Category Archives: Culture

Susannah Wise: My Writing Process

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  • Susannah Wise: My Writing Process
      What you have written, past and present

 Like so many authors, I have always written stories, poems, and the beginnings of ‘novels’ that remained forever unfinished. As a young child these were complete with messy felt-tip illustrations and growing up, pieces of my work would appear in the school magazine each term. I’m still not sure of their merit, but Mum always thought they were great, and she obviously wasn’t biased. 

    In my late teens, I found myself in a long relationship with a playwright and screenwriter, and encouraged by him, began a regular writing practice between acting jobs: short stories, plays, more poetry than I can recall; always poetry – I have an engraved Moleskine at home full of these personal noodlings. When I die, I dread to think of my family going through them. 

     In my thirties, frustrated with the quality of scripts I was reading (I am also an actor), I began to write screenplays and comedy pilots of my own. These would garner modest amounts of interest from the powers that be at television channels, but never reached fruition and they are now consigned to my ‘oh well’ drawer.

    In truth, it was only shock, when my father was given a terminal cancer diagnosis back in 2015, that propelled me into writing seriously. I think it made me reassess what my life and what I was waiting for. I tentatively started the novel that was to become This Fragile Earth, and discovered I loved everything about the daily practice of writing: the space and time long-form prose gave me in my head, the agency I had over my characters and the world-building. I haven’t stopped writing since.

     What are you promoting now?

    This Fragile Earth is my debut, and the hardback is out on 24th June of this year. It’s a post-apocalyptic survival story about a mother, Signy, and her six-year-old son, Jed, who following a tragic event, are forced to flee near-future London and travel to the Midlands to seek out the protagonist’s mother. When they get there, however, things are far worse than they could ever have imagined. The book is a grounded science fiction thriller, with at its centre, the beating heart between the two main characters.

If you’re a fan of John Wyndham, or perhaps Emily St Mandel’s Station Eleven, this is the book for you.

Susannah Wise: My Writing Process, my fragile earth

A bit about your process of writing, how do you do your structure, and do you plan or just write?

 I find it very hard to talk about ‘process’ when discussing art of any kind. I know some people are good at it, I’m not. I’ve written three books and for each one the process has been different. With This Fragile Earth the plot came to me quickly over the course of one night. With only a few small tweaks, I set about writing it directly from the ideas bubbling in my head. I already had a decent grounding in some of the themes in the book, although I made up almost all the ‘science’ myself. I even dreamt one of the main coding theories in there! In the course of completing it though, I did more research, attending lectures and reading books on the subject and so on. 

    My second novel, out next year, is a dark comedy about grief. When I set out writing it, I had no idea what it would be about, barring the bare bones. I had no plot, only two characters and not a clue what the ending would be. I took part in the Faber Academy novel-writing course over six months in 2018 and completed an entire first draft. I really loved the ‘pants-ing’ rather than ‘planning’ nature of this book, though it did mean rather a lot of editing once finished, of course!

    My third novel is set around some dodgy goings-on in a small village in Cumbria. Before I began, I had a plot, all the characters, and a location, and wrote out each point at the start. I did research on some elements in the book (I can’t say what they are here without giving the game away!), but the setting is a place very familiar to me, so that helped a lot. A few plot points have moved within the process of writing it, but basically, I am sticking to my initial ideas. I began during lockdown in April last year and am still going strong: I was hoping the first draft would be about 75K words, but I think it will be closer to 100K. Its completion has been hampered by home-schooling, preparing This Fragile Earth for publication, editing my second book, and the fact my partner has been away for seven months for work since January. It’s been slow-going, but I’m hoping the book is no worse for it. 

    I tend to write in the morning for two hours if I can, either at 9.30 straight after dropping my son at school, or after a walk or some sort of exercise, around 11. I find it very hard to write in the afternoon for some reason but will force myself to if I’ve been unable to complete my daily words beforehand. I’m also an actor, and auditioning and learning lines, as well as acting work itself, eats into a vast amount of writing time. Saying that, there is a lot of hanging around when one is filming, so I always take my laptop with me and use the time to catch up on my word count. It’s a brilliant and unexpected bonus and has made me far less resentful about all the ‘wasted’ hours actors endure.

Most of the time I am not filming and will write at the kitchen table (without music) or kneeling on the rug in our living room, using the coffee table as a desk. I get terrible dead feet after I stand up and will often hobble around comically for half an hour trying to eradicate the pins and needles. I have a special foam support for my wrists too, as I tend to get RSI after a long period of typing. My eyes do go a bit squiffy after a long session of intense focus. Basically, I’m falling to pieces.

What about word count?

    I tend to set myself a very achievable 500 words per day (five days a week) when I’m drafting. This will take me around an hour to an hour and a half. Then another hour perhaps of reviewing the previous day’s words. I prefer to set a low bar as I find I work better if I’m hitting my target than setting unrealistic goals, then spending the rest of the day beating myself up for my failures. This helps me stay motivated, which is important when undertaking such a vast piece of work. 

    When I’m editing a completed draft, I can easily spend three or four hours at my desk and hardly even notice where the time has gone. Even more if I have line edits back from my publisher. I once spent ten hours working on notes from my agent. I would strongly advise against this. 

What do you find hard about writing?

Ha. Well, this is a tricky one to answer, because without meaning to sound like a plonker, I really feel – for me at least – that writing is the best job in the world. I guess if I had to say a couple of things, one would be the loneliness (though ironically, this is also one of the things I love about writing). It can be a little isolating spending all day with only the people in your head for company, before going out for a walk alone. Sometimes 24 hours can pass and the only person I will have spoken to is my 11- year-old son. Love him as I do, he’s not a great dinner table conversationalist. 

The other thing I find difficult is the mental responsibility. By this I mean that like the expression ‘this book isn’t going to write itself’, the completion of any book is entirely in the hands of the author. The manuscript sits like a patient pet waiting for attention, but if there happen to be other things going on in life, it requires huge amounts of discipline and mental energy to carve out time to honour this. Some days the words fly out, some they are like sticks in a muddy dam. It’s important to know when to just close the computer and get one with something else

What do you love about writing?

What’s not to love?! I love that no one else is there making me write, it is entirely my own work, that ‘being left alone’ feeling. I love that it allows time for introspection. I gain a great sense of inner peace from its practice. On top of this, having a whole world in the palm of one’s hand is just the greatest feeling. There is huge satisfaction in putting words in order so that they have rhythm and cadence, just like music. The joy when one reads back a passage and thinks ‘hmm, that isn’t half bad,’ is like nothing else. 

More than this though, is the vast pride and sense of achievement from completing a novel, especially when one gets to see it type-set, or in its proof form, or better still the actual finished version. It is an object created outside oneself, to be held in the hands of others, taking them to new places, and will it live on long after the author is dead and gone. I still can’t quite get my head around this concept. 

This Fragile Earth by Susannah Wise is out now in hardback by Gollancz.

 

The Orange Grove by Rosanna Ley Book Review

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It is fair to say that few of us will be going on holiday this year- thanks Covid!- but we have Rosanna Ley so all is not lost. The Orange Grove takes us to sunny Seville in all of its glory. This is a stunning book to get your teeth stuck into. With endearing characters and a plot that makes you hungry, you will not want to put this book down. It is a wonderful, sunny read of beautiful escapism. I loved it.

An unforgettable story of past love and family secrets, set in sunny Seville.

Holly loves making marmalade. Now she has a chance to leave her stressful city job and pursue her dream – of returning to the Dorset landscape of her childhood to open Bitter Orange, a shop celebrating the fruit that first inspired her.

Holly’s mother Ella has always loved Seville. So why is she reluctant to go back there with Holly to source products for the shop? What is she frightened of – and does it have anything to do with the old Spanish recipe for Seville orange and almond cake that Ella keeps hidden from her family?

In Seville, where she was once forced to make the hardest decision of her life, Ella must finally face up to the past, while Holly meets someone who poses a threat to all her plans. Seville is a city full of sunshine and oranges. But it can also be bittersweet. Will love survive the secrets of the orange grove?

THE DIARY OF A BOOK, JUNE 2021

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Research for The Lost Heir continues – and Jane Cable puts pen to Papyrus

DIARY OF A BOOK… JUNE 2021

June can be instantly categorised as a month when I didn’t get as much work done on The Lost Heir as I’d have liked to. This was for a number of reasons including a long overdue trip to visit my father-in-law and the edits arriving for my first Cornish Echoes book, The Forgotten Maid. But they have now been done and dusted and a review copy is ready and waiting for anyone who wants one (hint!).

But of course that does not mean I have been entirely idle on the next book in the series. Indeed, I have actually put pen to paper. Or to Papyrus to be precise, because I use writing software.

The first task with a new project is to set up the files. It’s not as complicated as it sounds – in fact you can just open a new document and get writing, but that isn’t using the system to its best advantage. In order to track your story and to keep your research together you need to use it properly. It’s an upfront investment in time that saves ages later.

One of the great features of writing software (and I understand that Scrivener works in much the same way as Papyrus) is the ability to move scenes around. So the first thing I did was to set up my scenes in the organiser. Just a line or two, so I know what happens in each, then you tag characters, locations and important items into each one.

Every tagged item has its own file so you can record all the important details about it or them – in other words, I never need forget the colour of a characters’ eyes again. I know perhaps it sounds a bit unprofessional, but while I know their backstory inside out I do struggle to remember physical characteristics. I’m the same in real life – I can’t even picture the faces of those closest to me (apparently it’s a known syndrome) – so to have descriptions to hand is a godsend.

I also loaded in the research sources and notes I wrote about last month, but of course some have stayed in my notebook – like the detailed family tree I spent a couple of days constructing for the Basset family, which started with truth but quickly and necessarily descended into fiction. But for this particular story it was vital to get it right – especially as each timeline deals with one end of it.

Alongside this I drew up some mind maps for my characters, and as I was planning to start writing in the present day timeline, took the contemporary protagonists further with detailed notes on their conflicts and emotional journeys. That done, I was ready to write the opening scene.

I always find it helps to play with your story a little before you settle down, and I know much of what I’ve written so far won’t make the final cut, but it helps me to establish people and places in my own mind. Some of the minor characters even surprised me a little, which is always good, and this is the point to open my heart and mind and listen to them. After all, The Lost Heir will be their story more than it will ever be mine.

There are still some loose ends to tie up before I get stuck into writing the 1810 narrative, largely driven by two more research books which have just arrived from the library. And then the exciting part can begin.

 

 

 

 

 

CARIADS’ CHOICE: JUNE BOOK REVIEWS, PART TWO

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Lisa Hobman’s Under an Island Skye, reviewed by Morton S Grey

I loved this book and wanted to make my own escape to the Isle of Skye! Tackles some difficult issues – bereavement, depression, divorce, children of divorce but in a way that carries you along wanting the characters to find their happiness. Believable characters especially the hero, Reid and the heroine, Juliette. Evin and Chewie the dog wormed their way into my heart. A lovely escapist read.

 

Carol Cooper’s The Girls from Alexandria, reviewed by Jessie Cahalin

The mystery of Nadia’s missing sister hooked me from the outset. There are many layers in this book. Set in Egypt, London and in a London hospital ward, this novel explores the impact of one’s culture life experiences on our identity. The insight into life in Alexandria intrigued me and I could feel the exotic heat of Cairo. I enjoyed the contrast between the voices of Nadia as a girl and a mature woman. The naïve girl becomes a wise and witty woman, and the impact of her past on the present is explored beautifully. The way Nadia makes sense of a patriarchal and disrupted society is enlightening and relevant: revisiting memories sparks new connections and insight. The novel kept me guessing about Nadia’s sister and Nadia’s illness. There are wonderful gems of wisdom sprinkled throughout this novel. An intelligent novel I know I will reread.

Readers who enjoy Maggie O’Farell’s The Vanishing Act of Esme Lennox will love this book.

 

Natasha Lester’s The Paris Secret, reviewed by Jill Barry

Skilfully plotted, beautifully written, and with a cast of fascinating and ‘real’ characters, this dual time novel is a joy to read. Word pictures of Cornwall, the sensation of becoming airborne, the loneliness and horror of the war years against the camaraderie and determination to enjoy being young and alive, all contribute to this magnificent novel with its tiers of separation and reunion, even if the latter is sometimes not entirely welcome. Family secrets and historical facts blend with real life dramas. Devotees of haute couture will drool over the name dropping and the exquisite descriptions of dresses most of us can only dream of acquiring. This is a book you won’t want to put down. This is a love story that will stay with you long after you regretfully reach The End.

 

David Sivers’ In Ink, reviewed by Evonne Wareham

Dave Sivers is an established indie/self published crime author specialising in police procedurals. In Ink is the first in a new series in which a murder team under DI Nathan Quarrel investigates a serial killer in the leafy and affluent communities around Tring. When the body of a middle aged accountant turns up in a churchyard with a macabre facial disfigurement Quarrel’s team have to unravel a scheme for vengeance from a killer who is a meticulous planner and who always seems one jump ahead. Why have the victims been chosen and what is the significance to the killer of tattoos and tarot cards? A twisty plot, a policeman with a haunting act of violence in his own past, a killer with a grisly calling card and a cast of interesting characters – both police and suspects – make this a satisfying read.

 

 

 

CARIADS’ CHOICE: JUNE BOOK REVIEWS, PART ONE

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Audrey Davis’ Lost in Translation, reviewed by Jessie Cahalin

A clever twist on the romantic comedy genre. It was wonderful to meet Charlotte and follow her new life in Switzerland with her husband and children. I adored the way the character found her voice and her identity and slowly changed. This story had me hooked from the outset because I feared the worse and wanted Charlotte to triumph. Perfect escape to Switzerland for me, and I read it very quickly. The writing style is fun and engaging – so entertaining to get inside of Charlotte’s head and hear what she thinks. There are some fantastic moments in this novel. This is an uplifting feel-good book with a satisfying ending. I loved it!

 

Natalie Kleinman’s The Reluctant Bride, reviewed by Jane Cable

In the notes to the reader at this end of the book, Natalie Kleinman mentions Georgette Heyer as an inspiration, and if you love the classic Regency romances by the doyenne of the genre, you are going to enjoy this book too. Widowed after just six weeks of her arranged marriage, Charlotte emerges from mourning with no intention of letting her newfound freedoms go. But she is young, beautiful and spirited, so of course she attracts admirers.

I read this book in a day and so enjoyed being transported to a different world. A world of Almack’s, riding out in Hyde Park, shopping (not to mention taking the horrible waters) in Bath, and picnics under the trees in the park of great country houses. The central characters are beautifully drawn and I enjoyed finding out how many of them achieved their happy ever afters. Recommended!

 

Jessie Cahalin’s You Can’t Go It Alone, reviewed by Judith Barrow

I really liked You Can’t Go It Alone. The characters are well drawn and multi layered and there are so many familiar ‘human life’ threads running throughout all the relationships. All thought provoking.

The dialogue is exceptional; the personalities of the characters were instantly revealed, through both the internal and the spoken speech.

It’s the Olive Tree Café where most of the action occurs and there is a strong sense of the cafe’s ambience. Indeed, all of the settings have a good sense of place and it’s almost as if the Delfryn itself is personified as a character in the story, with the interweaving, individual lives it holds at its centre.

Initially, the story appears to be a light-hearted look at life in a Welsh village, but actually, it’s a story that explores the contrasting mindsets and distinct possibilities between different generations of women.  Jessie Cahalin’s debut novel, You Can’t Go It Alone, is an interesting and thoughtful story.

 

Sue Moorcroft’s Under The Italian Sun, reviewed by Morton S Gray

I think this is one of my favourite Sue Moorcroft books to date. The hero Piero is fanciable just from Sue’s words on the page. Zia has a lot going on with her complex family dynamics and the fact her ex-boyfriend is best buddies with her best friend’s husband. Add into this an interesting and complex plotline spanning across England and Italy and there is plenty to keep you guessing. Can’t wait for the next novel already!

 

 

My Writing Process Ellen Alpsten

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Ellen Alpsten author photo 4 (c) Andreas StirnbergWriting ‘Her-story’ –

Tell us about what you have written?
When hearing about the heroines of my novels ‘Tsarina’ and ‘The Tsarina’s Daughter’, people’s eyes pop: ‘How did you find them?’ No wonder – both belong to the family of which its own Nikita Romanov said in 1669: ‘Our men are meek as maidens, and our women wild as wolverines.’ Both books are the first ever published novels about either lady. ‘Tsarina’ Catherine I. rose from illiterate serf to first reigning Empress of Russia, while the country morphed from backward nation to modern superpower. ‘The Tsarina’s Daughter’, Elizabeth, the only surviving of Peter the Great’s fifteen children, lived the opposite of her mother: she fell from unimaginable riches to rags, before triumphantly rising from rags to Romanov.

What you are promoting now?
‘The Tsarina’s Daughter’ – the second book in a planned quartet – is published in July 2021. It was a privilege to write. Elizabeth emerges from the strict historical setting of the Petrine era – the construction of St. Petersburg, old semi-Asian Muscovy fighting the new half-European Russia – as a very modern woman. At her parents’ death, friends turned foe. Barely out of her teens, she was impoverished and isolated; even loving her was a crime that warranted capital punishment. Yet even when her path proved to be stony, Elizabeth would not surrender. She decides to take what is hers – Russia’s throne – even if it comes at a terrible price.

Tell us a bit about your process of writing.
As a student, I worked as an assistant for the Parisian bestselling author Benoite Groult. Every evening I did my own writing in my little studio, 12 sqm in the 7th arrondissement: a million words before I ever got published. Nowadays, there is no writer’s block. The Muse has to present herself at 9.30 and she better bring coffee. Working on a PC is a blessing – I am in awe when seeing Dostoevsky’s handwritten manuscripts. To finish a novel is a challenge, yet the first draft is a drop in the ocean. Editing is schizophrenic, knowing the manuscript by heart yet reading it afresh countless times. Doing our best is a duty. Readers offer us their most valuable – their time, an ever-diminishing resource.

How do you structure a book?
Mme Groult’s advice for starting and structuring a novel was invaluable: ‘The first stanza is the novel en miniature.’ Which moment sums up the story’s conflict? A life’s ups and downs so not reel the reader in. Choose characters with care – who are they, why are they there, and how do they drive the story forward?

What do you find hard about writing?
Being a writer can be a Janus-faced existence. Lonely and introspective, at publication time the cruellest of lights may be shed on your innermost thoughts and feelings. The path to success is littered with rejection – in a former life, I was either a duck or a teflon-coated pan. Getting published traditionally is artistically the hardest challenge. A painting is judged in a second, a song listened to in three minutes. But convincing someone to read your 650-page tome?

What do you love about writing?

By writing, I am living my dream: making other people dream. The freedom we live, and the alternate worlds we create, are worth any moment of self-doubt. If you doubt, you work harder. Enjoy the trip, as the goals are forever shifting – and as utterly unattainable as the most elusive of lovers.

The paperback of Tsarina is published on the 24th June and the hardback of The Tsarina’s Daughter is out on 8th July,

The Serial Killer’s Wife by Alice Hunter Book Review

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the serial killer's wife
I am going to go all in and say The Serial Killer’s Wife is one of the best books of 2021. I was turning every page in anticipation. It is the perfect twisty thriller. It is original and the characters are written so perfectly. Outstanding.The Serial Killer’s Wife is a must-read.

Every marriage has its secrets…

Beth and Tom Hardcastle are the envy of their neighbourhood – they have the perfect marriage, the perfect house, the perfect family.

When the police knock on their door one evening, Beth panics. Tom should be back from work by now – what if he’s crashed his car? She fears the worst.

But the worst is beyond imagining.

As the interrogation begins, Beth will find herself questioning everything she believed about her husband.

They’re saying he’s a monster. And they’re saying she knew.

The Serial Killer’s wife is available here.

 

My Writing Process Joe Thomas

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psycho, joe thomasWhat you have written, past and present

I am the author of a quartet of standalone but connected novels set in São Paulo, where I lived for ten years – Paradise City, Gringa, Playboy, and Brazilian Psycho. I have also published Bent, a historical crime novel set in Soho in the 1960’s and behind the lines in Italy during the Second World War, based on the life of war hero and notorious detective Harold ‘Tanky’ Challenor, who was in the SAS with my grandfather.

What you are promoting now

My latest novel, Brazilian Psycho, is an occult history of the city of São Paulo from 2003 – 2019, told through the lens of real-life crimes. It reveals the dark heart at the centre of the Brazilian social-democrat resurgence and the fragility and corruption of the B.R.I.C economic miracle; it documents the rise and fall of the left-wing – and the rise of the populist right.

The novel features the chaos and score-settling of the PCC drug gang rebellion over Mothers’ Day weekend, 2006; the murder of a British school headmaster and the consequent cover-up; a copycat serial killer; the secret international funding of nationwide anti-government protests; the bribes, kickbacks and shakedowns of the Mensalão and Lava Jato political corruption scandals.

psycho, joe thomas

A bit about your process of writing

I am a crime novelist interested in fiction based on fact, inspired by true stories of structural inequality. My fiction addresses the discourses of power and the specificity of crime, why something happened precisely where it did, and is an attempt to illuminate the reasons why. 

I tend to plan my novels loosely and read a good deal before beginning the writing. Once I have a defined structure, then I write in earnest. At this point, I will research, plan, and write at the same time. What this means is that I write one section of a novel and read around the section that follows. I find that this keeps everything fresh! 

In terms of structure, I tend to think in units of time, so do I want each chapter or section to cover a day, a week, six months, etc. As so much of what I write is based on reality, these units of time are often defined for me; I simply follow what happened and when! I find this both an anchor and liberating, too, in terms of having that tightly defined framework to exploit fictionally.

I want to be thought of as a writer pushing the form and writing political, meaningful, literary crime fiction. My goal is to build a body of work and I am very lucky to have the opportunity to do just that.

What about word count?

I have a very irritating habit: whenever I stop writing, or even pause for a moment, the word count has to end in either zero or five. I will tinker with sentences for this to be the case! In some ways it helps with editing; in others it is likely counter-productive!

What do you find hard about writing?

Having to overcome my own irritating habits! I used to think that I had to write first thing in the morning to produce anything of quality; since having a son – who is now twenty-months old – I am learning to use any part of the day I can. This is not always easy!

What do you love about writing?

I love that the days when I do it feel better than the days when I don’t.

Brazilian Psycho by Joe Thomas is out now in hardback by Arcadia.