Tag Archives: drafts

Don’t Quit the Day Job: Philippa East

OK, so COVID-19 is a thing and the UK is enforcing social distancing – thank goodness. With that in mind, lots of bloggers are trying to help people get through the partial ‘lockdown’ with book recommendations as well as introducing you to some new authors.

As part of that, I’ve decided to resurrect my ‘Don’t Quit the Day Job’ series.

Lots of people don’t realise that although you may see work by a certain author on the bookshelves in your favourite shop, many writers still hold down a day job in addition to penning their next novel. In this series, we talk to writers about how their current – or previous – day jobs have inspired and informed their writing.

Today it’s the turn of Philippa East to tell us about how her work as a clinical psychologist helped her writer ‘Little White Lies‘. My thanks to Philippa for sharing her experience with us.

Stay safe, everyone.

Vic x

Philippa East headshot

I first got the idea for Little White Lies when I caught a snippet of a news story on TV – a teenage girl in Spain had disappeared then re-appeared a few weeks later, all under mysterious circumstances. There were many question marks over the case: had she been abducted, or was something else going on? The TV showed the family in a courtroom and I found myself thinking – what on earth are these people feeling now? Do they trust each other at all?

I knew I wanted to write a book about a missing child, I also knew there was a solid precedent of popular books on the shelves exploring this topic. But as a psychologist and therapist, I have always cared most about the pieces of the story that never usually get told. Tragically, children go missing all the time; I was fascinated by what might happen once a missing child came home. 

But what did I really know about this topic? Heartbreakingly, cases of children being found alive months or years after their disappearance are incredibly rare. My story started where most other ‘missing person’ books ended. So how on earth was I going to write about that?

The question really quite stumped me until I realised that, while I had never been involved in a real-life case like Abigail’s in Little White Lies, maybe I did have expertise that could help me, via my work with adult survivors of childhood trauma. In Little White Lies, against all odds, Abigail has escaped and survived her abduction. In the same way, the clients who I was seeing in my work had (physically) survived their childhood experiences. For both Abigail and my clients, a whole new journey would now begin. 

Little White Lies is about a family trying to heal after the very worst of traumas. The book focuses on the relationship between Abigail and her family – her mother Anne especially – both before and after her abduction. The more I wrote, the more I found myself delving into issues of responsibility and guilt, the instinctive desire to avoid what is most painful, and the healing power of acknowledging what went wrong – all themes I had encountered many times in my therapy work. Little White Lies went through many, many drafts as I wrote it, but it was when these themes came together as the heart of the novel that I was able to shape the story into the book you’ll read today.

These days, I am struck time and again by how much being a writer and being a psychologist have in common. Both therapy and writing are all about words and narratives; these truly are the “tools of our trade”. In both fiction writing and in the process of therapy, we share and absorb stories in order to make sense of the world, and try to understand our own complicated human natures. And both characters in stories and the clients in my practice go on profound journeys of change. 

Looking back now, I wonder whether I would ever have had the confidence to write Little White Lies without my background in psychology. To be honest, I am not sure that I would! 

LITTLE WHITE LIES JPEG copy

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**Friends and Traitors Blog Tour** Getting to Know John Lawton.

Today it’s my pleasure to welcome John Lawton to the blog. His latest novel ‘Friends and Traitors‘ is available now. 

Many thanks to John for taking the time to answer my questions today.

Vic x

Nick Shot Close

Tell us about your books, what inspired them?
I really don’t know. I’ve written most of my life. Certainly since 1957 when I first encountered Shakespeare’s history plays. And in the years that followed, since you can’t imitate Shakespeare’s dialogue unless you’re Tom Stoppard (and whoever watched or read him for his plots?), I came under the influence of writers who were writing stunning dialogue. My first sight of a Pinter play about three years later is still vivid.

Peter Cook’s EL Wisty monologues were compulsive and when the Dagenham Dialogues with Dudley Moore came along … well, I think I learnt as much from them as I did from Pinter. The really odd thing is the switch from writing drama to writing novels, which happened about 1983 … cause? … failure. Wasn’t getting anywhere as a playwright. That said, much of what I write, certainly in earlier drafts, strikes me as reading like a two-hander play. That’s how most of my books begin  … two voices talking in my head.

A taste for dialogue, a course in Russian at University, reading Gorky Park, watching Ian McEwan’s The Imitation Game (not the recent film of the same name) all fuelled the plot line that became my first Troy novel.

Where do you get your ideas from?
Dunno where they come from, but I know where they arrive. Usually in trains, and almost as often out walking. I do a lot of walking.

Do you have a favourite story / character / scene you’ve written?
I think my favourite scene might be towards the end of A Little White Death, when Tara Ffitch takes about a page to slam the morality that put her in court. I stand by every word of that. And I’m quite partial to the scene in Friends and Traitors when Guy Burgess rattles off the list of things he misses in his Russian exile. My favourite characters would be among the minor figures … Fish Wally in two or three novels, and Swift Eddie in most of them — a part I wrote hoping Warren Clarke would play him one day.

Are you a plotter or a pantster?
Not sure I quite understand the question, but I usually have a plot fully worked out in my head before I write a word. Only book I’ve ever plotted on paper was Black Out.

Can you read when you’re working on a piece of writing?
Yes. But not books by anyone doing what I’m doing.

I spent last autumn on a Mick Herron binge, and I think I’ve just begun a Timothy Hallinan binge. Neither of them write historicals.

I keep picking up and putting down Illusions Perdues. I think I might have to wait for a new, better translation, but if that theory works why do I have six different translations of Ovid?

What’s the best writing advice you’ve ever been given and who it was from?
“Write a book a year and take control of your life” – Gore Vidal. Somewhere I still have the letter.

I’ve never been able to do that of course. Come to think of it, I turned down a book-a-year offer from Penguin ages ago. I’m a fan of Philip Kerr’s Bernie Gunther series which appears very regularly and I don’t know how he does it. My ‘mentor’ Ariana Franklin got up to a book a year in her seventies, but I honestly think it was exhausting for her. With hindsight I wish she’d slowed down. So good advice as yet unheeded.

What can readers expect from your books?
Writer vanity prompts me to say that I hope I can shatter expectations with the odd surprise, but a running character creates expectations otherwise she/he would be rather inconsistent. So expect politics, romance, a touch of mayhem. Do not expect a who-dunnit, as my books can bang on for another fifty pages after the who of dunnit is obvious. I cannot change Troy’s character, he will change only as the time-setting of the novels change (and I’ve never liked the idea of fiction existing outside of time …  Troy ages and hence changes) but I quite deliberately move the locations around. Black Out is set entirely in London, with Old Flames I went rural and in Friends & Traitors has a lengthy continental journey before settling back in London.

Have you got any advice for aspiring writers?
Yep. Abandon all social media. Leave it to Trump, he’s welcome to it. I am looking forward to his ‘Twitts from Prison’. Shut down your twitt and bookface accounts, resign from your readers & writers group, bin your iphone, stop talking about writing and write.

If anyone asks why they haven’t seen much of you lately tell them you’ve been studying for the civil service entry exam and are hoping for a job with the ministry of [fill in blank as appropriate]. My usual choice is the ‘White Fish Authority.’ Such a wonderful name for a government ministry, alas it shut up shop in 1981. I wonder if there was ever a ‘Chips and Mushy Peas Marketing Board’?

What do you like and dislike about writing?
Like … the doing of it. One of the best narcotics around and it’s free.

Dislike … promoting a book. Best regarded as a necessary evil. I hate being photographed. (Sorry, Ali Karim.)

Are you writing anything at the moment?
Yep. Third book in the Wilderness trilogy. And another game of with Zoë Sharp. All done by email as we live in different countries.

What’s your favourite writing-related moment?
Dunno. I live by writing, which I consider most fortunate, but to say my moment was the first time I received a fat cheque would be both crass and untrue. I’m not interested in prizes, the gongs and daggers, and winning one didn’t engage with me much. I think it has to be ‘finishing-summat-that-had-me really-foxed’  … which has happened from time to time, but I’m not saying which book or books it was.