When did you begin writing and how did you realize you wanted to be a writer?
I started reading at the age of two, and fell in love with stories, but I can’t remember when I first began to write on my own. I do remember being seven, sitting at the kitchen table writing Chapter One of something, while my mother did the dishes. That was the year that I read Little Women, and connected instantly with Jo. I thought it would be wonderful to be a writer, just like her.
After that, I was always writing something – stories, poetry, song lyrics – but I never thought that it was something I could make my living doing. Writers were people who lived in New York and dressed in black and were angst-ridden, and I was none of those things. So I went into museum work instead, which I absolutely loved. But then I finished my first novel and that feeling was like nothing else. I realized then that writing was the thing that I was meant to do, the thing that made me happiest.
How did you go about getting your first book published?
When I finished my first book, a short mystery-romance called Undertow, I was very naive about publishing. I sent the book out and it came back, rejected, and I threw it into a drawer for a year. But then I read Phyllis A. Whitney’s wonderful Guide to Fiction Writing, which reminded me that ‘luck can’t happen to manuscripts left in drawers’, so I took her advice and learned all that I could about the business of publishing – studying the markets and the editors, to find the companies that might be interested in publishing my style of writing. Four years and a lot of stamps later, the book finally sold to a small New York firm.
I’ve always found it funny that, after all those years of wanting to be just like Jo in Little Women, my first book sold for the same advance that Jo was paid for her first book....over a hundred years earlier.
What is your writing schedule like?
It changes. In the beginning, because I had another job – first as a museum curator, then when that became too difficult to juggle with my writing time, a waitress – I wrote at night. That was the only time available to me, and besides, I liked the peace and quiet, and my subconscious seemed somehow more active at night.
Then, when I had children, my writing time became their nap time – early afternoon, because by nighttime I was too exhausted to do much real writing. Now that they’re a little older, I’m more fluid in my schedule – sometimes morning, sometimes afternoon, and even sometimes back to those late nights I used to love the best. When I get near the end of a book though, I write at all hours, whenever I can, because the story by that point is coming much faster and I’m so wrapped up in it then I don’t like coming out of it.
How do you go about your research?
As a former museum curator, getting the facts right is very important to me. I always travel to my settings, which are usually small towns and villages, places where the people take me in and love to help me. I need to know what flowers grow along the coastline, and how the ground feels underneath my feet, and how the air smells when I breathe it. And I come home with hundreds of photographs, to help me hold those memories.
But the research doesn’t stop with setting. For The Winter Sea, for example, I had to learn the history of the Stewart kings, the Jacobite movement, and the period of Union between England and Scotland – a turbulent time – which meant trying to track down old first-hand accounts to get close to the truth of what actually happened. On top of that, I had to study the various theories of memory and how the brain stores it and what role genetics might play in the process. And then I had to read up on the navy of Queen Anne, and naval warfare, and the movements of the ships along the coast. And Scottish fashion of the period – the types of wigs that people wore, their manners and the food they ate, and since the story takes place north of Aberdeen, I had to learn a little of the Doric language still used in that area.
The research and the writing form a symbiotic process – what I research drives my writing, and what I write determines what I need to research. It’s a process that begins when a story first starts to take shape, and continues right through to the end.
So how do your stories start to take shape? Where do you get your ideas?
There’s no simple answer to that – every story is different. Mariana began with a scene from the book that just came to me, out of thin air. I saw it like a movie in my mind, and I just wrote it down – the dialogue and all. And when I read what I had written I could tell it was a woman of the present day, but speaking of an incident that happened in the distant past, so then I knew the book would have to feature time travel. I wasn’t keen to tackle that, but the characters just wouldn’t go away, and so at last I had to try.
On the other hand, The Winter Sea had its beginnings almost twenty years ago, when I was browsing in a bookstore and by chance (or serendipity) picked up a book by historian John S. Gibson about the Franco-Jacobite invasion of 1708. Titled Playing the Scottish Card, the book began with a quote from Lord Dacre that said: ‘History is not merely what happened: it is what happened in the context of what might have happened.’
That line caught my fancy, and I bought the book. And when I finally got around to reading it years later, I was captured by the true-life tale of treachery and intrigue, and my own imagination started spinning scenes and characters from that.
Blogger/Reviewer Kelli Catana asks: In The Firebird you told the present day story of Nicola and Rob along with the past story of Anna Moray… Will we see any of these characters in future books and if so, how do you decide whose story is unfinished?
I’ve learned, with my characters, to never say never, because the truth is that once they’ve come to life on the page for me they tend to stay alive within my mind, and one or two have wandered from one book into another, in the past. But usually, once a character’s main issues have been dealt with, once the problem that first set the plot in motion has been solved, the book is done, the story finished, and the character falls “silent” for me. They’re anything but silent while I’m writing—my writing process is very visual and I actually “see” the story playing out like a film, so the characters are moving and talking all the time, so when I reach the story’s end I know the moment that it happens, because all that stops. The characters stop talking, and they’re happy and I’m satisfied, and I go on to something else. Once in awhile, though, that doesn’t happen—a character keeps moving, murmuring, just at the back of my mind. That’s what happened with Colonel Graeme, one of the historical characters from my book The Winter Sea, and because of him I knew I wasn’t finished with that aspect of the story, that I’d have to write The Firebird, to tell what happened next. And sometimes, too, a character will turn up in another book because they’re a good fit to play a part. I once needed a vicar, for example, in my novel Every Secret Thing, and realized I’d already created a great vicar in my book Mariana, so I just used him, and he did the job perfectly. Rob himself, from The Firebird, began life as a young boy in The Shadowy Horses, and if you’d asked me then whether he’d ever appear in a future book, I’d probably have told you ‘no’. It wasn’t till a reader wrote to ask me whether Rob would ever have his own book that I started “seeing” grown-up Rob, and how he’d make the perfect hero for The Firebird. So although I don’t think, now, that he and Nicola will turn up in a future book, I can’t be sure. I can say that Anna will make a brief cameo in the next book, which I’m currently writing.
You can read the entire interview at www.kellidaisy.com.
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