Interview with Raphael Selbourne

Interview with: Raphael Selbourne
by Kerrie Anne

Image of Raphael by Stefano Luigi Moro



Beauty is the story of a young Muslim Bangladeshi girl trying to avoid an abusive arranged marriage to a much older man. She finally runs away from home only to find life outside her somewhat sheltered existence is not as she expected. Out of her depth in Wolverhampton, she encounters all forms of life and people from the seedier side of the road to those with ulterior motives and discovers that help can arrive from the most unexpected people.

Beauty shows us many parts of life that most of us choose not to see. From the elderly thrown away by their families into nursing homes to the drunken behaviour during a party at the Club.

Through Beauty's naive eyes we gain a view point, many of us would prefer not to see. It would be easy for Raphael to judge Beauty's way of life and her religious views in a harsh light; to show her as the victim of abuse and beaten down as is the case of so many, but he chooses not to. Beauty holds an inner strength gained from her faith and strangely from her family which will endear her to the reader.

A balance is struck between judging others for their beliefs and our own way of life and Beauty is a social commentary pointing out many of the strengths and weaknesses of both worlds. Beauty, as she grows, takes the best and worst of these cultures and it is up to the reader to see what she does with it.

I was surprised at how hard it was to put this one down and highly recommend it to those with a thirst for a great read.

'Selbourne has a brilliant ear for dialogue and real compassion for his characters' - Maggie Gee

About Raphael Selbourne


Your fondest memory as a child?

Going to Blackey Barn (a large stagnant pond in a field in Oxfordshire) with Daryl Austin and his Jack Russell, Nipper.


What motivated you to become an author?

My experiences and what I saw around me in Wolverhampton motivated me to write. I may once have had a fanciful notion of becoming ‘a writer’, but without anything to write about the notion remained fanciful.


How has your study of politics shaped the way you see the world?

Everything I have studied or read has shaped the way I see the world and it is a continuous process. If what you study or read does not shape your views then it probably wasn’t worth studying, reading or publishing.


Oxford is a far cry from Wolverhampton not only in distance but socioeconomic diversity. What were the most striking differences and were you shocked by anything you experienced?

I can’t answer this without being horribly reductive of Wolverhampton, Oxford and perhaps more relevantly northern Italy, where I had spent the best part of my adult life before coming to the Black Country. However, the lack of aspiration and hope, the appalling levels of illiteracy amongst the ‘socially disadvantaged’ are failures of our society, and not the fault of the people affected by it.

Has your perception of the world changed since working with the long term unemployed and those who through circumstances are disadvantaged?

My perception of the world has not changed but I am better informed about it. I have seen first-hand the terrible damage that a combination of forces has wreaked on that section of society which most needed its protection and encouragement. The failures of the ‘progressive’ education system and the dismantling of the manufacturing base of the economy have led to the abandonment of those most in need.


Given your father, David Selbourne, reputation as a political philosopher and social commentator, as well as a highly regarded author, Beauty is to my mind very much a social commentary. Although the characters are fictitious, the story is one which could be played out in any community. In what way do you think he has influenced your writing?

I was fortunate enough to have had the intellectual influence of both my parents throughout my life. Without it I would not be the person I am, nor would I have been presented with the literature which contributed from an early age to my intellectual formation. To be able to discuss my father’s work with him has allowed me a far greater understanding of the way we live today and of my own experiences. Surely all influences and experiences inform the writer’s view.

About Beauty

Where did Beauty come from?

The real world and my imagination.


Many things about Beauty have a profound impact on the reader. If only to gain an insight into a world very few of us would experience otherwise. Given the confronting nature of so much of Beauty’s story what was your driving force to put it on paper?

My driving force was exactly that confrontation (and clash sometimes) between peoples and belief systems, between the generations and the sexes; as well as to tell a story.

The life Beauty runs away from is violent and the book is painful at times to read. But you must; it drives you to continue. However the things learnt about western life are just as painful to her. Things we take for granted, the nursing home, the Club night, the things we see as basics freedoms she has never experienced and doesn’t want to. As you wrote Beauty how hard was it not to fall into a more judgemental view point?

We live in non-judgmental times. Even the words ‘judgement’ and ‘moral’ are uttered by some (arguably in positions of immense influence on our lives) with distaste. Any novelist who feels the same way about those words will never write anything worthwhile. That’s a moral judgement.

"What about taking some jewellery?
They'll kill you. And stealing's a zinna.
That stuff's mine. They was wedding gifts. I can sell them."

That said, however, no one wants to read a moral, political or social tract dressed up as fiction, and a writer has an obligation to search for the truth and keep an open mind.

Beauty's violent and yet sheltered life gives way to the harsh reality of western culture a throwaway society where even our parents are expendable. Her shock and horror in finding out these people have family’s who threw them away shows a moral and ethical strength of character which is refreshing and unexpected given her background. Where do you think her strength and courage comes from?

Her strength comes from her own sense of right and wrong, informed and influenced by her experiences, her faith in God and His laws as she understands them. She has a very strong sense of what ‘the family’ should be and the roles of all the members. Despite having suffered herself from the Asian or Muslim excesses of ‘a strong sense of family’ she is determined not to abandon, or be abandoned by, her own. Her own sense of freedom must be balanced with her sense of duty. These were once universal values.

"They aynt gonna go down there. There's too many white people.
They can't drag me off the street.
Can't they?"

Your telling of Beauty’s story is tender and confronting, compassionate and empowering. The contrast between the main characters couldn’t be starker. Your portrayal of the three main players gives the reader a powerful insight into the lives of seemingly normal average people. Where did you find them? And do you think they give a fair cross section of the general population?

Again, I found them in the real world. Without models there is no art. They will seem representative only to the academic obsessed by ‘gender, race and class’, who rarely leaves her ivory tower.

"There was only one God! Al-lah. The One. What did this bloke believe in?
He can't be worser than a Hindu."

Something which I found interesting was Beauty's family and Beauty’s thoughts on other Asians and religious groups. How other nationalities are seen and Beauty’s coming to terms with the various lifestyles choices she experiences. This to me was an integral part of the telling but how hard was it to research and write such views and were you tempted to tone down some of the more racially confronting aspects or was it as important to keep it socially and ethnically accurate?

We live in a multi-cultural society. There are surely many successes and good intentions to be celebrated. But this doesn’t mean that all peoples mix freely with each other, or have anything more than a superficial knowledge about the different cultures which make up the whole. In fact, there is in some a shocking level of ignorance and mistrust of their neighbours. Perhaps it can only be overcome when the powers-that-be oblige us to ‘celebrate’ the values we have in common, and not the ‘diversity’ which separates us.

As for reflecting these aspects of the way we live today through fiction, the writer has a duty to be as accurate as possible, neither alarmist nor complacent about issues which affect the way we live.

"Don't never talk about your family to no one."

Do you believe Beauty's new found or awakened inner strength and courage an asset or detrimental to her?

She takes from ‘white’ society that which does not offend her most strongly held values, and rejects what does. She strives throughout her journey to find the balance between her own freedom and the duties that we all have. From her experiences ‘on the outside’ she is emboldened by her new found sense of self and entitlement (with regard to her family), and by the rejection of the unfettered freedom to do as one pleases which she witnesses.

As far as you see it, is there any solution to the issues you raised in Beauty, the growing divide throughout many countries between socially disadvantaged and Ethnic Groups and
the rest of the population?

I don’t claim to have any solutions although I think it is time for new and old ones to be considered. If what I wrote encourages the reader to consider these matters and to question themselves and others, then I have achieved part of what I set out to do, and, I hope, fulfilled one of the purposes of literature.

What do you hope the reader will take away from Beauty?

A sense of having witnessed something they may not otherwise have seen and of having been on a journey; questions, laughter, understanding, sympathy for the seemingly unsympathetic.

"Al-lah help me, whatever happens. Give them Rahmut Let them understand."

Being an author


What makes an author?

Experience, imagination, sensitivity, a sense of humour, a keen eye and ear. And a publisher.

Your thoughts on winning the Costa?

It is encouraging to be recognised in such a manner, and clearly helps get the book noticed by the reading public, especially coming from a small publisher. However, the awarding of prizes seems sometimes very arbitrary and it is perhaps unfortunate that it is such an important part in the ‘marketing’ of literature.

What advice can you give to anyone starting the journey of becoming an author?

Try and make sense of the world around you, for yourself and others. Leave history to the historians and to those who wrote about their times. Writing should be an escape for the reader, not for the author. And there is more to be gained from reading the classics of world literature - those that have stood the test of that arch critic, time – an English grammar book and life experiences, than there is from an MA in Creative Writing.

Thanks Raphael it's been fascinating talking to you.


Beauty is published by Tindal Street Press. Visit their website and order the book here.

An Interview with John Dickinson: Dream Weaver

Interview with John Dickinson
by Jane


Some dreams fade in the morning light, some dreams return to haunt and some dreams wake you abruptly leaving lasting, vivid impressions.

Author John Dickinson is a man who dreams. And he uses them to weave wondrous tales.

John is an author of both adult and teenage fiction. His latest novel WE, a science fiction novel, is aimed primarily at young adults but its fascinating premise of an isolated community struggling to balance humanity and progress on the fringes of the solar system, will be of interest to anyone who wants to contemplate the larger issues in life. Whilst it is a story of only average length it is also a tale of epic proportions encompassing huge, almost mind boggling concepts. These are ideas which when awake may seem incomprehensible but in our dreams seem all too tangible.


WE is a conceptual and sometimes melancholic book. So as I travelled down to the heart of the Cotswolds to meet John, I wondered just how serious his disposition might be. It crossed my mind that with a first in History from Oxford and seventeen years working for the Ministry of Defence, the Cabinet Office and NATO John might actually be mad or, at the very least, a little stuffy. Not so. Instead of a stuffed shirt I found a warm, affable and modest man who clearly finds inspiration in his picturesque surroundings.

As a child John was surrounded by creativity. His father is the award winning Peter Dickinson, also an author of adult and children’s fiction, and it is through his father that the foundations of John’s writing were laid. In a household where writing was an everyday occurrence John learnt the techniques of telling a story. From the hard graft of daily writing to understanding the rhythm of words, from learning to observe the world to appreciating the complexities of mixing fantasy with realism, John both consciously and unconsciously absorbed his father’s knowledge.

Perhaps it could be said that a writer cannot be truly free to imagine or to express, without revealing what lies beneath his skin. And for the novice it is not always easy to find the time to write, let alone to reveal one’s inner world with the pressures and intrusions of everyday life. So despite John’s ever present desire to create, it was not until he had landed his first job that he first put pen to paper with serious intentions. It was only then, on a secure footing, that John was ready to face what he calls the “emotional risk” of writing.


Yet despite this progress it was another seventeen years before John finally threw down the ultimate gauntlet to his ambitions. The decision made, he cleared his office desk, said goodbye to his colleagues and headed home to write The Cup of the World, the first instalment of a medieval fantasy trilogy for young adults.

The Cup of the World is a wonderful tale and one which perfectly demonstrates probably the greatest gift John received from his father; the art of weaving dreams. In this, his first novel, the dream is visibly present at the beginning when the heroine, Phaedra, is drawn into the arms of a man she has visualized in her dreams. In John’s other novels the dreams are less visible but nevertheless he readily acknowledges that throughout all his writing, he uses dreams as inspiration for his stories;

“Dreams do matter. Especially the kind of dream that wakes you up. A dream is coming from the back of your mind, just over the horizon of the subconscious and you don’t have any control over it, so you take that control over it by weaving it into a story… so you know how the story ends.”



No doubt many writers use dreams or day dreams as the foundations or inspiration for their writing but John’s method of working through his dreams to find a satisfactory resolution is a fascinating concept. Perhaps it is also indicative of John’s analytical mind. His degree in history and his civil service career demonstrate his ability to understand complex issues and ideas. He utilizes this ability in his novels where he is able to mix fact and fiction, to temper fantasy with reality and create a story not just in the terms of the protagonist(s) but in terms of the wider world. In The Lightstep, an historical novel for adults, the premise of the book is a simple love story yet the story also encompasses a huge tale of revolutionary Europe. As in his latest book WE, you can take as much or as little as you want from John’s writing; you can take the simple individual stories or you can view the wider picture and look, as John does, for an understanding of societies and how they change and develop – as do the people within them.

John’s latest projects are another fantasy novel and a tale for young children. Clearly, John has many dreams and not all of them so reflective. Indeed, his laughter lines betray someone who knows how to enjoy life as much as he knows how to contemplate it. His children’s tale has a humorous element to it too; an aspect of his writing he is keen to explore. Above all, it is John’s natural enthusiasm for life and quest for answers which leads him to experiment and progress with his writing. Unlike many established authors, he is happy to go wherever his imagination takes him. He is not afraid to cross genres or to write what he enjoys. Labels, he believes, are dangerous and I’m inclined to agree.


















John Dickinson: Dream Weaver





John would probably be the first to say that he is still a developing writer and he would go back and change parts of his work if he could. Perhaps so. However, I found it refreshing to meet a writer as enthusiastic and dedicated as John. It takes so much more than having a father who is a writer to become a writer oneself. I’m sure one can learn many things about writing but I’m not so sure one can learn to imagine or to dream. These are gifts. They are the realms of the best authors and where ultimately their fantasies, desires, beliefs and even failings are open for criticism. It’s not a place to go unless the voice within speaks very loudly.

It’s obvious that for John that voice did speak forcefully but, nevertheless, there was no easy road to publication despite his childhood apprenticeship. His success has come on the back of a lifetime of learning his craft and weaving his own dreams. And whilst it’s true that the majority of us writers are doomed to have our manuscripts shut away in a drawer just occasionally, when talent, determination and good fortune come together, as they did for John, it’s good to know that sometimes dreams really can come true.

To read a full review of WE click here

To read how our artist put together the the illustration accompanying the WE review click here

Interview with Megan Taylor

 Interview with Megan Taylor
by Shanta


Megan Taylor's brilliantly accomplished second novel, The Dawning, was published by Weathervane Press last month. The story unfolds over one New Year's Eve and alternates between five characters' viewpoints, exploring a family on the edge of crisis.

I caught up with Megan to talk about the book and her writing in general.

Hello, Megan and welcome to The View From Here.  For me, the most powerful aspect of The Dawning is your extraordinary complex characterisation and your ability to evoke reader empathy throughout. As bully boy Callum insists, We're all the same inside, all capable of hurting and healing ourselves and others. Did you set out with this central concept in mind or did themes emerge as you wrote?

I wish I could say I had a central concept from the beginning, but although I definitely wanted to write a fast paced, character-driven novel from the start, I had no idea exactly how it would evolve. During the writing, the characters did quickly become very real and vivid to me – I genuinely felt for them and I’m enormously pleased if that has translated successfully to readers. And to be honest, the characters kind of led me though the whole story themselves (I hope that doesn’t sound too crazy).

“A beautifully written, tightly controlled and intricately constructed novel – extremely rich and evocative.” Nicholas Royle (author of Antwerp)

You use alternating third person limited omniscient narration to allow us to see events from different points of view. It can be a difficult technique to pull off, but you totally nailed it. Which character did you find the easiest to write and which the hardest?

That’s very kind! I found father Philip the most difficult to grasp. In writing from the perspective of a professional, middle-aged man, who is also struggling with particularly male health anxieties (Philip is worried about testicular cancer), I’d set myself quite a challenge. Luckily I had some brilliant male readers who provided enormously helpful feedback, especially early on, when I was still trying to figure Philip out. I always enjoy writing teenage girls (probably because secretly I’ve never really felt like a proper grown-up), so for me, Nicola was probably the easiest character to inhabit.

“Compelling, enthralling, ensnaring ... This writing is fearless, full of heart, is very very good.” Carline Smailes (author of In Search of Adam and Black Boxes)

I'm left wondering about your amazing empathy and how you developed it in real life. Tell me about your background and what influences your writing.

Much of my writing is concerned with secrets – with family secrets, but also with the fears and truths we keep inside, sometimes half hidden from ourselves. I’m generally fascinated by our private inner-worlds, and the different and interesting ways we hold ourselves together (or sometimes don’t manage to). I wonder about other people a lot, about what’s going on inside them. I don’t really know where this comes from - I think I’m probably just very nosy.

As a creative writing tutor, I am always banging on about 'showing' rather than 'telling', leaving space for the reader to make meaning, and 'arriving at the scene late and leaving early'. The Dawning is a masterclass in these techniques. I wondered how much redrafting and editing you did to get this finely crafted result, and how you approached this.

Thank you so much! In a way, setting myself quite strict boundaries in terms of structure helped, not just in terms of the characters different viewpoints, but because I was working within a very restricted timescale too (The Dawning is set over the course of a single night). My characters’ responses and even their memories had to be triggered only by immediate events. Anything extra had to be rigorously cut during the rewriting. There was quite a lot of rewriting!
While figuring out my characters at the very beginning, I also spent quite a lot of time imagining and free-writing different elements of their back-stories. Most of these exercises and sketches never made it anywhere near the actual novel. Nonetheless they were incredibly helpful in shaping the narrative.

You wrote the book for your MA Creative Writing at Manchester Metropolitan University, for which you were awarded a Distinction. Congratulations! How did studying for the MA help you develop your writing? Would you recommend it to others?

I really enjoyed my MA with MMU. The feedback I received from tutors and classmates was enormously valuable - likewise, I learnt a lot from reading others’ work. It was also just great - wonderfully inspiring - to be surrounded by other people who love writing. I’d definitely recommend it.

You recently did your first radio interview to promote the book. Tell me about that.

I was very lucky. My publisher happened to meet our local BBC Nottingham radio host, John Holmes, and gave him a copy of The Dawning. He liked it and invited me on to his Afternoon Show! It was live and I was terrified, but John was very kind, and I think it went well.

When did you first know you wanted to be 'a writer'?

I’m not sure – it was definitely a childhood daydream before it became an adult one. I loved reading. I loved books. By the time I was in junior school, I was relishing writing stories (including the secret life of my cat, the adventures of a superhero rabbit and far too many luridly illustrated horror tales).

How did you get your first 'break' as a writer?

I’d been fortunate to have the odd story short-listed in various competitions when I was younger, but I suppose a real turning point came when my first novel ‘How We Were Lost’ was placed second in the 2006 Yeovil Prize. Not long afterwards, ‘How We Were Lost’ was accepted for publication by Flame Books. I was over the moon – actually, I still am.

What are your future writing plans?

I’ve completed a draft of a third novel, ‘The Lives of Ghosts’, a dark suspense story about memories that refuse to be suppressed. It needs some more editing, but it’s (hopefully) not too far off. There’s further information about this, as well as about my published books on my website www.megantaylor.info.
I’ve also just started a fourth novel, but right now, that one’s still a secret.

Thank you, Megan, and the very best of luck with all your books.

Visit Megan's site here.

Issue 20 of The View From Here on Sale Now

Gorgeous, Eye Catching, Coffee Table Worthy! The View From Here - The Best of the Best in the new and emerging literary scene!

Issue 20 on sale a day early to coincide with the launch of Dan Rhodes new book. Read our  interview with Dan only available in the printed edition. 

Order here  for $5.49 plus P&P for USA & Canada.

and £4.99 inc P&P for UK delivery directly on site here ...

Delivery address:

Interviews with ...
Dan Rhodes
Scriptapalooza
EssentialWriters.com.

Original Fiction by:
Sophie Duffy
Guy Mankowski
Bryan Murphy

Original Poetry by:
Jaime Robles
Franz K. Baskett
Carlos Hiraldo
Paul Handley
Christopher Woods

Guest Writer:
Laura Solomon

Articles:
The Mother of All Jobs by Shanta Everington
A Modern Day Dickens by Jane Turley


Rabbit Writer monthly cartoon from Naomi Gill.

Book Reviews of
A Week in December by Sebastian Faulks
Fighting Ruben Wolfe by Markus Zusak.

We also have exclusive to the printed edition, a 2 page extract from Siobhan Dowd's Solace of the Road due for release in March.

Original art by Fossfor
ISSN 1758-2903

Buy an annual or 6 month subscription today for yourself and save money off the cover price. Just click here!

Interview with EssentialWriters.com

EssentialWriters.com
interview by Mike


Late last year I caught up with the editor of EssentialWriters.com, Judy Darley, and asked her all kinds of questions. Normally she is in the interviewer seat, so it was time to turn the tables ...



Tell me a bit about yourself.

I’m a freelance writer and editor based in Bristol. I divide my time between writing fiction and producing features for magazines and websites. In the past fortnight, commissions have included a feature on Norwegian knitwear and one on pampering at spas, so there’s a lot of variety involved. I specialise in writing about travel, culture and literature, though, and run a website for writers called EssentialWriters.com.

What's your ideal night out/in?

The best night out for me is in a restaurant with friends, preferably in a foreign city.

What is your favourite book?

When I was a child, I loved Alison Uttley’s A Traveller in Time, and then I discovered Harper Lee’s To Kill A Mocking Bird, which was my introduction to ‘grown up’ reading.
I’m currently reading How to Paint a Dead Man by Sarah Hall, and am completely captivated. She has a knack of encapsulating her characters’ thought processes in a series of exquisite sentences.

Can you tell us what EssentialWriters.com is all about?

It’s a website for all kinds of writers, from playwrights to satirical columnists: the aim is to make it as inclusive as possible. I accept submissions from a huge range of writers, which keeps the content lively and the voice varied, giving contributors a chance to showcase their writing and readers a chance to be provoked and entertained.
The website also includes masses of information on writing courses, competitions, jobs and so on to equip visitors to pursue every writing avenue possible.
As my background is in travel writing (I was previously Features Editor on Spanish Homes magazine and have written for Portugal, the Italian and Greece Magazine), I’ve recently starting publishing travel features on locations where writers can go and be inspired.

How did Essential Writers.com start?

One day I was searching for a website that would meet my needs as a working journalist and aspiring author. It turns out that kind of website didn’t exist. The same day I bumped into a former colleague who had gone into business building websites and pairing them up with editors with ideas. He liked my ideas and EssentialWriters.com was born.

What kind of growth has it gone through to get to what it is today?

It’s grown hugely in the past year. The website has only been active since October 2008, and to begin with I was the only person working on it. Now I have writers providing regular reviews and features, but I still do the bulk of the work on it.
I’ve been really charmed by the number of people who have contacted me to let me know how much they enjoy the website and how useful they find it.

Highs and lows during the years?

I’ve found that the recession has made sourcing freelance writing work much more difficult than previously, and then when I do get a commission the challenge becomes fitting in the time to work on the website.
The most exciting moments are when a writer contacts me out of the blue and asks to be involved in some way.

How did you build your reputation?

Through making contacts with likeminded people, being friendly and approachable but very focused. Networking is a big part of it, and, luckily, that’s something I really enjoy.

What's it like working at home? Do you find it distracting or do you feel isolated?

I try to make sure I arrange to go out and meet people most days, so I get at least a couple of hours of human interaction. I find that some days I need more quiet than others, but whenever I get stuck for inspiration or motivation heading out for a short walk or meeting revs me right up again.

Any interesting stories from Essential Writer's dealings with authors or publishers?

Everyone I’ve dealt with has been really lovely, though I did get the feeling that playwright Mark Ravenhill was distracted. I was interviewing him over the phone and I kept hearing sloshing noises throughout our conversation. I think he was either doing the washing up while we were chatting, either that or he was having a bath. I think his mind wandered when the water began to get cold…

Where do you hope to take EssentialWriters.com in the future?

Eventually I would like it to be self-supporting so I can give it my undivided attention rather than trying to squash it in around everything else.

What do you make of the current climate for new writers?

It certainly isn’t an easy time for new writers, or even established writers, but I do believe that if you want it enough and work at it hard enough, you’re in with a chance.

Can you offer any advice to new writers?

Be in it for more than the money. Listen to every piece of advice you’re given and don’t take criticism to heart – it could be the most useful thing you’re ever told.

How would you like to see the publishing industry develop in the future?

I hope there will be more opportunities for new talent.

What is your view on self-publishing?

When I was Features Editor at Spanish Homes Magazine, I reviewed countless self-published books written by lovely people whose friends had told them to give it ago. A lot of the time the stories were great, but needed some drastic editing. It’s a horrible thing to come across a typo in a published book, and I’d like to think that going the traditional route will help prevent that in a way that having your friends and neighbours read it can’t.
That said, I think it depends on what you’ve written and your reasons for writing it. A detailed memoir of your grandfather’s exploits in Burma may not have mass appeal but it would be a priceless legacy to give your children.

You describe yourself as an aspiring author, what are you working on and what have been your experiences in trying to get published?

I’ve been writing novels since I was about 12. Well, I thought they were novels but at that point they were rather convoluted short stories. Over the past few years I’ve completed a novel I really believe in and I’m currently seeking representation.
Late 2008/early 2009 Rogers, Coleridge and White got really interested in the novel and helped me to revise it loads then decided not to take it on after all. I went through a mad maelstrom of emotions, ranging from elation that the book was good enough to be taken seriously and bitter disappointment that I was effectively back at square one, albeit with a drastically improved plot-line.
My main problem, I think, is that the majority of my writing is idea-driven, rather than plot-driven. I need to take control of my characters and make them get involved in what happens rather than letting them drift dreamily from event to event!

Finally you say you like a challenge, what activity would really take you out of your comfort zone?

I love to travel, because it always takes me out of my comfort zone, especially if I’m going somewhere with an unfamiliar language and customs. I always experience a frisson of nerves before I go somewhere new, and I find that really exhilarating. Being a bit scared is a good thing – it stops you getting too complacent!

Thanks Judy good luck with the site.

Thanks, I really enjoyed being at the other end of the questions for once!



To visit EssentialWriters.com click here.

Meet Mark Andrushko

by Stella



During December, I had the opportunity to interview Mark Andrushko, founder and chief executive magician of Scriptapalooza, a unique annual screenwriting competition which not only offers a cash prize of $10,000, it makes sure your script is read by actual industry people, and – wait for it – actually leads to getting your script produced. This is a little bit of a detour from the View's regular content, but as all of you are broadminded individuals interested in things other than pure Literature with a capital "L," and as some of you must be aspiring screenwriters or know someone who is, we give you Mark Andrushko...


Actually, before we get into Scriptapalooza itself, I think everyone would like to know more about you. (Cue the flashback dissolve.) What originally brought you to Hollywood?
About 17 years ago, I moved to Hollywood to get into the acting business and after years of just doing commercials and getting little parts in movies, I was kinda getting sick of the acting world. A lot of my friends were writers and always complained about screenplay competitions, how a lot of them were a joke, or you send in your script and don’t even know who’s reading it. I said to myself, let’s change that and that’s how Scriptapalooza was born.

How did you start Scriptapalooza? And who helped you?
I started Scriptapalooza with two people who were writers at the time. I came from a business side of the project, they came from the writing world, and we came together to start Scriptapalooza. At the busiest time of the year, we have five to six people on the staff. They deal with numbering scripts, answering phone calls, sending emails, clerical duties and making script deliveries to the producers and studios.

Scriptapalooza is an immense undertaking – the product of frustration with the way the industry works and the desire to see new writers get their work picked up by studios. When you first started, did you ever have thoughts like, "Oh god, what have I done?"
I never really felt that way, because I really love Scriptapalooza and what we have accomplished and created. Sure there are times when it’s hectic and just crazy busy, but I enjoy the whole process of seeing new writers getting hired or their scripts being optioned and then eventually their script being made into a movie.

The unique thing about Scriptapalooza is that all the reading is done by over 90 producers. We don’t use readers or “regular people” like other competitions because that’s pointless – they can’t do anything with your script. We go right to the source, to the people that can set up a meeting, option your script, buy it or go right to the studio with it.

This year will be Scriptapalooza's 12th annual competition (may we see a hundred more). When did you feel that you had created something durable?
Honestly, I felt we started something special in the first year. We named the producers and agents who actually read the scripts coming in. We would list the company name, their name and their title, and I think that changed everything. No one else has ever done that sort of thing.

Obviously, you must feel tremendous satisfaction when the winners have their scripts produced, but what is your favorite part of the competition itself?
My favorite part is that writers from all over the world can enter our competition, get their script read by a producer and if they do well in the competition, they can see their writing career begin with Scriptapalooza. We open that door for them which is closed so tight in Hollywood. We are their vehicle to get them there. To see a writer, who perhaps lives in Montana, or somewhere far away from Hollywood, get their opportunity, that’s what this is all about.

The funniest thing is when writers submit their original and only copy of their script, written with a type-writer (with hand-written notes scribbled over it and coffee stains on the pages, all of it!). Then four months later, they expect us to mail back their original script to them. The funny part is we usually did return the script. But this problem has been eliminated because now Scriptapalooza accepts email submissions.

Are there plans for expanding Scriptapalooza? What is your ideal future scenario?
Besides the screenplay competition, we do have a Television Writing Competition and also a Coverage Service. Those keep us busy all year round.

I can appreciate that Scriptapalooza keeps you busy all year round as it is, but let's say we're in a time fifty or a hundred years from now – moon colonies, androids, and so forth – what would you like to see in Scriptapalooza's future?
Ideally, and I think we're close, is that when we announce the winners, all the top 13 writers are represented and their scripts go into production, win several Academy Awards, and the writers thank The Academy and Scriptapalooza.

Now let's talk a little bit about the coverage service you offer. Among the numerous features of Scriptapalooza, you provide professional analysis of screenplays. How does this work? The writer sends you his or her screenplay and then what happens?
We have two types of coverage: regular and development. We break down the script page by page and give back notes on structure, plot, story, characters, dialogue and the first 20 pages. Also, you get a logline, synopsis and script back with notes on it.

Is it a one-time analysis, meaning, the writer receives your comments and that's it, or do you engage in a back-and-forth process?
It is a one-time analysis but usually after we’re done with the script, the writer has so many notes from us that they go right back and start rewriting their script.

So let's say you gave me feedback on a script and I rewrote it. Would I then be able to resubmit it and go through the process again? Then theoretically repeat this until you said, "Okay, great script. Time to shop it around." (For additional payment, obviously.)
Yes, we do have writers that resubmit their script for coverage, but usually we don't have them keep resubmitting the script, because after we go over it two times, the writer is pretty much set with us giving the notes for improvement. At that point, they can take it back to their agent or manager. We don't shop scripts for writers.

Earlier you mentioned Scriptapalooza’s international aspect. Both the competition and the coverage service are available to writers outside the U.S. What's the approximate ratio between domestic and foreign submissions?
I would say about 80% of our submissions come from the US and about 20% come from writers outside the U.S.

Are there any particular trends in writing you've noticed over the past years?
I do think writers are getting better at writing. There are so many classes and books nowadays and it seems as if writers are taking their time and really crafting good material. Every year Scriptapalooza gets more competitive, because we keep getting better writers submitting their scripts.

You feel that writing has improved over the years and yet there seems to be a pervading sentiment that movies are getting worse/more shamelessly formulaic.
Well, as we all know, what is written on paper isn't always reflected on the screen.

What really makes a script stand out (aside from being carefully proofread, I imagine)? Is it story, dialogue, accurate descriptions?
I believe dialogue is without a doubt the most important part of a script. I can tell when reading a script if dialogue between characters flows or breaks and doesn’t feel natural. It’s very difficult to write great dialogue. If you can master that, you will write a great script.

You have a TV screenwriting competition as well. What would you say are the fundamental differences between writing for television and writing for film (aside from length)?
Writing for TV is very different. You have to follow a different format and if you're writing a spec for let's say FlashForward, you need to know the characters and storyline. Of course, if you are writing a pilot, you are creating your own story and characters. Some stories are better suited and easier to make for television. There are a lot of cable options for full length scripts these days. The production costs will be lower but the writing quality is still there.

Finally, I'm curious to know what other names were scrapped. (I agree with Robert McKee on its degree of frivolity.)
A lot of names were considered, like the California Screenplay Competition, but we really wanted a name to stand out and not be forgotten. One day Genevieve, one of my partners, said “Scriptapalooza” and the rest is history.

See here for more details about submissions, rules, and deadlines for the 12th Annual Scriptapalooza.

Special thanks to Mark for the fun interview and everyone on the Scriptaplooza team.

Best of luck to this year's contestants!

Interview with Fiona Robyn

Fiona Robyn
Interview by Kerrie-Anne

I'm trying to decide whether or not I want to carry on living. I'm giving myself three months of this journal to decide. You might think that sounds melodramatic, but I don't think I'm alone in wondering whether it's all worth it.  Thaw by Fiona Robyn

From this moment I was captivated. My first thoughts, "oh what have I gotten myself into" disappeared by the end of page one and by the end of the second I was hooked.

Thaw chronicles the life of Ruth. A thirty-two-year single woman living in London, wondering if it's worth living. From everyday meanderings, to thoughtful contemplations, Thaw is an open, honest and frank account of a woman's struggle with circumstances which can and often do effect each one of us at one time or another throughout our lives.

Far from being depressing, Thaw is a remarkably uplifting story. Written in a diarised style, it allows the reader to watch as Ruth's life takes on its unwitting journey, moving in directions not even Ruth could imagine as she attempts to reconcile with estranged relatives, casual friends. As she develops relationships, she learns not all is what is seems in the perfect lives of those around her.

I came, I saw, I conquered! Aptly describes what should be Ruth's motto in life. A thoroughly enjoyable journey for all.

"I couldn't put this one down. Ruth is so real and tragic she made my heart hurt. Some books stay in your head and heart forever, and this is one of them. Profound."
Sharon on Goodreads

Fiona welcome to The View From Here

About Fiona
As I researched you for this interview I found the same thing, ‘Fiona Robyn is a writer and blogger living in Hampshire with her partner, cats and vegetable patch.’ There is not much more about Fiona the Person. So can you tell us a little about who is Fiona Robyn?

Hmm. Where to start with that question? I could write a list of things-that-I-am – therapist, sister, friend, gardener – or I could tell you what I’m interested in – Buddhism, words, cats, chocolate. But the best way to get to know me is probably to read my novels.

How important is it to keep your Author and person separate?

I do feel that some things are appropriate to write on my blog or in my books, and some things aren’t. In that way I keep some of my ‘person’ secret. But in other ways it would be very difficult to separate us.

As I look around the web I see your writing everywhere Facebook, A Small Stone, Fionarobyn.com, and one of my favourite Planting Words just to name a few. What is it that motivates you too write?

I write to help myself pay attention to the world, to help me engage with the world.

When did you first know you were a writer?

I knew I was a reader before I knew I was a writer. I used to copy quotes into a notebook, and I loved the power of stories. I started writing poetry when I was in my early twenties, and then nothing could stop me.

How important is research when writing?

My personal view is that the authenticity of the characters, the shape of the story and the quality of the writing are more important than the research, but it’s important not to make any glaring errors which would distract the educated reader. I like broad research (e.g. finding out more about gardeners) but I’m not very good with detail. I find it a bit boring.

About Thaw

This novel is captivating. How did you come across Ruth?

Thank you. Ruth was the first character to appear in my head – I wrote Thaw before the other novels. She just turned up one day and asked me to write her story.

So much of Ruth's story touched me. I took away the sense that bad things happen to good people, that we all have ghosts but it's how we deal with them that matters. That to me was something truly inspiring. It brought you in to Ruth and her circle. It also gives the reader closeness to her. How did you approach writing Ruth’s character with such honesty?

I’m glad you thought so. I think different people might have different ‘readings’ of the book, but we’ll see. Ruth is fictional, but I believe that we all have the capacity to be anything/anyone, and I hope I’ve tapped into those parts of my personality that KNOW what it’s like to be her.

The emotional roller coaster Ruth takes us on gives the reader plenty to think about.
Where did you look for inspiration and insight into her?

I read a lot about suicide and self-harm, but mostly I looked inside myself. I don’t have personal experience of these issues, but I can imagine how someone might get to a place where they would seem like valid options.

Writing as a diarised novel must have its mountains to climb. How different was it to write as opposed to a straight through story?

I’m a pretty intuitive writer, so I just sat down and wrote a first draft without trying to think about the structure, characterisation etc. It’s only when I do later drafts that I start to fiddle about with the structure and polish up the sentences.

What was the biggest change in Ruth’s life with the greatest effect on her attitude?

I would say that Red, her portrait painter, is the crucial element to her transformation, but the reader will have to decide!

My favourite character next to Ruth would have to have been Julie. Which was the hardest to write and where do you look for them?

That’s surprising! All my characters appear from the ether…

What do you hope readers of Thaw take away from it?

I hope my readers will understand what it is like to be Ruth, and that it will help them to ask themselves questions about their own lives.

How have you found the reaction to Thaw since its recent release?

The paperback isn’t out until February 2010, so not many people have read it yet. The people who have read it seem to say it affects them deeply, which is a wonderful thing for a writer to hear.

About Writing

How do you approach writing?

I see writing as a ‘way of being’ – it’s about documenting the world, and making sense of it and myself.

What is the most important attribute for a writer/author to have?

Perseverance is essential if you want to have a career and be published, but the only requirement to be a writer is a love of words.

What advice can you give anyone embarking on a career as an author?

Don’t give up. Get lots of support. And try to enjoy the process. If you’re meant to be a writer, the stories will nag at you until you write them down.

Thanks Fiona.



If you enjoyed reading Thaw as much as I did, why not participate in Blogsplash.

I'd like as many people as possible to hear about the opportunity to read Thaw for free. I'm asking bloggers to participate in a Blogsplash on the 1st of March 2010. They'll publish the first page of Ruth's diary on their blogs, with a link on the bottom to my blog so people can continue reading.

The Ghost Poetry Project: an interview with Nathan Curnow - Part Two

by Paul

Read Part One of this interview here.

The Ghost Poetry Project is something of a rarity among poetry anthologies: it's a page-turner.  Not only is its premise intriguing (ten nights spent in ten haunted locations to explore the nature of "fear, courage, and the power of mystery and myth"), but, with each section introduced by a brief description of that particular location's history and reputation, the reader feels compelled to follow the journey... alert, breath held, eyes peeled.  And the richness of the writing leads us on.  We track each phrase, each image, through a startling broadness of range - of voice, style and vision - and frequently discover an incisive sharpness of focus that is haunting in its own right and which brings each stage of the adventure vividly to life.

From the prosaic Preparation:

My wife buys three stones for their spiritual powers, says they need
to be touching my skin.  She wants me to practice holding them as
if it's easy to get that wrong.  And all the sachets in the hotel room
I am meant to swipe for her collection.  She just loves the trim of
their packaging.  It's not stealing if they expect to replace them.

to the deftly juxtaposed Slater Bug  and Colour of Asphyxiation ("he has got to understand for the good/of himself, how much love she has to give") - so evocative that I almost found myself curling up on the floor in a tight ball and gasping for breath.  From the picturesque Postcard from Richmond Bridge ("A boy with a net, his pants cuffed high, stirs/the silt of the riverbed.  With each careful step/bright scimitars clash, a crusade of light on stone.") to the humorous Portrait of a Headless Man Wearing a Straw Boater Hat.

What was the most interesting, intriguing or scary experience you had when staying at the ten haunted sites?

It was midnight and I was standing on the 
staircase of what many consider to be South Australia’s most haunted building, a cell-block inside Old Adelaide Gaol.  I had been taken on a one-on-one five hour tour and was dead-bored and tired when my guide said: Did you hear that?  It was faint at first but enough to interrupt his stories, a tapping noise at the top-left hand side of the stairs.

The sound grew louder until it was like a cane being struck on a ballroom floor, like a rack of billiard balls breaking open.  Access to the second level was blocked by an iron, padlocked gate, and based upon what I knew of the gaol, which is run by volunteers, the chances of a prankster hiding up there was so remote it was ridiculous.  But it kept on, over and over, echoing through the entire wing.

We returned twice more and within a minute of our arrival the sound started up again. 

There are frequent sightings, day and night, of a figure at the top left-hand side of the stairs but with numerous executions and suicides having occurred in the building, it’s impossible to know who it might be.

Oh and then there was the ghost train of Picton Tunnel.  But that’s another story… 

Can you describe how you approach writing – specifically the poems that comprise The Ghost Poetry Project?  Do you start with a phrase, an impression, an observation?

The project put me under intense creative pressure, which means I now have a much better understanding of how I work.  To be honest, I wasn’t sure I could pull the project off.  I had never written so hard before, and as a result I learnt how to find poems in a very short, intense amount of time.

Arriving at each site I would scavenge for information.  I talked to anyone/everyone, listening to what they were and weren’t saying.  I took photos and brochures and remained as alert as possible to the environment I occupied.  This meant that when I arrived back home I would have enough stories, along with my own experiences, to go to for inspiration.

So yes, a phrase, an impression, an observation… these were all catalysts.  And poems often spring from juxtapositions or symbolic moments, like the story of the ‘prisoner’ at Fremantle Lunatic Asylum who desperately threw a love letter weight by a stone over the wall to a woman he’d seen on the other side.  But always there is the hard slog of working a poem into what it’s trying to be.  You write a word, you cross it out, you try another.

It’s notoriously difficult to get poetry published – especially an anthology – so perhaps you could say something about this side of things.

Poetry in Australia has been largely abandoned by the major publishers because there is this entrenched belief that poetry doesn’t/won’t sell.  And I’m not naïve, but I do think that this ‘given’ should be challenged on a regular basis.  If there are low expectations for a book then it won’t be supported with publicity, which means it won’t sell and then we’re back again to low expectations.  It’s a wicked trap, but I think that some books of poetry can be circuit breakers if given half a chance.

That’s where small presses like Puncher and Wattmann come in.  Based in Sydney, and despite limited resources, it has been punching above its weight for years.  It has vision and takes the kind of risks that the major publishers (who can afford to) should be taking.

"This book must have the strangest ever provenance of any collection of poetry in Australia.  Only a vampire or a Nathan Curnow could have done this... These poems come drenched with the bloody and violent  deaths central to the history of European occupation in this country.  But they are not ghoulish or sensational.  They are the real thing, both 'transparent and completely solid'."

- Kevin Brophy

Now that The Ghost Poetry Project is published and available in booksellers, what next? 

Thanks again to the Australia Council I am currently working on a new play based upon the convict stories I collected during The Ghost Poetry Project.  In particular the dog chain at Eaglehawk Neck in Tasmania.
The dog chain was a line of savage dogs that stretched across a narrow strip of land between the brutal prison of Port Arthur and the settlement of Hobart.  Any convict that escaped had to confront the dogs sooner or later and figure out a way to cross without being mauled to death.  Only three convicts ever made it across.

 
What’s your vision for yourself as a poet, playwright and performer?  What would you like to accomplish in, say, the next ten years?

I guess the plan first and foremost is to keep writing somehow.  It’s a roller-coaster of a life, and not only do you have to ride it but you have to lay the track at the same time.  A little more security would be good, but that’s often in short supply for poets and playwrights.  As long as I keep learning how to balance it all so that in another ten years I can say:  I’m still here, writing hard, interpreting the world the only way I know how, through language.

Thank you, Nathan, and all the very best for you and The Ghost Poetry Project.

_____________________________
 

The Ghost Poetry Project by Nathan Curnow
(Puncher & Wattmann, 2009)
ISBN 978-1-92145018-1

Interview with Kate Thompson

Kate Thompson
interview by Kerrie Anne


I often will praise a book, admire an author's talent and find myself immersed in a tale one way or another. Rarely do I find myself lost in a fictitious world such as the one found in Kate's latest book, The White Horse Trick. It is hard to know where to begin. Is it a fairy tale? Well yes. An eye opening story as to the possible future given the effects of climate change? Most definitely, but the White Horse Trick is more than either of these two descriptions. It is to my mind a journey encompassing both. Kate takes the reader through vivid landscapes ravaged by the effects of climate change, wild storms, years of drought, rising oceans, soil erosion. She then leads you through the land of the Fairies, a kind of Utopia. Bright colours and calmness surround you as you read.
The contrast could not be anymore striking.
A merger of Mythology and possible fact. I rarely find myself in such a place inspired and confronted, bewildered and yet with a sense of purpose. This is such a book.
It is difficult as you read to dismiss the story as a fictitious world for Pup, Jenny and humanity on a whole as mere supposition, yet many will. The world Kate describes is one full of clarity, you can almost feel the sun on your skin, hear the wind howling and the rain torrenting down. The strength of the story's message is balanced perfectly with the personalities of each character from the greedy warlord, his brother, the people whose world is crumpling around them to the apparent carefree nature of the fairies.
Kate's passion throughout the book is evident. Her love of the characters and drive to tell, educate and inspire others carries you along a path of waiting, of wanting the world to be saved, of needing to know someone can fix the mess we have made.
A wonderful merger of one possible future and that of myth and legend. One which I would hope every person who loves a great book and has a conscience will pick up, read and share.
The White Horse Trick should be on every school reading list, every young adult and adult for that matter.

Kate's other novels can be found here Kate Thompson.info - Official Website Of Children's Fiction Author Kate Thompson

About Kate


You have said you fell in love with India. What was it that captivated you about the country?

A vibrancy and immediacy about every-day life. Returning from India was like stepping out of a coloured world and into a black-and-white one.

Each novel I pick has its base in one or more controversial topics:Genetic Engineering, Extraterrestrial Life, Alchemy and Climate Change. How influential was your families interest and involvement in areas such as the anti-nuclear movement as you were growing up?

I suppose it’s impossible to be sure about exactly how much any given set of circumstances has influenced anyone. But it seems very likely that growing up in a politically and socially aware household has left its mark.

What inspired you to write your first novel Switchers?

I had published a book of poetry and was working on a novel for adults, when I met an Australian writer, Isobelle Carmody, who writes mainly for young adults. We hit it off and became good friends, and I read one of her books and enjoyed it. I had never considered writing for children before that, but it made me realise how well the medium suited my wild imagination. Switchers was born very soon afterwards.

Throughout your writing your passion for the given subject is obvious as well as refreshing. What is it that drives you to be so passionate about topics such as Global Warming?

I can’t say, exactly. But once I’m interested in a subject I have to turn it inside out, examine it, ingest it, then make something out of it. Where global warming is concerned, what surprises me is how few people are really genuinely concerned about it. Or perhaps they are, but feel dis empowered. Most developed countries have stagnant politics, entirely governed by an impossible concept, which is constant growth. It doesn’t take much brain power to see that the planet can’t support this as a fundamental principle, but where we are going to find a sensible alternative politics is not clear. The status quo is very powerful.

In Ireland, the second hurricane set in. It was closely followed by third, but by then there was hardly anyone left alive to see it. Between the storms the scorching sun beat down. It melted the last of the Greenland ice and the seas rose even higher, inundating coastal areas all around the world. In South Africa and Indonesia, horrendous droughts finally put an end to the last of the rain forests, and lightning strikes set them ablaze. The smoke from them shrouded half the planet.

You said in your recent article Writers Block for The View from Here, ‘The White Horse Trick is my nineteenth book in twelve years, and I am suddenly empty. Burned out. I am all out of fascination, all out of righteous indignation about political and social problems, all out of drive and fixations. I am, for once in my life, devoid of passion.’ Is this a shift in your perception of the world around us or reprioritizing of  life, the universe and everything in between?

I don’t know. Passions and obsessions can’t be turned on and off at will. I see it as something that is just happening, and over which I don’t have much control. Maybe it’s just my age.

What is it about Irish Folk Music which captures the imagination so readily?

Read The New Policeman and find out!

About The White Horse Trick


I love your use of Irish Folklore and mythology within the story. So many people have grown up with stories of the Puca, Aengus and the land of Tir na n'Og. How did you research Fairies, The Dagda stories and characters?

Most of the research was done long ago. I didn’t consider it research at the time – I just loved reading the old myths and legends. Lady Gregory’s collections were very influential, as was James Stevens. When I came to write the New Policeman, I revisited some of the stories, to reacquaint myself with them, and enjoyed them just as much second time round.

The weather patterns had changed. Ireland had always had a wet and windy climate, but over the past few decades the storms had increased in frequency and severity, and now, throughout the whole region, the soil was being washed away; swept into streams and rivers and carried out to sea.

Your descriptions of the quick time and effects of Climate Change through Ireland sent shivers down my spine. It causes you to think and take stock of the things which are important and how each of us has contributed to these changes. What do you hope readers will take away when they finish reading?

It was a bit of a juggling act. The book is essentially for children, so my intention wasn’t to either blame them or terrify them. But I would hope that a lot of the content will provoke thought, not only about the possible consequences, but about our way of life and our addiction to acquisition.

As I read The White Horse Trick it was very easy to visualise the scenes faced by the people surviving. Aidan’s Fort, the Terraces, the inundated landscape of Kinvara and Ireland as Aengus flies overhead. How did you discover such places and where did you find the inspiration for them?

I’ve lived in this area for fifteen years now and have spent a lot of time tramping around in the Burren. The place where Aidan’s castle is situated is near here, and I’m often up there. I have probably made a few subtle alterations to the landscape to fit the story, but essentially it’s all on my doorstep.


Do you feel Climate Change the greatest challenge facing us?

In short, yes. If I were to take a bit longer, I might go into detail about the erroneous belief that many of us have; that owning more things and better things and bigger things is going to make us happy. And about the disconnect with the natural world that is possibly the cause of our unhappiness. And about the manipulative practices of money-lenders and multinational companies which drive us out to the shopping centres to fill their pockets, while they wreak havoc with the environment and create political instability across the globe.

Tir na n’Og tended to have a narcotic effect on everyone who entered it. The peace and the sunshine and the absence of time relaxed people and took away their anxieties, and a lot of their memories as well.

My favourite characters would have to be Pup and Jenny. Pup for his strength of character and perseverance. Jenny for her patience. Did you model their personalities on any person in particular?

No. All my characters are entirely fictitious, with the exception of Ann Korff, whose presence in the series is explained at the beginning of The New Policeman.

Spoiler Alert

Throughout the story the plight of the human race is evident. How hard was it to write given the current debates and lack of action?

Given the lack of action, it was quite easy to write. I did a lot of reading during my residence in Bristol, and some of the forecasts are truly terrifying. The problem is that no one really knows exactly what will happen, but a lot of scientists are predicting that most prior estimates of the rate of change are far too conservative. So I felt I had license to create a world, not too far into the future, where very radical changes has already happened.

And then, as it had done countless times throughout its long, long history, the Earth began to warm up again. The Puca watched patiently for the first signs of life. It began with tiny organisms that had hibernated deep beneath the sea’s icy crust. In the warming waters, they started to multiply, mutate and evolve. Once the basic building work had been done, the Puca came into his element. Seaweed was thrown up on to the beaches and mutated into rudimentary land plants. With a bit of help from the Goat God, these became grasses and legumes, then shrubs and trees, and they marched inland as the ice receded and established themselves into forests and tundras, covering every landmass with a thick fur of vegetation.

As the White Horse Tricks ends parallels can be drawn as Creationism merges with Evolution encompassing the Biblical story of Adam and Eve. What made you decide to take this road rather than one which was devoid of any religious connotations?

The link with creationism is pretty tenuous. I doubt many creationists would endorse or celebrate the ending of The White Horse Trick. Throughout the series I’ve played with the idea of a parallel, timeless world, and I love the way in which so much of human mythology, whatever its source, could theoretically tie in with the concept.

Were you tempted to have Aidan face another fate than the one which befalls him?

No. I can’t think of a worse one.


About writing

How do you approach writing a novel?

I let it gestate for a long time before I begin writing. Then I write a first draft all in one go, longhand, from beginning to end. Flat out. If I have time I let that rest for a few months before returning to type it up, revising as I go.


What would you say is the best and worst aspects of being a published author?

The best aspects are being your own boss and creating your own work schedule. The process itself can be pretty brilliant as well – the high of creative energy. The worst aspects are loneliness, post-book blues, and lack of job security.

Any advice for budding authors and where should they start?

Be original. Write what you want to write and not what you think publishers might want to publish. Youthful budding authors should start by getting a life. The more experience a person has and the more thinking they do about their experience, the more they will have to offer in terms of their writing. Go out and live, have adventures, explore things and ideas no one has explored before, then come back and tell us all about them. Older authors, provided they have done all that, just need to sit down and get on with it. Ideas and intentions are worthless without hard graft.

How important is it to have something to say when telling a story?

For me it’s pretty important. I can’t speak for anyone else, but when I’m reading I like to be stimulated as well as entertained.

Whilst you’re taking a break from writing and a little well earned R&R. Where to from here for Kate Thompson?

Who knows? I don’t…