Category Archives: Q&A

Questions and Answers about group members

Talk about a girl . . .

It’s been quite a year for Kate Hamer: shortlisted for the John Creasey (New Blood) Dagger and the Costa First Novel Award; making it to number three on the Sunday Times’ Best Seller List; into paperback in the UK and hardback Stateside. Not bad for a first-time novelist.

Since February 2015, Kate’s clocked up many miles by train, car and even ferry boat, crisscrossing the UK to talk about Carmel, the abducted girl heroine of her debut novel The Girl in the Red Coat.

I caught up with her early on, in West Sussex, when she appeared as a featured author at Crawley’s WORDfest, my local festival of all things wordy. This was a brilliant opportunity to touch base with Kate, who I got to know as a fellow student on a three-month novel writing course, run by London’s Curtis Brown literary and talent agency.

Looking forward to observing my former classmate engaging in the art of public speaking, not to mention swapping notes afterwards, I hot-footed it to Crawley library, where Kate shared the platform with fellow debut novelist Alex Hourston.

This was a well-chosen pairing: not only did they share the platform, but these two were also both listed by The Observer as new faces of fiction to watch in 2015, both published by Faber and both worked with the same in-house editor – yet this was the first time they had ever met! Hats off, then, to WORDfest for bringing them together.

Their novels also have something in common, focusing as they do on the relationship between an older and younger woman: The Girl in the Red Coat divides the narrative between Carmel and her bereft mother, Beth, in alternating chapters which chillingly chart Carmel’s abduction; Alex’s novel, In My House, examines Margaret Benson’s response to a stranger’s cry for help, and the unlooked-for consequences that arise from teenage Anja escaping her trafficker.

Under the astute chairmanship of Festival Director Marianne Lindfield, and some canny questioning from the well-informed audience, Kate and Alex divulged their approach to writing and reflected on their passage from aspiring writer to published author.

Kate described how her story started with an image that came to her late one night: a little girl in a red coat, alone in a forest. So taken was she with the desire to know more about this lost soul, she jumped out of bed and wrote the whole first chapter there and then, in one go. ‘With writing, sometimes the next step is unclear. If this happens when I’m working on a manuscript, I don’t panic. For me, it’s important to have faith that the answer will reveal itself.’ This approach has certainly worked well for Kate.

The evening came to an end all too soon, with the added bonus of having booksellers Waterstones at the event, giving us the chance to linger afterwards over book signings and refreshments before making our way happily home.

Read Kate’s short story The Cherry Stone in our anthology, The Book of Unwritten Rules.

Follow Kate on Twitter @kate_hamer.

James Hannah: Q&A

After Barbarians by Tim Glencross wowed the critics, we can’t wait to see what readers and reviewers think of the next of our group to be published; James Hannah with The A-Z of You and Me.

Read on to find out what he thinks drumming and writing have in common.

James, introduce yourself in 50 words.

I’m a novelist, and divide my time between Shropshire and London. I have an MA in Beckett Studies from the University of Reading and its Beckett International Foundation. My novel The A-Z of You and Me is due out in spring 2015 through Transworld Doubleday.

James Hannah | Claire Cousin Photography

Tell me about your journey to getting published. 

I’ve been writing myself to sleep at night since 1992. In my notebooks, the paragraphs always start out neat, but they flatline as I fall asleep. In spring 2011, a friend told me about the Curtis Brown course, and it happened to coincide with days I was down in London, anyway.

I leaned heavily on tips for submissions from the course, and they helped me sign with my agent, Sue Armstrong at Conville & Walsh. She helped me to refine the manuscript until it was watertight, and we managed to place it with a publisher shortly before Christmas 2013. I’m currently working with Jane Lawson at Transworld on making it somewhat more than watertight – with plush interiors and a grand staircase.

How much had you written before the course? How much has the story changed? 

The A-Z of You and Me was perhaps three-quarters finished in a linear sense. The story hasn’t changed at all; rather, it has been tested in a number of different ways. It’s become more robust, and the characters have had to justify themselves more. A certain amount of unnecessary “writerliness” has been removed. It’s not tolerated at the moment, like so much guitar soloing.

What are you working on right now? 

I’m shaping up one or two sections of The A-Z of You and Me that didn’t make it into the final novel. I’d like to see if I can place them as the equivalent of a non-album “singles” (Creation Records style).

Which book or author inspired you to get writing?

I often reflect on Paddy Clarke Ha Ha Ha by Roddy Doyle, which came at an important time when my mind was very receptive to new work. I read it shortly after it won the Booker prize in 1993, and somehow it felt supernaturally good. I’d never read anything quite like it, and perhaps that’s a very personal response. It told me all sorts of stuff I already knew, but hadn’t recognised within myself. The idea that writing should ignite what’s already in the reader’s mind is very appealing to me; it seems almost magical when it works.

Tell us about how you write. 

I play drums in a band, and I approach writing in the same way I approach drumming. The A-Z of You and Me. It’s based on a very tight formal structure, but when I was writing it, I kept it loose and left as much room for improvisation as possible. I didn’t think about scenes before writing them, and tried to allow my subconscious to lead the way.

This all sounds awful, as I say it, but it does encourage unexpected connections. It’s the same with drumming: you can control a song by dropping a beat, adding a beat, stopping altogether – but you don’t actually think about those things. You just instinctively try them.

In drumming and writing, the moment I start thinking, I’m dead.

Find out more about The A-Z of You and Me here, or here to find out more about James.