This week, we delve back through the Book Diner interview archives to when I talked to the very charming and super-talented, Paul McVeigh, whose debut novel, The Good Son, was published by Salt to massive critical praise. Indeed, after our interview, this novel won the Polari Prize and was the focus of this year’s World Book Night! Paul offers excellent advice to new authors here, as well as great insight into his writing process (which is uncannily similar to mine!). And just wait for the bit where he fesses up about what he’d really like to be, instead of an author …
Welcome to The Book Diner! Can we take your order – coffee, tea or soda? Eggs sunny side up or over easy? Home fries, French toast or biscuit?
Coffee and eggs sunny side up… but if you really want to make me happy – poach those eggs. [I always find poaching eggs tricky, but I’ll see who’s out the back …]
When did you realise you were a writer?
I still have my doubts! But I guess in the last year or two I’ve been happier calling myself that.
Are there particular symptoms you think people should look out for if they suspect they may be coming down with Writer Syndrome and do you think there is any cure?
Symptom: Spending a lot of time alone. Cure: Get out more. [I love spending time with imaginary people far too much!]
Can you tell us about your latest project?
I have a novel The Good Son that’s just come out. I’m in the process of all the work that takes place, which is all new to me. I’ve an idea for my next novel, but I’m doing a very tricky dance with it and have no clue when that will translate into writing. I am writing some short stories though. I’m hoping to put together a linked collection.
What inspired you to write it? Where do you generally draw your ideas from?
When I started writing I was inspired by films, reading, pictures – external things. Now my ideas seem to come from looking within – a desire to communicate the things that are unsaid. Taking an unexpressed feeling about someone or a delayed understanding of how things really were (during a relationship, say) and then re-examining situations and imaging other outcomes. What if I’d known what they were really thinking/feeling? What if I had said what I really thought at the time? I’ve always had this desire to uncover the uncomfortable truths and now I have turned that into a process for writing fiction.
My ideas seem to come from looking within – a desire to communicate the things that are unsaid. Taking an unexpressed feeling about someone or a delayed understanding of how things really were (during a relationship say) and then re-examining situations and imaging other outcomes. What if I’d known what they were really thinking/feeling?What if I had said what I really thought at the time? I’ve always had this desire to uncover the uncomfortable truths and now I have turned that into a process for writing fiction.
Can you talk to us about one or two of the characters from your latest work? How do your characters emerge?
In The Good Son the central character is a boy just leaving primary school growing up during the Troubles in Belfast in the early 1980s. He has everything going against him – an alcoholic father, a dangerous environment, he’s smart and gentle in a place where these qualities alienate you, he’s resourceful and full of love and refuses to be beaten by any of it. He absolutely loves his mum and refuses to see any of her flaws. And he does a pretty extraordinary thing to protect her.
I worked on this novel for a long time and the character changed over time. I took something I knew was true – that children will adapt and survive to almost any situation and they learn from it. From that basis I created a character in that situation and played around with the outcome.
Is there a particular theme or message you’d like readers to take away from this book?
That children are much smarter than you think. To protect the ones you love, you will do almost anything.
What kind of writing process do you have? Are you very disciplined in terms of having a set work routine and doing a lot of planning, or are you more of a pantster? (You fly by the seat of them – Zinkologism.)
When writing the novel, I needed chunks of time to absorb myself in its world. So a few weeks at time I’d make space and devote myself to it. I could speak in that voice, see those streets, the people, the houses they lived in. When I step into it, I can write all the time. If you said to me – what would happen if he went to the cinema, I could throw that chapter down in an afternoon. It was the same with editing it. I needed the time with it so I could hold it all in my head – to keep the voice and logic consistent.
When writing the novel, I needed chunks of time to absorb myself in the world. So a few weeks at time I’d make space and devote myself to it. I could speak in that voice, see those streets, the people, the houses they lived in. When I step into it, I can write all the time. If you said to me – what would happen if he went to the cinema, I could throw that chapter down in an afternoon. It was the same with editing it. I needed the time with it so I could hold it all in my head – to keep the voice and logic consistent.
With short stories, I can be more bitty. Sit down any afternoon and try something out. But, strangely, I plan these more. It’s unlikely I start writing a short story without already knowing it all in my head. I then leave them for a long time and little them marinate. Then the hard work begins.
Do you write longhand or on a computer or both? Do you believe that writing method makes a difference to style?
I write on a computer. I often cannot read my own writing! Writing on a computer helps me slow down a little as I write and edit as I go along. I do sometimes write in a journal by hand and can’t imagine doing that on a computer.
How do you approach research?
I usually write first and check things out later. My second novel idea has an historic event at its core and that is new for me. So I’ve been researching a lot about the character, the time, the place, the political atmosphere, so I’ll tell you how that works out!
How do you deal with autobiographical elements in your work? Do you worry about offending people or baring your soul too much?
Great question for me. Depending on what day you get me, I’ll give you a different answer as to whether my work is autobiographical. I can take a huge mixture of thoughts, feelings, imaginings, stories I’ve been told and mix them all together to create fiction. So I don’t see that as autobiographical, but I’ve realized something of me is usually in there. I tend to write in the first person and with a strong voice, so people usually assume it’s me anyway.
I’ve only once worried about my family when I wrote a story inspired by a situation I was in, which I fictionalized, knowing they would see the similarity and wonder if that really happened.
What advice would you offer to writers just starting out?
Read a lot.
Don’t be afraid – it’s only writing. Take risks.
Do it for yourself first. Forget publishers, agents, family. You can think about the rest later.
Read how other people do it and take what feels right and forget the rest.
Don’t be afraid – it’s only writing. Take risks.
Do it for yourself first. Forget publishers, agents, family. You can think about the rest later.
Read how other people do it and take what feels right and forget the rest.
How do you handle the rejections and bad reviews all writers experience?
Really badly! It’s very hard not to take things personally. I try to remember that there are authors or books that are considered classics that I would give bad reviews to, so, of course, I’m going to get them. [I agree that it’s a very ouchy thing to read bad reviews – but I’d slate Austen, so …]
When I’m writing drafts, I’ve learned to show my writing to a select few. If they give me the OK I completely trust them. So if other people don’t like it I’m pretty robust by then. [I do the same thing – I have a trusted mentor and a few writer friends who will see my new novels when I’ve taken them as far as I can as a lone wolf, but no one else!]
How do you deal with the Inner Critic who likes to tell us our work is worthless?
I’m get him drunk and he likes me more. [Hee, hee, hee.]
Who has offered you the most encouragement and support in terms of your writing career?
Louise Keunzler, an excellent writer of fiction for children, has been hugely supportive over many years. In the last few years, Sarah Butler has helped me and Vanessa Gebbie.
If you could choose to have a different creative gift, what would it be?
OK, so this is embarrassing. It would be to sing. I would give almost anything to be able to sit in small bars and sing all night. Cringe. [Me too! I wish I could have been a soul singer! Maybe we should start a band?]
Where can people find out more about you and your work?
I have a website for writers where I post submission opportunities and interesting links I come across. You can see what I do at Word Factory a monthly short story salon at Waterstones Piccadilly and the London Short Story Festival. More about me as a writer here.
Is there anything else we can get you?
Banoffee pie? [Anything for our visitors! I may have one myself!]
Do you have any questions for The Book Diner?
How did you get so cool? [I told you he is charming!]
Thanks so much for joining us – please call again!
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