Episode Transcript
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(00:00):
hello and welcome to Ray of Light, a new podcast all about reading, writing, and happiness with myself, Eleanor Ray.
I write books that are about finding light in dark times and the strength in vulnerability.
It's uplifting book club fiction.
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This episode, I'm delighted to welcome Heather Critchlow, the author of The Bloody Scotland Debut and the McIlvanney Prize Shortlisted Cal Lovett crime series, and the author of the brilliant new dystopian novel, the Tomorrow Project.
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Heather, thank you so much for being with us today.
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Hi.
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Thank you for having me.
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It's really exciting to be here.
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Thank you.
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now you've written, as we just heard, a crime series and a speculative fiction novel, two quite different, genres.
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We'd love to know a little bit more about those two creative strands.
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Yes.
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So I've always written fiction that's that's dark or got a dark edge.
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But initially when I started writing, I didn't really know what genre I was writing in.
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I didn't know I was writing crime novels.
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They had a ghostly edge, some of the early, early work that I did.
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And then as I learned more about the Publishing industry.
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I tailored my stories a little bit more to genre, but it took me quite a while to get published in crime fiction and at a point where I was despairing and thinking this might not happen.
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I had this idea for this dystopian story because I also love reading dystopian fiction.
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There is just something about it that really captures me.
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I mean, terrifies me, but also, just keeps me up at two or three in the morning.
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Those are the books that really grip me and I had this story idea and I thought, I'm not getting published.
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I'd be as well just write what I love, and I started the story and fell for these characters.
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I never intended it to show it to anybody, but actually it became this passion project, and I did then share it with my agent.
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And luckily my crime fiction publisher was interested in publishing it as well.
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although I write in two different genres, I have the same publisher, which makes life [Mic bleed] that's wonderful here to hear.
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And I love how.
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When you were having trouble getting published in one area, the answer wasn't to give up, and do something else.
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It was to keep going, but do something that you really loved.
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yes.
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and ironically, of course, I got the crime fiction deal as soon as I started writing the dystopian novel.
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So actually, I then had to put it down and honor my, my crime fiction contract and then go back to it.
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So typical.
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Oh, brilliant.
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Oh, it's, nothing comes for ages and then two, two buses or two novels all come at once.
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So it sounds like your writing journey has been quite a long and winding one to get to the point that you are at.
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Can you tell us a little bit about, about how that worked and, Yeah, and the process you went through.
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Yeah, I started writing, when I was about 17, I always loved books and reading and wanted to be an author, and I naively started off and wrote, it took a few years and I would write 200 words a day, and I had a novel that I sent off to agents.
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and hoping that somebody would see something and, and take me on and, and it didn't work like that at all.
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it wasn't a good novel.
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I didn't really know what I was doing, and so I was rejected and I did a series of courses.
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But you did it in such, in such little chunks though, because I think oftentimes people sit down and think, I've got to write my novel now.
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And it's no, no, you don't have to write your novel.
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You write.
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200 words, 300 words, a thousand words.
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Whatever you can get done in the time that you've got, and it will build up into a novel.
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Yes, it might be brilliant, it might not, but you'll have written a novel that you, that you didn't have before in little bits.
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I think I still follow that principle today of these tiny chunks.
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And the chunks that I do are bigger, but often when I'm drafting, I'm trying to do a thousand words a day and sustain that.
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I mean, when I was doing it, then I was doing it longhand and I was traveling in Australia.
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Yes, after finishing university and I was scribbling in my little notebook, and then I was going to internet cafes and typing up my words.
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And it is amazing.
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It was, and then it was a test of can I do this? Is this even possible? I don't know if I can write a book.
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that was quite fun.
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And then I did these courses and unfortunately I had a bit of a nasty rejection from one of them in my twenties, which coincided with a time where I was getting married, having children, I'd been promoted in my job and I used it as a bit of an excuse to stop writing for a couple of years, which is a shame that I did.
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But it always nagged at me and haunted me that, I wanted to write and.
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Almost the more I tried not to write, the more it crept up on me and I, I had to, so about eight years ago, I decided that I needed to give it an another go, and I had a full length manuscript by now.
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That's two more books I'd written, and I had a full length manuscript and I went on a course where you had to have.
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That full draft.
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and you would work on that during a 10 week evening course every Wednesday night.
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And I learned a lot on that course and I met some really great writers who are still friends and peers today.
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We share each other's work, and then.
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From there I moved into the submitting to agents again, but this time with, with better product and more understanding of genre and everything.
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there were a few more twists and turns.
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I had an agent who didn't work out and then I got my now agent, Charlotte Seymour, who is amazing and has shepherded me through a, a few difficult years because when you go out on publication, you don't necessarily, I think you think, that's it.
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I've got an agent.
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We're going out.
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on submission to publishers.
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But I hadn't realized that actually that can then take a very long time.
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I had three novels, go out on submission before one of them was accepted.
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the tenacity of keeping going has been really impressive.
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And it's something, one of my other guests has talked about as well.
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It's just, it's harder to stop writing than it is to carry on in a way.
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Because it's something that you really love and you you want to do and you want to keep going with it.
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in a way you write for yourself.
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and then if it gets published, that's a brilliant bonus.
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if it doesn't, you've still written for yourself.
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I think it's getting to that point.
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I did realize that not writing was more painful than writing and, trying and failing.
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[Mic bleed] to bite the bullet.
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And I do think that's a common denominator among a lot of writers.
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there are people that get the amazing outta the gate successes, but a lot of authors have lots of books behind them, lots of rejection and it's useful.
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It's like building a muscle because it never stops even when you're published, there's all sorts of things that can happen and changes and publishers don't take on your next book and you have to look for a new publisher or there's bad reviews.
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So tell me, you spent, you started writing when you were 17.
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it was a long, winding, difficult road.
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Tell me how it felt when you finally got your publishing deal.
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Oh, it was amazing.
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I cried, and my husband actually thought somebody had died because I just showed up at his office door in floods of tears that I couldn't speak.
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And he was like, oh God, what's wrong? I was like, no, I'm happy.
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it was amazing.
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It was really, really nice and I think for me.
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It had been such an ambition for such a long time that there was, and it's, it's a really binary thing.
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You either have the publishing deal or you don't.
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there's no way of knowing how close you are.
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So I really did feel quite despairing up until the moment where it was like, okay, [Mic bleed] Somebody said yes.
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Somebody's actually backed these books and that was, yeah.
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There's a sort of piece that I think still endures no matter what ups and downs there are in the publishing industry.
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Now I'd like to talk in more detail about the Tomorrow Project, which I've read and absolutely loved.
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It's a brilliant book.
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Thank you, and has a gorgeous cover and a gorgeous new paperback, which is coming out next year.
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It's coming out in April.
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I would love to know a little bit about the inspiration behind it and then how you built this alternative reality, Yeah.
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So, the premise of the Tomorrow Project is that there is a virus that's sweeping the world and countries are gradually succumbing to it.
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and the British government is working on a vaccine, but as a precaution, they decide to send children to camps in the countryside.
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and just before, um.
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Well, just as they're doing this, their right hand women to the Prime Minister, Marianne realizes that the government is cherry picking which children to save and which to allow to die.
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And she can't stomach this.
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So she starts smuggling children out of London onto trains to try and get 'em into the camps.
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And just before London falls, she gets one last child, Maya out onto the train, and Maya grows up in a camp.
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Behind, wire fences and 10 years later she's still there and nobody has come for them.
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So it is bleak in some ways.
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It's very, I mean, I wanted to write about a depopulated society, and so I had to sort of first kill a lot of people in it.
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I did, I mean, the idea came from speaking to my children about World War II evacuation when they were quite young and explaining to them that children were put on trains with no idea of who would care for them at the other end.
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And it was the first time I'd looked at that from a parent's point of view as well as a child.
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I mean, they were horrified at this idea.
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And I got very upset thinking about it as a parent having to make that decision.
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'cause during, I mean, during World War II, my own grandmother was supposed to have been evacuated.
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On a boat to Canada from Aberdeen.
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And at the last minute her mother said, you know what, no, um, if we're going to die, we'll die together.
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You are staying.
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And the boat that she would've been on was, attacked by German U-boats and sunk.
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So I've always kind of had that story at the back of my head and it's, it is just.
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It was then modernizing this and looking at it from a different perspective.
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Interesting.
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So, so you wrote a story about a global pandemic, but it wasn't inspired by the Global Pandemic? No, no.
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Oh, pandemic.
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The pandemic came along and obviously, obviously must have influenced.
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What I've written we did.
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Then my agent and I did spend quite a bit of time trying to de COVID it, because what we didn't want to do was send a book out on submission that was about COVID, because I think it's just, it was a bit too raw at the time that we were doing that, and I, I mean there's, there's a love story in, there's two love stories in there.
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There's a lot of hope and redemption, and so I guess for me, a dystopian novel is really like a pressure cooker where you put people through the absolute worst situations that.
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You know, you there can be.
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and yet you see the strength of humanity and the way that people Yes.
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Will help each other and, and forge on, you know, despite what's going on.
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So yeah, it was a labor of love that, that book in the end.
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and oh, and I love it and I love.
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I love books.
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I mean, my books are, people say they're heartwarming and they are, but they're heartwarming.
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You kind of go through the darkness to find the light.
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Yes.
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You can't just, they're not all sunshine and flowers and roses.
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there's quite a lot of suffering that people go through and in order to heal, really.
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And I think The Tomorrow project, although it's a different genre, it has that too.
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It's got that sense of hope.
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And as you say, people finding the strength through adversity.
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and I, I found it so interesting and I really, really loved it.
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So thank you so much.
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Oh, thank you.
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Yeah, no, it's, it's funny actually 'cause it's, it is absolutely the same with your books because it's the absolute lows of human existence as well as the highs.
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And I think those sort stories are really poignant and yeah, I, I absolutely love reading them.
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[Mic bleed] Oh, I'm glad we love each other's books.
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so now your crime books is the other strand that you write.
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Yes.
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And although we've both talked about kind of hopeful books and finding light in there, crime is also pretty dark.
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Do you think there's room for any light in your crime books as well? Yes.
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I dunno whether light is the right term, but definitely it's about, I mean, my true crime podcaster, who is the, the star of my novels, he's called Cal Lovett, and he is really driven by his own sister going missing.
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When he was a child, she was older than him, almost like another mother to him, and he's never, they don't know what happened to her.
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Although throughout the series you do start to find out things about what.
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What happened, and he is driven by this need to seek justice for other families who are in that same position.
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And I just think that's a really, it really motivated me to write the books.
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I was listening to a lot of True Crime podcasts, and I do think it's something I have to sort of ration my listening to because they do really draw you in and they're haunting and.
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There's something I think just very powerful about these people coming along, looking at cold cases in particular, where perhaps somebody thinks they've got away with something and along comes a podcaster with a microphone.
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And it might be a really slick media team, you know, based at the LA Times.
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Or it might just be a person with a microphone and determination to ask some questions and they come along and they start digging.
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I think because time has passed, maybe allegiances have changed and perspectives have changed and people that might be willing to speak who weren't willing to speak at the time.
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So that was what really kind of inspired me about them.
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And then, oh, interesting.
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I created this character who, yes, goes through a lot of dark things, but has incredibly strong, I wanted to write a man who has really, good relationships with women.
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And who really likes and admires strong women and is not threatened by them.
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And so I really enjoy writing his relationship with his daughter, for example, he has a teenage daughter who often goes along with him.
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He, you know, I won't spoiler it, but he has lots of other kind of key relationships with women.
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And each book takes the perspective, his perspective as he investigates in the present day, but also the perspective of the victim, uh, at the time so that you can see as the reader what really happened.
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Oh, interesting.
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Um, and yeah, I was kind of interested in, in going into some characters who perhaps.
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Wouldn't necessarily get the sympathy in the media or, they don't necessarily fit the bill of the inverted commas good victim.
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so they are very dark stories.
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I think I, I am always drawn to something kind of dark and but I do try and put in some, some light as well.
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With the shade.
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Brilliant.
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I think you've definitely succeeded.
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one thing I like writing and I like reading is books with different timelines.
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because I find it, I find it really interesting to get those different points of view.
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and it's something that I do in my novels as well.
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Yeah.
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Um, Everything is Beautiful and See the Stars are dual Timeline books.
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The Art of Belonging is different points of view, but in the same timeline.
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yes, because you just get a greater sense of people and what they're like when you see the past and the present.
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and you can see how the strands interconnect and weave together.
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Can you tell me a little bit more about how you, how you went about that? Yeah, I, I find it difficult to not write more than one point of view, I think, because thinking about all the books I'm working on, it was really tricky at times, particularly, actually the third book, uh, the timelines created all sorts of issues because of different people knowing different things at different points and why.
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Oh, gosh, gosh, I've wrestled with that.
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Yes.
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Oh, and, and you do think, gosh, why didn't I just do something linear and sensible here? But because I wanted to write about the cold cases, it was really important to do both perspectives, I don't really write chronologically for the book.
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I just start and then if I get stuck, I will jump to a, something I know will happen.
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And so often I find it's a way of really getting myself unstuck.
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If I'm writing one point of view or one timeline and I'm kind of like, oh, I don't, I don't, but I know in the other timeline, well, I've got to do this.
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Then I'll sort of leap over there and I.
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I just think when I'm first drafting, I'm chasing word count and I'm trying to maintain momentum, and I know that once I have that first draft, I can fix it.
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So yeah, it's a really nice way for me to, drive forward and, and keep momentum.
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That's so interesting.
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So you use it, and I think I do the same thing, although I hadn't really thought about it before, is a way to get unstuck when you are, when you'll get very, when you get very deep with some characters and you are doing something and then you're oh, I dunno what to do next.
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Yes, you kind of have to stay, take a step back, but you don't want to stop writing.
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So you can carry on writing, but do it from a different, different perspective or in a different time period.
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I think that's really good advice for anyone writing a novel.
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And it's actually, it's something, You can do, whether or not you've got those dual timelines, I think in the final book.
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Yes.
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So something, Claire Leslie Hall and I were talking about, in another episode is something which my, um, my creative writing teacher, Philippa Pride suggested to me, which is always write, if you get stuck, write from a different perspective, maybe from the perspective of a minor character or someone who's not the main voice of the novel.
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Yes.
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And whether or not that goes into the finished book.
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You'll get that perspective and that character will be much stronger for you really understanding their voice.
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absolutely.
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And I think, 'cause the book that I'm writing, I'm writing another dystopian book to, it's not a sequel to The Tomorrow Project, but it's a similar mm-hmm.
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Similar kind of book.
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And I just really couldn't get into it.
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And it was really difficult because I think The Tomorrow Project was such a kind of project of the heart and it, it didn't Yes.
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Stuck in that way.
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And all of a sudden I just decided.
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What if I write from this character's actually the antagonists point of view, that's always a good one.
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And I started to think, why is he like that now? And I am now sunk deep into 20,000 words of his story and how he got to this point.
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And I, I honestly dunno if all of that will go in the book, but it's fascinating how that has been the window to get into this story.
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It's like water finding cracks to get through.
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I think we'll talk, maybe we'll talk now actually about tips for aspiring authors, because we are, we are discussing writing techniques here.
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what advice would you have aside from what we've just discussed for aspiring authors? I just think it's about perseverance and learning, so I think you have to kind of.
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Comparing yourself to other people can be so unhelpful because you don't know where you are in your journey and where they are in theirs.
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And I think it's really trying to work out where, what you need, you know, do you need to be going out there and submitting your work to people? Is it ready? Do you need to just sort of, you know, play that numbers game and go to festivals and meet people and network and do those sorts of things? Or are you at a more kind of fragile stage where perhaps you are learning and you need a nurturing environment and you need the right course and the right support.
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Because I think it can be so crippling to get, unkind criticism early on.
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Um, so I, I do think one of the big skills for me has been learning to differentiate between good and bad criticism, because there's a tendency to think something somebody says is right, but actually.
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A lot of this industry is extremely subjective, and I think good criticism will make you go, oh gosh, yes.
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How annoying.
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Oh yes, I can see it.
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Whereas bad criticism will just make you feel horrible.
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I do also think that a lot of people write one book and then get very stuck on trying to get that particular book published.
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And I actually think for a lot of us.
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We learn so much writing our first book, and it's not necessarily the right book to have published.
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And that's a really hard thing.
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I think that's a really hard thing to understand is that you feel that you've put your heart and soul in.
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And probably with the first book that's years of work, um, and the idea of, you know, but nothing is wasted, I think.
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And sometimes you can take all of that learning that you've got from writing a first book and the second book will be.
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[Mic bleed] much better.
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And that might be the one that gets you through the door, or it might be the third book, but yeah, I, I do think [Mic bleed] keeping going.
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Yes.
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Yes.
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I've got a book under my bed, um, that I wrote many, many years ago.
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Um, right back to your books for a moment.
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Mm-hmm.
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What, which is your favorite of your books, and why do you love it? Oh, that's like choosing a favorite child, isn't it? You can't do that.
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Um, oh.
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The, the favorite is definitely never the one I'm working on at the time.
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I think probably that true the, that the Tomorrow Project, although I feel quite disloyal to Cal, for a while because I, there's five books in the Cal Lovett series and I've now written them all.
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And for a while I was really thinking, oh gosh, you know, I don't really want to write another Cal book.
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I'd like, I've got all these other ideas.
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But now that I've finished the fifth one, I'm feeling quite sad and I'm, I'm gonna miss him.
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So I am very proud of the Tomorrow Project.
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It was the book I wanted to write.
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I had a tremendous amount of support from my publisher who really got behind it.
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Um.
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That's been lovely.
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But I am also, I also think that my skills have grown in terms of writing the crime fiction.
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Brilliant.
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Thank you.
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now writing, you must love it because you've been doing it for years and years.
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What bits of the writing process do you love the most? What brings you the very most joy? Editing.
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Definitely editing, yes.
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An editor.
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I have.
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I am, yes.
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My first job in journalism was, I was a subeditor for a magazine, which meant that I cut everyone else's articles to length and wrote headlines and put them on the page and did all of that.
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And I just love making something better.
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and it was a really good training actually, to be able to cut things and to assess my own work.
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I have this sort of underlying anxiety.
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When I'm drafting until I've got the full thing.
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and it's silly because I've now written, [Mic bleed] Almost 10 books, I think.
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Yes.
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And so I know I can write the book.
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Mm-hmm.
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So there's no doubt in my head that I'm gonna get to the end and yet I don't relax until I've got the full thing and then I can kind of go back through it and tear it to pieces and make it better.
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Definitely I feel exactly the same.
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There is always a worry.
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It's like, oh, well this book is that.
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The last book I wrote was the last one.
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I can, and this one will never work.
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And I'm always worried I'm gonna get to 20,000 words and the book will be over.
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It's like, well, there isn't any more of it.
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now getting away from our books and our process for a little bit, can you tell me about a book that you've read that you absolutely love? Maybe one that we might not all be familiar with already.
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Yeah, I mean, I, it did very well.
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So maybe people are, but I love The Stranding by Kate Sawyer, which came out a few years.
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It was her debut novel.
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I think she's written three books now, all of which I've read and are all brilliant.
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it is a dystopian novel where a woman is traveling on the other side of the world.
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She's in, she's standing on a beach, uh, when a load of Whales beach, and she only survives this.
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Terrible apocalyptic event by kind of crawling into the mouth of a, of a dead beached whale with, um, a stranger, a man who's on the beach at the same time.
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And when they emerge from this whale, the entire world has changed and gone.
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And, and it's, it fits that bill for me of being so gripping and so poignant.
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And the stakes are so high, and yet, it's about human connection and it, the book.
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Basically alternates between you seeing her life before and why she was traveling around this side of the world and what happened to her and what she'd done.
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And then with, the present day of trying to rebuild some kind of life and existence when everything around her is gone.
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I, I just absolutely love that book.
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I love that book too.
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I read it, on your recommendation.
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Yeah, you did.
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I did.
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Yeah.
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And I really enjoyed it.
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It was such an interesting idea, like just crawling into the belly of a whale that was enough to sell it for me.
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Just so interesting and different.
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And I think, again, it's that front and backstory interplay that worked really well.
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So you see, yeah.
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So you're not, it's not all, It's not all dystopian So you can see those, those two things and how they interplay, which I thought was really interesting in that book.
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now away from writing altogether, where do you find happiness in life? What do you love to do that brings you joy? Oh, um, I guess it's my family.
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and I have two teenagers and my husband and I, and they live with a lovely black Labrador and we've just rescued two kittens.
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have joined the family, so goodness, I love kittens.
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They are gorgeous.
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We went to the rescue to get a single adult female cat and we're talked into two four month old male kittens and they are lovely.
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I do a bit of running and things as well, and walking and being out in the wild.
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I live in the south of England, so I don't quite get the wilderness that I love, but I, I go back to Scotland quite a lot, and get my fix of mountains, rivers, rivers, and, uh, yeah.
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Big, wide skies.
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Brilliant.
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Fantastic.
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Thank you.
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Now, what do you have coming up next? I think you've mentioned you are working on your second dystopian novel, which I know I used to write a crime series and it was a series, and when I came to write the next book, I found it quite easy because you had all your characters, you knew how the genre worked, you had it all set up.
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And when I came to write.
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Uh, The Art of Belonging after Everything is Beautiful, which was standalones.
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It was a different ball game altogether.
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00:24:09,154.7077283 --> 00:24:19,364.7077283
I found it really tricky, coming up with something that was similar enough that people who'd read Everything is Beautiful, would like it, but different enough to make it fresh and, um, and exciting and not the same again.
323
00:24:19,364.7077283 --> 00:24:23,684.7077283
It was very tricky balance to, um, to get right.
324
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How are you finding it? Tricky actually.
325
00:24:26,684.7077283 --> 00:24:26,774.7077283
Mm-hmm.
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Because I was so happy with the Tomorrow Project.
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Yes.
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but I am immersing myself.
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I think that the difficulty with the dystopian fiction is world building because there has to be some sort of catastrophe and it's trying to make that plausible.
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So, I mean, it doesn't have to be ultra realistic.
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I think readers forgive, but it does have to be plausible and logical.
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And so, and, and then also not being stymied by that.
333
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So having the freedom to create my characters.
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So at the moment I'm trying to, create some rules for myself about my world.
335
00:25:00,409.7077283 --> 00:25:09,619.7077283
But just to get the story down for now, I also have, so although I have written and handed in the fifth Cal Lovett novel, I have edits coming on that, and.
336
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The Tomorrow project will be published in the US.
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And the UK in paperback in April, and I haven't been published in the US before, so that's kind of a nice, a nice thing to happen, but also a distraction.
338
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So it does feel that it's all quite busy.
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And until I hand in, once I hand in this dystopian second dystopian book, that's my last contracted book.
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Um, and so I've started to talk to my editor about what we might do next.
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And you know, there, there's all sorts of possibilities, but I think because everything is so busy until I hit.
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April deadline.
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I can't really think about what's next, but it's quite exciting to know that there will be that freedom to do something new.
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come April.
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I'm just finishing up my last contracted book at the moment as well.
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Um, so for anyone who doesn't know book deals, often, often it'll be, sometimes it's one book, but often it's two or three, and then you have a series of books that you have to do and, and, um, and then when you're at the end of it, it's like, oh.
347
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Next.
348
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You kind of have endless potential, which is always exciting.
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It's both exciting and terrifying, I think.
350
00:26:12,254.7077283 --> 00:26:12,434.7077283
Yes.
351
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So, um, yeah, both forward to it.
352
00:26:15,214.7077283 --> 00:26:15,574.7077283
brilliant.
353
00:26:15,574.7077283 --> 00:26:19,174.7077283
Oh, thank you so much, Heather, for taking the time to talk with us today.
354
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Um, you've been a brilliant guest and thank you to everyone out there who's been listening.
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Heather's novel, the Tomorrow Project is out now as is her Cal Lovett crime series.
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Now if you've enjoyed Ray of Light, please do like and subscribe for more.
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You can find me @eleanorraybooks across Instagram, TikTok, Facebook, and X.
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So please do reach out to me there to let me know your thoughts.
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And if you're listening on your favorite podcast platform, you can also check out my YouTube channel @eleanorraybooks.
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Again, if you want to see everything in full video, glory.
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So if you've liked what you've heard, you might like what I write too.
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It's uplifting book club fiction stories, like Everything is Beautiful, and See the Stars that spark deep conversations and find hope in the unexpected.
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See you next time for more tips on writing, reading, and happiness.