abir. Looking forward to reading Smoke and Ashes as soon as it comes out!

You can read Catriona Troth's reviews of A Rising Man  and A Necessary Evil on BookMuseUK.



Abir Mukherjee grew up in the West of Scotland. The son of Indian immigrants, A Rising Man, his debut novel, was inspired by a desire to learn more about a crucial period in Anglo-Indian history that seems to have been almost forgotten. The first in a series starring Captain Sam Wyndham and ‘Surrender-not’ Banerjee. It won the Harvill Secker/Daily Telegraph crime writing competition, was a Waterstones Thriller of the Month and is currently shortlisted for both the CWA Gold and CWA Historical Daggers, and also for the HWA Debut Crown 2017. His second novel, ‘A Necessary Evil’ is out now.

You can follow him on Twitter at @radiomukhers

Wednesday, 11 October 2017

The Asian Writer Festival

On 21st October, the Asian Writer celebrates its 10th birthday with an all-day festival at the Royal Asiatic Society in London.

The Festival balances showcasing new writing with sessions demystifying the publishing process and workshops on novel writing, poetry and short stories.

Critically acclaimed author of The Good Children, Roopa Farooki, will be kicking off the day’s proceedings with a keynote speech, drawing on her experience of writing six novels since 2007.

In a panel entitled ‘From draft to publication,’ debut authors, Mahsuda Snaith (The Things We Thought We Knew) and Radhika Swarup (Where the River Parts) will join Penguin Write Now Live mentee Emma Smith-Barton to read from their first novels and explore the experiences of first time writers.

In ‘Meet the Gatekeepers’ literary agents Lorella Belli (Lorella Belli Literary Agency) and Juliet Pickering (Blake Friedmann) will be joined by Wasafiri deputy editor, Rukhsana Yasmin to discuss the role of agents and editors.

Best-selling crime writers Vaseem Khan and AA Dhand will be in conversation with thriller writer, Sanjida Kay to explore explore what makes good crime fiction and how writers can sustain readers interest over a series.

The launch of Dividing Lines, the Asian Writer Short Story Prize anthology, launch will bring new voices to the stage, some of whom are published for the first time.

Finally, a closing panel will look at love and marriage and whether writers exploring such themes consider it an ultimate road to happiness.


Here Catriona Troth interviews organiser Farhana Shaikh and some of the authors who are taking part.

Farhana Shaikh: founder of the Asian Writer and organiser of the festival

Congratulations on your 10th Anniversary! Looking back, what were your goals when you started The Asian Writer? And what are your aims for the next ten years?

Thank you. I wanted to create a platform to showcase new writing as well as raise the profile of published writers. Beyond that, I wasn’t sure back then where an online magazine could lead and I certainly didn’t think I’d be setting up a small press publishing company.

Our aims for the next ten years are to work more closely with writers on developing their work and continue to platform and publish these writers, on our site and through our anthologies. One of the features of the network which excites me most is that a significant proportion of our traffic now comes from South Asia, so I’m looking at ways we can develop partnerships in India and Pakistan to better engage this audience.

How did the idea for The Asian Writer Festival come about?

I think I always knew I wanted to do something to mark our tenth anniversary, which fell in August this year but I wasn’t sure whether that should be a publication of some sort or an event. I’ve been running the Leicester Writes Festival since 2014, and it’s always a lovely space to meet writers and better understand their needs. A festival dedicated to showcasing new and established British Asian voices seemed like a great way to bring people together and celebrate their work and ours.

The programme is an interesting mix of showcasing new writing on the one hand, and providing illumination on the publishing process for inspiring writers on the other. Tell us something about the thinking behind that.

Programming the festival was always going to be a challenge. I tried to find a balance between what would appeal to our readership (who are mainly writers) but also tempt a wider audience to discover exciting new voices.

*****

From: Up-lit to grip-lit: the new faces of crime fiction
Vaseem Khan – author of the Baby Ganesh Detective Agency series

 

Baby Ganesh is a delight – but where did the inspiration for his eccentric partnership with Inspector Chopra spring from?

You could say this partnership was born on my first day in India, back in 1997 when I went out there to work as a management consultant. I was in a taxi and we stopped at a traffic junction. As I looked out into the passing passing traffic of honking rickshaws, honking trucks, bikes, people, cows, goats, and dogs I saw, lumbering through the chaos, an enormous grey Indian elephant. This surreal sight stuck with me and eventually became a part of the crime novel I wrote when I returned to England ten years later.

You’re a British author writing novels set in modern day Mumbai. Why there, and how would you describe your relationship with the city?

I lived in Mumbai for a decade, and for me it remains the most dazzling city on the subcontinent. The place is a non-stop assault on the senses. I’ve tried to encapsulate this in my books, to give readers an idea of what Mumbai looks like, feels like, sounds like, smells like, and even tastes like. My aim was always to take readers on this journey to the heart of modern India, a place that is undergoing immense change, with globalisation bringing money and sweeping cultural transformation. Yet at the same time it is a place beset by ancient problems such as poverty and caste prejudice. This dynamic between old and new gives me a unique canvas. As someone who loves crime fiction set in exotic locations I wanted to use this to give readers something different.

The Baby Ganesh series comes from the lighter end of the crime fiction spectrum – but you don’t shy away from showing us the poverty and deprivation that lives alongside Mumbai’s prosperity. Did that balance between tone and subject matter come naturally, or did you struggle initially to find the right voice?

I always set out to create a sort of 'gritty cosy crime'. Inspector Chopra is a serious man, and the crimes he tackles are serious crimes, murder, kidnapping, robbery. His elephant sidekick offers light relief, as you suggest, but I always intended for the books to showcase both the light and dark of modern India. This reflects my own experiences there. When I first went to Mumbai, every aspect of the city was exotic and different. However, once I’d spent some time there I began to see that there were aspects of this amazing place that required me to put aside my rose-tinted spectacles and take a closer look. My first trip to the Daravi slum for instance left me open-mouthed. Poverty is endemic, but what is more endemic is the acceptance of poverty, of poor sanitation, of very limited medical facilities, of terrible transport infrastructure, all the things we take for granted in the West. There is a massive gap between rich and poor, and although social change is taking place there are still ancient prejudices ingrained in people’s thinking. Chopra and I both worry about such things - in effect, his voice is my voice!

*****

From: First time writers: From draft to publication
Radhika Swarup, author of Where the River Parts

 

Hi Radhika. Nice to talk to you again, one year on from the Triskele Lit Fest. It must have been an interesting year for you, with all the attention given to the 70th anniversary of Partition. Has it led to any new discoveries about what happened back then?

Lovely to hear from you, Catriona. This year has been poignant, not just for the milestone it represents, but also for the memories it unearths. While things are getting more political - and more polarised - on both sides of the border I have written about, it is interesting that the same hand-wringing was followed by increased political machismo twenty years ago. Where the River Parts draws to a close 50 years after Partition, when both India and Pakistan embark on their nuclear programmes. This, the 70th anniversary of both Independence and Partition, is also serving as a forum for families to talk and share their individual histories. While Independence is, and should be the main story, the generation that lived through the Partition is now reaching the end of its life. It is essential these stories are handed down while there is still time.

Your protagonist, Asha, is very young at the start of the novel – feisty for the times, but by modern standards, very much constrained by rules and conventions. How did you find the right voice for her?

We are all subject to the constraints and prejudices of of the times we live in, and Asha was no exception. Her head is kept covered at the start of the novel, and she is expected to marry her parents' - and crucially, her father's - choice, but if you examine the path she leads, she has great agency. She survives a very tough journey into a new country and settles into a hostile household. She chooses not to be defined by her disappointments. She is a true survivor, able to make her way in whichever environment she finds herself in, and though she has her quirks, her impetuousness chief among them, it was a privilege to be able to inhabit her world.

Tell us about your writing routine.

My writing routine is largely defined by two variables. My children and my relationship with my Work in Progress. If I'm in the middle of writing a draft, I find it easiest to wake at 4am to write while the house is quiet. The children rise around 6, and as winter draws in, closer to 7, and we're all in a rush to finish off breakfast, homework, music practice, gather the football cards my eldest loves to trade, and deposit them both safely - and gratefully - to school. Then I write again from 9am to pick up time, and after they're in bed.

Are you now writing a second book, and how does that differ from tackling a first novel?


I'm working now on my second novel, and the main difference to writing my first is that I now know and am comfortable with my habits. I know to adhere to the schedule I've described above, but everything else - the uncertainty while you plot, the frenzy when you actually get down to the writing, and the visceral disdain for your work when you first read it back - remains the same. I think that's what keeps you going as a writer, and that's what keeps you striving to improve.

*****

From: Love and marriage in fiction: a road to happiness?
Radhika Kapur

You’ve written advertising copy and worked as a ghost writer as well as writing your own short stories. How does the writing process differ in these three media?

Well, in my work in advertising I write in a brand's voice. After a few years of doing that, I was bursting to write in my own. That's when I turned to short stories. Also, advertising is about influencing human behaviour, short stories are about human behaviour.

Of course, each medium requires a different skill set and also overlaps with and enriches the other. That's what I love about it. My work as a copywriter has taught me the power of strong, bold ideas and of editing - I usually have just one headline or thirty seconds to make my point. The more you chisel it, the sharper it gets. That's what you need to do in short stories too.

Short fiction lets me explore fleeting nuances of everyday life. It's a photograph of an emotion, a time, a moment. 


I read your short story, ‘The Nine-Headed Ravan,’ in the anthology Love Across a Broken Map last year. It’s a beautiful and ironic study of the nature of love. Where did the concept for that story come from?

From bits and pieces of my own life and my own relationships. As a young woman, I would try pinning down love, defining it and boxing it - but love is the annoyingly shaped object that won't fit into any gift box. The nine-headed Ravan actually exists - it was painted by my mother! As the story grew, the role of the painting as a metaphor also grew

I thought it would be interesting to explore a character who is anal about the truth and words. As a writer, I can be like that. I take words very seriously. Which is why my husband is always in trouble!


To echo the question being asked in the panel, what do writers gain and lose in writing about love?

The more honestly we talk about relationships and love, the more we all gain. There are so many manufactured, sugary-icing versions that sit inside our brains.

The only thing I lose is that I expose a very deep, private side of myself, while writing. But, that's ok. How is there to be any meaningful conversation otherwise?

*****

From: Dividing Lines Book Launch
Farrah Yusuf

I was very moved by your story ‘By Hand’ in Love Across a Broken Map. It encapsulated the loneliness of modern urban life. Where did the inspiration for that story come from?

Thank you, that is lovely to hear. I wanted to explore how we all connect - be that through a place, in person or remotely and the assumptions we often make from the little information we have. I decided to use the form of letters rather than email or texts because I rarely get handwritten notes anymore and when I do I always think they say so much more than just the words on the page. I decided to set the story in a flat in a city because I find it interesting that we can all be so close physically but mentally remote.


You’re a playwright as well as a short story writer. How does the writing process differ between the stage and the page? 

If I am writing a play I am always thinking about what the action is and what is happening in each sentence, as to even move a character from one side of a stage to another there needs to be a reason. In short stories on the other hand I can indulge in descriptions and move a character in both place and time with a single sentence. I enjoy both as they let me experiment with words in differing ways.

What can you tell us about the new anthology, Dividing Lines

 What strikes me most about it is the spectrum of ideas it explores on the same theme of borders, boundaries and belonging. Each story takes a unique take on the theme and the subtleties within it without straying too far from that central concept. Mine takes a broad interpretation as my story is about a missing father and the way his disappearance impacts on the other characters.

An all-day festival ticket costs £30. Workshops need to be booked separately.

For more information about the festival, for images or quotes or to interview any of the authors featuring at the festival please contact Farhana Shaikh at f.shaikh@dahliapublishing.co.uk or on 074321 29371

Festival box office: https://www.eventbrite.co.uk/e/the-asian-writer-festival-tickets-37684746090



Wednesday, 4 October 2017

Ration your research

By Susanna Beard, author of psychological thriller, Dare to Remember published by Legend Press

Research can be fun! Yes, you read that right. It may be daunting at first, when you need to get going from a standing start and you really don’t know where to look, but researching for a novel can add real depth and interest to your story – and it’s deeply satisfying, too.

Some people absolutely love the process of researching their story idea. They might start online, as I did, and soon find themselves deeply immersed. It’s easy to get side-tracked. Some writers, anxious about getting down to the writing, spend a huge amount of time researching, delaying the moment of putting fingers to keyboard. Their research might be stunning, but it’s no good if they struggle to get to the writing.

I prefer to do it the other way round – I start writing, and when I reach a point when I need to research, I do it then. But even then I don’t let it take over from the writing. I might go back and add to the research later, but as long as I’ve confirmed that the key elements of my story are believable, I plough on.

Let’s assume you have, broadly, your idea for a novel. The story comes from your imagination and your personal experience and has a beginning, a middle and an end. (Well, possibly not an end – yet - if you’re anything like me. Or even a middle!). The research adds to and enhances the story, and you’re gathering knowledge in addition to your own to give it authenticity.

Without authenticity your story will fall at the first hurdle. That first hurdle comes when your reader stops believing in your character, event, place, business, historical period or theme. Your reader will be turned off the story and may never finish. So you need to research the facts around your story to give it depth – to make it believable.

Even if your story is a fantasy, it needs authenticity, through character development, a sense of place and time, and consistency. Your research might involve how people react, or how a material, like wood for example, might behave. It won’t matter if your monsters from outer space behave like humans but it will matter if your humans – all of them - behave like monsters from outer space. Our imaginations can soar, but our stories need to be grounded by (some) research.

If your character suffers from depression, you need to know about it. You need to know how she would look and speak, what her thought processes might be. My protagonist in my debut novel, Dare to Remember, Lisa, suffers from post-traumatic stress disorder (PTSD) and depression, and she has therapy throughout the book. I researched this by reading about depression – case studies were particularly useful – by talking to therapists, especially those with experience in PTSD, and by listening to their language. It’s all in the book.

But at the same time, it’s not all in the book. One of the big dangers of researching for your novel will be that you’ve put all that time and energy into finding out the facts around your story that you don’t want to waste it. You feel compelled to put it into the narrative. Don’t. The danger is that it will change the pace of the story, bring the reader up short and look like you’re trying too hard to prove you know all about your subject. As a reader I can see when a writer wants to demonstrate their knowledge – about language in a historical era, about the geography of a place, about a real event from the past – and I tend to skip over it.

We need – as writers and as readers – to inhabit our stories. That means, as writers, we need to absorb our research, bringing it in to the story with a light touch and only when it’s appropriate. It needs to be an integral part of the backdrop of the story.

A simple example: my therapist, for example, in Dare to Remember, has a certificate on his wall, showing that he was qualified. I knew he would, from my research. I also knew what he would have needed to do to gain his qualification. But I didn’t need to tell my readers all that – it would have been too much information. All they needed to know, obliquely, was that he was ‘proper.’ He became more real because of that small detail.

So research is important, yes. It gives you credibility and confidence, and your story authenticity. But it needs to be handled with care, woven into the story where it can demonstrate its value in subtle ways. Your readers won’t even notice it, but they will believe your story.

Wednesday, 27 September 2017

Dark Chapter: An Interview with author Winnie M Li

Winnie M Li's Dark Chapter is a remarkable book - a fictionalised account of her own brutal rape that explores not only the victim's trauma and recovery, but delves deep into the mind of the perpertrator too. Here she talks to Catriona Troth about the genesis of the novel and her own journey to recovery.

To begin somewhere slightly ‘off centre’, I was fascinated to read that you did your dissertation on Dervla Murphy. I read her Tales from Two Cities, about her experiences in Bradford and Birmingham in the early 1980s, when I was researching my own novel. She is a remarkable woman – an independent spirit to say the least! Can you tell us a bit about what drew you to her


So I’ve always been intrigued by travel, even before I was old enough to really travel on my own. I studied for an MA in English at University College Cork in Ireland, 2000-2001, and the focus of the course was Gender and Sexuality in Irish Writing. Most work by Irish women authors seemed largely to explore stories of repressed daughters and housewives in the Irish countryside — and I found this kind of depressing and difficult to relate to. So my professor (the excellent Pat Coughlan) suggested Dervla Murphy to me. Here was an Irish woman who in 1963 decided to cycle from France to Afghanistan entirely on her own. Now that sense of adventure — that desire to explore the world and embrace uncertainty was something I could definitely connect with. I was in heaven reading her travel writing — and the dissertation was actually a joy to write.


You have written very openly about the fact that you were raped in Belfast in 2008. What happens to Vivian in the book follows almost step by step what happened to you in real life. Why did you chose to write about your experience as fiction, and yet on the other hand to stick so closely to the actual events, rather than allow yourself a bit of creative distance?

I get asked a lot why I decided to write this book as fiction and not as memoir. There’s a few reasons for that. One is that there are already a number of excellent ‘rape memoirs’ out there, which were a great help to me in the year immediately after my assault (After Silence by Nancy Venable Raine and Lucky by Alice Sebold come to mind). I didn’t think I’d be contributing anything new to the field if I just wrote another rape memoir. So what I really wanted to do was explore the character of a young perpetrator, writing his perspective, and intertwine that story with the that of the victim. And that was something I could only do in fiction, since my real-life rapist was a complete stranger to me. Writing Johnny’s perspective was quite a creative leap, so I felt if Vivian’s experience closely echoed my own, that would at least ground the project a bit for me. In other words, Vivian’s sections wouldn’t require such a stretch of the imagination and could offer a bit of creative ‘rest.’


So as you say, Dark Chapter is written from two alternating perspectives. As well as walking us in Vivian’s steps, you delve deep into the mind of her attacker – the last place one would imagine you would want to go. Why was it important for you that you included Johnny’s perspective?

Yes, it would be an entirely different book without Johnny’s perspective, and probably a book that would have held much less interest for me to write. By writing Johnny in an empathetic way, I was trying to push the boundaries of what I felt capable of thinking and feeling as both a writer and a survivor. I also feel that we as a society need to start thinking of perpetrators as human beings whose experiences, upbringings, personalities, etc somehow lead to sexually violent behaviour — they are not born ‘monsters.’ If we’re not willing to understand the contributing factors that lead to perpetrators’ behaviour, we’re never going to be able to prevent this crime from happening in the future.
 

It must have been a very different, but equally painful process to delve back into your own experience. How did you deal with that as a writer, and how did you deal with it personally?

Writing Vivian’s sections was a very different process, but being able to switch back and forth between writing Vivian and Johnny kept things interesting, less monotonous, and less painful for me as a writer. Yes, it was difficult emotionally for me to relive some of the worst episodes in my life, which I had to do in writing Vivian’s trauma, PTSD, and depression. As a writer, using the close-third perspective offered a bit of distance, and this made it possible to look back on my own lived trauma and try to re-frame it as fiction. I also experimented to see how the language could best reflect the sense of isolation and fragmentation that Vivian undergoes at certain moments. Personally, I guess I cried a lot when writing some of these sections! But there was also a slight sense of power gained because I could tell myself: ‘Look, I went through that, but it’s over now. And now I can gain mastery over that experience by transforming it into fiction.’


I believe you wrote the first few paragraphs which were to grow into Dark Chapter just a few weeks after the attack. A few years later, this became an essay published in a book called Sushi and Tapas: Stories By and Of Young Women, for the charity Women for Women International. What prompted those first attempts to put things in writing? How did that differ from writing the novel?

Actually the essay in Sushi and Tapas was entirely different writing from Dark Chapter. That was written as short-form memoir, in first-person, present tense. So it was entirely open and up-front about my experience as lived truth, as reality. It’s true: the prologue of Dark Chapter was written just a few weeks after my attack, and that sparked the idea for the book (the intertwining perspectives of victim and perpetrator). Even though I knew I would have to wait years before I was ready to write this book. Writing for me has always been my way of making sense of the world — I’ve been writing since the age of 6. So it’s impossible for me to not write about things, especially something as momentous as my own rape. But still, the Sushi and Tapas essay was much more direct in portraying my own experience. It didn’t require any research. As fiction, Dark Chapter is significantly more crafted; I had to think a lot about creating character, plot, tension. I experimented with language, I researched heavily. That’s why it took two years to write!


In 2014, you returned to Belfast for the first time since the trial to begin the research for Dark Chapter. What was it like for you to go back? Have you been able to make some peace with the city?

At first, I was terrified at the thought of returning to Belfast. I associated it so closely to my trauma that hearing a Belfast accent would make me nauseous. But I also knew I couldn’t write the novel effectively if I didn’t go back to do that research. So even though I dreaded it, I forced myself to go back. I found that the people of Belfast whom I interviewed were incredibly kind and generous, and bit by bit, I was able to overlay those traumatic memories of the city with much warmer, friendlier ones. Now, I feel perfectly comfortable returning to Belfast and having made a lot of friends there, I even consider it sort of a secondary home.


Your own attacker pleaded guilty, which at least spared you the trauma of examination and cross-examination in public court. But as part of your research you attended trials where this was not the case. What did you learn about the way victims (‘complainants’, in the court jargon) are treated? And how would you like to see that change?

The court procedure really does not value the well-being of victims, and the main argument of the defence is to completely undermine the credibility of the victim’s story. This is incredibly insulting and damaging to a victim, and does not help with recovery. In addition, the prospect of testifying in public, in front of one’s own perpetrator is horrifying. This fear can be very disruptive to rebuilding a victim’s life. In the ideal world, victims would not have to face their perpetrators in court, there would be counselling support available for victims as they go through the criminal justice process, and the whole style of cross-examination would be handled differently. I’m also not a fan of trial by jury with these kinds of crimes, as I think the public harbours some very problematic misperceptions of how a victim should talk, behave, or even look in the case of rape. None of this is actually relevant as to whether or not a perpetrator committed the crime or not, and yet the victim is often judged. 


You clearly believe in the importance of art and creativity as a way of talking about rape and removing the stigma around you. A few years ago you co-founded the Clear Lines Festival aimed to “create a space in which to talk about rape and sexual assault.” Can you tell us some more about that?


I actually started Clear Lines when I was in the middle of writing Dark Chapter. I was feeling very lonely and isolated during all that writing, and I wanted to do something that could maybe combat that isolation and bring together all these artists, writers, activists, and survivors on the issue of sexual assault. I had started to realise how much art was being created to challenge this topic, and how many people out there wanted to engage with that art and not feel as alone. So if I could create some kind of platform or space for artists and audiences to come together, then that could be a positive, healing step in the right direction. It would also allow us to celebrate the value of creativity and community in addressing this issue.


I believe you now consider yourself a survivor, as opposed to a victim. You have even written, “the experience contains the potential for regrowth and recovery, the way a broken bone mends itself to become even stronger” – a remarkable and inspiring statement. If you could speak to the young Vivian now – perhaps the one sleeping on the floor by that window overlooking the Thames because she cannot cope with being shut inside her bedroom – what would you say to her?

It gets better. You won’t always be trapped by the trauma. You’ll be able to travel again, to live again, to enjoy the world again — and one day, you’re going to publish a book about this.


And is there anything you would say to Johnny, if you thought he was ready to listen?

Don’t be so mean to people. Stop and consider their perspectives. Because people are willing to consider yours.

Thank you, Winnie! We wish you every success with the book.


Winnie M Li is an author and activist. Her debut novel, DARK CHAPTER, was published June 1st by Legend Press and will be translated into seven languages. It is currently shortlisted for The Guardian’s Not The Booker Prize, and was 2nd place in the SI Leeds Literary Prize 2016 and Highly Commended for the CWA Debut Dagger 2015. A Harvard graduate, Winnie previously wrote for travel guide books, produced independent feature films, and programmed for film festivals. After earning an MA in Creative Writing at Goldsmiths, she now writes across a range of media, runs arts festivals, and is a PhD researcher in Media and Communications at the London School of Economics. She lives in London yet is somewhat addicted to travel. http://winniemli.com Twitter: @winniemli

Wednesday, 20 September 2017

In Conversation with Lisa Jewell

By JJ Marsh


If I were a bookseller, I’d say you’re hard to categorise. Now you’ve gone and made it even harder with Then She Was Gone. Do you purposely try to stay out of a box/ off a particular shelf? 

I don’t really do anything on purpose. I often wish I did. Then She Was Gone has been such a brilliant success and not only that, almost universally liked by everyone who’s read it that I would love to be able to purposely write something that could replicate that reception. But it’s impossible. Books are so nebulous and I don’t plan or plot so really I just start at point A and end up at point B with no real idea how I got there. I think my publishers have found it quite awkward publishing me at times. I have had a sense over the years of oh God, what have you brought us this time; back to the drawing board everyone! But as a team we are trying very hard now to stay on one shelf which means, I think, that I will need to keep killing off characters so that I can be published in the thriller genre.

Since your arrival onto the literary scene in the 90s, your life has changed in all kinds of ways. How does your own personal development trigger your work?

When I wrote my first novel I was newly divorced and newly in love with someone else, I was twenty seven and kind of directionless. But incredibly, deeply happy. So although I have always loved dark themes – I love reading books about serial killers and skipped quite happily through American Psycho – at that time I was more hormonally and emotionally geared towards writing light-hearted romances. Then I got married again, had a baby, lost my mother, had another baby, went through a long period of time when my husband was physically disabled and of course I got older and more experienced and braver in many ways. So yes, life does definitely inform and shape the things you want to write about and getting older gives you the confidence to push boundaries.


Looking back over my well-thumbed paperbacks, you seem to be less of a ‘write what you know’ author and more of a ‘write what you’re curious about’. A fair assessment?

This is mainly true with some grand exceptions. After The Party was a very closely fictionalised account of the pressures a second baby brought to bear onto my own marriage, Joy’s marriage to George in Vince & Joy was almost 90% the story of my own first marriage and The Girls was set in a communal garden exactly like the one I live on in London. But generally, yes, I feel a sense of curiosity about something and then find a way to explore that curiosity via story-telling. Obsessive hoarding disorder was a perfect example of that. I looked through a dirty window into a hoarded house one afternoon and thought; god, who on earth lives in there, how did they end up living like this and what impact must it have had on their family? Then I went home and started writing The House We Grew Up In.

One characteristic I associate with you and your writing is empathy. Not only do you identify and understand some difficult characters, but you ask your readers to do the same.

Yes, absolutely. I feel sad, for example, that a lot of readers didn’t see the two sides to Lily in I Found You. I tried so hard to make her nuanced and not just a two dimensional cold-hearted witch. But the majority of readers disliked her and found her gaucheness and abruptness impossible to get past. I thought she was really funny and just trying her hardest in a terrible situation in a strange country with no cultural cues to help her. And this was why I took the reader straight into the heart of Noelle in Then She Was Gone. I couldn’t see the point of writing about a person doing a terrible thing unless you could make the reader at least attempt to understand why they might have done it. Otherwise you’re just creating characters to move the story along, not to give the story layers. That seems a wasted opportunity to me.

The trauma behind Then She Was Gone must have put you, as a parent, through the wringer. Did you cry in the coffee shop while you were writing?

No, the traumatic bits didn’t make me cry. I’m pretty hardcore when it comes to things like that and if I can read a book about Fred and Rose West and what their victims went through without crying or feeling traumatised then I can most definitely write about a made-up thing happening to a made-up person without finding it too gruelling. But the epilogue was a last-minute decision. I wrote it after my first big edit of the book and I still cry every time I read the last line.


You’ve got a pretty disciplined routine of 1000 words a day and you say you’re not a plotter, more an explorer of ideas. Do think the real alchemy is in the first draft or the editing?

It’s very much a mix of the two. The first draft is the world you’ve created and if you get that right then you know you’re onto something. The edit is where you make sense of the world, put it all into the right order. I love editing. I don’t do much as I go – apart from the occasional really dramatic excising of thousands of words or a whole storyline – but once I get the manuscript back from my editor covered in post notes and paperclips I get really intensely into it to the point of not noticing what time it is. And yes, that is when the magic really happens.

It’s coming up to 20 years since Ralph’s Party was published. In what ways has the world of publishing changed over two decades, in your view? And is it better for readers and authors?

Publishing has become much more risk averse. No one, for example, would have picked EL James’s 50 Shades books from the slush pile these days. That only got published because of the huge online success it had had. I think of the late 90s, when my first book was bought and published, as a kind of heyday for publishing – there was a lot of money flying about and publishers were really keen to try new things and see what took off. Nowadays they tend to want to replicate what’s gone before and pay less when they do take a risk. But the book world as a whole is incredible right now – social media has brought authors, readers and publishers together into the same sphere and there are so many forums for people to share their passions. Being a reader has become much less of solitary pastime and more of a wonderful universal experience.

E.B. White in Charlotte's Web said “It is not often that someone comes along who is a true friend and a good writer”. I suspect you’d disagree, as you have a wonderful circle of authors as friends. How important is it to have an understanding group of writing mates for you?

It is hugely, enormously important and again, a situation for me which has been facilitated greatly by the internet and social media. When I was first published and the internet was quite a fresh, new place, a writer’s husband set up something for a group of us called a ‘chat room’! We’re still on it, twenty years later and out of that core group of people have come more groups and sub-groups and every time you do an event you’re meeting new authors and they get absorbed into your circle and we all use each for support and reassurance and wine and nights out and it is just brilliant. My writer friends are one of the best – and most unexpected - things to have come out of my career. And no, there is no competition between us. Readers buy up to 50 books a year so there’s plenty of the market to go round and the more good books there are out there the better for all of us.

Last question - best of three. Which book affected you most as a teenager? What’s been your best read of the year? Which book is your comfort read?


I barely read as a teenager. I just listened to the radio and wrote letters to pen-pals. But in my pre-teen years I read like an animal, anything and everything, under the covers into the early hours. My biggest passion then was Agatha Christie – I read four of her books a week and once I’d exhausted her oeuvre I sort of stopped reading until I was in my 20s. My best read this year I suspect I have not read yet as I have five amazing books lined up for a week in Tenerife in October all of which I am expecting to completely blow me away. But thus far I have adored The Vanishing Act of Audrey Wilde by Eve Chase and, in the thriller genre, Here and Gone by Haylen Beck. I don’t re-read books so I don’t have a comfort read. If I were to re-read something from the past it would probably be The Country Life by Rachel Cusk; so incredibly funny.


Then She Was Gone is a Sunday Times Number 1 Bestseller – available now (Century Hardback, £12.99)


Read JD Smith's review on Bookmuse

Wednesday, 13 September 2017

The Long Road to Publication - Part One


When First Page Competition Winner Andy Smith contacted us to ask our suggestions for what next, we gave him a bunch of ideas and had one of our own. Why not share a diary with Words with JAM readers, detailing his progress from competition winner to published author? Happily he agreed. 
You can read Andy's winning First Page here 


I’m Andy Smith, the still shell-shocked winner of the First Page competition. I’ve officially got a good opening page, plus some great feedback from Alison Morton. But how do I know if the rest of the novel is any good? I could enter more competitions: Best Second Page, Best Third Page, etc. I reckon I would need 194 more competitions to get the end of the book, which might take a while. So I think I’ll try a different approach.


I’ve been working on editing, tidying up, sorting out and general polishing of the whole novel (not just the first page) for quite some time now. I’ve got a number of beta readers who’ve provided comments – good and bad – which I’ve incorporated. And, most importantly, I’m a member of a writing group who provide serious critiques and criticisms when required.

(Aside: in my humble opinion, if you want to improve your writing, the best thing you can do is join a writing group. Pick which one you join carefully though: not one where everybody goes “Yes Mabel, that’s wonderful” to everything they hear. You want one where people will point out flaws and tell you honestly when things aren’t working. I’m in South Manchester Writers’ Workshop, something I mention as a thank you to the folks there rather than as a plug – we haven’t got room for any more members at the moment! However, there are lots of other groups out there. End of aside.)

As a result of all the above, I think my whole novel is now in a sufficiently good state to try and get published. That’s the next step. One giant leap sideways for crab kind.


Important decision time. Do I send it off to agents and publishers and fight the uphill battle against rejection letters? Or do I self-publish, and fight the (possibly even more uphill) battle of making it stand out from the 47 billion other self-published books?

Answer: dunno. I think I’ll try both, and pick the brains of the good people at Words With Jam for their ideas on the self-publishing route. As you’ve probably gathered from the competition results, this is a comic fantasy novel which mixes a few other things together, and thereby gives agents a bit of a dilemma. (Doubtless more on that in future posts.) But if I self-publish I’ve got to sort out a professional editor, someone to do the cover, etc, etc. Why do I get the feeling this where the hard part starts?


Another thing I’m going to need to do is consider a pseudonym. When my Mum and Dad were naming their children they never thought about one of them trying to be an author. Hence I’ve been lumbered with ‘Andy Smith’, which is about as noticeable as ‘A. Nonymous.’ I could try Eric Blair, perhaps? Dorothy Parker? Peter Parker? My spider sense is telling me that none of them would be right.

Watch this space.


About Andy:

I was born in Liverpool but now live in Manchester.
The people there are great, but we don’t talk about football.

I work as a project manager for a software company, which really is every bit as exciting as it sounds.

Writing is what keeps me sane.

Wednesday, 6 September 2017

60 Seconds with Susan Grossey

By Gillian Hamer

Susan Grossey was brought up in Singapore, graduated from Cambridge University in 1987 with a degree in English, and then taught secondary English for two years before realising that the National Curriculum was not for her. She became a technical author and realised money laundering was a topic that could keep her interest for years – and so it has proved.

 Since 1998, she has been self-employed as an anti-money laundering consultant, providing training and strategic advice and writing policies and procedures for clients in many countries. As part of her job, she has written several non-fiction books with exciting titles like “Money Laundering: A Training Strategy”, “The Money Laundering Officer’s Practical Handbook” and “Anti-Money Laundering: A Guide for the Non-Executive Director”.

However, even this is not enough financial crime for her, and in her spare evenings and weekends writes fiction – but always with financial crime at the heart of it. Susan lives in central Cambridge, with husband Paul, no children (by choice) and a tabby moggy called Maggie (short for Magnificat). When not writing, Susan enjoys reading, knitting, or pedalling madly on the back of a tandem.


Hello, Susan, tell us a little about you and your writing.

It all started with my day job: I am an anti-money laundering consultant, which means that I advise people on how to avoid criminal money. I have become absolutely fascinated by what criminals do with their money, and when I decided to just knuckle down and write that novel, of course financial crime was at the heart of it. I am writing a series of seven novels, set in consecutive years in 1820s London, which have as their narrator a magistrates’ constable called Sam Plank. And – would you believe this coincidence? – he is fascinated by financial crime.

What’s the best thing about being a writer?

For me, it is the chance to escape into the past – I find it all but impossible to stop researching and start writing, as I could read all day long. I also like having control over events, particularly in these rather turbulent times. It’s not always straightforward, but Sam generally gets his man, which is reassuring.

And the worst? 

Sometimes it can be a bit lonely: left to my own devices, I can spend days on end living in the past, which is not always good for current relationships! And – of course – the fear of finding that, despite evidence to the contrary, I can’t write any more…

Why did you choose your genre? 

Well, don’t tell my (engineer) husband, but I have a bit of a thing for policemen! I am particularly keen on the ones who use their brains to untangle tricky cases. And I noticed that although there are plenty of Regency romance novels, and more Victorian detectives than you can shake a truncheon at, no-one else has written about a Regency sort-of detective.

Do you have a special writing place? 

I have two. Most of the time I am in our back bedroom, looking over the little garden and our neighbours’ roofs. And if I am treating myself, I go to the Cambridge University Library and install myself on the fifth floor of the north wing. All the books there are about chemistry, so I’m not tempted to browse, but I love being surrounded by all that knowledge. And if I’m stuck for a character name, I just look at the book spines – chemists are probably over-represented in my books!

Which four writers would you invite to a dinner party? 

All of my favourites, so that I could gush and fawn: Elizabeth Goudge, Robertson Davies, Stan Barstow and Michael Bond. I doubt they’ve met before, and they’re not exactly competitors, so they should have plenty to discuss. And it would distract them from my awful cooking.

If you could choose a different genre to write in for just one book – what would it be? 

I can’t imagine writing a modern book, but I might give a slightly historical epistolary novel a go. I do like to have a framework rather than a blank page, which is the attraction of books requiring lots of research.

What do you know now you wish you’d known at the start of your writing journey? 

That it is remarkably difficult to get reviews – even one-sentence ones on Amazon from friends and family!

What is your proudest writing achievement to date? 

The self-publication of the first Sam Plank novel, “Fatal Forgery”. Once I knew that I could do it, the others were inevitable. But that first step was enormous.

What are your future writing plans? 

I have published four Sam Plank novels: “Fatal Forgery”, “The Man in the Canary Waistcoat”, “Worm in the Blossom” and “Portraits of Pretence”. I am now in the throes of writing “Plank 5” (not the final title!), and books six and seven in the series are plotted. I can’t even bring myself to think about what I will do once Sam retires, as he must in 1829 (when the Metropolitan Police was formed).


Follow Susan on Social Media ..

@ConstablePlank

 www.susangrossey.wordpress.com








Wednesday, 30 August 2017

Writer’s walk


By Susanna Beard, author of psychological thriller, Dare to Remember published by Legend 
Press

For me, walking has always had a therapeutic quality. There’s something about putting one foot in front of the other, even if you’re plodding along with your hood pulled up over your head and your eyes on the ground, which helps the mood. And since I’ve started to write novels, walking has become a crucial part of the writing process.

There is a time-honoured link between long-distance running and writing - Joyce Carol Oates ran every afternoon, Louisa May Alcott felt that she "must have been a horse or a deer in some previous state" because she enjoyed running so much, and Murakami said his “real existence as a serious writer [began] on the day that I first went jogging.”

I’m not a runner – it hurts too much, in more ways than one. But walking, for me, clearly has the same effect as running has for these authors. As a writer, it’s when I walk that I wrestle with the twists and turns of a plot that won’t settle down, or the traits of a character who just doesn’t seem real.

Sometimes the walking just clears the mind; sometimes it offers the creative jolt that a new story (or a stuck story) needs.

Even when the weather’s out to get you – when it’s cold, wet and blustery, when the wind brings tears to your eyes and you can barely move your feet through a sea of mud, walking is ‘worth it’ time. The process of wrapping up against the elements, leaving the house and heading for the countryside (or a park, or a quiet lane) is in itself, I believe, good therapy for an overcrowded mind.

And if you add good weather, the countryside, wildlife, birdsong and air untainted by diesel fumes – then even better. Nothing raises the spirits as gently.

Except, of course, the presence of a canine friend or two. The unbridled, unselfconscious enthusiasm of a dog on a daily walk, the excitement of seeing another of the species - or quite often, just another human - repeats itself daily. Same place, new smells, sounds, dogs, people. Cats and birds. Squirrels! Such delight in the routine. It’s infectious.

It was on one of my daily walks by the Thames a couple of years ago – I’m lucky, I can get there in less than ten minutes – that I bumped into another dog-walker, a little late on her daily perambulation. When I remarked on this, in a friendly, dog-walking way, she replied that her husband had died in the night. What a shock! Of course, I did my best to comfort her, offering to tell people I saw who I knew to be her close friends, and went on my way.

When we parted, though, I couldn’t get the incident out of my head. The fact that she was walking on the morning after this terrible thing had happened to her fascinated me. Of course, when you have a dog, it needs walking. But it was more than that – it was the beginning of her recovery from the trauma: telling friends, getting out of the house, exercising, the fresh air by the river. The idea of walking as therapy struck me as a good theme for a novel.

I didn’t want to mirror my friend’s experience in my story. So I needed to come up with a reason for my protagonist’s need for therapy. Was there something in her past which needed to be resolved? It went from there. I wanted to explore the idea of a dog, and walking, helping to bring someone back from the brink, creating a new, safer world for that person.

That’s where my debut novel, Dare to Remember, began. It went through two working titles, some interesting critical discussions with my writing group and many drafts before I felt that it succeeded in doing what it was supposed to. But all through the novel my protagonist is supported by walking, and by her dog, Riley. The dog gets her out, meeting new people - however reluctant she is to talk - while the walking gives her space, room to think, to ponder over her life, to recover from her trauma.

I value my daily walks with my dogs, both for my health – physical and mental - but also as a way to continue working on my stories. I clear my head, problem-solve, get descriptive ideas and make friends at the same time.

Almost always I return with a sense of purpose for my writing as well as muddy boots and pawprints in my hall.

Wednesday, 23 August 2017

In Conversation with Sam Blake (Vanessa Fox O’Loughlin)

By Gillian Hamer.

Sam Blake is a pseudonym for Vanessa Fox O'Loughlin, the founder of The Inkwell Group publishing consultancy and the popular national writing resources website Writing.ie. 

She is Ireland's leading literary scout who has assisted many award winning and bestselling authors to publication. 

Vanessa has been writing fiction since her husband set sail across the Atlantic for eight weeks and she had an idea for a book.


Hello and welcome! Can you tell us a little about you and your writing?

Hello, and thank you for having me! I write crime as Sam Blake - the first in the Cat Connolly trilogy LITTLE BONES was published in 2016 and was a bestseller in Ireland, it was followed by IN DEEP WATER which is out in the UK in February 2018 and the third in the trilogy NO TURNING BACK will be out in Ireland in 2018 and in the UK in 2019.

Congratulations on the huge success of your debut crime novel LITTLE BONES – how has your life changed since its release?

LITTLE BONES was far more successful than I ever expected, it was No 1 in Ireland for 4 weeks and stayed in the top 10 for another 4 which was totally amazing. Now I get to be Sam Blake as well as me and it’s incredible to meet someone who has read it and loved my books! That never ceases to surprise me!

What was the inspiration behind the novel?

Cat Connolly is a twenty-four-year-old detective who is based in Dun Laoghaire just south of Dublin City and LITTLE BONES is about the story that unfolds when she finds a baby’s bones hidden in the hem of a wedding dress.

Stephen King talks about story being the collision of two unrelated ideas – the ideas behind Little Bones weren’t entirely unrelated but they collided one sunny Sunday afternoon as I was driving back from a Readers Day that author Sarah Webb and I had programmed at a hotel in Dublin Airport. I put on the radio and a documentary was starting on RTE about Kerry born playwright George Fitzmaurice. Fitzmaurice is best remembered for his play The Country Dressmaker which he submitted to the Abbey Theatre. It was such a success that it rescued the theatre after the problems of John Millington Synge’s The Playboy of the Western World in the same year. Born in 1877, Fitzmaurice became introverted and isolated as he grew older and died in 1963, in a rented upstairs room in No.3 Harcourt Street, Dublin. He was aged 86 years and left no will and few personal belongings – apart from a copy of every play he had ever published and a few in draft form, which were in a suitcase under his bed.

It was Fitzmaurice’s suitcase that caused the collision of ideas.

Several years previously I’d watched an RTE TV documentary about a young Irish girl who was living in lodgings in Manchester. Belinda Agnes Regan discovered she was pregnant before she left Ireland but, unmarried, had no choice but to hide the pregnancy. She delivered the baby herself, incredibly in a room she shared with another much younger girl who apparently slept through her ordeal. Wrapping the baby in a shawl, she crept to the bathroom but when she returned, the baby wasn’t breathing. Hiding the body in a suitcase, she left it under her bed, returning home to Ireland to talk to the family priest. While she was away, the body was found by her land lady and she was arrested for infanticide.

These two stories, quite separately lit a light bulb in my head and on the drive home I started wondering about dress makers and what would happen if the bones of the baby had ended up in a dress – a wedding dress – the crucial thing that Belinda Agnes Regan must have yearned for, for nine long months. At that point I had no idea who owned the dress, or how the bones got there, or WHY…that was the start!

Why did you choose to write in the genre of crime fiction?

I’ve always read crime and I’m fascinated by puzzles and what makes people tick – why they act and react in a particular way. I think most writers write what they read, and I love a good story that keeps me hooked until the end and then surprises me. That’s what I try to do in my books.

Who are your favourite crime authors and is there one in particular you would list as your inspiration?

I adore Lee Child, Michael Connolly and Karin Slaughter. They have all been huge influences. I love the fast action of the Reacher books and the characterisation and complex stories in Michael Connolly and Karin Slaughter’s books. Good stories are all about unforgettable characters and all of these writers characters stay with you. I love Alex Barclay’s Ren Bryce for the same reason.



Why did you choose to write under a pseudonym?

My full name is Vanessa Fox O’Loughlin which is far too long for a book cover and people outside Ireland struggle to pronounce O’Loughlin. The key for any author is that readers can remember their name long enough to find them in a library or on a bookshop shelf - Sam Blake is MUCH nice easier one to remember. Being a B, I’m in great company on the shelf and there is a theory that men don’t like reading books by women, so Sam adds an additional layer of subterfuge...

Would you like to write in a different genre one day? If so, what and why?

Years ago I wrote a romance novel – with lots of intrigue – called TRUE COLOURS, I was between crime novels and had an idea about an interior designer and her lost love. It got rave rejections from publishers when my then agent submitted it, but now I know it wasn’t a big enough story to be a breakout novel, so it didn’t get picked up. It seemed silly to leave it in a drawer so I self-published it, launching it free on World Book Day in 2012 (I think!) it had 25,000 downloads and shot into the top ten in contemporary fiction when it switched to paid, which was rather unexpected to say the least! It definitely wiped its face in terms of costs.

Could you give us a condensed version of your route to publication?


I started writing in 1999 when my husband went sailing across the Atlantic for eight weeks. Obviously I thought the first book would be a bestseller (it was truly awful – the opening chapter is about a doctor returning to Dublin to commit suicide and he’s dead for the whole book) but despite being rejected by everyone on the planet, the bug had truly bit and I kept writing.

By the time I got to book 3 I knew I was getting better but I needed to learn more about the craft of writing. My husband was in the Irish Police force (Gardai) and worked shifts - I couldn’t get to a creative writing evening class so I decided to set up my own intensive one day fiction writing workshops – all facilitated by best-selling authors. I learned loads!

Inkwell grew into a publishing consultancy and I kept writing – my now agent is Simon Trewin from WME who I was working with doing events and as a scout, but whom I had forgotten to tell that I wrote myself. One day I mentioned it over coffee in London and he wanted to see my book immediately (bit of a scary moment) Thankfully he loved the book, which was then called THE DRESSMAKER. He had lunch with Mark Smith from Bonnier on a Thursday, sent him the book, and Bonnier made an offer for three books on Friday!

If you could give three top tips to newbie writers – what would they be?

Just keep writing – best advice I was ever given from Sarah Webb

Finish your book – Liz Nugent’s top tip

And: Read, read, read. Rewrite, rewrite, rewrite. Edit, edit, edit. – the fabulous Monica McInerney’s advice

And read On Writing by Stephen King (sorry that’s four) – EVERY published writer had read it and has it on their shelf. I could quote from it for ever!

Finally, your next book ‘IN DEEP WATER’ will soon be released - how tough was it writing the ‘difficult second book’?
Not as tough as writing book 3! I had an idea for IN DEEP WATER but had a couple of false starts because I’ve now discovered I need to get the crime exactly right before I begin (I know that sounds rather obvious) – once I knew what had happened and how, I flew through writing it.

I know this sounds mad, but as an unpublished writer you have the huge luxury of time to get your first book right – once you’re under contract that all changes and you have to speed up! Because LITTLE BONES was in fairly good shape, I had more time for IN DEEP WATER and really enjoyed coming up with the twist at the end. My editor wasn’t very keen on the multiple points of view that were in the original draft, so that meant a good bit of rewriting – IN DEEP WATER is a much more linear story than LITTLE BONES, but keeps you hooked.

When I came to write book 3, I only had a few months to come up with an idea and get stuck in. I’d forgotten to ask when my actual deadline was and was at 70k words when I discovered it was the next day! I managed to write 30k words in 9 days and deliver almost on time, but after the first edit I’ve decided I don’t like the end, so I’ve just changed it – it’s with my editor now so fingers crossed she likes it (YIKES!)

Social media

For SAM BLAKE
T: @samblakebooks
FB: https://www.facebook.com/SamBlakeBooks/
W: http://www.samblakebooks.com/

For Vanessa/Inkwell
T: @inkwellhq
FB: https://www.facebook.com/people/Vanessa-Fox-OLoughlin/652124128
FB: https://www.facebook.com/TheInkwellGroup/
W: http://www.inkwellwriters.ie/
For Writing.ie
T: @Writing_ie
FB: https://www.facebook.com/writing.ie/
W: https://www.writing.ie/

Instagram for everything!
https://www.instagram.com/writing.ie/





Wednesday, 16 August 2017

SCRIPTORA: assisted publishing with SWWJ

Mary Rensten, Vice President of the Society of Women Writers and Journalists, talks about the Society's assisted publishing arm, SCRIPTORA.

In 2004 my first novel was accepted for publication. What a thrill! After nearly thirty years as a journalist and playwright, I had tackled a new genre ... and found success! I began a second novel, and jotted down ideas for further ones; nothing could stop this roller-coaster. Oh no? What was that saying about Pride coming before a Fall?

The publisher went out of business ... and my manuscript went back to the drawer, where it sat for a couple of years; I went back to writing drama, rather than experiencing it. Forget it, Mary, you are not a novelist.

Hang on, though ... the book was accepted, therefore it must be good enough for publication. The problem was ... no other publisher seemed to want it. So, what now? Vanity, in connection with publication, was a dirty word; but how about self-publishing? Other people, quite reputable writers, were now doing it. It was worth a try. I dug out the manuscript, freshened it up, took it to a printer. Two weeks later I collected the fifty copies I had ordered and brought them home in the boot of my car. My local independent bookshop, now sadly no longer there, agreed to stock the book and gave me a launch, to which the local press came. My photo, and a lovely plug for the book, appeared in the weekly newspaper, The Hertfordshire Mercury, and it was reviewed very favourably in The Woman Writer, the quarterly magazine of the Society of Women Writers & Journalists (SWWJ), an organisation which has been supporting writing professionals since 1894.

I had by now garnered some very useful information about publishing, which would be helpful when I set out to get my second novel into print. But that was not yet: I was only about halfway through! In the meantime though, perhaps I could use my new-found knowledge to benefit others in the SWWJ, members who were seeking publication in a genre new to them, or poets who were finding it difficult to get their work published in book form.

I drafted out a plan for this venture, giving it the publishing name I had used for my own book, and presented it to the SWWJ Council. They liked the idea ... and the name. SCRIPTORA (SWWJ) was born! You won't find the word in any dictionary ... well, not yet anyway! It is derived from scriptor, Latin for writer. Published writers back then being, as far as we know, male, there was no need for a feminine form of the word. No problem: add an 'a', and you have it ... SCRIPTORA!



We published our first book, After The Battle, a volume of poems by prize-winning Sussex writer Fay Marshall, in 2010, and in 2012 , Susato, a semi-autobiographical, lyrical novel by Liverpool poet Alfa, which has since been translated into German. We now have ten titles on our list, and six more - four novels, a book of poems and an autobiography - currently awaiting publication. Yes, it's a small concern, but it is a growing one, and our authors can be proud to have their work published by us, knowing that, before being accepted, it has gone through a rigorous vetting process by professional Readers, as with any submission to a commercial publisher, making this an 'assisted' publishing facility, rather than a self-publishing one.


So, how does SCRIPTORA work? Members send for an Application Form and Notes for Writers, then submit their work, together with the names of two people of literary standing who will endorse it. The manuscripts, preferably sent as email attachments (although hard copy is acceptable), go to two Readers. If both consider the work worthy of publication, it will move on to the next stage, which may well involve some 'tweaking' and/or re-writing; that done, the manuscript has a second round of reading, and if it passes that, it is then prepared for the printer. 

Throughout all this the writer has help, advice and general mentoring from our experienced editorial team, who will ensure that our publications, whether paperbacks or eBooks, meet professional standards in content and presentation. The only charge for this service is, at the moment, an admin. fee of £15! The bulk of the cost, though, aside from the ISBN, is paid by the author. He/she pays for the Readers' assessments - at a special rate to SWWJ members of £12 per hour, with £50 for an initial critique - and then for the printing and any artwork for the cover.

As with all publishers, the writer has to play his/her part in publicising the book; here again we give assistance, through the SWWJ press and social media contacts. Blogs, together with Twitter and Facebook, are proving to be a wonderful, far-reaching, and generally free, way of spreading the word about new work. Writers are, for the most part, retiring, modest people, but we are learning not to be so ... and this beguiling, easy-to-use 21st. century technology is helping us no end to overcome our shyness!

Alfa's Susato has had very good sales, particularly in Germany, poet Doris Corti's much praised Avenue of Days has sold out, Alex Rushton's dystopic novel, Sunrise at An Lac, has had brilliant reviews, and my own novel, the book that started the SCRIPTORA ball rolling, was republished commercially two years ago as Letters from Malta, and became an eBook best-seller in Australia!

I am so pleased that I took that first step into publishing: I love to see other writers being successful and it's good to think that SCRIPTORA is contributing to their success.


For more information and contact details go to swwj.co.uk Click on 'About Us' and scroll down to SCRIPTORA.

Mary Rensten is a Vice-President of SWWJ

Tuesday, 8 August 2017

The Ad Experience

By JJ Marsh

This summer, I published the sixth and last in my current crime series. After spending ten years writing, my aim was to start serious selling. My platform was pretty well established but to change up a gear, I needed to nail ads.

Hello Facebook, hello Amazon.


First I learned as much as I could for free online. I looked at Mark Dawson’s Self Publishing Formula 101 and knew I should understand more about advertising before enrolling on such a course. Otherwise I’d waste both time and money. (Having said that, Mark, James and the team are immensely generous with all their advice via their podcast/books.) Check them out.

So this Scaredy-Cat started with a reassuring Welsh voice: David Penny’s ALLi video on the basics. David’s slow, patient explanation of each step made me confident enough to try it out.

Then Adam Croft’s interview with the ever-helpful The Creative Penn added more ammunition, followed up with Reedsy’s course and various other marketing advisors.

Time to dip my toe in the water.


Lovely ad for the first in my series. But I dropped the price, thinking it would be an incentive. First mistake of many. (See Lesson 1.) In June, my first month of ad spend, I lost around £100. After studying more carefully and making adjustments, in month two, I made a decent profit. Feeling more confident, I tried new ads. Month three, I’ve quintupled my sales and I’m getting an ROI of 40% plus a whole host of new readers.

I am not an expert and far wiser minds will offer more sophisticated and expert advice. So as a seasoned writer but amateur marketer, here are the lessons I learned.

Lesson 1. Ads work best for higher-priced products such as boxsets but rarely for single books or special offers. (Advertising a discounted book is best done on the many freebie/bargain channels.) However, if you have a well-branded series, especially crime/historical fiction/sci-fi & fantasy, it’s worth trying FB/AMS ads.

Lesson 2: Image is crucial - simple, striking designs, featuring the book(s) work best.
On Facebook, you have more design influence. Blue is a bad idea as it blends with FB tones and won’t stand out but orange/yellow work well. Here’s a successful Facebook ad for one of mine, chosen especially to go with a “holiday read” promotion.


Lesson 3: Use congruence – text on ad which matches what the potential buyer sees on your sales page. (In my case; Europe, crime, Beatrice Stubbs, series, detective) Don’t be afraid to use the tagline in your ad or anything that reassures the reader they’re in the right place. And if you’re advertising on mobile/cell phones, make sure the image works in black and white.

Lesson 4: When it comes to Amazon, your only choice is to use the book cover as your image. I know Tread Softly is the most appealing and award-winning cover in my collection, so I chose to advertise that one in addition to my boxset.


The only other element you can control (apart from Keywords - see below) is the copy. You only have 150 characters. Here’s what went with the cover above.
Basque Country, Spain.
A true detective is never off duty.
Beatrice Stubbs is up to her neck in corruption, blackmail and Rioja.
Lesson 5: Link to the Amazon page for the appropriate country – ie, if advertising in the US use Amazon.com and Amazon.de for Germany, etc. You can also use Authl.it to make sure the link redirects your readers to their home site.

Lesson 6: Target carefully. This is IMPORTANT. Make a profile of your ideal reader. Look at Also-boughts of yours and similar writers in your genre. Use Facebook's Audience Insights feature. Amazon offers a variety of tools and suggestions but you know your book and its place 'on the shelf' better than anyone. It sounds stupidly obvious but reach readers who will read and enjoy your work. I write not-gory, intelligent European crime fiction. If I target fans of erotica and sci-fi or slasher horror, I'm onto a loser. If I target fans of Kate Atkinson, Louise Penny, Kathy Reichs or Henning Mankell, I'm far more likely to find friendly readers.

On Amazon, use whole phrases or titles as Keywords and aim for around 200. It will force you to drill down into your niche market if nothing else.

On Facebook, select only their appropriate suggestions and add plenty of your own, based on all the research you've already done. Narrow to your ideal reader by using the Lookalike feature. Facebook can generate similar audiences to those who already like your page.

Lesson 7: Duplicate ads and change one element at a time. Received wisdom says 3 ads per ad set, which costs you no more than one. When you can see which one is working, ditch or change the others. (Leave them for at least 3 days before tinkering. Stats take a while to filter through.) This one for Raw Material took three weeks of refining till it took off.


Lesson 8: Watch what works. Remember you pay per click. Refine and hone.
Check keywords daily on Amazon and change those which get a lot of clicks but no sales.  Also pause those which get few impressions. CPC (cost per click) on Amazon should be $0.70 or less.

On Facebook, watch which ads get most impressions and clicks. After following Lesson 5 above, check which ads are working and either stop or alter the lowest performer. (Tip – what you think is your best ad may not be the same for your readership.) Received wisdom suggests your CPC should be around $0.30.

Lesson 9: If an ad is working – eg you’re selling more than you’re spending, increase your budget by 50%. Remember The Read-Through Effect – if readers enjoyed the first, it results in sales for the rest of your backlist. I’m now advertising only two books and one boxset, but consistently selling all eight (six individual books, two boxsets) every day.

Lesson 10: Respond. If people sign up to your list or like your Facebook author page or have questions, make time for them. Build a relationship and engage. Don’t bombard them but make them feel welcome and part of a community.

Extra tip: Trust your designer.
This is my most successful ad to date – it’s working in the US, Canada, Australia, Europe and is soon to land in India. Thanks to JD Smith Design who rejected my chosen pic and used one of her own.
As always, she was right.