Tag Archives: My Writing Process

My Writing Process Tetyana Denford

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I remember when my mother called me, because the weather had been mild and the air smelled of the coming Spring. It was 2015, and we were living in the UK, so the 5 hour time difference meant that it was already late in New York when I heard her voice on the phone. Her tone was tender, and not a little bit numb and distant, and I would soon understand why: a family secret.

I had grown up in a relatively standard Ukrainian family: I was raised within the language, the traditions, and as I was an only child, my parents would make sure Ukrainian was the world that I knew and flourished within. We lived with my maternal grandmother, Yulia, and whilst her stories of wartime Ukraine were harrowing, nothing was ever out of the ordinary.

And then, we all learned something about her past that seemed more like a movie script than anything we’d ever imagined in real life. For me, my status as an only child, and a writer, meant that it was up to me to write the story down, for the family, for myself, and for my children to know our family story in detail. But could I do it justice? The impostor syndrome was very real, as most writers can attest to on their best days.

The first thing that I learned about writing a book is that the first few drafts are always the story, not the ‘book’; chronological, sometimes painful, but always the purest form. Once I started researching Ukraine, World War II, passenger lists on post-war ships heading to Australia, and New York in the 1960s… the book started coming to life. I’ll admit it felt like it took a solid two years to finish the first few drafts because at the time, my three children were all under eight years old, and my husband was travelling for work constantly, so I had very little time to write apart from very early in the morning or very late at night. It wasn’t easy, but I knew in my bones that this story was an important one to memorialize, because if I didn’t, it would disappear with the passage of time, like so many other family stories.

My grandmother was still alive and still had a semblance of memories stitching her life together in her mind whilst I was writing this, so old photographs and conversations were priceless for me to be able to place myself in her mindset when she was living through all of these painful periods in her life, and what fascinates me now, looking back, is that the current newsreel detailing the war in Ukraine runs in stark parallel to what she and generations of her family had lived through and fought against in the early 1900s and all through the second world war. And we are reminded now that history has a long pattern of repeating itself, because no one seems to remember how hard people fought for their sovereignty.

And now, now I feel proud of knowing that as a younger generation Ukrainian, I have written a story, a whole book, of what people are discovering about Ukraine and its people: their pride, their loyalty to the country that made them, their generosity in standing up for any people who are marginalized and forgotten, their fierce love for their family and friends, and their stubborn refusal to ever back down in their music, their art, their willingness to hope.

I am not an anomaly: there are so many Ukrainian writers and authors and translators who are now taking up the fight and using their voices as a war effort, when they are living all across the world worrying about their friends and their families in danger. We are the future, our stories begin with emotional phone calls, our writings are stitched together with anger and hope, and our platforms are flooded with calls to action from not only Ukrainians but anyone who chooses to stand on the right side of humanity and amplify the stories that make us who we are.

Our words are the weapons we choose to affect the hearts and minds of the entire world, not just to support Ukraine but to remember that all of our family stories are the threads that bind us and remind us to wish for a better future. 

Author Bio

Tetyana Denford grew up in a small town in New York, and is a Ukrainian-American author, translator, and freelance writer. She grew up with her Ukrainian heritage at the forefront of her childhood, and it led to her being fascinated with how storytellers in various cultures passed down their lives to future generations; life stories are where we learn about ourselves, each other, and are the things that matter most, in a world where things move so quickly.

Her debut novel, Motherland was self-published in March 2020 to critical success and longlisted for The Readers Digest Self Published Book Awards. It was based on an incredible family secret that was revealed by her maternal grandmother, Julia, only recently, and has been described by people as ‘haunting’, ‘powerful and devastating’, and ‘a fragile and hopeful story of an immigrant family’. In March 2022, Tetyana signed a 2-book deal with Bookcouture, an imprint of Hachette, and Motherland will be re-released in July 2022 with a new title and cover.

She also works with Frontline News as a translator, has been featured in The New York Times, The Telegraph, The Flock Magazine and Mother Tongue Magazine, and speaks several languages. She also hosts a YouTube show called ‘The Craft and Business of Books’ that helps writers understand both the creative side and the business side of the book world. Her series of ‘conversation books’, collections of poetry and prose about Grief, Motherhood, and Love, were published in 2021.

Tetyana currently lives in New York with her husband and three children.

About the Book

Ukraine, 1940. She cups her daughter’s face with her trembling hands, imprinting it on her mind. ‘I love you. Be brave, ’she whispers through her tears, her heart breaking into a thousand pieces. Sending her child away is the only way to keep her safe. But will she ever see her again?

When war rips their country apart, Julia is sent away by her tearful parents in the dead of night, clutching her mother’s necklace and longing for one last embrace. But soon she is captured by Nazi soldiers and forced into a German labour camp, where behind a tall fence topped with cruel barbed wire, she has never felt more alone.

Just as she begins to give up on all hope, Julia meets Henry, a young man from her village who shares her heart full of dreams. And when she feels a fluttering in her belly that grows and grows, she longs to escape the camp and begin a new life with their child. But then Julia is forced to make a terrible choice. A choice no mother should have to make.

New York, 2011. With her heart shattered and her life changed forever by the shadows of war, as the years go by Julia thinks she will never be whole again. For decades she has been carrying a terrible secret with her, her every moment tainted by tragedy and loss since those dark days of the war.

But when she receives a phone call in the middle of the night, far away from the home and family she lost in the war, will Julia finally be reunited with the missing piece of her heart? Or is it too late for her wounds to heal?

Based on the incredible true story of the author’s grandparents, The Child of Ukraine is a breathtakingly powerful tale of love, loss and family secrets, perfect for fans of The Four Winds, The Last Green Valley, and The Nightingale.

 
This novel was previously published under the name Motherland.

My Writing Process Lexie Elliott

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What you have written, past and present
I’ve written three stand-alone psychological thrillers, and my fourth will be coming out in February of 2023. My first novel, The French Girl, was published in 2018, followed by The Missing Years in 2019. How To Kill Your Best Friend was published in North America last year, and will be out in paperback in the UK in July.

What you are promoting now
How To Kill Your Best Friend. It’s a psychological thriller, told through the eyes of Georgie and Bronwyn, who have been best friends with Lissa since they all met on their college swimming team—but somehow, despite her swimming prowess, Lissa has drowned off the coast of the remote island resort she was managing with her husband. Brought together on the island for Lissa’s memorial, Georgie, Bron, Lissa’s grieving husband and their mutual friends find themselves questioning the circumstances around Lissa’s death—and each other…

A bit about your process of writing
I used to write solely outside of my home (because otherwise I would find myself distracted by cleaning or laundry or really just about anything) but the pandemic lockdowns taught me to write at home; now I find I write there more than half the time. I don’t necessarily write every day, but I write most days (including weekends); I usually exercise first thing and then sit down to work after that. I stop either when my youngest son comes home from school or when I’ve simply run out of steam.

I find I write very slowly at the beginning of a new project – sometimes only 500 words in a day— because I’m having to make structural decisions at the same time; at that stage, it’s very useful to have a daily target to aim for to try to maintain momentum. By comparison, the words seem to leap out at the end of a project: I can write 10,000 or more in a week, and daily targets become unnecessary. I always seem to suffer an enormous crisis of confidence at around the 20,000 word mark, which by now is probably very boring for my lovely agent Marcy, who has to talk me down from it every time! I start each writing session by reviewing and editing what I wrote last time, before cracking on with the next section; consequently, my first draft is very clean, without many typos or grammatical errors. My first reader is always Marcy, who gives incredibly insightful editorial notes, and after that, the manuscript will go to my publishing editor.

Do you plan or just write?
I plan; I produce a four-to-five page outline before I start writing. Partly this is because my publisher requires it of me, but I would do it anyway: I’ve learnt that it is far, far easier to make progress when you have some well-thought out guidelines to keep you heading in the right direction. Which is not to say that everything is set in stone before I start writing—far from it. Many elements of the finished novel can and do deviate from that outline, but I tend to find that the beginning and end of the finished product match quite closely with what I had originally intended—it’s just that the middle might take a different route!

What about word count?
The aim is around 100,000 to 110,000 words in the genre of psychological thrillers. It’s not something I worry about particularly—I’ve always come out roughly in that ballpark in the first draft, and anyway, that can be finessed in the second draft if need be.

How do you do your structure?
I know some authors follow a rigid plan with a three-act structure or a save-the-cat beat sheet or something similar, but I’m not one of them. The outline I mentioned before will of course have a particular structure in mind, and those early chapters are crucial for putting in place the scaffolding that will provide the framework for the entire novel, but once I’m past that point, I’m generally more concerned with getting the pacing right.

What do you find hard about writing?
It’s very solitary. You have to persevere on a daily basis without any colleagues to encourage you or reassure you that you’re on the right track. I really notice the difference now that I’m writing fulltime; until last year, I was also juggling a part-time job in fund management, which gave me plenty of professional social interaction for at least three days a week. But now, given that I’m in London but my agent and primary publisher are in the US, if I were to throw an office party it would basically involve me dressing up to drink a glass of wine in a room by myself…

I also find the social media requirements that are part of being a writer in this modern age quite difficult. I’m not a natural self-promoter—I’d really rather just get on with writing!

What do you love about writing?
A lot, actually. On a practical note, it’s an incredibly flexible profession—you can genuinely do it anywhere, and, looking to the future, nobody is going to force you out of the workplace when you reach 65! I also love the interaction with readers. It’s a real privilege that anyone would choose to spend their money and time on my novels, and I’m always incredibly touched when readers reach out to tell me they’ve enjoyed them. I received some particularly poignant correspondence during the pandemic from readers who were struggling and found some escape in my books: a lovely reminder of the power of books to connect people and allow them to experience a temporary sanctuary.

But the main thing I love is the writing itself. To me, language is a delightful sort of magic, and the fact that a story can be taken from one’s head and transported to the page with words is nothing short of alchemy. Every once in a while I get a sentence just right, and it feels like I haven’t so much written it as stumbled across words that were just waiting to be uncovered—that’s a very special feeling.

Tim Sullivan My Writing Process

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tim sullivan the patientI’ve always written. I wrote and directed my first short film at university and the writing followed on from there. I began writing screenplays with some success, starting in the late eighties with an adaptation of Evelyn Waugh’s A Handful of Dust starring Kristen Scott-Thomas, James Wilby, Judi Dench and Alec Guinness. This was followed by an adaptation of EM Forster’s Where Angels Fear to Tread starring Helen Mirren, Helena Bonham-Carter and Judy Davis. I then wrote and directed Jack and Sarah with Richard E Grant, Samantha Mathis, Ian McKellen, Judi Dench and Eileen Atkins. This led to a screenwriting career in America where I worked with many producers including Ron Howard, Scott Rudin and Jeffrey Katzenberg. I spent a year writing the screenplay for Shrek 4 before the studio decided to go in a different direction with the movie. My last two produced movies were Letters to Juliet starring Amanda Seyfried and Vanessa Redgrave and last year My Little Pony – A new generation. I’ve always wanted to write novels, specifically crime and finally found the time. My series centres upon DS George Cross a socially awkward and sometimes difficult but brilliant detective. He is based in Bristol and has the best conviction rate in the force. His third outing The Patient is released by Head of Zeus on March 3rd.

tim sullivan the patient

What is your writing process?

I’m a morning writer. I find I get my best work done then. Ideas seem fresher and I have the energy to get going. I tend to re-read and edit in the afternoons.

Do you plan or just write?

With screenplays I definitely plan. You have to. But with crime novels I start knowing who has died and who’s done it, but I have no idea how to get there. This can make things complicated and it’s easy to lose faith when you’re not sure which way to go. But I think it means that George Cross, the audience and I are all discovering things at the same time. I think this gives the narrative a more convincing and interesting path.

What about word count?

This varies enormously. I write everything long hand in fountain pen before it gets anywhere near a computer. So, a minimum of 500 words and a maximum of around 2500.

What do you find hard about writing?

The beginning of a book is hard. Until I’ve reached 20,000 words I’m not really sure whether it’s going to be a book at all. I enjoy it a lot more after that. I find it hard not to write long meandering sentences but thankfully I have an eagle-eyed editor who keeps me on the straight and narrow or should I say within the margins.

What do you love about writing?

I used to find the solitary nature of it hard but now it’s possibly what I love about it the most

I love creating characters and relationships. Writing things that move me or make me laugh. 

It’s amazing how many times as a writer you can surprise yourself.

Advice for other writers.

Find the confidence to do it and sit down and write. Write for yourself before you write for anyone else. Sketch down ideas and scenes. Write clutches of dialogue as they come into your head. Don’t sit down and try and write a complete project. Play around a little.

And enjoy it. Everyone writes better when they enjoy what they’re doing.

www.timsullivan.uk

Instagram @timsullivannovellist

Twitter      @timjrsullivan

Facebook   @timjrsullivan

Tim Sullivan is the author of The Patient published by Head of Zeus 3rd March, £18.99

My Writing Process Ray Star

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Ray Star, author, writer, how I write, my writing processWhat you have written, past and present

I wrote my first story when I was ten, scribbled untidily onto folded green paper, unevenly stapled together with crayon illustrations on every other page. My teacher had tasked our class with writing a story to include three things: a waiting room, a light switch and a wish. I opted to write a tale of a young girl who found herself in a magic waiting room that gave those worthy a wish, if fate called upon them to use the light switch. I received my first A+ and have wanted to be an author ever since.

After my school years, I dabbled in freelance journalism, covering ‘real life’ stories for tabloids and the women’s weekly’s in my twenties but found this mind numbingly painful. To the point, it put me off writing for a while. I ended up starting my own PR firm and then, life got in the way, as it so often does, and my dream of one day becoming a successful author was lost to the 9 to 5 routine and all that falls in between.

It wasn’t until quite recently in 2018 that the idea for a story found me, and it wouldn’t let me be. It would find me just before I fell asleep at night, an array of nameless faces that needed their stories to be read, heard and understood. The title came to me when I was at lunch with my mother one afternoon, and a year later, my first draft copy of Earthlings – The Beginning was ready.

  • What you are promoting now

My debut novel Earthlings – The Beginning, is book one of a YA Fantasy trilogy with a message to the narrative, and launches on August 12th, this year.

Earthlings is the story of a young girl named Peridot, raised with the realities of her world hidden from her by an overbearing mother. One day, a young boy Euan unexpectedly comes into her life only for him to leave as quickly as he came, from that moment onwards, her world is never the same. Peridot leaves the clutches of her mother’s home in the hopes of finding her friend, only to discover all she believed to be true, to be something else entirely. 

We follow her journey into a world filled with magick (yes magick with a ‘K’), wonders and horrors that Peridot couldn’t have fathomed in her wildest dreams – or nightmares. For every step she manages to get closer to her friend, something new and unknown gets in her way. There are many twists and turns in the Earthlings tale but ultimately Peridot’s story is one of finding friendship against all odds and trying to do the right thing – no matter the consequence.

www.raystarbooks.com

  • A bit about your process of writing

I’m going to be completely honest with you – I have no process! I wrote most of Earthlings when I was pregnant with my first born, which was utter bliss. Just me and my bump and a fresh pot of tea, writing away by an open window with the breeze fluttering past to keep us company.

The remainder of Earthlings was written with a new-born, which never in my wildest dreams could I have fathomed would be as hard as it was, but I did it, and then, just to make things that little bit harder for myself, another bump came along. Bump number one is now aged two, and his brother, is eight months.

Writing time now, is done in the rare moments of quiet, which admittedly, are far and few, but when they find me, the story flows and I find ‘the zone’ as I call it, quite easily. Writing is the one thing in this world, other than my boys and a good strong cuppa coupled with dark chocolate digestives, that brings me peace.

  • Do you plan or just write?

Planning to write when you have children, is like planning to have an early night when you have children. It does not happen. It works in my favour to not make plans, and then by not making plans, enables the possibility of that plan taking place… if you follow!

  • What about word count?

For a story to be the best it can be, I have to allow it to flow naturally. If I force myself to write a set number of words, they become in danger of becoming precisely that – just words. I used to set the target of writing 200 words a day but by doing that, I did the opposite. Word counts seem to be counterproductive for my style of writing and I prefer to enjoy the story as I write it, whether its 50 words or 500. The story will write itself if you give it time.

  • How do you do your structure?

Alike the above, I had no set structure for Earthlings, I sat down and wrote the story as it came to me when I was in the moment. Although, Earthlings is book one of a trilogy and with book two, there are specific moments that needed to happen, so I made a point of having a list of key events that I ticked off as they were complete. 

Editing wise; I tend to write a chapter or two, read through and do a light edit, then keep writing. This way, when I come to edit properly when my first draft is complete, most of the leg work is done and the editing process isn’t as daunting.  

  • What do you find hard about writing?

The environmental cost of books plays on my mind a lot. Whilst I’m over the moon to finally be an author, it bothers me that my work comes at the cost of trees. Beautiful beings that have lived on this planet longer than I have are sacrificed for the literature we know and love. This bothers me more than I can put into words. 

My publisher, Chronos Publishing, thankfully, is very supportive of my concerns and has ensured that Earthlings, where possible, is to be printed on recycled paper. However, we were unable to get this secured with one distributor (Amazon) so I have recently launched the #ReadGreen campaign to hopefully encourage Amazon to offer sustainable printing options to the publishing industry.

You can support the Read Green campaign with a simple signature via www.change.org/read_green/ 

I have also pledged to plant 1 tree per book sale via Ecologi to combat any Amazon sales of my book, the Earthlings forest is available to view via my website.

  • What do you love about writing?

Everything. Writing to me, is as wonderous as magick. It is the ability to make your wildest dreams a reality. The ability to breathe life into beings, places and creatures that we dismiss as unbelievable. Pure escapism. If you’re a good enough writer. Anything is believable. If it harm none, so mote it be.

Love and light

Ray Star

@RayStarBooks

www.raystarbooks.com

Earthlings by Ray Star is out now by Chronos Publishing, £8.99

Anna Kent My Writing Process

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Anna Kent, author, writer, What you have written, past and present?

I was a journalist before I became an author, so I’ve written an awful lot of articles for publications in the UK and the UAE, and I was also a columnist for The Telegraph for six years and for Stylist Arabia for a year.

In terms of fiction, I have four psychological suspense novels out under my own name, Annabel Kantaria. They are Coming Home, The Disappearance, The One That Got Away and I Know You.

My fifth novel, called The House of Whispers under the pen name of Anna Kent, is due to be published on August 5.

I’m currently writing my sixth novel. It’s yet to get a title but I’m really excited about the premise!

What you are promoting now?

I’m promoting The House of Whispers by Anna Kent.

Tell us a bit about your process of writing?

I try to treat writing as I would an office job, so I have a strict routine: I put in about three or four solid hours in the morning, then I try to go to the gym or do an exercise class before lunch, then I fit in another hour or so of writing before it’s time to pick up my son from school. 

If I can, I’ll work again in the afternoon but it’s not always possible. I never work at night and I try not to work at the weekend, too.

In terms of the writing process, every book begins with the seed of an idea: sometimes it’s the ending, sometimes the twist, or, in the case of the book I’m currently working on, it was the inciting incident – the event that kicks off the whole story. I try and flesh this out, sketching out how the character will change throughout the story, and working out a plot that will carry that internal change and also allow room for a few duplicitous scenes, red herrings and twists.

I try to use a system where I write scenes on index cards and move them about but, generally, once I’ve got a foggy idea of the story in my head, I just want to start writing. It’s a mistake to start too soon, though, as I invariably then get stuck about 20,000 words in because I haven’t planned enough.

There’s always a point, about halfway or three quarters of the way into a manuscript that I lose faith and start to doubt myself. Writing is a solitary process and it can be a challenge to keep up both the momentum and the self-belief. You just have to push on through and trust the process. Having a good support network of friends and family really helps.

How do you do structure your books?

They’re all different. Most of them have multiple viewpoints because I love seeing events through different people’s eyes. 

In The House of Whispers, interviews with one of the characters are interlaced throughout the narrative, only you don’t know who is interviewing the person, nor why – you just know that something major has happened. The Disappearance started half-way through then tracked back, and it also had two timelines set about 50 years apart. I Know You was told with the benefit of hindsight, which allowed me to do a lot of foreshadowing to keep up the suspense, and The One That Got Away had alternate chapters from the points of view of a husband and wife. 

I do love a clever structure, but they can be very tricky to pull off.

What do you find hard about writing?

The hardest thing for me is trying to come up with that million-dollar best-selling idea: the high-concept story that becomes the most talked-about book of the year!

I also hate it when I get stuck in my plot. It happens at some point in every book, and I’m antsy and stressed until I get through that block and start writing properly again.

Other than that, just trying to be creative, day in, day out, with little or no feedback on how I’m doing, and no colleagues to bounce ideas off. Keeping faith in myself that I can do it. Not knowing if my book is any good or not until I submit it to my agent when it’s finished. That’s tough. 

What do you love about writing?

I love the creative freedom at the start of a new book, when the world really is your oyster. It’s like playing God. You have the power to create a whole world, and to populate it with whomever you like, and to make whatever you want happen to those people. There’s nothing like starting a fresh story. Even better if you know it’s a really fabulous idea! 

Days when the words flow and the story just comes flying out through my fingers are also fabulous. There’s no feeling like it.

 

Susannah Wise: My Writing Process

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  • Susannah Wise: My Writing Process
      What you have written, past and present

 Like so many authors, I have always written stories, poems, and the beginnings of ‘novels’ that remained forever unfinished. As a young child these were complete with messy felt-tip illustrations and growing up, pieces of my work would appear in the school magazine each term. I’m still not sure of their merit, but Mum always thought they were great, and she obviously wasn’t biased. 

    In my late teens, I found myself in a long relationship with a playwright and screenwriter, and encouraged by him, began a regular writing practice between acting jobs: short stories, plays, more poetry than I can recall; always poetry – I have an engraved Moleskine at home full of these personal noodlings. When I die, I dread to think of my family going through them. 

     In my thirties, frustrated with the quality of scripts I was reading (I am also an actor), I began to write screenplays and comedy pilots of my own. These would garner modest amounts of interest from the powers that be at television channels, but never reached fruition and they are now consigned to my ‘oh well’ drawer.

    In truth, it was only shock, when my father was given a terminal cancer diagnosis back in 2015, that propelled me into writing seriously. I think it made me reassess what my life and what I was waiting for. I tentatively started the novel that was to become This Fragile Earth, and discovered I loved everything about the daily practice of writing: the space and time long-form prose gave me in my head, the agency I had over my characters and the world-building. I haven’t stopped writing since.

     What are you promoting now?

    This Fragile Earth is my debut, and the hardback is out on 24th June of this year. It’s a post-apocalyptic survival story about a mother, Signy, and her six-year-old son, Jed, who following a tragic event, are forced to flee near-future London and travel to the Midlands to seek out the protagonist’s mother. When they get there, however, things are far worse than they could ever have imagined. The book is a grounded science fiction thriller, with at its centre, the beating heart between the two main characters.

If you’re a fan of John Wyndham, or perhaps Emily St Mandel’s Station Eleven, this is the book for you.

Susannah Wise: My Writing Process, my fragile earth

A bit about your process of writing, how do you do your structure, and do you plan or just write?

 I find it very hard to talk about ‘process’ when discussing art of any kind. I know some people are good at it, I’m not. I’ve written three books and for each one the process has been different. With This Fragile Earth the plot came to me quickly over the course of one night. With only a few small tweaks, I set about writing it directly from the ideas bubbling in my head. I already had a decent grounding in some of the themes in the book, although I made up almost all the ‘science’ myself. I even dreamt one of the main coding theories in there! In the course of completing it though, I did more research, attending lectures and reading books on the subject and so on. 

    My second novel, out next year, is a dark comedy about grief. When I set out writing it, I had no idea what it would be about, barring the bare bones. I had no plot, only two characters and not a clue what the ending would be. I took part in the Faber Academy novel-writing course over six months in 2018 and completed an entire first draft. I really loved the ‘pants-ing’ rather than ‘planning’ nature of this book, though it did mean rather a lot of editing once finished, of course!

    My third novel is set around some dodgy goings-on in a small village in Cumbria. Before I began, I had a plot, all the characters, and a location, and wrote out each point at the start. I did research on some elements in the book (I can’t say what they are here without giving the game away!), but the setting is a place very familiar to me, so that helped a lot. A few plot points have moved within the process of writing it, but basically, I am sticking to my initial ideas. I began during lockdown in April last year and am still going strong: I was hoping the first draft would be about 75K words, but I think it will be closer to 100K. Its completion has been hampered by home-schooling, preparing This Fragile Earth for publication, editing my second book, and the fact my partner has been away for seven months for work since January. It’s been slow-going, but I’m hoping the book is no worse for it. 

    I tend to write in the morning for two hours if I can, either at 9.30 straight after dropping my son at school, or after a walk or some sort of exercise, around 11. I find it very hard to write in the afternoon for some reason but will force myself to if I’ve been unable to complete my daily words beforehand. I’m also an actor, and auditioning and learning lines, as well as acting work itself, eats into a vast amount of writing time. Saying that, there is a lot of hanging around when one is filming, so I always take my laptop with me and use the time to catch up on my word count. It’s a brilliant and unexpected bonus and has made me far less resentful about all the ‘wasted’ hours actors endure.

Most of the time I am not filming and will write at the kitchen table (without music) or kneeling on the rug in our living room, using the coffee table as a desk. I get terrible dead feet after I stand up and will often hobble around comically for half an hour trying to eradicate the pins and needles. I have a special foam support for my wrists too, as I tend to get RSI after a long period of typing. My eyes do go a bit squiffy after a long session of intense focus. Basically, I’m falling to pieces.

What about word count?

    I tend to set myself a very achievable 500 words per day (five days a week) when I’m drafting. This will take me around an hour to an hour and a half. Then another hour perhaps of reviewing the previous day’s words. I prefer to set a low bar as I find I work better if I’m hitting my target than setting unrealistic goals, then spending the rest of the day beating myself up for my failures. This helps me stay motivated, which is important when undertaking such a vast piece of work. 

    When I’m editing a completed draft, I can easily spend three or four hours at my desk and hardly even notice where the time has gone. Even more if I have line edits back from my publisher. I once spent ten hours working on notes from my agent. I would strongly advise against this. 

What do you find hard about writing?

Ha. Well, this is a tricky one to answer, because without meaning to sound like a plonker, I really feel – for me at least – that writing is the best job in the world. I guess if I had to say a couple of things, one would be the loneliness (though ironically, this is also one of the things I love about writing). It can be a little isolating spending all day with only the people in your head for company, before going out for a walk alone. Sometimes 24 hours can pass and the only person I will have spoken to is my 11- year-old son. Love him as I do, he’s not a great dinner table conversationalist. 

The other thing I find difficult is the mental responsibility. By this I mean that like the expression ‘this book isn’t going to write itself’, the completion of any book is entirely in the hands of the author. The manuscript sits like a patient pet waiting for attention, but if there happen to be other things going on in life, it requires huge amounts of discipline and mental energy to carve out time to honour this. Some days the words fly out, some they are like sticks in a muddy dam. It’s important to know when to just close the computer and get one with something else

What do you love about writing?

What’s not to love?! I love that no one else is there making me write, it is entirely my own work, that ‘being left alone’ feeling. I love that it allows time for introspection. I gain a great sense of inner peace from its practice. On top of this, having a whole world in the palm of one’s hand is just the greatest feeling. There is huge satisfaction in putting words in order so that they have rhythm and cadence, just like music. The joy when one reads back a passage and thinks ‘hmm, that isn’t half bad,’ is like nothing else. 

More than this though, is the vast pride and sense of achievement from completing a novel, especially when one gets to see it type-set, or in its proof form, or better still the actual finished version. It is an object created outside oneself, to be held in the hands of others, taking them to new places, and will it live on long after the author is dead and gone. I still can’t quite get my head around this concept. 

This Fragile Earth by Susannah Wise is out now in hardback by Gollancz.

 

My Writing Process Ellen Alpsten

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Ellen Alpsten author photo 4 (c) Andreas StirnbergWriting ‘Her-story’ –

Tell us about what you have written?
When hearing about the heroines of my novels ‘Tsarina’ and ‘The Tsarina’s Daughter’, people’s eyes pop: ‘How did you find them?’ No wonder – both belong to the family of which its own Nikita Romanov said in 1669: ‘Our men are meek as maidens, and our women wild as wolverines.’ Both books are the first ever published novels about either lady. ‘Tsarina’ Catherine I. rose from illiterate serf to first reigning Empress of Russia, while the country morphed from backward nation to modern superpower. ‘The Tsarina’s Daughter’, Elizabeth, the only surviving of Peter the Great’s fifteen children, lived the opposite of her mother: she fell from unimaginable riches to rags, before triumphantly rising from rags to Romanov.

What you are promoting now?
‘The Tsarina’s Daughter’ – the second book in a planned quartet – is published in July 2021. It was a privilege to write. Elizabeth emerges from the strict historical setting of the Petrine era – the construction of St. Petersburg, old semi-Asian Muscovy fighting the new half-European Russia – as a very modern woman. At her parents’ death, friends turned foe. Barely out of her teens, she was impoverished and isolated; even loving her was a crime that warranted capital punishment. Yet even when her path proved to be stony, Elizabeth would not surrender. She decides to take what is hers – Russia’s throne – even if it comes at a terrible price.

Tell us a bit about your process of writing.
As a student, I worked as an assistant for the Parisian bestselling author Benoite Groult. Every evening I did my own writing in my little studio, 12 sqm in the 7th arrondissement: a million words before I ever got published. Nowadays, there is no writer’s block. The Muse has to present herself at 9.30 and she better bring coffee. Working on a PC is a blessing – I am in awe when seeing Dostoevsky’s handwritten manuscripts. To finish a novel is a challenge, yet the first draft is a drop in the ocean. Editing is schizophrenic, knowing the manuscript by heart yet reading it afresh countless times. Doing our best is a duty. Readers offer us their most valuable – their time, an ever-diminishing resource.

How do you structure a book?
Mme Groult’s advice for starting and structuring a novel was invaluable: ‘The first stanza is the novel en miniature.’ Which moment sums up the story’s conflict? A life’s ups and downs so not reel the reader in. Choose characters with care – who are they, why are they there, and how do they drive the story forward?

What do you find hard about writing?
Being a writer can be a Janus-faced existence. Lonely and introspective, at publication time the cruellest of lights may be shed on your innermost thoughts and feelings. The path to success is littered with rejection – in a former life, I was either a duck or a teflon-coated pan. Getting published traditionally is artistically the hardest challenge. A painting is judged in a second, a song listened to in three minutes. But convincing someone to read your 650-page tome?

What do you love about writing?

By writing, I am living my dream: making other people dream. The freedom we live, and the alternate worlds we create, are worth any moment of self-doubt. If you doubt, you work harder. Enjoy the trip, as the goals are forever shifting – and as utterly unattainable as the most elusive of lovers.

The paperback of Tsarina is published on the 24th June and the hardback of The Tsarina’s Daughter is out on 8th July,

My Writing Process Joe Thomas

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psycho, joe thomasWhat you have written, past and present

I am the author of a quartet of standalone but connected novels set in São Paulo, where I lived for ten years – Paradise City, Gringa, Playboy, and Brazilian Psycho. I have also published Bent, a historical crime novel set in Soho in the 1960’s and behind the lines in Italy during the Second World War, based on the life of war hero and notorious detective Harold ‘Tanky’ Challenor, who was in the SAS with my grandfather.

What you are promoting now

My latest novel, Brazilian Psycho, is an occult history of the city of São Paulo from 2003 – 2019, told through the lens of real-life crimes. It reveals the dark heart at the centre of the Brazilian social-democrat resurgence and the fragility and corruption of the B.R.I.C economic miracle; it documents the rise and fall of the left-wing – and the rise of the populist right.

The novel features the chaos and score-settling of the PCC drug gang rebellion over Mothers’ Day weekend, 2006; the murder of a British school headmaster and the consequent cover-up; a copycat serial killer; the secret international funding of nationwide anti-government protests; the bribes, kickbacks and shakedowns of the Mensalão and Lava Jato political corruption scandals.

psycho, joe thomas

A bit about your process of writing

I am a crime novelist interested in fiction based on fact, inspired by true stories of structural inequality. My fiction addresses the discourses of power and the specificity of crime, why something happened precisely where it did, and is an attempt to illuminate the reasons why. 

I tend to plan my novels loosely and read a good deal before beginning the writing. Once I have a defined structure, then I write in earnest. At this point, I will research, plan, and write at the same time. What this means is that I write one section of a novel and read around the section that follows. I find that this keeps everything fresh! 

In terms of structure, I tend to think in units of time, so do I want each chapter or section to cover a day, a week, six months, etc. As so much of what I write is based on reality, these units of time are often defined for me; I simply follow what happened and when! I find this both an anchor and liberating, too, in terms of having that tightly defined framework to exploit fictionally.

I want to be thought of as a writer pushing the form and writing political, meaningful, literary crime fiction. My goal is to build a body of work and I am very lucky to have the opportunity to do just that.

What about word count?

I have a very irritating habit: whenever I stop writing, or even pause for a moment, the word count has to end in either zero or five. I will tinker with sentences for this to be the case! In some ways it helps with editing; in others it is likely counter-productive!

What do you find hard about writing?

Having to overcome my own irritating habits! I used to think that I had to write first thing in the morning to produce anything of quality; since having a son – who is now twenty-months old – I am learning to use any part of the day I can. This is not always easy!

What do you love about writing?

I love that the days when I do it feel better than the days when I don’t.

Brazilian Psycho by Joe Thomas is out now in hardback by Arcadia.