Author Interview with Vineetha Mokkil

  1. Who or what inspired you to write short stories and when did you begin writing?

All the writers I read and digested inspired me to write. I was a voracious reader as a child. I started writing when I was in middle school. Some of those stories were written for competitions held at school and some stayed on the pages of my notebooks. I’ve loved books ever since I can remember. Reading stories was such a pleasure and a fascinating voyage of discovery—of other lives and worlds—and I couldn’t resist the temptation of trying my hand at writing them. I was enthralled as a reader and I wanted to see if I could write stories to recreate that immersive and magical experience for my readers.

  1. How has living in various places – New York, Delhi and Taos affected your writing? Do you think travel helps to inspire your work?

Every place I’ve lived in or visited shapes my writing in particular ways. The energy of a place—inspiring, soothing, manic or comatose—rubs off on me. The essence of a place stays in my heart long after I say goodbye. The people I meet and the stories they tell, the sights, sounds, skies, and hidden histories of a place all spark my fiction. Travel is inextricably linked to my process. New places jumpstart my imagination. The memories they gift me are fertile ground for stories to germinate.

  1. Do you create a structure for your stories before you begin or are they more fluid?

I tend to write short stories and flash fiction in a fluid way. I have a basic idea of the flow of the story, but it’s not strictly structured before I begin. Whereas with my novel, which I’m currently working on, I found that I had to create a solid structure before I started.

  1. What advice would you give to writers wanting to submit work to literary journals?

Get your story into the best shape possible. Rewrite, refine, edit and polish vigorously before you submit. Keep at it inspite of rejections. Appreciate the feedback editors give you and incorporate it into your work. Acceptances will eventually come your way.

  1. How has winning writing competitions affected your journey as an author?

Writing competitions come with strict deadlines and they force me to sit down at my desk and finish a story on time. Competitions make me a more disciplined writer in this sense. Winning a competition makes me feel my hard work is being appreciated. That’s a wonderful boost for a writer. It gives you reason to believe in yourself and your art and to carry on writing in a world which is largely indifferent to creative endeavours.

  1. Can you tell us about your collection, A Happy Place, and your route to publication with Harper Collins?

I didn’t start out with a collection in mind. The stories were written one at a time. The title story was published in the Santa Fe Writers’ Project Journal. My eternal gratitude to the editors for that acceptance! Then, a few more of my stories got published in literary journals and magazines, and that gave me the confidence to consider putting together a collection. Once I had enough stories, the hunt for an agent started. It was not easy. Some agents loved my writing, but they were running scared of taking on short stories. It took a lot of effort and patience to find an agent who believed in the collection’s possibilities. She sent it out to several publishers and I was thrilled when HarperCollins said yes to it.

  1. Who are your favourite short story authors?

It’s a long list. To name a few: Chekhov, O. Henry, TC Boyle, Anita Desai, Lucia Berlin, Anne Enright, EL Doctorow, Akil Kumarasamy, Chimamanda Adichie, KJ Orr, Deborah Eisenberg.

  1. What do you think is the essence of a good piece of short fiction?

Telling detail, tension, humour, nuance, startling imagery, and the ability to make a word resonate in different registers at the same time.

  1. What are you currently reading and which book would you take to a desert island, and why?

I am currently devoting all my time to working on my novel, though it’s a tough challenge to resist the call of my very attractive to-read pile. The last book I read and was bowled over by was The Friend by Sigrid Nunez, an incredibly perceptive and well-written novel about friendship, loyalty, loss, and grief. My desert island pick would be Michael Ondaatje’s The English Patient. The copy I own is falling apart because I’ve re-read it so many times. This novel surprises me every time I read it. It is so lyrical, insightful, wise, and immense in scope—I’d be delighted to be marooned on an island with it.

 Vineetha Mokkil is the author of the short story collection, A Happy Place and other stories (HarperCollins), which was listed as one of the Ten Best Works of Fiction by The Telegraph. She was shortlisted for the Bath Flash Award June 2018, shortlisted for the Desi Writers Lounge Short Story Contest 2018, and is the winner of the New Asian Writing Short Story Competition 2018. She was a nominee for Best Small Fictions 2019. Her fiction has appeared in Barren, Cosmonauts Avenue, Fictive Dream, The Best Asian Short Stories 2018 (Kitaab, Singapore), GravelJellyfish Review, Quarterly Literary Review Singapore and chosen for the Longform fiction pick-of-the-week.

You can find Vineetha on Twitter @VineethaMokkil and her books on her Amazon author page

Author Interview with SJ Watson

  1. You previously worked for the NHS, what did it take for you to move into the arena of writing, and can you tell us about your journey?

It was a long-ish process of realising that I would never be truly fulfilled while my writing was taking second place to my NHS career. As I got more senior in my post in a children’s hearing service in South East London, I found I had less time at the end of the working day, and more importantly, less energy for my writing. It was making me miserable, as I’d always wanted to write and publish novels and that dream was slipping further away. So I decided to go part time in a more junior job and use the rest of the time to write. I told myself I’d give it a couple of years of really throwing my energy into writing and then assess how it was going. Not long after that, I enrolled on a creative writing course at the Faber Academy, and started work on the book that would become Before I Go to Sleep.

  1. Your debut novel, Before I Go to Sleep, was turned into a film staring Nicole Kidman and Colin Firth, how closely did it remain to the storyline of the novel, and how much input did you have in the script?

I had no input, directly, but I had a good working relationship with Rowan Joffe who wrote and directed it, and also Liza Marshall who was the producer. So they ran ideas past me and checked I was happy with what they were doing, which was great, and in almost all cases I was. It was like having the best of both worlds – creative input without responsibility! But for the main part I let them get on with realising their vision – I see the movie as being like a cover version of a song. It’s a different piece of work, Rowan’s job was to take something that worked as a 350 page book and make it work as a 90 minute film. So, while it doesn’t incorporate every element of the book, and some things have been changed to make it more filmic, it’s very much true to the story.

  1. Do you have a writing routine and what is your workspace like?

I try to do my creative work in the mornings, with afternoons left for admin and ‘life maintenance’ tasks, though if my writing is going well I’ll find it bleeds into the afternoon. I don’t work well with rigid boundaries, I prefer having a vague plan for the day. It depends on what I’m working on, too, and what stage I’m in. When I’m drafting I aim to write at least 1000 words, at least five days a week. Sometimes it’s much more, when it’s going well, but when it’s not I’ve learned not to force it. It’s important to trust what the work is telling you. When I’m editing I can get through a lot more in a day, though much of that is cutting and rewriting. I’ll often do that in the evenings, when I seem to have more of a critical head on.

My workspace is messy. There are books, notebooks, post-its, pens, ink, receipts, bills, plus of course my laptop and keyboard and so on. I’d like to be someone who keeps it tidy, or who refreshes it at the end of the day, but I’m… not. And I’ve accepted that, now.

  1. Do you plan the structure of a novel, and do you begin with the plot or the characters?

I’m getting to be more of a planner with each novel. Before I Go to Sleep was very much ‘dive in and see where I end up’, whereas Final Cut, my new book, was planned fairly meticulously. I like to leave some room for the book’s own alchemy to take hold though, space for the unforeseen bit of magic. I usually begin with an idea, an area I want to work in or explore, and from there I think, ‘what could happen?’ and also, ‘what kind of person would that thing happen to?’ So, I suppose I’m thinking of the two things in parallel. A book can’t really happen for me until the characters are up and walking and talking, though, so that becomes the main thing.

  1. What can you tell us about your forthcoming third novel, Final Cut, and the inspiration behind the story? 

Final Cut I was inspired by several different things. I’d been thinking about voyeurism and filmmaking, and I started to become fascinated by documentaries, particularly those dealing with ‘ordinary life’, and reality TV. I was thinking about the everyday moments, dramatic and otherwise, which make up a life. Alongside that, I’ve long been interested in the modern-day urge to document, to record and share everything, almost as if otherwise it doesn’t seem real. When I was growing up I took 24 or 36 photos a year, on my annual holiday, now some people get through that many a day. These ideas coalesced into a narrative about an ordinary town in which dark secrets were hiding under the surface, which would be brought to light as a documentary filmmaker examined the village.

So this was the surface, but underneath my subconscious was also working away, and when I came to write the book I realised that my main character, Alex, was someone who once again only had a partial understanding of who she was. So, like Before I Go to Sleep, I was once again looking at the realm of memory and identity, albeit through a different lens and in a very different story.

  1. Can you share something about the book, or about you, that readers won’t know?

I scrapped an entire book before writing Final Cut. I liked it, and loved the characters, but in the end decided it just wasn’t good enough.

  1. Which book has had the greatest impact on your life, and why?

That’s sort of easy, and sort of impossible. Before I Go to Sleep changed my life completely, in almost every imaginable way. But I suspect you mean a book written by someone else! It’s so hard to choose one, but I’d probably say either The Lord of the Rings, which I read as a child and which first made me want to write, or The Handmaid’s Tale. The latter isn’t even my favourite Atwood novel, but it’s the book that, when I read it about fifteen years ago, made me realise I needed to revisit that childhood ambition and take it seriously.

  1. What advice would you give to writers wanting to get a book published, and what do you enjoy most about the publication process?

I’d say, concentrate on writing the best book you can. When I speak to groups of aspiring writers I always ask why they think most books aren’t published. Too often they say it’s because the writer hasn’t got a big enough social media profile, or they’re not famous in a different field, or whatever. The truth is, the books that most people write aren’t good enough. So an aspiring writer needs to concentrate less of their energy on ‘getting published’ and more on being the best writer they can be. Once their book is unassailably good, then is the time to start to think about getting it into the hands of readers, or agents, or whatever. That bit is relatively easy, believe it or not. Agents are looking for books to represent just as much as writers are looking for agents. The tricky thing is that the books have to be amazing.

There are lots of really special moments along the way in the publishing process – seeing the book typeset for the first time, seeing the jacket the designer has come up with, when it first appears on your doormat in physical form. But I think I love meeting readers the most. It’s always lovely to hear how people have connected with the work. It’s going to be very different this time round, with most festivals having to be online. I shall miss it.

  1. With photography as an interest outside writing, and an Instagram page of creative photography, does this link with or inspire your writing?

Very much so. When I’ve been writing intensively I’ll go out and take some street photographs, and when I’ve done that for a few hours I return to my desk energised. Each seems to feed the other. One is physical, one sedentary, and both require intense observation, but also I think it’s because they’re almost exact opposites. In writing fiction I’m trying to take a narrative and from it create images in someone’s head, whereas in photography I’m trying to weave a story out of a still picture. So each compliments the other – they’re ultimately both narrative arts. Or maybe I just love both because I’m incredibly nosy.

S J WATSON’s first novel, Before I Go To Sleep, became a phenomenal international success and has now sold over 6,000,000 copies worldwide. It won the Crime Writers’ Association Award for Best Debut Novel and the Galaxy National Book Award for Crime Thriller of the Year and has been translated into more than 40 languages. The film of the book, starring Nicole Kidman, Colin Firth and Mark Strong, and directed by Rowan Joffe, was released in September 2014. S J Watson’s second novel, Second Life, a psychological thriller, was published to acclaim in 2015, and his forthcoming novel, Final Cut, will be published in August 2020.

You can find SJ Watson on Twitter @SJ_Watson or on the website sjwatson-books.com

Author Interview with Debut Crime Writer, Sarah Hilary

SomeoneElsesSkin_v13 SH.jpg

I’d like to welcome Sarah Hilary to the blog today. Her debut novel, Someone Else’s Skin, will be published on Thursday by Headline. It has already received some great reviews and has been heralded as “one of the debut novels of next year, if not THE debut novel.” I wanted to find out more about Sarah, her path to publication, and the inspiration behind her work. Thank you, Sarah, for today’s interview. We wish you all the best for the imminent release of your book!

What drew you to crime fiction and how have you been influenced by other authors or film and television?

SH: I always loved Sherlock Holmes, and I adore TV crime. Key influences would be Silence of the Lambs (film and book), Fred Vargas, Patricia Highsmith, TV shows like The Bridge, The Mentalist, Peaky Blinders… All these things keep me on my toes and inspire me to keep exploring the different angles of crime.

How does your work as a copywriter and editor work alongside fiction writing? Does it help or hinder your creative process?

SH: It helps, I think. I have to produce some pretty taut prose at work, which is never a bad thing in a fiction writer. And it’s good to have time away from stories, to stay in touch with the real world.

What do you think helps to make characters likeable or believable to the reader, and how important is it?

SH: It’s all about empathy. I don’t believe a character needs to be likeable so much as recognisable; he or she needs to touch a nerve in the reader. One reader said that she found Marnie Rome irritating, and that this was a compliment, because it meant that Marnie was ‘real’. I get bored reading about heroes and villains. I’m fascinated by the human qualities between these two extremes. That’s where the interest lies for me.

Where do you write and why?

SH:In cafes, when I can. I like the white noise, and the sense of being in the world and outside it, at the same time.

What is your process and how do you plan?

SH: I keep notebooks and mark down the twists, for the story and for the characters. Other than that, I don’t do much planning. I used to try, but it ended up killing my interest in the story. So now I take a deep breath and dive in…

Your debut novel, Someone Else’s Skin will be released in just a few days. Can you tell us about your journey to publication?

SH: Long and rocky. I was lucky enough to get noticed and encouraged by the agent I’d set my heart on (Jane Gregory) who gave me so much encouragement each time she rejected my early manuscripts. I knew that if I could write a book she loved then I’d make it. Stamina was a very big part of it but, boy, did it pay off.

Thank you, Sarah. Finally, a lighter question for you! What do you do with your time when you are not writing?

SH: Watch TV with my daughter. Read. Count my blessings.

Sarah-Hilary-Mon-21-webSarah Hilary has worked as a bookseller, and with the Royal Navy. Her debut novel, Someone Else’s Skin, will be published in 2014 by Headline in the UK, Penguin in the US, and in six other countries worldwide. A second book in the series will be published a year later. Set in London, both books feature DI Marnie Rome, a woman with a tragic past and a unique insight into domestic violence. www.sarah-crawl-space.blogspot.co.uk/

An Interview With Author Emylia Hall

download (14)

What gave you the courage to leave an advertising job in London and launch into writing?

After five years in London straight after university, I’d reached the point where I felt as though I really needed to make a change. I was caught up in a very busy day job, one that didn’t leave a lot of headspace for much else.

For quite some time I’d felt that I wanted to do something more creatively fulfilling, something that was more for myself, but it was a matter of choosing the right point at which to make the change, as there were things I really liked about my job, and London life. My husband and I have always loved snowboarding, and we’d talked idly about doing a ski season many times. Going to live in the French Alps, and working as chalet staff, was a great way to break from our old routine, and explore new horizons – literally and figuratively. That was when, and where, I began writing. I think when you make a decision that’s from the heart, but you’ve also really thought it through, it doesn’t feel like courage comes into it all that much.

What have you learned about the process of writing and the publishing industry since you first put your ideas down? 

While I was writing my first novel, The Book of Summers, my biggest concern was that it would get lost in the slush pile among all the other hopeful manuscripts, never finding its way into the right pair of hands. As soon as I had an agent on my side, the brilliant Rowan Lawton, I felt much more confident – I still knew that publication wasn’t guaranteed, but I felt like I was on the right path. When I got ‘the call’ with the news that Headline wanted my book, I was floored. The thing I’d been working towards for some years, and had wanted almost more than anything else, had actually happened. It felt like a dream. That was July 2011, and sometimes I have to remind myself of how incredibly lucky I am, and what a privilege it is to write full-time. It’s easy for it to feel normal, and I don’t want that to happen. It’s not normal – it’s wonderful – an extraordinary way to spend your days. But for all the joy, there are aspects that make writing a job like any other, days when putting pen to paper feels like a chore, and my daily word-count target like an insurmountable mountain. That’s when a well-timed and self-administered kick up the backside is just the thing. Be rigorous, be tough, and make yourself work even when you don’t feel like it. That’s what I’ve learnt. It might be my dream job, but it’s also very real work.

You have talked previously about poetry being an inspiration for your work. Do you have particular favourites or other key inspirations?

I wrote a piece for Book Slam recently on this very subject, which you can read here.

My favourite poem is probably Fern Hill by Dylan Thomas – I love the evocation of a rural childhood, and the melancholy of the poet’s ability to recollect, but never be fully able to return. A desire for some kind of time-travel, driven by nostalgia and longing, lies at the heart of much of my writing. I almost always start a story with ‘place’, and those places are often landscapes that belong to my past, or hold a particular kind of allure for me, mostly of the unreachable, or faintly exotic, kind. I live in Bristol, and I love it here, but I have no particular interest in setting a story in the city. That said, if I moved away I’m almost certain that I’d think ‘ah…. Bristol’ and want to do something with that feeling.

The Book of Summers, your debut novel, has been translated into eight languages and was a Richard and Judy Summer Book Club pick in 2012. How did it affect your profile as a writer? 

I think Richard and Judy probably made a huge difference, and certainly introduced many more readers to my work – for that, I’m hugely grateful. Having their seal of approval also gave me a wonderful confidence boost, it’s something to hold on to. I’ve always had great respect for their book club choices, and have found some of my favourite contemporary novels thanks to them. The translations of The Book of Summers are really exciting to me, it’s a real thrill to hold a foreign edition of your work in your hand, especially for a travel-junkie like myself. I’ve been to Hungary and Spain for promotional visits and literary festivals. One of Budapest’s biggest bookstores devoted an entire window display to The Book of Summers, which was a real thrill to see, and my Spanish publisher ran an amazing publicity campaign that included radio ads and an aeroplane trailing a banner in the skies above Malaga…. Surreal, and brilliant.

download (15)

Your next book, A Heart Bent Out of Shape, was published last month in the UK (and will be released as The Swiss Affair in the US in 2014). How did the books differ in the length of time that it took you to complete them and are there any similar threads running through both?   

I wrote The Book of Summers over the course of about four years, in quite a meandering fashion, most of the time writing alongside a day job. I did however take a clear six months off to give it ‘the final push’, and then another six months working part-time in a bookshop while finishing it. I burnt through my savings, but never regretted giving myself this kind of focused time on the book. It really worked for me. A Heart Bent Out of Shape was written under quite different conditions. It was the second book in a two-book deal, and I quit my part-time job in a Bristol marketing agency in order to write it to deadline. It took about a year and a half, from start to finish. During the process I sometimes wondered if I was trying to move too quickly, but then it all came together, and the last six months of work, with the wisdom of my agent and editors filling my sails, turned out to be the most pleasurable.

I share your love of the slopes but am happier on skis than a snowboard. How important do you think it is for writers to have passions that take them out of the writing process and away from their book?

I love what snowboarding gives me; it’s exhilarating in every way. I love the speed, the way sometimes you can scare yourself a little, but ultimately always feel in control. And the setting… I love the mountains, and the beauty of a blue sky and powder day is, in my mind, unsurpassable. I also have a big crush on alpine style; the architecture, the food, the rugged exteriors and the cosy interiors… it all comes together to be, for me, the perfect pastime. We spent two winters living in Morzine in the French Alps, and I had a year in Lausanne as a student, so the mountains never feel far away; there are seven snowboards in our house, and I’m a sucker for vintage ski art and old resort postcards. As to writers and their passions, I think the great outdoors is the best tonic for us solitary, desk-bound folk. A beautiful view can’t help but give perspective, and it’s good to feel your heart pumping and your muscles straining, giving your mind and body something else to think about. My third novel has a bit of a surf element to it, and I’m keen to take some lessons down in Cornwall.

Your books are set in Hungary and Switzerland. Is travel important to you and how do you create a sense of place in your work?

Travel is really important to my work. I love books that transport the reader, emotionally and physically, and give a real sense of place. They’re my favourite books to read, and therefore my favourite to write. So far I’ve chosen places as settings that I love and feel a real connection with, so conjuring the detail of them, trying to capture their essence, is a really enjoyable process and feels quite natural. Desk-bound travelling! The book I’m working on at the moment is set in Cornwall’s Far West, and the wildness of that landscape really appeals to me. I grew up in Devon, and so it doesn’t feel like a world away, but retains enough of an exotic edge to make me interested in writing about it. I think a lot of my obsession with writing about place comes from my rural childhood. I lived in the same cottage in a tiny village until I went away to university and moved to London, and as a child I always had a great curiosity about other places, and other people’s lives. We travelled quite a lot as a family, always driving across Europe each summer, and those trips have really stayed with me. I grew up holding onto the memory of one trip, and looking forward to the next, always savouring the details of our travels, and loving sharing them as a family. When I went to university I made sure that a year abroad was part of that experience, and I chose Lausanne, in Switzerland, which became the setting for A Heart Bent Out of Shape. I guess I have the kind of mind that holds on to the details of a place, and the kind of imagination that wants to do something with them.

Are there any books that have taken your breath away or left a lingering sense of another world?

Many, but to name just a few… The Poisonwood Bible by Barbara Kingsolver.  The White Woman On The Green Bicycle by Monique Roffey. The Silver Dark Sea by Susan Fletcher. Each conjures place so vividly, be it Congo, Trinidad, or a remote Scottish island, and I was utterly lost in their worlds. I really admire the writing of Daphne du Maurier, and love how central Cornwall was to her work, inspiring her life on the page, and beyond it. And Ernest Hemingway’s epilogue to Death In The Afternoon is, to my mind, a truly perfect piece of writing about place… the opening line ‘If I could have made this enough of a book it would have had everything in it,’ exactly sums up how I felt when writing A Heart Bent Out of Shape. My greatest desire was to do justice to my memory of Lausanne, to capture its beauty and convey that very particular feeling of being young, and abroad, and everything seeming full of promise. I wanted to write the whole city into that novel, every view, every scent, every sight, but in the end you have to step back, write what’s right, and keep the rest for yourself.

images (3)

After studying at York University and in Lausanne, Switzerland, Emylia spent five years working in a London ad agency, before moving to the French Alps where she began to write. The daughter of an English artist and a Hungarian quilt-maker, Emylia enjoys travel and snowboarding. She now lives in Bristol with her husband, also an author. Her first novel, THE BOOK OF SUMMERS, was a Richard and Judy Summer Book Club pick in 2012. It’s published by Headline in the UK, MIRA in the US & Canada. Her second novel, A HEART BENT OUT OF SHAPE (or THE SWISS AFFAIR, in the US) was published in September 2013 (Feb 2014 in the US). Emylia’s writing and short fiction has appeared in a variety of publications, including ELLE magazine, the Book Slam anthology, Too Much Too Young, and broadcast on BBC Radio 6 Music. She is currently at work on her third novel.

You can find Emylia on twitter and her website and blog.

Author Interview with Matt Haig

The Humans
From your experience of journalism, as well as novel writing, has one fed in to the other in any way?

Journalism teaches you to be economical with words. It tells you not to be too self-indulgent.

What do you most like to read and are there any books you have read recently that have stood out or changed you?

I read all kinds of stuff. I have been re-reading Graham Greene recently. I studied him at university. Did a whole module on him. I think, from the outside, my books are nothing like his, but I consider him my greatest influence.

What have been the most difficult things to write about and why?

There is some mathematics in my new novel, and I had to look like I knew what I was talking about, so I researched, and I quickly saw how so many mathematicians go crazy.

You have said that The Humans, your new book, is the one work you would most like to be remembered for. Although you have written several other books, what has given you confidence in this project in particular?

Because I totally cut loose. A part of me used to play the game. You know, I used to be trying to be highbrow, or taken seriously, and that somehow got in the way. With this, I knew it was probably going to be published whatever (as my last book did quite well) so I just went for it. Comedy, science-fiction, sentimentality – all those illegal things.

What advice would you give to new writers on their path to publication?

Be brutal with your writing. Don’t let yourself have it easy. And then be persistent, and thick-skinned, for everything that follows.

What do you enjoy doing outside writing and reading?

Being with my kids, toast and peanut butter, running, holidays. I am not into fancy things, but I am into fancy holidays.

If you could meet any well-known figure, living or dead, who would it be and why?

Emily Dickinson, without a doubt. Amazing mind, intriguing person. She’d be too shy to open her front door though, so that’d be a problem.

Matt Haig

Matt has written novels, screenplays, children’s novels and worked as a journalist, collaborating with The Guardian, The Sunday Times and The Independent. He has won a range of awards, including the Yorkshire Young Achievers ‘Achievement in the Arts’ Award in 2009, and his novels have been translated into 29 languages. The film rights for his first novel, The Last Family in England (2004), have been sold to Brad Pitt’s production company. His previous novel, The Radleys, won an ALA Alex Award in America, has been shortlisted for the Portico prize and nominated for the Carnegie Medal. It won the TV Book Club Summer Read. He was born in Sheffield, Yorkshire in 1975. Since then he has lived in Nottinghamshire, Ibiza and London. He studied English and History at Hull University and then did an MA at Leeds, and now lives in York with author Andrea Semple and their two children.

www.matthaig.com