Q: When did you first start writing fiction?
In 1995 we moved back to Weybridge from Aberdeen and a friend invited me to accompany her to a creative writing class. She needed a decoy as another attendee had taken a notion of her and whenever she read aloud, he began to smack his lips together and his dentures came loose as he salivated. It was very disconcerting. Sadly (for her) he was not at all distracted by me so I began to pay attention to the task set by the tutor and from that my first novel was born.
Also, it was around this time that I realised that I would never go back to live in Ireland again. My husband is English and my boys loved Weybridge so that would be home and I would always have this little part of me that didn’t fit. Writing novels set in Ireland gave me the opportunity to spend time in the Ireland of my childhood, an Ireland which was rapidly disappearing.
Q: Do you think the Irish have a natural talent for lyricism?
Yes, I do. I think it comes from having a very oral tradition and dates from a time when , thanks to the Penal Laws, the native Irish were not allowed to be literate. They coped with this by establishing a tradition of ‘Seanachai’, travelling storytellers who became custodians of the culture. Poetry and song also preserved the tales and its customary for children to have a ‘party piece’ – a poem or a song with which to impress the granny (mine was ‘the Mother’ by Padraig Pearse – very sad – particularly as I now have sons!). Another contributory factor is the Irish language itself which has a much smaller vocabulary than English so you have to find a way to say what you mean by weaving images. It’s like a richly textured cloth – the beauty is in the weaving.
Q: What are you working on at the moment?
I’m about to write the final chapter of a story I’ve been working on for two years. Initially I tried to set it in the UK and make it contemporary but it simply didn’t work. My agent said it was like reading two different stories at the same time – very disconcerting – and she was right. I felt as if I was trying to speak in a different accent and that made everything sound fake. Eventually, I put that version aside and began again. It’s called ‘A Grand Illusion’ and is a redemption story although Marianne is less re-deemed than being deemed worthy (of love) in the first place. It’s quite dark.
Q: How do you approach the writing of a new novel? What research is involved and do you struggle to decide on the plot?
It starts with a single event. In the case of ‘A Grand Illusion’ it was seeing an elderly lady comb the candle tray in our church with gnarled, arthritic fingers and scoop out the stubs. The reverence with which she held the butt ends of other people’s prayers struck me and I knew there was story there. Later on (six years) a young woman walked into the Thames and didn’t walk out. In my head, the two were connected and the story was born.
I’m very character driven so I need to know who the characters are. That takes time and involves writing a lot of scenes to see what they do. It means that I am a hopeless plotter – characters ambush me and take the story off in directions I hadn’t anticipated. ‘Toppling Miss April’ was supposed to be a comic murder story but Bernadette Teegan hi-jacked the first chapter and I couldn’t get rid of her – thankfully. She was far more outrageous than I had anticipated.
I research online, on the phone and by asking hundreds of questions of unsuspecting passersby. For ‘Toppling Miss April I even had to spend time in the lingerie department of Beales, checking out ‘chicken fillets’ till the assistant asked me what I thought I was doing. She didn’t look convinced when I said, ‘research.’
A lot of time is spent ‘in character’ acting out the emotions. I’m a very visual writer and I don’t write it down till I can ‘see’ it happening.
Q: Do you struggle sometimes to find ideas? If so, what do you do to get past that point?
No to the first; yes, to the second. There are plenty of ideas – the struggle is to see who they fit together – like the old lady with her candle butts and the young woman walking into the river. To get past that I write, and write. Even if the scenes are improbable and the writing is awful you have to clear the block and keep going (I learned that from Linda Gillard!).
Q: As a professional writer how do you set about planning your time? How much time do you spend writing? What other related tasks apart from the actual writing do you have to do?
As soon as I have the house to myself I sit at the computer. Working at home it’s hard not to be waylaid. Also, I like people and I like company and its tough spending hours alone with folk who exist only in my head. If everyone’s out I can write for eight hours but the following day may edit/delete great swathes/most of it. I guess the most ‘related’ task is letting the story develop in your head. It never leaves you even in sleep – it’s like an obsession and you have to go with it.
I belong to a writers’ group who have very different styles so the criticism is invaluable for keeping me on track (I don’t always take the advice, though – sometimes you have to believe in your own instinct).
Q: What inspires you?
People and what they are capable of doing; words woven beautifully – I read a lot. Also, I give talks and run creative writing workshops. Other people’s passion and enthusiasm is very infectious.
Q: Do you find it difficult to buckle down and get writing or do the words flow easily as soon as you get going?
Sometimes it’s great. I can see what’s happening and it’s a race to get it all down (I’m a terrible typist); other days the words drag and I don’t’ seem to have a sufficiently varied vocabulary to say the things I need to say. It’s very frustrating but I think most writers have days like that. The trick is not to give up.
Q: Who would you like to include in an Oscars list of those who have been your help and support to get to where you are?
My family – especially my husband who doesn’t read fiction (not even mine) but has patiently supported this other world; my publishers (Nikki Read and Giles Lewis of Transita in Oxford) who put me on their lists and published the first three books; the wonderful Barbara Large MBE, of Winchester University who is an inspiration to writers everywhere ( she got me involved with her annual Writers’ Conference, doing talks and workshops and I love every second of it); and a host of fellow writers who gave opinions, advice and support – Meg Gardiner, Linda Gillard, Susie Vereker, the American Women of Surrey Writers group.... so many people to thank. I’d just have to accept the Oscar graciously, weep glamorously and say, ‘Thank you – you know who you are!’
Q: Do you envy any other published writers?
No – but I have massive admiration for many. I’ve just read Sebastian Barry’s ‘Secret Scripture’ and I would love to be able to write with such lyricism. I admire Meg Gardiner’s prolific professionalism – her absolute dedication to her craft; Debbie Holt’s ability to write lively Rom Com ( and get such great reviews!); Marilynne Robinson’s perfect portrayal of emotion; Linda Gillard’s bravery and raw passion; Patrick Gale’s clear prose and sensitive handling of his characters; Marian Keyes’ ability to deal with heartbreaking situations with such great humour...
Admiration but no, never envy.
Q: Do you find inspiration in those around you or do you go farther afield for your ideas?
Those around me and people I observe in passing. I do a lot of talks and people come up afterwards and tell the most intimate, revealing stories – and with great humour. They often add, ‘You can put that in a book, if you like!’
Thanks, I might.
Q: Do you think enough attention is paid in education to the craft of creative writing?
No – given the constraints of exams’ expectation and the need to standardise in order to judge, there isn’t time. I have offered to do free workshops in my local college and they would love to - if they can find the time....
Pity. Thirty years later those people would love to write but they think they aren’t capable because they ‘weren’t good a t English at school.’ How do you convince them that it’s a different issue? It’s to do with confidence and they’ve lost it.
Q: Do you think that the ability to write stories is within all of us? Do you think that by learning the tools of the trade anyone can become a better writer and finally maybe get published?
No. I think we all have stories and they can be crafted in different ways. Some people are destined to be storytellers and they need to know what tools to use; some people are poets and they need other tools and some are lyricists, songwriters. Artists.... You have to know what your story is and then you need to learn how best to tell it. I met a woman in Winchester who had been coming to the conference for years and each year was rejected by agents because they didn’t like her stories. Her writing was rich with imagery and colour but heavy to read in great tracts. She slumped in front of me and said, ‘Another bloody agent says I’m not a novelist!’ And then it dawned on me. ‘He’s right,’ I said, ‘you aren’t - you’re a poet.’ She looked shocked then began to laugh. She was trying to string single perfect images, beautifully crafted, into narratives where they didn’t want to, to need to go. The trick is to find your voice.
Q: What do you think makes a good writer?
Passion for what he’s writing, knowledge about what he’s writing and awareness of how that is conveyed to the reader. Also, respect for the reader – you can’t short-change with shabby presentation or trite co-incidences in order to fit a plot. Also, a lack of arrogance. You may have written the book but once you put it on a shelf with a price on it – it belongs to the reader. And dedication to your craft - writing a book is hard work and it takes time. Don’t skimp on either.
Q: How would you encourage other writers?
If you have a story to tell you CAN find a way to tell it. Get all the help you can and don’t be afraid to get it wrong. I don’t think there is any such thing as a perfect first draft and some days ‘delete’ is the only button you need. When that happens, don’t despair. You haven’t failed – you have a demanding work in progress. Ask for help and sift through all the advice till you find the bits that fit. Remember, until it’s published it’s all yours – you’re the boss. Enjoy!
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Our thanks to Adrienne for her participation in this article.
If you wouldlike to attend one of Adrienne's workshops check our courses to see when she will be doing her next one.
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