Tag Archives: writer

*Yellow Room Blog Tour* Getting to Know Shelan Rodger.

I’m delighted to be the final stop in Shelan Rodger’s book tour for her wonderful book Yellow Room‘.

Today, we get the opportunity to get to know the author of this extraordinary novel. I’d like to thank her for taking the time to share her thoughts with us – and for writing this thought-provoking story. 

Tell us about ‘Yellow Room‘, Shelan. What inspired the novel?
The notion of personal identity intrigues me – the extent to which our sense of who we are is bound up with the culture and place we grow up in, the way we use a job or a cause or a relationship to create meaning and definition, the extent to which a single event can shape the person we turn into.

In Yellow Room, Chala’s sense of self is moulded by something that happened when she was only four – and the drama takes place when the goalposts of her reality begin to change. Although we think of twists so readily as the realm of fiction, we all face twists at times in our lives. We meet someone out of the blue and fall in love, we lose a loved one suddenly, we have a life-changing accident or illness, a buried secret breaks out into the open… These ‘twists’ can be exciting or they can be appalling, but they always cause some kind of evolution in our being – and this is the kind of thing I wanted to explore in the novel.

And secrets! Sometimes I think of life as a bank of sedimentary rock: layer upon layer of new experience compressed into a formation that looks solid from the outside yet crumbles quite easily; and secrets are like layers of sand within this rock, covering and compressing what lies below. I believe we all live with secrets of one kind or another, even if these are about truths we have repressed from ourselves… and perhaps that is why secrets hold such a peculiar fascination. In Yellow Room, the secret sands of different lives interact in ways that not even the characters involved can always see.

Where do you get your ideas from?
I don’t know how the light-bulb ever actually comes on – for me it tends to manifest in the form of an idea, which then turns into a character – but I am certainly aware of the earth it has grown in: the rather nomadic, multi-cultural mish-mash of my own life!

I was born in Nigeria, grew up in aboriginal Australia, then England, and have spent most of my adult life between Argentina, Kenya and Spain. I’m sure this has created a kind of questioning within my make-up that explains the fascination I talked about just now with personal identity and what this really means.

I think there is also a strong sense of place in my novels and that is certainly grounded in personal experience. Twin Truths, my first novel, is set in Argentina in the nineties, where I lived for nine years. Yellow Room is set in Kenya, where I was living on a flower farm in Naivasha, one of the hot spots that was hit by the post-election violence ten years ago which killed over a thousand people and turned half a million overnight into refugees within their own country. Chala’s personal drama takes place against the backdrop of these real events, and Kenya plays an active role in the story of who she becomes.

Do you have a favourite story / character / scene you’ve written?
Mmm… a difficult question to answer. Writing a novel is a bit like having a relationship; you get to know and live with the main characters inside your head.

My relationship with Chala was conflicting at times; sometimes I just wanted to shake her, but mostly I love her honesty with herself. The twin sisters of my first novel, Twin Truths, are still close to my heart. As for scenes, I love writing scenes that I know are pivotal – those intensely emotional and significant moments that can make or break a novel.

I also love endings – both as a reader and a writer. I think endings are hugely challenging for a writer: how to create a sense of emotional closure that is satisfying but not trite, how to keep the door open for the novel and the future of its characters to linger in the mind of the reader, in a way that is somehow thought-provoking without being manipulative. Yellow Room has two endings in a way: the last page for Chala, and the epilogue, which is told from the viewpoint of another character, and I really felt the last lines when I was writing these.

What’s the best writing advice you’ve ever been given and who it was from?
My father’s words: ‘Just get it out and suspend judgement until later.’ My father was a poet and a non-fiction writer and these were his words of advice when I was writing my first novel. I’ve never forgotten them. Let it out, get it out. And then, only then, let the jury in and edit and rewrite as much as you need to, but first just pour it all onto the page.

What can readers expect from ‘Yellow Room’?
If I have achieved what I aspired to, the book is compelling and thought-provoking. A drama that explores the power of secrets, the shifting sands of our sense of personal identity, the grey areas that flow between the boundaries of relationships. A poignant insight into the reality of poverty in Kenya and the events that took over a thousand lives ten years ago. Kenya has its own secrets, which are still unfolding today.

Have you got any advice for aspiring writers?
I think I would simply share my father’s words again. They had a profoundly liberating effect on me and I believe creativity is an act of liberation. The attempt to connect with the reader is at its heart, I believe, something deeply intuitive not learnt. Trust your intuition first, question it later.

What do you like and dislike about writing?
It doesn’t happen all the time of course, but what I love most are those special moments when you lose track of time and it becomes almost a form of meditation, with words seeming to flow through you rather than from you. There is something earthy and connected and grounding in that feeling. To be honest there is nothing I really dislike about writing because the different phases, for example editing, are all part of the process of creation. The thing I am most wary of, as you can see from some of my answers, is the monkey that sits in judgement on your shoulder if you let it, sneering and undermining your confidence!

Are you writing anything at the moment?
Yes, I am working on my third novel, which is another psychological twisty tale, also set in Kenya (but this time on a flying safari). It’s inspired by something that happened two weeks before my father died: he found a novel he’d forgotten he’d written, read it, changed the last line and gave it to me. I never saw him again. In the book, a box of writing by the father she never knew falls into the hands of a drama therapist called Elisa and takes her to Kenya, where a twist presents the one person from her past she never wanted to meet again.

What’s your favourite writing-related moment?
I was driving along a pot-holed road in Kenya to my parents’ house for lunch. The lake filled my view to the horizon as it always did; pelicans and flamingos dipped below me to the water’s edge. But that day the lake looked different. The news I’d just received made everything feel different. Someone – a person who was to become very important and dear to me – wanted to be my agent. Suddenly, the possibility of being what I wanted to be was real, stretching like the lake below me to the horizon. That is the moment I think I would single out, a moment full of hope and beauty, a moment – ironically – intimately connected with my own personal sense of identity.

Review: ‘Yellow Room’
by Shelan Rodger.

What I’m about to say may come as a surprise. ‘Yellow Room‘ is currently a hot contender for my book of 2017. 

Having lived the majority of her life in the shadow of a tragic childhood accident, Chala is shaken by the death of her stepfather who steadfastly supported her throughout. In the midst of this emotional turmoil, Chala decides to volunteer at an orphanage in Kenya. Despite providing Chala with the opportunity to re-evaluate her life, the country remains on the brink of violence and horror. 

Shelan Rodger has deftly created a truly compelling novel featuring complex yet empathetic characters. The author really understands the nuances and complexities of human behaviour and her insights are weaved skillfully into her characters, bringing them to life. 

Yellow Room’ contains everything I could possibly want from a novel: evocative descriptions, well-written characters and an exploration of how power shifts in both personal and political relationships.

Despite being a story that delves deeper than most, ‘Yellow Room‘ is incredibly readable. I honestly did not want to put this book down. Part of me wanted to stay with the characters in this book forever. 

From the opening page, I was hooked by ‘Yellow Room‘ and I suspect that the story will stay with me for a very long time. 

Vic x 

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Don’t Quit the Day Job: Dave Sivers

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’ll talk to writers about how their current – or previous – day jobs have inspired and informed their writing.

Today as part of ‘Don’t Quit the Day Job’, we have Dave Sivers here to talk to us about how being a civil servant helped inspire him to write the Archer and Baines novels. Yes, really! 

My thanks to Dave for taking the time to share his experiences with us. You can find Dave on Twitter and Facebook

Vic x

I’ve pretty much always been a writer, ever since I was six years old. But for 40 years, before I took the plunge into indie authorship, and before the Archer and Baines novels, I was a career civil servant.

Every morning, I’d put on a suit and either catch the train to London or drive off to a meeting somewhere. You’re probably already imagining a grey office, full of grey people, some of them covered in cobwebs, drinking copious cups of tea and churning out dry-as-dust papers on even drier subjects.

It’s a caricature with a grain of accuracy in it, but I mostly enjoyed that career and was usually happy enough to get out of bed in the morning. I worked on a wide range of policy issues, and no two days were the same. I got some great travel opportunities and got to do some interesting things. I also met all kinds of characters, including quite a few military people, and some serious game players who knew exactly how to get their way.

Every writer’s everyday life is grist to the creative mill. What I didn’t know at the time, though, was how much the day job was preparing me a new career, after early retirement, when I’d be writing police procedurals.

Writing those papers was in itself an invaluable writing discipline: adopting the right voice for the right circumstances, drafting and redrafting, writing to a length and deadline. But it’s only recently that I’ve come to realise just how much more I owe to those Whitehall days.

As a storyteller, I’m far more pantster than plotter. When I start a book, I invariably have a body. I (usually) know who did it. But I will have either a hazy idea, or no idea at all, of how the killer will get caught. That comes out in the writing. Effectively, I sit on my cops’ shoulders and watch their investigation unfold. And it’s my civil service instincts that are telling me what they need to do.

For a start, I worked in teams as do the police, in a hierarchy that more or less mirrored the police ranking system. And we might not have unmasking murderers, but there was a lot of problem solving involved – which meant gathering information, and knowing what questions to ask, and whom to ask them of.

Of course, I still need to make calls and do internet searches to check whether what they get up to is plausible, or even legal, as well as checking out some of the smaller details I sprinkle around. But it turns out that all those years in a suit were invaluable training for imagining myself into the briefing room at Aylesbury nick and deciding what Archer and Baines need to do next to catch their killer.

My old day job included drafting answers to Parliamentary Questions, and some unkind souls have suggested – unfairly, obviously – that I was always a fiction writer! I’m saying nothing.

The latest book in the Archer & Baines series – ‘The Blood that Binds’ – is available now. 

Don’t Quit the Day Job – Neil Broadfoot on Working with Words.

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’ll talk to writers about how their current – or previous – day jobs have inspired and informed their writing.

Today as part of ‘Don’t Quit the Day Job’, Neil Broadfoot is here to talk to us about how his work life has inspired his fiction.

Earlier this year, it was confirmed in ‘The Bookseller‘ that Neil had signed a three-book deal with Constable for a new crime series set in Stirling. The first in the series, ‘No Man’s Land‘ is due out in hardback in July 2018. 

Vic x

I always wanted to be a writer. Since the day my primary school teacher passed me an empty jotter with a scalded-pink cardboard cover (which I’m sure my mum still has) it’s all I ever wanted to do. My mum was convinced I would be a doctor or a lawyer. My teachers in high school advised a career in history or IT. But, no, I knew. Writing. That was where my future lay.

It was that certainty that led me into journalism. I wanted to write, I wanted to work with words until the day came when I could do a Stephen King (my childhood literary hero), get a deal and write full-time. It hasn’t quite worked out like that – I’ve still got a day job and I write mostly at night – but you know what, I wouldn’t change a thing.

Why? Because journalism taught me how to write. And, more importantly, it kicked the ego out of me early on.

Let me explain. I get asked a lot about how I write a book. How do you start? Where do you get your ideas? How do you find time? The truth is there’s no magic formula, no muse waiting to sprinkle fairy dust on you and set you on the way. Writing is a job. OK, for me it’s a job that never feels like work, but it is a job. You have to sit down, and hammer out the words. Sentence by sentence, paragraph by paragraph, page by page, day by day. In newspapers, there’s no time to sit and stare blankly out of the window seeking inspiration. A page lead (the main story on the page) might run to 500 words. And you need to write three of them. To a tight deadline. A splash (front page)? That’s 800-1000 words (more if it spreads over multiple pages in the paper). And you have to write it. The single best thing I got out of being a journalist (other than my wife, but that’s a different story) was the ability to see writing as a job. You have a word count and a deadline and you hit it.

But there’s more. Working in newspapers is also a masterclass in the mechanics of story telling. All stories should address six key points – who, what, when, where, how and, most importantly, why. In my first novel, Falling Fast, I had nothing more than the what and the where when I started. I was walking through Princes Street, saw the Scott Monument and had the idea that someone should fall from there into the crowds below (what can I say, I was having a bad day at work).

That was it. I wrote the opening chapter, sat back and thought “What next?” I didn’t have a clue, so I approached the story like a journalist: asking questions, following leads, filling in the what, when, how and who. I didn’t get to the why until about 65,000 words, and I can still remember writing the sentence that unlocked the whole story. Writing Falling Fast was a voyage of discovery, and I loved every minute. It’s why I write the way I do and hate plotting; if I’m trying to work the story out as I go then it keeps it alive and fresh for me. And hopefully that comes through in the work.

I don’t work in newspapers any more, the cuts imposed by accountants and directors who don’t understand newspapers reduced the job I loved to a simple act of reheating other people’s work and slapping it into a pre-made template on a page. But I still work with words every day in communications. And at night, when it’s just me and the keyboard and the story, I’m still there, reporting back what I’ve found for myself and the readers.

And I wouldn’t have it any other way.

Guest Post: Paul Bassett Davies on How to be a Writer.

Regular readers of the blog will know that I recently readDead Writers in Rehab‘ by Paul Bassett Davies – and loved every second of it! 

In his own inimitable style, Paul is here today to share some “tips” on how to be a writer. 

Caution: this man writes comedy – take his advice lightly. 
If you appreciate the sentiment behind these brilliant suggestions, more writing advice will be coming soon in a series of podcasts. Details will be appearing on his blog

Vic x

How to be a Writer.
part one: Getting Started.

So, you want to be a writer? Great! Wait until you’re sober, then read the following essential guide to what you will need.

Somewhere to write.
Try to find a large, quiet space with natural light and a nice view. If you do, sell it immediately. Forget writing, and go into property. Make some real money. Otherwise, settle  for somewhere reasonably quiet, comfortable and clean. So, obviously not your place. Maybe a friend with a nice house has a spare room you can use. Which would be a mistake. Having friends is a sign you may not be a serious writer. Don’t worry, you’ll soon lose them. Meanwhile, try at least to position your desk near a window. But don’t look out of the window in the morning, or you’ll have nothing to do in the afternoon.

 

Something to write with.
Use whatever you’re comfortable with: a pencil, a typewriter, a computer, or perhaps an expensive fountain pen you bought because you were convinced it would somehow make your writing more stylish and sophisticated. And sure enough, you were wrong. But everyone has their own idiosyncrasies. Myself, I need to have seven freshly sharpened pencils beside me when I begin work each day. I don’t write in pencil – I use a computer like everyone else, but I need to have exactly seven freshly-sharpened HB pencils beside me, no more, no less. Some people might say this seems obsessive. These are undoubtedly the same people who say I’m paranoid and vindictive. But I know who they are, and where they live, and I know what their deepest fears are.

Someone to help.
It’s said that one famous author employed a butler whose job was to leave the house before the author woke up, taking all his trousers with him. This cut down the author’s scope for displacement activities like “popping out to buy some milk” for several hours. If you can’t afford a butler, throw your trousers out of the window yourself. If you haven’t got the willpower to do that, most writers find it takes very little to provoke a spouse or partner to throw all their clothes out of the house. All you have to do is say something like, “Hello darling, how was your day? I’m exhausted, because creative thinking is much harder work than your teaching job, even when I do it lying here on the couch all day.” That should do the trick. If you can’t afford a window, hide your trousers and get drunk, so you don’t remember where they are in the morning. If you can’t afford trousers, congratulations; you’re already on the way to becoming a truly committed writer.

Time.
Writing is a full time job, even when you’re not doing it. Much of your most valuable work is done when it looks as if you’re just taking a nap, or lying in a bath. But it’s important to be disciplined, otherwise those precious hours can just slip away. So, organise your day, and waste time according to a strict schedule.

Money.
All writers deserve to have an independent income. Many writers have incomes that are so fiercely independent they never see them.

Coffee.
Plenty of coffee. Especially in the morning. Personally, I like my coffee the way I like an amusing analogy I’ll be able to come up with when I’ve had some coffee.

Something to write.
This is covered in part two, How to Have an Idea, including the advanced modules: How to Have the Same Idea Again, and How to Have Someone Else’s Idea.

*Shadows Cover Reveal*

Shadows will be published on the 14th of October by ThunderPoint Publishing Ltd.

When DI Donna Davenport is called out to investigate a body washed up on Arbroath beach, it looks like a routine murder inquiry. However, it doesn’t take long before it begins to take on a more sinister shape.  There are similarities with a previous murder, and now a woman who is connected with them goes missing.

For Donna, these events become personal, and add to the feeling that she’s being watched, she is convinced that Jonas Evanton  has returned to seek his revenge on her for his downfall.  Fearing they may be looking for a serial killer, the trail leads Donna and her new team in an unexpected direction.  Because it’s not a serial killer – it’s worse.

Moving from Dundee to the south coast of Turkey and the Syrian border, this is a fast-paced novel about those who live their lives in the shadows and those who would exploit them.

“Not for the first time, Donna found herself wondering how the hell she had ended up  in a situation like this.”

Jackie McLean lives in Glasgow with her partner Allison. Jackie has a varied background, including being a government economist, a political lobbyist, and running a pet shop. She is in and out of prison a lot (in her current job with social work services).

Toxic is her first crime novel, introducing DI Donna Davenport, and was shortlisted in the Yeovil Literary Prize before publication by ThunderPoint Publishing Ltd. The sequel, Shadows, is about to be published, and she has begun work on the third book in the DI Davenport series (Run). Jackie runs Get Writing Glasgow, which is a kind of Weight Watchers for writers, hosted by Waterstones at Braehead.

You can find Jackie on Facebook and Twitter.

In the Scottish university city of Dundee, life and all its complications are the same as usual. The recklessly brilliant DI Donna Davenport, struggling to hide a secret from police colleagues as she tries to get over the break-up with her partner, is in trouble with her boss for a fiery and inappropriate outburst to the press.

DI Evanton, an old-fashioned, hard-living misogynistic copper has been newly demoted for thumping a suspect, and transferred to Dundee with a final warning ringing in his ears, carrying a reputation that precedes him.

And in the peaceful, rolling Tayside farmland a deadly store of MIC, the toxin that devastated Bhopal, is being illegally stored by a criminal gang smuggling the valuable substance necessary for making cheap pesticides. An anonymous tip-off starts a desperate search for the MIC that is complicated by the uneasy partnership between Davenport and Evanton and their growing mistrust of each other’s actions.

Compelling and authentic, Toxic is a tense and fast paced crime thriller.

Don’t Quit the Day Job: Neil White on A Life of Crime

Today we’re kicking off a new series on the blog entitled ‘Don’t Quit the Day Job’. 

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’ll talk to writers about how their current – or previous – day jobs have inspired and informed their writing.

Today I have the pleasure of hosting Neil White on the blog. Neil read at Noir at the Bar in Harrogate this year and it was a delight working with him. He’s taken the time to speak to me about a life of crime – thanks for sharing your story with us, Neil!

Vic x

Readers of crime fiction follow the genre for the excitement, the intrigue, the thrills. How does that match with life in the world of real crime?

I’ve been a criminal solicitor for more than twenty years, working as both a defence lawyer and a prosecutor, and I’d love to tell you of things I’ve done that will show how spine-tingling it can be. The race to get to witnesses in time, bringing them to court under the protection of blankets, always acting under the threat of violent repercussions, exposed to gangland threats and psychopathic murderers.

Of course, it would be exciting if that reflected real life, but it doesn’t.

That isn’t to say that working in criminal law doesn’t come with its occasional moments of intrigue and excitement, but the reality is that most of any lawyer’s immersion into crime is long stretches of tedium interspersed with moments of amusement.

As I write this, I am sitting in a Magistrates Court, water dripping through the ceiling, part of the public gallery sealed off by builder’s tape, awaiting a verdict on a trial involving a spat at a party. There is some anticipation, but not at any level that could be called exciting. It will never be an inspiration for a bestselling novel, but it’s what constitutes the day-to-day life of most criminal lawyers.

In writing crime fiction, as a criminal lawyer, I want to be realistic, but does realistic mean “as real life”? For the most part, being a lawyer helps when writing crime, but there is also the temptation to include too much of the mundane. What I have to tell myself is that the character has many such dull days, with routine and tedium, but the story I am telling is the one exciting case they get a year. Every lawyer gets them. The dinner party story, or one of those war stories bandied around when passing time in the courtroom, lawyers reminiscing as an excuse for not talking to their client pacing outside.

As a prosecutor, the excitement would come from a murder, when a suspect was in custody and the police needed a decision to be made before there was a risk of the custody clock running out. Whichever lawyer gets the job can often be down to a mixture of enthusiasm and availability. Becoming involved in a murder case during the arrest phase isn’t something that clocks off at five o’clock, and sometimes I just had something else planned.

For my part, I tended to get landed with the complex fraud cases, usually out of curiosity. I’d be wandering through the office and see a couple of boxes of files being booked in by one of the people whose job it is to book these things in and I’d stop by, enquire as to the contents, out of nothing more than an inquisitive mind. I knew that every prosecutor in the room had taken a sudden interest in their fingernails, knowing what was coming, but I couldn’t stop myself.

I’d respond with a “that sounds interesting”, because I’m curious like that, and because I’m polite, and then listen to the collective sigh of relief as it was announced that the case had become mine. A reward for my interest. I never learned.

Does it make it easier to write crime fiction being a lawyer? Perhaps. A little bit.

I think it helps with the ability to look at things coldly and objectively, to take a step outside of the emotional attachment. It helps too to be comfortable with the subject matter. I’m used to looking at forensic statements and dealing with police procedures and the rules of evidence. If I need to research something, I can perhaps get to the end point much quicker.

Apart from those things, however, I’m not sure it makes a whole lot of difference, and in some ways can be a hindrance, because the desire to be accurate can override the need to be interesting. Sometimes, I find myself looking at a story as a lawyer, not a writer, and you read my books to hear a writer write, not a lawyer speak.

One thing writing about crime does do, however, is that it reminds me why I chose it as a career. At its best, the courtroom is high drama. It’s conflict and dispute, about dark deeds hidden or uncovered, often a glimpse into how others people live their lives. It is that reality, the human side of crime, which drives my love of the subject. I love crime. I love it that much I’m pretty sure that if I hadn’t qualified as a lawyer, I’d have chosen criminality as a career.

Some may say that the dividing line between a lawyer and a crook is a pretty thin one anyway. I could not possibly comment.

Getting to Know You: Caroline Roberts

Next month, I will be interviewing Stephanie Butland and Caroline Roberts at Berwick Literary Festival. Today, I’m warming up by getting to know Caroline.

Thanks to Caroline for taking the time to speak with us today. 

Vic x

Tell us about your novels.
I have 4 published novels all set in Northumberland:

The Torn Up Marriage is about love, loss, betrayal and family – a story about ‘messy’ love, and how hard relationships can be when we tear our own worlds apart.

The Cosy Teashop in the Castle and The Cosy Christmas Teashop, its sequel, are romantic comedy novels set in a quirky Northumberland Castle inspired by the wonderful Chillingham Castle near to where I live. My friend ran the tea rooms there for seven years. It’s a story about striving for your dreams, finding your identity, with a host of delightful characters and of course  lots of tea, cake and romance.

My Summer of Magic Moments is a love story about rediscovering those special moments in life, especially after a gruelling time. Claire has recently finished breast cancer treatment and escapes to a cottage on the Northumberland coast. I particularly love the setting at Bamburgh which is one of my all-time favourite places. It’s a story about love, healing, and finding your way through life.

I think through all my books I’m trying to explore love in words, not just romantic, sexual love, but the love between family and friendships too.

What inspired them?
My interest in relationships sparks it all off – things I see in real life, read about in magazines or newspapers. And the settings are very much inspired by my wonderful home county of Northumberland where I have lived for fifteen years, its rolling hills, castles and stunning coastline.

Where do you get your ideas from?
My ideas come from things I have seen, read, overheard, experienced, then I let my imagination take over. A real place can start me thinking about what might happen there. I knew I wanted to set a book at the cottages I used to jog past, nestled right beside the beach between Bamburgh and Seahouses – that became My Summer of Magic Moments.

Do you have a favourite story / character / scene you’ve written?
My favourite novel is my latest, My Summer of Magic Moments. It is particularly special to me as it was informed by a wonderful lady who herself had gone through breast cancer. It also has lots of real moments included from my family and friends. This book carries a little piece of my heart, and I feel so thankful to have had it published.

What’s the best writing advice you’ve ever been given and who it was
from?
“Don’t get it right, get it written”, a friend from the Romantic Novelists’ Association told me that (I think originally it may have been from Dorothea Brande’s book). It’s so true and stops you procrastinating about getting it perfect first time, which I think can cripple many a writer. Just let the creative juices flow and get the story out. Later is the time for editing.

What can readers expect from your books?
A really good love story, with fun, family, friends and food, set against something sad such as loss, grief and betrayal – the hard stuff that affects us all at times in life, all in a beautiful Northumberland setting.

Have you got any advice for aspiring writers?

  • Write what you are passionate about. If you love what you write this will make the writing process so much easier, and it will come through to readers (and hopefully publishers/agents if you are looking to be published) and spark their imagination and interest too.
  • Finish the book! Don’t pressure yourself that it has to be perfect. Just keep going forward and get the story out. Make time to write regularly, and you will get there. Editing is for later.
  • Submitting – If publication is your aim, finish the book, polish up your first 3 chapters, spend time on your synopsis and cover letter, and only then start sending it out. Try and be as professional as possible. Do your research on who you are submitting to – and send exactly what they ask for. Do try and personalise your cover letter to show you have spent time finding out about them/their company.
  • Persevere – the submission process can be long and hard, and rejection is never easy. Try not to take it too personally – easier said than done, I know – but keep going and try and learn from any critical feedback you might get.
  • Link up with other writers. Look for local groups, or link with groups in your genre. The support and friendship within organisations such as the Romantic Novelists’ Association is invaluable. It was only by taking a deep breath and pitching at the RNA Conference that I got my book deal offers.

What do you like and dislike about writing?
I love the creative process – getting lost in my imaginary worlds where the scenes unroll and the characters seem so real. I also really like meeting and chatting with readers.
Dislikes: Deadlines, writing a novel to a short deadline set by the publisher can feel somewhat stifling. Marketing and publicity can also be challenging and time-consuming too, I really didn’t have a clue how much the author is expected to do of this themselves before I got published, though I’m much more comfortable with this side of things now.

Are you writing anything at the moment?
I’m on the final edit stage of my next book, The Cosy Christmas Chocolate Shop,  a romantic comedy set in a fictional Northumberland harbour village that’s a mash-up of Craster with Warkworth plus a few tweaks of my own. I had great fun researching all things chocolate for this book, and was inspired and helped by two fabulous local chocolatiers.

What’s your favourite writing-related moment?
Holding the first paperback copy of my debut novel, The Torn Up Marriage, in my hands. That was such a special feeling. I had spent over ten years trying to get my novels published and it was a real ‘I Did It!’ moment. A dream come true.