Sarah’s debut novel, The Art of Baking Blind, about the hunt to find a new Mrs Eaden – domestic goddess of the 1960s – explores why we bake. Here, she talks about her inspiration for the book and how other women writers have impacted her style.
Where do you find inspiration for your books?
The germ for the Art of Baking Blind came in the aftermath of the Great British Bake Off in 2011. The winner, an Essex housewife filmed making cricket teas for her sons, had a husband who was in prison for his part in a £60m money-laundering racket. I started thinking about the disparity between appearance and reality; about how everyone has a “back story” and how the darkest secrets may haunt the most apparently unassuming lives – something I knew from my old job as a news reporter for 13 years on Fleet St. At the same time, I was doing a lot of baking with my children, then six and nearly four. I wondered why I – and many other women I knew – invested it with so much emotion: I wasn’t just making a cake; I was nurturing my family. So, the inspiration came from a news report; a cultural phenomenon and some self analysis. It took a while before I summoned up the nerve to try and write about it though!
Book two is inspired by a certain place – an area of north Cornwall – and the emotions that it provokes in me. I’ve also dreamed the plot of a future book – again inspired by a news story that resonated with my own experience at university. Features in colour supplements, such as “What I’m really thinking” and “Experience” in the Guardian weekend, or “Relative Values” in the ST magazine, are good sources of ideas but most of them come from just being inquisitive about what shapes people’s lives.
Can you tell us a little about your average writing day?
Both children are now at primary school so, after walking them to school, I try to work from 9.15 to 3, except on Tuesdays when I have a long day. In the immediate run-up to publication, I’ve been spending far too much time on social media, but usually I try to get a solid four to five hours of writing done, with a couple of swims a week thrown in to counteract sitting at a desk. Closer to deadline, I can see this won’t be maintained; the night before I submitted to publishers, I was filing changes up until midnight. At the moment, I’m also catching up with emails and social media in the evenings.
When you are writing, do you use any famous people or people you know as inspiration?
Famous people, not at all; people I know, I really hope not. In fact I’m paranoid people will see themselves in it and have consciously tried to ensure I’ve never written about anyone I know. Nora Ephron famously said: “Everything is copy” but everything is only potentially copy: you have a choice and a responsibility not to use details and incidents involving your family and friends. Having said that, there are elements of me in some of the characters, as is inevitable with any first novel, I guess.
What is your favourite Women’s Fiction book of all time and why?
I don’t think I can narrow it down to anyone book. When I was nine, my mum gave me Jane Eyre, and I can remember that having a huge effect because Mrs Rochester was so vivid she terrified me. When I was ten, I won a writing prize and she made me buy a set of Jane Austen: I was about 13 before I read them and remember being bowled over by the satire; her use of free indirect speech (though I didn’t know it was called this at the time); and her confidence in creating sometimes-unattractive heroines: Emma, for instance, or Catherine in Northanger Abbey.
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