Because of our STARTING OVER contest today, I thought it might be a nice idea to put up our interview with the author today too!
Enjoy!
- Can you tell us a little about your average writing day?
I have quite a long day. I’m generally at my machine by around 07.45 and I begin with emails, reading newsletters etc. My professional life is divided into creative writing tutor/writer and I divide most days in the same way. The mornings are devoted to students and critiques – since I took on the Writers’ Forum fiction competitions my mornings have been extremely busy.
At lunchtime I often attend a class – yoga, piano or pilates. Or I go for a walk. Sometimes I just work right through.
The afternoons are for writing. I try not to let the time leach away but it’s inevitable that there will be business emails and promo to do. It’s all very important but it sometimes seems as if writing time is hardest to find. Maybe it’s just because that’s the hardest job. The teaching takes less concentration. I generally finish around six.
I do a little work some evenings and weekends, too, especially if I have a manuscript to appraise or another comp to judge.
- When you are writing, do you use any celebrities or people you know as inspiration?
Yes, to an extent. Ratty in Starting Over came to me as I was watching an amazing Kevin Kline as the Pirate King in The Pirates of Penzance. If you’re not into the works of Gilbert and Sullivan you probably think I’m nuts – but just watch a few clips and you’ll see the Pirate King’s mixture of insouciance and passion. And he’s always the leader of his gang.
Not that Ratty carries a sword or anything.
Tess is entirely from my imagination but I have a very strong image of her. Some characters come to me one way, some another.
Justin in All That Mullarkey is a pastiche of several people. Bryan Brown, actor, Carl Fogarty, motor cycle racer, and Fabrice Santoro, tennis player. This is only a visual reference - I created the person that went inside the skin. Cleo, in All That Mullarkey, is a woman I saw in a magazine article. It was one of those features where they took people and looked at what they hated about themselves and then dressed them to minimise the despised bits. But this woman – Cleo – pretty much said that she didn’t mind having eyes that turned down at the corners instead of up, or being too busty and hippy for her height. They dressed her in a straight black dress to try and minimise the effect of the curves and she said she preferred her usual style, thanks very much. I thought, ‘I like her!’
- What is your favourite Women’s Fiction book of all time and why?
Wow. That’s a bit like asking what is my favourite type of chocolate.
OK, if I absolutely have to go for one, it’s Welcome to Temptation by Jennifer Cruisie. The relationship between hero and heroine sizzles from the moment they stand on the same porch.
- What is your writing process? Do you plan first of dive in? How many drafts do you do?
I used to hate planning – it reminded me of school, when everything had to be planned and analysed until there wasn’t a spark of life left in it. But as I developed as a writer I began to find that I could see the big picture if I planned, so had less of a tendency to ramble or wander into blind alleys. I learnt to look for the central thrust of the story and write with focus.
I usually begin with the central characters and scribble, longhand about them, learning how they affect each other, how each sees the other, how others see them, what there is in their history to affect their personalities and interest the reader. I give them employment and begin to research that – it’s surprising what effect a job can have on a plot – and I also research any big issues they have in their lives. If I’m writing romantic fiction I work on the hero and heroine together, to check our that their relationship is going to sizzle rather than fizzle. And I work out what is going to keep them apart for most of the book – otherwise they might get together in Chapter 1. You get very short, very dull books, like that.
I amass a kind of compost heap of information and I begin to think in terms of big plot points, thinking around these, utilising logic. Logic has a big part to play in fiction writing and if you remember that you tend to produce a plausible book.
I generally know the end of my book, what I’m writing to, as well. If it’s romantic, it has a built-in element of hero and heroine getting together in some way, at some level. This provides a lot of reader satisfaction.
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