Interview with Mark Gillespie; Author Of Black Storm

Last month I picked Black Storm by Mark Gillespie as my indie book of the month. Mark is an extremely proficient author, with a terriific work ethic. He kindly agreed to an interview and here it is!

  1. For those who are not familiar with your work, how would you best describe your genre?

I call it Apocalyptic Pulp Fiction. But Post-Apocalyptic fiction is the most recognisable term for my kind of thing. There’s dystopian and horror elements in there too. I’ve dabbled previously with other genres (Alternate History) but if someone were to pin me to the wall, brandish a knife in my face and demand a straightforward answer (it could happen!), I’d look them in the eye and tell them that post-apocalyptic fiction is what I do.

  1. When did you first know you wanted to be a writer?

I’ve always enjoyed writing but it was very much a background thing until I reached my early thirties. Stories and song – that’s been my thing in this life. Between the ages of 15 and about 30, I dedicated my life to song and to working as a musician in the UK and Ireland. I had a great time but the music thing fizzled out for me about 2010/2011. Work dried up. I fell out of love with the business of being a musician.

It was time for a change.

Later on, I went to uni as a mature student, studying English and History. When I picked up a book called The Heath Introduction to Fiction and read some of the short stories in there, a light bulb went on in my head. I felt the buzz again.

Real job? Forget it…I was going to be a writer!

  1. Can you tell us about your publishing experiences and journey so far?

I’m indie published. I’ve never submitted a manuscript to an agent or publisher because by the time I was ready to do so (2015), I felt that indie publishing was the best model for me. I wanted to make a living from my writing and I felt that indie was my best chance of doing so.

I’m not interested in sitting in anyone’s electronic slush pile.

Having said that, I accept that indie publishing isn’t for everyone. It’s so much work! I would encourage new authors to research their publishing options and figure out what’s the best model for them. Knowledge is power. Know what you’re getting into and why. If it’s indie, be prepared for a very steep learning curve and always remember to bring your creative and business hats to the table. And make sure it’s you’re A-game.

I’ve made a lot of mistakes along the way but I think I’m getting better at this.

  1. Tell us about Black Storm, what inspired this book?

The initial trigger for Black Storm was something I read online a couple of years ago. I can’t quite remember if it was in a news article or on a forum or whatever – but I read something about a woman in America who’d been spotted walking through a town or a suburb dressed in old-fashioned mourning clothes. It sounded like she was doing an epic solo trek or something like that.

It was just so random and it struck me as noteworthy. I wonder sometimes if I imagined this because I can’t find any trace of it online (Yep, I just Googled it again!)

Whatever it was, that was the seed for the character of the Black Widow. I took note and it stuck. That was the beginning of Black Storm – it all began with the Black Widow.

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  1. You are a remarkably proficient indie writer, can you tell us how you manage to publish books so quickly? What is your process?

I’m lucky that I have the time to dedicate to writing. But I also make good use of that time. A regular working day is between 10-15 hours, which includes both creative and business stuff (creative early, business later).

I get up at 5.30am most mornings and go to bed about 11ish on average. Apart from walking the dog, exercising (super important for authors!) and eating, the work takes up most of my time.

I always have an A project (a book in the later stages of editing) and a B project (ideas, brainstorming) on the go. That’s important for moving onto the next thing. I would hate to finish a book and have nothing but a blank page waiting. That would probably floor me.

In order to be prolific, you have to make sacrifices. What’s eating up your writing time? What can you give up? Nobody said it was all fun and games.

Working long hours is a habit for me now. That’s probably how I get the books out so fast – I try to release something every two months. I also write shorter books at about 50,000 words average. I know that I can’t keep that pace up for the rest of my life however. And I wouldn’t want to. There’s more to life than just work. Much more!

  1. What usually comes first for you? The character or the plot?

I start with a situation that intrigues me. More often than not, it revolves around a ‘what if?’ question.

With Black Storm, that question is what if human beings had been targeted for extermination by an unknown power? We exterminate other species all the time, but what if the tables were turned. What if it happened to us?

With the Future of London books, it’s what if the London riots hadn’t stopped?

Answering the questions is fun.

Character and plot come later. But it’s that initial idea, that question that hopefully will get the juices flowing. If I’m excited there’s a good chance that someone else will be too.

  1. Do you write your books with a particular theme or message in mind and if so, what is it?

I never start with a message or theme. It’s only somewhere within the writing process that it becomes clear to me what that message might be. And there always is one, at least from my perspective. From another person’s point of view, there might be a different message altogether. That’s the joy of individual interpretation. We take the text, soak it up with all our baggage and find a meaning that’s unique to us.

I discover what I’m writing about by writing about it. But it always starts from an entertainment perspective. Is this fun? Is this worth reading about? Can I stay with this from start to finish?

Themes, messages, and the deep stuff – they come from the unconscious. They take care of themselves and appear when they’re good and ready.

  1. Do you have a day job and if so does it help your writing in any way?

My day job is writing.

I’ve done a few jobs now (worked in hardware, written freelance sports articles, been a bouncer). But I’ve never worked so hard in all my life as I do now. Music was tough. Writing is tough. Anything creative is brutal and yet some people look in from the outside and assume it’s a breeze because it’s a passion and it’s associated with leisure/entertainment.

A few years back I was amused to see that the readers of a major newspaper had voted being an author as their ideal job. No doubt they had visions of sitting in a log cabin surrounded by gorgeous scenery. They saw themselves sitting in front of a typewriter, a turtleneck sweater on, a pipe hanging out of their mouths, and a Che Guevara beret on their heads. And the words would pour out of their minds fast and easy. And that’s all there is to it – another masterpiece in the bag.

They haven’t got a clue.

  1. Tell us about your next release

Black Fever is the next release. It’s the second of the Black Storm books, which follows the fortunes of father and daughter, Cody and Rachel MacLeod, as they try to navigate their way through a mysterious apocalyptic event, the Black Storm, which has plunged the world into darkness and despair.

Fingers crossed, Black Fever will be out on May 15th.

  1. What is the most valuable thing you have learned as an indie writer so far?

The number one lesson is perseverance.

It’s so hard at times being an indie author and you’ll feel like giving up a thousand times. And that’s just in one morning! Too often, it feels like a mountain of work with only a crumb of reward in return.

But keep going. If you truly believe you’re on the right path, keep grinding it out. Work hard, but work smart. Learn from others. Join Facebook groups like 20Books to 50K. Read books on indie publishing, writing and story craft, marketing etc…

Absorb the wisdom of others. You’ll find it if you look for it. And if you have any to share, then share it. The indie author community is a friendly one and we’re willing to help those in need. This is how we all grow.

You can find out more about Mark and his books here;

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Interview with Jane Davis; Author of A Funeral For An Owl

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Welcome to another author interview, where this time I am joined by award-winning author Jane Davis, whose fantastic book A Funeral For An Owl was my Indie Book Of The Month for February. Read on for a fascinating insight into Jane’s publishing and writing journey so far.

1) For those who are new to your work, how would you best describe your genre?

I write about big subjects and give my characters almost impossible moral dilemmas. I don’t allow them a shred of privacy. I know what they’re thinking, what they’re feeling, the lies they tell, their secret fears. But I only meet them at a particular point on their journeys, usually in a highly volatile or unstable situation, and then I throw them to the lions. How people behave under pressure reveals so much about them.

2) When did you first know you wanted to be a writer? Why do you write?

I recently filled in an author survey. There was an entire section asking about early writing experiences. What was the first story you wrote? Did you win any writing competitions while at school? I began to think, ‘I’m not a writer. I’m a failed artist.’ It wasn’t that I didn’t make up stories as a child, but instead of words, I used pictures. Right up to my O-Level year, I spent most of my spare time drawing and painting. I’d always assumed that I would make a career in art. It was the one thing I was good at. And then came a hard blow. The examiners didn’t like my work. This knocked my confidence so the extent that I changed plans, left school and entered a career where judgement of good and bad results was far more objective. I didn’t turn to writing until my mid-thirties.

Fiction provides the unique opportunity to explore one or two points of view. It’s never going to provide the whole answer, but it forces writer and reader to walk in another person’s shoes. And, in many ways, it is the exploration and not the answer that’s important. I think the idea of a single truth is flawed. I have a sister who is less than a year older than me but our memories of the same events differ substantially.

As my collection of books grows, I’m beginning to see them as my legacy. As someone who doesn’t have children, they are the mark I will leave on the world. So another reason for writing – one that I didn’t think about in my mid-thirties when I started to write – is to create a legacy that I can be proud of.

3) Can you tell us about your publishing experiences so far?

There’s a graphic that regularly does the rounds. It’s made up of two graphs. The first goes under the caption, ‘what you think your career will look like’ and it’s upwards all the way. The caption for the second is ‘what it will actually look like.’ A roller-coaster. That’s my experience of publishing.

My first attempt at writing a novel didn’t make it as far as being a book, but it did earn me the services of a literary agent and the words, ‘Jane, you are a writer’, which sounded far more glamorous than ‘Jane, you are an insurance broker’. There was a draft contract from a small publisher, but before the ink could dry, the small publisher was eaten up by a big publisher.

My second novel won the Daily Mail First Novel Award. I was going to be the next Joanne Harris. But a couple of months after publication of Half-truths and White Lies, Transworld rejected my follow-up – and it’s the book you’ve asked me to talk about today. It was beautifully written, but it wasn’t ‘women’s fiction’. There was no point arguing that I hadn’t set out to write women’s fiction. No meant no.

I carried on submitting manuscripts. One had already won an award for its opening chapter. Surely two awards would open doors? By 2012, I felt like the writer in Michael Chabon’s Wonder Boys who attends the same conference year after year with a different edit of the same novel. A novel which continues to be rejected, albeit for slightly different reasons.

There was another path, but I’d been resisting it. I didn’t explore self-publishing until I attended a conference at the tail-end of 2012. I’d believed the line I had been sold that self-publishing wasn’t something a self-respecting author who wanted a long-term career should consider. But I was fired up by what I saw. Established authors who’d been dropped by publishers were rubbing shoulders with novices who’d priced their e-Books at 99p, and sold 100,000 copies within a year. This was a revolution! Was I out or was I in?

I decided I was in. Though I made rookie mistakes, reviews were positive. The next time, I did better. I grew my team of professionals. I now have self-published six titles under my own imprint. My fifth, An Unknown Woman, won Writing Magazine’s Self-published Book of the Year Award 2016 and was shortlisted for two more awards. I’m learning all of the time.

4) Tell us about A Funeral for an Owl – what inspired this book?

You’re asking me to go back a long way now! A Funeral for the Owl was the fourth novel I published, but it was the second novel I wrote.

It started life as the story of thirty-year-old Jim recounting the story of his nine-year-old self’s friendship with Aimee, a girl from the other side of the tracks. Most of the action took place over a six-week period, the summer holidays. The reader was left in no doubt that Aimee killed herself. One of my colleagues had committed suicide leaving behind two teenage children, and this event and its aftermath were very much on my mind.

Then I asked myself, who Jim is telling his story to? Is he in therapy? Is it one of the doctors who saved his life? The twist was that it was St Peter and that Jim was an atheist. He got a second chance and woke up on the operating table. My agent loved it! She said that we should put it out there immediately.

But Transworld, my then publisher, exercised their right of first refusal. My book lacked a strong female character and I’d been published under their women’s fiction imprint, something that had completely passed me by. And so I set the manuscript aside and got on with writing I Stopped Time and These Fragile Things. But I held onto a soft spot for Jim and his owl story. The material was too good to shelve. And so, when I came to the end of my next project, I began to re-write it.

Unless you want to be pigeon-holed as an author of Christian fiction, you can’t play the religion card twice. Having exhausted this with These Fragile Things, St Peter had to be shown the door. In the meantime, knife crime had risen dramatically in London. My story already had knife crime in it, so I explored where I could take that.

I added two new characters, Ayisha, another teacher and a pupil, Shamayal. By layering his story with Jim’s, I was able to reflect on cause and effect. It was an opportunity to acknowledge the enormous changes I have witnessed over the past twenty or so years. The cultural mix – in my South London middle school there was only one black family. My friends’ children simply cannot understand how we survived without mobile phones in the ‘olden days’ and why there are so few photographs of us. Children and adults were members of different species. Gangs were very different things then. Children didn’t kill children. Today, hearing about gang fights is unavoidable. I read a lot of personal accounts during my research, including one teenage victim who was dumped in a garbage bin and left for dead. Sadly, there are lots of truths in my book.

5) Tell us about your writing process – how does it all come together?

As you can probably tell, I am a layer-er. With the exception of Half-truths and White Lies, which virtually wrote itself, none of my published novels bear any resemblance to their early drafts.

All of my books go through numerous rounds of self-editing before I show them to anyone. Then I use a team of about thirty-five beta readers to road test them. They give me all sorts of valuable insights.

After that comes the structural edit. With A Funeral for an Owl, it was my structural editor – the mother of teenage children – who pointed out that there were some flaws in my initial ‘research’ (or lack of). It was while I was ironing out those issues that I unearthed another major flaw: I had failed to take account of the fact that it’s thirty years since I left school. The behaviour of my teachers would have been illegal under current Child Protection laws. All of the information I needed was available on the local government website, had I realised I needed it. Then it struck me that this provided a huge opportunity. I could change the focus of the novel: what kind of boy would it take to make two teachers put their jobs on the line? And it gave the plot a new momentum.

My angle was the suggestion that some of the rules that have been put in place with the best of intentions – to protect – actually deprive the most vulnerable children of confidential counsel from someone they trust. Not everyone will agree with that view but, when I was growing up, we had a wonderful teacher who operated an open-house and provided a safe place for those who were struggling at home, no questions asked. It was surprising who would turn up at her door. Today, in an environment when any relationship between teachers and pupils outside the classroom is taboo, she would be sacked. I think that’s terribly sad. Fiction provides a unique opportunity to tell one side of a story through the eyes of one or two characters. It’s not the whole picture by any means, but it is one aspect of it.

Every time you introduce a new angle, each What if? question has to be pushed to its limits. Writing in such an organic manner is hardly ideal, and I would certainly never recommend it, but setting material aside and revisiting it is an excellent practice. It allows far greater objectivity. You have to analyse what isn’t working any why.

Writing is very much a learning process. I’d like to think that my writing had improved by the time I returned to Owl. I went back and polished every page, really concentrating on the short-lived relationship between Jim and Aimee. Young as Jim was, even though there was an age difference, even though their relationship didn’t develop, there would have been sexual attraction. Ignore something as critical as that, even if you think it might be taboo, and the writing you produce is dishonest. When someone has spent years dwelling on a very short period of time, on events that gained greater significance afterwards, you aren’t simply reporting facts. Jim would have embellished the story in his mind. The Aimee the reader meets is the memory of the memory of the memory. She had to shine, everything she said had to carry a message, and the summer had to feel endless. My job was to convince the reader that these few events shaped a man’s life.

6) What comes first for you? The characters or the plot?

The characters, always. Get them right and they do the hard work for you.

Nailing the voice of Shamayal, my disenfranchised contemporary teenager was crucial. Can I get this out of the way? I’m white, middle(ish) class and born in the 1960s, writing the voice of an under-privileged mixed race boy, born in the 1990s. The first property I bought was a two-bedroom flat on the High Path Estate in Wimbledon. This was my blueprint for my fictional estate. Although I haven’t walked in his shoes, living where Shamayal grew up, I have walked in his footsteps. Then, I borrowed a few mannerisms from someone I used to work with – the repetition of Right, right, right. The deep laugh. I watched a few episodes of Toy Boy and (tell me if you can get arrested for this) I jotted down conversations overheard on trains and in my local park. Of course, you could never actually transcribe teenagers’ speech patterns. They would be completely unreadable. After you delete all of the ‘likes’ and the majority of expletives, what you aim to arrive at is a sanitised version which still sounds authentic. Think Ronnie Barker’s approach when he wrote the script for Porridge.

It’s a joy to write characters like Shamayal and Bins (an elderly man who is assumed to have learning difficulties) because they have such unique voices. You can hear them speaking to you. It’s far more difficult to write dialogue for an ‘everyman’, like my main character, Jim. To do that, you have to find your character’s quirks and vulnerabilities and exploit the hell out of them.

7) Do you write with a particular theme or message in mind, and if so what might it be?

A Funeral for an Owl shares its central theme with Half-truths and White Lies, I Stopped Time, and to a lesser extent These Fragile Things, that is, the influence missing persons have on our lives. Whether an absent parent, the child who never was, a friend who died an untimely death, the object of our unrequited love who finds a love of his own, or friends we lose touch with, we all collect them, particularly as we get older.

I found myself studying the Missing Persons ads in The Metro, the fourteen and fifteen-year-olds whose stories aren’t sufficiently high-profile to land them on the pages of newspapers. They’re simply slipping between the cracks. And so I looked into the facts. At that time, one in ten children ‘ran away’ from home before they reach the age of sixteen, an estimated 100,000 every year. Shockingly, a quarter of those young people are actually forced out of their homes by parents or carers. Two-thirds aren’t even reported as missing. That’s 75,000 children for whom a Missing Persons ad will never be placed. All of these children are highly vulnerable, at risk of substance abuse, sexual exploitation and homelessness. Mobile phones and social networking sites have made it even easier to target them. I include a particularly poignant quote from Lady Catherine Meye at the beginning of my novel. “We can’t establish for certain how many children are missing. You’d have more chance of finding a stray dog.”

7) Do you find it hard to say goodbye to your characters? And if so, which character from A Funeral for an Owl would you like to revisit the most?

The truth is that I’ve never actually said goodbye to the characters in Owl. I’ve blurred the lines between my lives and theirs by including some of my personal history and setting their stories in my local neighbourhood. There’s something transportative about living in the same area all of your life; walking around familiar geography, knee-deep in the history of the place. And superimposed over a street map carried both inside and outside your head (the housing estate that now stands on the site of your old high school), are important milestones. When you learned to ride a bike. Your first kiss. The first flat you owned. But when I started setting fiction within my personal geography, I added an additional strata. Now when I walk in my local park, I see Jim pausing to stretch on his daily run. I see Aimee showing him the heron. We live with our characters so long that they’re kin to us. In a way, we know them better than friends and family, because we’ve seen through their eyes and know their every thought.

But you asked about my favourite character in Owl and that has to be Bins. Some readers assumed he was autistic, but that wasn’t my intention. I suffered from depression for many years and, in an age when suicide statistics speak for themselves, I enjoy celebrating people who’ve found their own ways of living. In my local town we have a wizard who walks the length of the high street in his full regalia, complete with a black cat on his shoulder; we have a very masculine-looking Scotsman who wears a very badly-fitting cotton floral dress; we have a man who goes about with a tank strapped to his back spraying the air, and a young chap who stands on street corners conducting the traffic, and singing hymns at the top of his voice. These are all logical responses to an insane world. Small communities – and children in particular – accommodate people who don’t fall into our narrow definition of what’s ‘normal’. It was only when watching a programme about the artist Chuck Close that I became aware of the condition Prosopagnosia, or ‘face blindness’, and appreciated how someone who didn’t appear to recognise people he’d met dozens of times before might be treated as if he was stupid, and if he was treated as if he was stupid, how he might eventually come to believe that.

8) Do you have a day job, and if so, does it help your writing in any way?

I left school at the age of sixteen, so I had time to fit in a twenty-five-year career in insurance before I left full-time employment to write. I was promoted to management at the age of twenty-one and appointed to the board of directors at the age of twenty-six. I’m not sure I would have found the confidence to write unless I’d had those opportunities – and unless I knew that my opinions were taken seriously. As a writer with a part-time job, I live on a very tight budget, so the days that I go up to the city feel like outings. In fact, my walk across London Bridge, through the city and along the riverside path provided plenty of inspiration for my new novel, Smash all the Windows.

8) Tell us about your next release

As you can probably sense from the title, the novel began with outrage. I was infuriated by the press’s reaction to the outcome of the second Hillsborough inquest. Microphones were thrust at family members as they emerged from the courtroom. It was put them that, now that it was all over, they could get on with their lives. ‘What lives?’ I yelled at the television.

For those who don’t know about Hillsborough, a crush occurred during the 1989 FA Cup semi-final, killing 96 fans. A single lie was told about the cause of the disaster: In that moment, Liverpool fans became scapegoats. It would be twenty-seven years before the record was set straight.

I didn’t want to be the one to add to the pain I saw on their faces, so I created a fictional disaster. And because writing should always take you outside your comfort-zone, I combined two of my fears – travelling in rush hour by Tube, and escalators. The book is about the emotional fallout. It’s very much a story of human resilience.

9) What will you be working on next?

Do you know, I have absolutely no idea. I never start work on the next book until the current one is published, so I haven’t even starting thinking about it yet.

12) What is your approach to marketing and self-promotion?

One of the joys of self-publishing is deciding how to present your work and I’m very involved in the cover design process, coming up with the concepts and sourcing the photographs. My brief to my designer is that I wanted my books to look like a set and that there are elements that are instantly recognisable.

I’m very active on social media and I try to extend my reach by interviewing other authors in the hope that their audiences will also enjoy my fiction. I’ve also had enormous support from the book blogging community, especially for my forthcoming release. Most book bloggers have full-time jobs and they’re not paid, but the ones who reply to me say they receive upwards of 500 requests a month. I think we really have to treasure them.

The truth is that what worked a few years ago in terms of promotion no longer works. BookBub is seen as the Holy Grail, but since traditional publishers have jumped on board, it’s increasingly hard to secure a spot. The economics of Facebook advertising didn’t work for me. The problem is that eBook prices are artificially low, and we pay the same as someone who is selling an item that costs hundreds of pounds. For me, the game-changer at the moment is Amazon Marketing Services. It’s only available on Amazon.com, but we’re told will be coming to the UK. That’s where my marketing budget goes at the moment.

Bio

Hailed by The Bookseller as ‘One to Watch’, Jane Davis is the author of eight novels.

Jane spent her twenties and the first part of her thirties chasing promotions at work, but when she achieved what she’d set out to do, she discovered that it wasn’t what she wanted after all. It was then that she turned to writing.

Her debut, Half-truths & White Lies, won the Daily Mail First Novel Award 2008. Of her subsequent three novels, Compulsion Reads wrote, ‘Davis is a phenomenal writer, whose ability to create well-rounded characters that are easy to relate to feels effortless’. Her 2015 novel, An Unknown Woman, was Writing Magazine’s Self-published Book of the Year 2016 and has been shortlisted for two further awards.

Jane lives in Carshalton, Surrey with her Formula 1 obsessed, star-gazing, beer-brewing partner, surrounded by growing piles of paperbacks, CDs and general chaos. When she isn’t writing, you may spot her disappearing up a mountain with a camera in hand. Her favourite description of fiction is ‘made-up truth’.

Blurb

Twenty years of change. One person who cares

A photograph of a barn owl in flight.

“The wings, all spread out and that? They’re kind of like an angel’s.” He’s right.It’s Aimee’s owl, Aimee’s angel.

Times have changed. Jim Stevens teaches history. Haunted by his own, he still believes everyone can learn from the past.

14-year-old Shamayal Thomas trusts no one. Not the family, not the gang. And at school, trusting people is forbidden.

“If you decide you gotta pick up that phone, you tell me first so that I can disappear myself. Because I ain’t havin’ none of that.”

The best way to avoid trouble, thinks Ayisha Emmanuelle, is to avoid confrontation. As an inner-city schoolteacher, she does a whole lot of avoidance.

One shocking event – a playground stabbing – leaves a life hanging in the balance. Two teachers risk their careers to help a boy who has nothing. Three worlds intersect and connect, regardless of the rules. History doesn’t always repeat itself.

A powerful exploration of the ache of loss set in a landscape where broken people can heal each other.

‘All the heartbreak of A Kestrel for a Knave (Kes) and then some. Imagine Billy Casper living in South London in the 1990s.’

Universal buy link for A Funeral for an Owl is https://books2read.com/u/4DoGRk

Amazon UK paperback https://www.amazon.co.uk/gp/product/1493504088

Also by the Author

Half-truths & White Lies

I Stopped Time

These Fragile Things

An Unchoreographed Life

An Unknown Woman

My Counterfeit Self

Smash all the Windows

Contact

Website: https://jane-davis.co.uk

Facebook page: https://www.facebook.com/JaneDavisAuthorPage

Twitter: https://twitter.com/janedavisauthor

Pinterest: http://pinterest.com/janeeleanordavi/boards/

Author Interview; Gail Aldwin

Hello and welcome to another author interview! This time I have the pleasure of hosting Gail Aldwin, a prize-winning writer of short fiction and poetry. She has lived in Australia, Spain and Papua New Guinea and is now based in Dorset. Her new collection of short fiction Paisley Shirt is published by Chapeltown Books. You can purchase a Kindle edition on Amazon (the paperback will follow soon).

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Can you tell us what inspired this collection of stories?

I looked for commonalities in the range of short fiction I had written over time. I noticed a thread of resilience woven through the stories and selected the best. Paisley Shirt is a collection of short fiction that tells of the obstacles encountered in life and how it is possible to overcome them.

I understand you are also working on a novel. What do you find harder? Short stories or novel writing?

All writing is a pleasure and a challenge. I like being able to work on short fiction alongside novel writing. The timescale for finishing a longer piece of work means that it’s good to have other projects on the go where there is satisfaction in knowing the story is complete.

Can you tell us about your novel? What is it about and when will it be released?

I wrote a novel called The String Games as part of studies in creative writing with the University of South Wales. It is the story of the abduction and murder of a sibling told from the older sister’s viewpoint. Rather than a crime novel, the story focuses on the legacy of loss for the protagonist, as she moves from childhood to the teenage years and into adulthood. Last year, I entered the novel into a competition and although I didn’t win and wasn’t placed, one of the judges was a literary agent and offered me representation. This was a lovely experience but it didn’t last long! My agent took maternity leave and decided not to return to work, so I continue to seek a home for this novel.

Did you always want to be a writer?

I’ve been interested in writing for over twenty years but as I child I didn’t like books. I experienced intermittent hearing loss, which meant it was difficult to learn to read, as I couldn’t distinguish the phonic sounds. Reading was hard work and it took until my teenage years to see books as a source of pleasure and enjoyment. My interest in writing started when I lived overseas and enjoyed writing letters. This grew into a love of writing short fiction and then novels, scripts and poetry.

Do you have a day job and if so what is it?

I currently work as a visiting tutor to creative writing students at Arts University Bournemouth. I love my job! It is a joy to watch students develop new skills and confidence. I am also Chair of the Dorset Writers Network. With the steering group, I work to inspire writers across the county by connecting creative communities.

Can you describe your writing process? 

When I get an idea, I muse on it for a while, then I decide which style of writing the content is suited to. Fragments or moments lend themselves to poetry, short fiction needs a story arc, I usually work collaboratively to develop scripts and novels are a home-alone process. The first draft of anything is about getting the words on the page, then the fun begins: shaping, deepening, layering through drafting and redrafting. For the first time ever, the novel I’m currently working on has been fully plotted. This Much I Know gives a child’s eye view of the interaction between adults in a suburban community where a paedophile is housed. The trick in writing from a child’s viewpoint is to exploit the gap in understanding between the child and the actions of adults around them. It’s a lot of fun playing around with strategies and techniques to capture the voice of a young child.

Tell us about your marketing and self-promotion approach

I am new to marketing and promotion so I refer to books with practical advice on how to move forward. I’ve learnt how to write a press release, have made contacts with local press and cultivated friendships on social media. I am hoping there are others like you, Chantelle, who are willing to interview me and review Paisley Shirt.

Where to find Gail:

Email:             gailaldwin@btinternet.com

Twitter:           @gailaldwin

Facebook:      https://www.facebook.com/gailaldwinwriter/

Blog:              The Writer is a Lonely Hunter

Chair DWN:    http://www.dorsetwritersnetwork.co.uk

Character Interview; Terry Dacosta from ‘Sucker’s and Scallies’ by Kate Rigby

Are you ready for another character interview? This week I am talking to Terry ‘Tez’ Dacosta, who I hope won’t mind me describing him as a bit of a rascal. You can find out more about his turbulent childhood in Suckers and Scallies  by Kate Rigby

1) Tell us what your positive character traits are.

 I’ve got a loads of positive traits, me.  I’m resilient, I bounce back when the going gets tough, you won’t catch me moping about.  I’m driven and I’ll fight my corner and that of my family and those close to me.  Oh yeah and I’m big enough to own up if I’m in the wrong or if someone makes a suggestion, like how I can improve my attitude or my work I’ll always take it on board.

2) What would you say your negative traits are?

 Anger is my main one.  I told you I’ll fight your corner but you don’t wanna get on the wrong side of me.  If I’m under attack you will know it. I do have a bit of a short fuse and I’m not gonna make the usual excuses of my upbringing and all that shite. Not like our Jackie who blames our old fella for all his drink problems and his dodgy back and sits about whingeing in groups and that. OK, so I’ve sat about at Anger Management groups but that’s because it’d got out of control and I had to do something about it. I’m not proud of it.  But I think our Jackie is just avoiding responsibilities and blaming others for things that have gone tits up in his life but one thing our ole fella taught us as well as standing up for ourselves was to face up to our responsibilities.  Not go blaming others.

3) What are your current ambitions or dreams?

 My main ambition is to be a better father to my youngest daughter than I was to my first.  I let my first daughter down by being an absent father.

4) What are your fears?

 I’m pretty fearless, me. But I don’t mind admitting that I hate going the dentist. I don’t like someone else being in control that way and inflicting pain on me.  Another thing, I hate standing up in front of an audience and reading out my own stuff. I agreed to do that a couple of times in open mic sessions with some hard line poems I wrote but I was bricking it.  It’s weird that, coz I’ve been in bands before and don’t mind all eyes on me when singing and playing front man.

5) Do you have enemies?

 Do I have enemies! I’ve been Public Enemy Number One at some times in my life. Like when I lived in Jersey and it felt like the whole of St Helier wanted me and our Chas gone from the island (when he was living there an all).  OK, so we did get up to a bit of trouble and my ex’s family hated us and the name Dacosta.  But you get these stuck up people who hate you coz you’re a Scouser and if you get on in life they can’t wait to do you down or they think we’re all on the rob or smackheads and that.  I’m not saying that I’ve not done bad stuff in my time, who hasn’t, but I’ve no need to go on the rob – I earn decent money as a graphic designer.  But yeah, I’m used to having enemies, it comes with the Dacosta territory.

6) Tell us about your best friend

 Our Jackie was always me bezzie. It’s that blood thing, you know.  There’s less than a year between us so we were like twins growing up.  He’s in Ireland these days, mind, so I don’t see a lot of him.  I did have this bezzie called Kit. He was a kind of blood brother, we even did the ritual when we were kids.  He was from a posh family but he was sound.  We bounced ideas off each other.  Good times they were.

7) What’s your biggest secret?

 Well, they’re not such big secrets these days but when I was growing up, we sometimes used to mess around with other lads, me and our Jackie. We were bad lads, I suppose. We roughed Kit up a bit, we were just messing about, experimenting. In those days you didn’t want to be called a shirt lifter but these days it’s no biggie. Gay, straight and all shades in between – who cares? But I do remember the time when you had to keep stuff like that secret or risk being battered.

 8) Do you have any regrets?

My biggest regret which I touched on earlier is not being there for my oldest daughter, Holly. I was too selfish back then.  Her mother and me split up and I didn’t keep in touch. I didn’t really wanna be saddled with a kid.  I just wanted to have a good time, playing in bands, doing mad stuff, you know. So I missed out on her growing up but I’m not gonna let the same thing happen with Ciara, even though me and her mum have split up.

9) Where do you see yourself in 5 years time?

 A lot more settled and not so turbulent, I hope.  Seeing a lot more of my daughter and making my latest relationship work.

10)  How would you like to be remembered?

As that tenacious Scouser with a chequered past who proved you all wrong and won you round! Something like that anyway.

Thank you so much Terry! It’s been great fun catching up with you. I’d been wondering what you were up to these days…