Category Archives: Writer Interviews

WRITERS ON THE ROAD: ELAINE EVEREST

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Little did I l know that my first Saturday job at the age of fifteen and three months at the Dartford branch of Woolworths would lead me to write a series of historical sagas over fifty years later, or that the home I lived in for twenty years when first married would provide me with such a wealth of happy memories. Those memories still feature in my books today, in fact I’ve just filed my tenth book set in and around Woolies during the early 1950s.

I was born and brought up in Erith, Kent, growing up listening to my parents and family members talking about ‘the good old days’ even there were times when life wasn’t so good. The history of the small town on the south bank of the Thames has a rich history not only of its involvement during the two wars, but also of family life which fascinated this young child – and still does to this day. With my mother passing away at the age of forty I hung onto the stories she told me about growing up in the war and what happened to her family members. I would need to write many more books to cover all her memories and what I’ve discovered since she died. Even though I’ve moved away from the area I only have to close my eyes and I’m back there in the street where I had such happy memories and, in my mind, walk through the old Erith which was, in my childhood very much as it was during WW2.

As I explain to new writers, memories are fine, but writers must ensure stories we’ve grown up with fit in with the history of that time. Use archives and read, read, read as much as you can about your subject. Believe me if we get anything wrong our readers will soon correct us. One of the joys of being an author and setting my books in and around North-West Kent is being able to chat with local people and hearing their family stories and memories of the town and Woolworths; there is a large community of ex Woolies employees, and they love to share their stories.

When I wrote that stand-alone book – yes, The Woolworths Girls was originally commissioned as one book – I become so interested in the history of that well-known store and started to collect old copies of The New Bond, the Woolworths monthly staff magazine. I have copies from as far back as the 1930s and they hold a wealth of information about the different stores, staff celebrations, employment anniversaries as well as advertisements from those times; I lose hours reading through my stash!

Of course, local history and store information is important, but this author needs to know what is going on in the outside world away from the town and Woolworths, and importantly how it plays a part in my ‘girls’ lives. Hours spent at the local archive centre as well as having my nose in a non-fiction book means I glean information that may just appear in my stories.

Do I envy authors who set their stories in exotic locations? Of course, I do! However, the joy for me is knowing I only need to close my eyes and step outside the front door of number 13 Alexandra Road to see again my characters and hear their stories.

 

Elaine’s website: www.elaineeverest.com

 

 

 

 

PUBLICATION DAY SPECIAL: THE FOREVER GARDEN BY ROSANNA LEY

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I’m a big fan of Rosanna Ley’s books and this was no exception; in fact, it’s one of my favourites. The characters are instantly believable, the descriptions sumptuous and the whole story is perfectly tensioned between three viewpoint characters and two timelines.

The story is told from the points of view of Lara (in the 1940s and present day), her daughter Rose, and her granddaughter Bea, and it revolves around two very special gardens. The first is in Dorset, created by Lara’s mother based on the principles of the Arts and Crafts movement. It is this garden that Lara promises her mother to protect, which is the starting point for the drama that follows. The second garden is one that Lara later creates in Puglia.

The relationships between the women – and their gardens – are beautifully drawn. That Lara left the Dorset garden behind is evident from the outset, but in the hands of such a skilled storyteller, my desire to find out the whys and wherefores made it hard to put the book down. The Forever Garden will not only transport you from Dorset to Italy and back, it’s a journey you cannot fail to enjoy.

I was so entranced by the gardens that I asked Rosanna what her inspiration for them had been, and what her own Dorset garden is like:

 

I’ve always loved gardens. My parents were both keen gardeners and I have happy memories of running around our back garden as a child, playing out imaginary stories, dodging amongst my mother’s washing pegged out on the line and my father’s precious raspberry canes and gooseberry bushes.

Our own garden here in Dorset is not large but it wraps around the house and so I feel cocooned and sheltered – which is good as we live near the sea and it can be very windy! Because of the sea air I have plants that can withstand these conditions such as lavender, rosemary, thrift, hollyhocks and erigeron daisies. I am a fan of the cottage garden and of fragrant plants that attract insects, butterflies and bees – natural gardens and wild gardens. The garden also has two bird baths, two tamarisk trees, a pergola of clematis, honeysuckle and roses and a couple of places to sit and write or think in. And we are very lucky because it also has a sea view…

I was inspired to write about an Arts & Crafts garden after I visited Barrington Court in Somerset. The gardens there were laid out in the 1920’s to a structured design influenced by the famous Arts & Crafts garden designer Gertrude Jekyll. She believed passionately in the beauty of the natural landscape and – like me – valued the ordinary plants familiar to gardeners today, such as hostas, lavender and sweet-scented old-fashioned roses.

I immediately loved the Arts & Crafts concept of the garden being a continuation of the house, and of that garden being made up of several small rooms – each one with its own character and flavour. After all, when we go into a garden, we don’t always want to do the same thing. We might want to grow vegetables and be in the mood for some hard-core digging, or we might want to sit quietly in a soft and beautiful space that enables us to reflect, read a good book or just watch the birds go by.

In an Arts & Crafts garden, plants are sometimes chosen for their colour. A white garden, for example, can create a sense of tranquillity through the green of the foliage and the white flowers which are often considered healing for the mind and spirit. Or they might be chosen according to season. In ‘The Forever Garden’ there is a spring garden full of early bulbs such as daffodils and tulips which represents hope and new beginnings; this symbolism becomes very important to Lara in the story.

I like to think of the ‘Forever Garden’ as an important character in the book. For Lara it is both prison and sanctuary. The garden saves her and it also sets her free.

 

 

 

 

 

 

WRITERS ON THE ROAD: CHARLIE COCHRANE

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Imagine a castle. A castle that was confiscated by Henry VIII after he’d chopped off the owner’s head. A castle that may not have been “knocked abaht a bit” by Cromwell, but which went seriously downhill after the civil war. One that was restored in the 19th century and may—rumour has it—have been where they hid the crown jewels during World War Two. Sounds interesting, doesn’t it? Better still, it’s a place where you can stay because it’s now a hotel, so it provides a tremendous venue for an author who writes historical novels and who wants both inspiration and an opportunity for immersive research. That’s my story about why we’ve stayed there several times and I’m sticking to it.

There’s nothing better than experiencing the era you write about, albeit at several removes. Work a sash window and see how tricky—and draughty—they can be. Trot up and down a spiral staircase and discover how that fight scene you had in your mind could physically never work. Stand next to a thick stone wall and see how much cold the thing radiates. While none of the detail might make its way into your story, it’ll give you a clearer idea of what your characters experienced in their everyday lives and why, for example, people wore bed socks and night caps, because their rooms would have been so flipping freezing.

Research is little use unless it turns into or backs up a story, so inspiration for what that story will be is the other factor writers can find when on the road. The Cochrane family first stayed at Thornbury Castle back in 2006, which was just before I started work on my first murder mystery. I needed a family home for Jonty Stewart—one of my pair of amateur sleuths—and it was obvious that Thornbury had to provide the template for it. I could so clearly see the characters occupying the place in its new guise as The Old Manor, especially the glorious walled garden which is a little jewel of colour and tranquillity. That garden was the setting for some significant scenes, and the strange grey cat we encountered there had to be incorporated, especially when the staff said he didn’t belong to the hotel or to any of the local houses. This mysterious moggy became a ghost cat who had inhabited The Old Manor since the time of Shakespeare and may just have been the “harmless, necessary cat” the Bard refers to in The Merchant of Venice. A small thing, maybe, but the kind of element that can enrichen a story and provide a useful thing for your characters to chat about while you’re fleshing them out.

Real life occurrences can spark a fictional equivalent, too. That rumour about the crown jewels being stored at Thornbury Castle…where would you hide such valuables? In a hidden vault, surely. What else could you hide there? A body. All of a sudden there’s a story up and running. In my case, it inspired the cosy mystery The Case of the Undiscovered Corpse, which is part of my 1950s Alasdair and Toby series. (Imagine two actors who play Holmes and Watson onscreen and off and you’ve got the idea.)

I’d always advise aspiring authors to keep their eyes and ears open and their imaginations ready to be launched, whether they’re on their travels or simply in the local supermarket. So often I hear fellow authors talk about the tiny seeds—a snatch of conversation overheard, an interaction observed or a place visited—which have subsequently developed into full-grown stories. Be alert!

 

Link: https://www.amazon.co.uk/Undiscovered-Alasdair-Cambridge-Fellows-Mystery-ebook/dp/B0BHLN5HB8

 

 

 

 

WRITERS ON THE ROAD: SUZANNE FORTIN

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When I first started out writing, my novels were all contemporary, so I didn’t need to do a great deal of research as most of the things I wrote about were within my own experience. However, when I moved into writing historical fiction and, in particular, the Second World War, research became one of the key elements. With so much information out there, it was important that I got my facts right.

Prior to this point in my writing, I had never been much of a historian. I moved into historical fiction by accident really, when my editor wanted me to expand on the backstory of one of my characters. I wasn’t sure if I could do it at first. Researching the Second World War seemed a huge task but the internet, friends, family, colleagues and the local library/bookstore have all been my assistants in helping me in this area.

Most of my novels have been partly set in France – a country that has been close to my heart for many years. Me and my husband first started visiting France in the early 90s and fell in love with the country and culture, so much so, that in 2003 we bought a cottage of our own to renovate in the Morbihan department of Brittany.

Little did I know back then how the area would influence and inspire my writing. Since then, I have found a wealth of information, a lot of which is widely known and many things that are smaller more personal stories of events during the occupation and the efforts of the local French Resistance who fought to disrupt the German war effort as much as possible, proving invaluable in the lead up to D-Day and beyond.

One of my research trips in Brittany took me to the Musée de la Résistance Bretonne in Saint-Marcel. It is, in fact, built of the very site that was once woodland where the local resistance group lived, trained, organised their attacks from and saw actual fighting as Brittany was liberated after the D-Day Landings.

Some of the displays within the museum have recreated scenes of the fighting as well as what every-day life was like under the occupation. All the displays are very detailed. There are some personal accounts, and these helped greatly to the authenticity of what I was writing, rather than just relying on well-documented war facts.

As with so many villages and towns within the area, memories of the war are never far away. On the edges of a village near to our cottage, is a small stone cross on the side of the road with the names of three local men engraved who were captured and executed by the Germans for being part of the Resistance. I have always felt a great sadness when I pass this memorial and initially it was hard to find out any information about the local men but over time this has become recorded online. Their personal stories have stayed with me and although not directly recounted in my writing, I hope I have managed to include the sentiment and acknowledge the sacrifice made by so many men and women in Brittany during the occupation.

 

 

Book link: https://bit.ly/3Z0ECxk

 

DIANE HARDING ON HER HARROWING MEMOIR, ALWAYS IN THE DARK

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My memoir ‘Always in the Dark’ tells of secrets, scandal and survival.  It is an extraordinary account of my bizarre homelife and is my search for answers from a family shrouded in secrets.  A mysterious tale of growing up, unbeknown to me, with my mother trapped in a menage a trois on a continent from which there was no escape, it tells of her selflessness, sacrifice and of putting others first.

After my parents emigrated post war, my idyllic and cosy childhood was ruined at the age of three after the arrival of a mysterious and glamorous visitor with my roller coaster existence and mother’s mental breakdown adding to my confusion during my formative years.

Although the first half of the mystery unfolded in the leafy suburbs of Cape Town, after moving to England at the age of fourteen the scandal continued to follow us around.  It was obvious my home life was a weird one and it was only after my mother’s death decades later that I rummaged through her secret box and discovered a wealth of staggering information I did not know about, the unimaginable circumstances cleverly hidden from me during my early years.  But I was a young child when it all began and the fact that I had lived my life to the point of naivety was beyond baffling.  But it was my mother’s life-long confidante, her sister Linda, who supplied me with many missing pieces of the puzzle and whose revelations helped clarify many of my childhood mysteries including the reason why I was to be an only child.

Making my heinous discovery was difficult to grasp and the realisation that I had lived through the trauma as the child of the victim equally upsetting; rage, bitterness, anger and a disbelief that my childhood had been dismantled by greed and my mother treated with such humiliation consuming me.  And because of the hurt and embarrassment my shocking revelation was not something I felt willing to talk about, least of all with my husband, a secret I kept from him for two long years.

The search for the truth sent me on numerous missions to talk with close friends and family only to discover that I was the last to know, hence the title ‘Always in the Dark’.

For too long domestic abuse has been a hidden issue and in order to raise aware of the horrors of coercive control I am now on a mission to encourage people to open up and tell their story which for me has been life changing.  It is a known fact that it is particularly hard for older people to open up and will experience abuse for twice as long before seeking help compared to those who are younger.  Writing my memoir has not been an easy ride but out of it has come great solace which has allowed me to come to terms with my past and move on.  I did not want to be someone with a massive grudge, determined never to allow my past to spoil my future.

This is a book about final freedom, my openness which I hope will help others to come forward and speak out and to understand that however traumatic a situation there is hope and a way through to happiness.  I am a firm believer that to experience the tough times gives us backbone in order to cope with what life throws our way.

 

 

 

 

 

WRITERS ON THE ROAD: PATSY COLLINS

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Hi! I’m Patsy Collins aka The Travelling Writer. Ten years ago I was a tour guide. That job kept me in one place but ever since being made redundant and becoming a full time writer I’ve spent a lot of time travelling – mostly in a campervan shared with my husband. We’re on the road for three months a year, so naturally I write in the van. So much so that I often refer to R’ten as the mobile writing retreat. She’s absolutely perfect for that. She’s also a pretty good photography base for Gary.

There are things about a campervan which may initially seem like disadvantages, such as limited internet access and restricted space, but are really the opposite. When we can go online it’s all too easy to ‘just quickly look that up’ and get distracted by emails, funny memes, brilliant opportunities to submit our work if we ever get it finished… If we have to go into another room to make a cup of tea, we don’t always return to the keyboard the moment the kettle has boiled. Even the limited power supply can be a plus, because it encourages me to get the words down straight away, rather than wasting battery power faffing about.

Sometimes the places we visit for Gary’s work inspire my stories. Sometimes we spend time in an area so I can write my novels and short stories ‘on location’. It’s really useful to be able to literally walk in my characters’ footsteps along the beach, up a mountain or through town. I enjoy seeing what they see, eating what they do, even sharing a few of their mishaps – my research has occasionally been more thorough than intended!

One of my six novels, Leave Nothing But Footprints, is actually set in a campervan, and that’s where it was written, even if it wasn’t always parked in the same country as Jess and Eliot took their own trip. Although the storyline is nothing like my own life, some of the small details are based on reality. I think they help make the story believable, and using them in a positive way helps me feel better about some of our mini disasters in the early days. Oh, and I might sometimes try convincing Gary to unleash his romantic side for the good of the current WIP!

Another book written entirely in R’ten is From Story Idea to Reader; an easily accessible guide to writing fiction, co written with Rosemary J Kind. We know each other well, but didn’t physically meet during the writing stage as when she was in England we were in Scotland, and when we came home she went to Switzerland. We did park the van on her drive while we worked on the promotion stuff though.

Having the van, and being able to go where we like has enabled me to deliver writing workshops and attend events which wouldn’t be practical if they couldn’t be incorporated into a working trip.

Of course the locations we visit provide distractions. We’ve parked up on beaches, in the depths of forests, at the foot of mountains, alongside rivers, in the grounds of a castle, in view of seals and otters or surrounded by wild deer … But I’ve been a writer for over twenty years now and have learned to accept the ups and downs which that entails.

If you’d like to learn more about me and my writing, then please visit patsycollins.uk where you’ll find links to all my books and lots more photos from my campervan adventures.

PUBLICATION SPECIAL: NEW BEGINNINGS FOR THE SURPLUS GIRLS BY POLLY HERON

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I have loved every Surplus Girls book and New Beginnings is no exception. I was drawn into Jess’s story from the moment she appeared on the page. Her position as a working woman with a responsible job, but absolutely no security of tenure when a man came along, made me really think what pioneers the career girls of the 1920s were. The suffragettes may have won us the vote, but the ability of women to prove themselves at work was just as important, although of course we had to wait another fifty years for the Equal Pay Act and even now do not have true equality in every workplace.

The history behind The Surplus Girls books is expertly and meticulously researched, from the big issues like these to the slang names for particular cakes. Each and every detail sings from the page, which is why you feel you are actually there, sitting on the slightly worn sofas of Wilton Road in a suitably genteel manner, chatting to old friends and new.

This is the book that pulls all the strands of the Hesketh sisters’ stories together into a really satisfying ending. No graduate of their school is forgotten in the final chapters, and Jess’s seemingly impossible dilemma is solved as well. A fabulous read.

 

The backdrop to the whole series is the place of women in the world of work, so I asked Polly Heron what sort of research went into it in order to create a variety of different employments in such rich detail.

 

The Surplus Girls series explores the predicament faced by many young women in the aftermath of the Great War. They had grown up expected by society to marry and become housewives and mothers. Then came the war – and a generation of young men perished. Many women lost their sweethearts or fiancés while others, without knowing it, lost the men they would have married had they ever had the chance to meet. This meant that many girls now faced a future in which they would have to provide for themselves, while being regarded as ‘on the shelf’ or ‘old maids’.

The world of work offered women far fewer opportunities than came the way of men. Moreover, a woman doing the same job as a man would typically earn one third less. It was legal to refuse to employ a woman simply because she was a woman and it was considered patriotic to employ a former soldier even if a female candidate would have been more suited to the job. During an interview, an unmarried woman could expect to be grilled about her marriage prospects, because should she marry, the expectation would be that she would leave in order to be a housewife. In plenty of jobs, marriage automatically meant dismissal.

In The Surplus Girls series, I have explored various jobs that would have been open to girls and women in the early 1920s. Each book has a different heroine whom the story centres around, but one of the things that links the books together is that each heroine attends a business school to learn secretarial skills.

I loved delving into the social history of the time and seeking out suitable roles for my characters – ‘suitable’ meaning appropriate to the time, not necessarily the right job for the character personally – as Nancy finds out to her cost in Christmas with the Surplus Girls. In the newly published fourth book, New Beginnings for the Surplus Girls, Jess makes a particularly interesting heroine, as she sees herself as a career woman, not an unfortunate surplus girl. She dreams of creating a successful working life for herself but has to cope with all the disadvantages that women faced at the time.

 

 

 

SUNDAY SCENE: LINDA HUBER ON HER FAVOURITE SCENE FROM THE UN-FAMILY

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I write psychological suspense, which isn’t well known for being a ‘cheerful’ genre. Although my books have their fair share of tension, I feel it’s important to include some warmer, happy moments too, whether it’s a touch of humour about something a child says, or an incident to do with a character’s relationship, or – as in my new release The Un-Family – their job. I think this helps to make the characters more real. Psychological suspense is basically about bad things happening to people, and readers are much more likely to sympathise with a character and cheer them on if they come across as realistic, rounded people, in spite of the tense plot and darker moments in the books.

In The Un-Family, Holly is a vet, having huge problems with her husband Dylan’s behaviour as well as smaller (she thinks) ones with his family. One day, however, she goes to look round a wildlife centre where she’ll be taking on some work from then on. Adam, the centre head, shows her round:

 

Holly looked in on a deer with a torn shoulder, a swan with an infected wound on one foot, and a hedgehog, who’d been stuck down a drain and needed fattening up. They walked on round the enclosures, which included two ponds, a home-made badger sett and a row of pens. Holly heaved a happy sigh – this would be such a great place to work.

A gaggle of teenagers on bikes was approaching as they arrived back at the main building, and Adam gave them a wave. ‘The after-school brigade.’

Holly watched as the teenagers dispersed around the buildings. ‘My niece Megan would love this. I’ll suggest she does a stint in the summer holidays.’

‘We always need volunteers. Okay, let’s go back in and sort out when you’ll be here next week. Then I’m heading down to the river to release a duck, now the water level has fallen again. Want to tag along? We’ll release you into the weekend when we’re done.’ He gave her his lop-sided grin.

Good, she’d be home well before Dylan arrived. With him away on his course, tonight would be their only opportunity to spend time with each other all weekend. Holly arranged her first shift for the following Monday and joined Adam in the centre’s green van, the duck in a pet carrier in the back.

He drove the short distance to the river, which was still full, but much less violent now. They walked along the bank to the place the duck had been rescued, and Adam stood back with Fred on his lead while Holly crouched down and opened the pet carrier. What a special moment this was, the first time she’d released a wild creature back into its natural environment.

She waited, motionless, then a yellow beak emerged from the carrier, followed by a beady eye, and three seconds’ flurry later, the mallard was swimming down the river, quacking loudly. Warm satisfaction spread through Holly. This was perfect.

 

Holly’s job turns into her main consolation as the plot develops, and as you can imagine, the wildlife centre provides many such lighter, human moments, and it also provides sanctuary for Holly later in the book. Does everything work out for her and Dylan in the end? You can find out more about The Un-Family on my website www.lindahuber.net