Are you a full-time or part-time writer, and how does that affect your writing?
I’m part-time, but the hours I put in probably equate to a full-time gig! I rely on structure and schedule to get things done. Before my shift at my day job, I spend 90 minutes in the library, where I do my admin, marketing and social media scheduling for the week ahead (or the whole month, if I can). Then I dedicate at least three hours to writing in the evening: this can be working on a draft, editing, outlining, or researching. I try to make the most effective use of the time I have, so I can still relax. It sounds intense, but I love what I do, so it never feels like work, and it energies me more than it exhausts me!
What are some day jobs you have held, and how have they influenced your writing?
I feel fortunate that most of my day jobs have been very interesting! I’ve worked for a travel company in northern Finland: an experience which inspired an entire series (the Foxfires Trilogy); and I’m currently in the heritage sector, which means I can very easily call upon history whenever I’m writing a period piece. Another job I did for a while was notetaking for disabled university students, which by proxy, gave me a very good understanding of English literature and marketing.
What have you written so far?
Everything I write falls into one fantasy sub-genre or another. My debut novel, back in 2012, was a renaissance coming-of-age story, with water nymphs thrown in. Since then, I’ve written a vampire saga, a trilogy inspired by Arctic mythology, a Cornish mermaid story, a dystopian steampunk series, and most recently, a witchy retelling of a lesser-known Hans Andersen fairy tale. I’ve also released a few short story collections, and co-authored five anthologies.
It’s quite a varied body of work, but I like to try different things, and let the story guide me as to what it needs to be. Plus I like to think it gives my readers a lot of choice, no matter their interests. But even though my stories appear very different on the surface, they share similar vibes: elements of folklore or history; mysteries and twists; and layered characters who have a quiet, unassuming strength.
What role does research play in your writing?
Whenever a story forms, I always know it will be at least two years before I begin writing it, because I dedicate so much time to research. This is one of my favourite parts of the process, because I love to learn. I’ll read everything I can get my hands on, watch documentaries, and if possible, I’ll visit specific locations or learn a new skill. Sometimes, I’ll even do ‘method researching’ – for my debut novel, I blindfolded myself for a few days!
I tend to do more research than I know I’ll need, but gaining the knowledge itself will translate into confidence. In that way, I find that I don’t have to beat my readers over the head with details. So long as I can describe something accurately and concisely, their trust in me will do the rest.
What is the most important thing that people don’t know about your genre but that you would like for them to know?
A common misconception about fantasy is the idea that you can “just make everything up.” However, in fantasy, you don’t only need to convince readers that the characters and story exist, but also the entire world, with all its new rules, or the bending of familiar rules. Not giving that the respect it demands will completely undermine everything. By extension, the umbrella genre of speculative fiction (which includes fantasy) is the only one capable of containing every single other genre within itself, and amplifying them. It’s an extremely powerful genre, which can easily be dismissed as childish or low-brow. But if the story reads easily, no matter its complexities, then you know the writer has succeeded in a herculean job behind the scenes.
Can you share a little bit about your latest book?
My latest book is The Road Through Night, and will release on Sunday, March 2nd. It’s book two of the Nightland Quartet: a tapestry of retold fairy tales, Gothic classics and Victorian history. The series takes place in an alternative 1830s, when the newly-created United Kingdom contains an additional country: the dark forest which we might recognise from Brothers Grimm stories. Accessed via special portal cities, the forest is the home of Nightlanders: elves and goblins with their own history, faith, and royalty. When a half-Nightlander servant named Beatrice is forced across the border, she finds herself surrounded by mysteries, and it will take all her determination to survive.
Who is your favorite character in your book and why?
Every character in this series was a joy to write: fiery and loyal Greta, mysterious and seductive Edward… but I have to pick Beatrice, our protagonist. She’s a neurodivergent young woman who never speaks, and uses her drawings to communicate. She’s essentially a fusion of Jane Eyre, Cinderella, and heroines from fairy tales such as The Seven Ravens and The Six Swans. Even though she is undeniably someone from the 1830s, she is quick-witted, has an acute sense of self, and refuses to compromise her integrity.
But another reason I love Beatrice is down to her neurodivergence. Her perception of the world is arguably the closest to my own which I have ever purposefully put to paper. Her first person POV is laced with symbolism, old songs, eidetic memory, and an image-heavy stream of consciousness. Many people underestimate or disregard her for her disability, but she is able to use it to see details which escape others. She’s definitely among my favourite characters I’ve ever created.
If your book was made into a movie, who would you cast?
I haven’t been asked this question in a long time! If a movie or TV series was on the horizon, I’d like to see as many lesser-known or new names as possible. But if I was narrowing it down to well-known actors, I would choose:
Beatrice Elliott: Bella Ramsey
Greta Becker: Sadie Sink
Anselm Becker: Jayden Martell
Edward Fitcher: Timothee Chalamet
Rosahild Wolfhart: Charlize Theron
Gideon Fitcher: Aneurin Barnard
Lady Hazel: Emilia Clarke
Sir Rudi: Rory Kinnear
Alba Wolfhart: Saorise Ronan
What did you enjoy most about writing this book?
Weaving all the layers and Easter eggs into the story. This is something I do with all my books. While they are meant to be enjoyed as entertainment first and foremost, I like to make them a treasure trove for those who want to go deeper. For the Nightland books, we have close to 30 fairy tales; the well-known and the obscure, with references to their variations and historical origins. But alongside those, we also have nods to pillars of the Gothic genre (Jane Eyre, The Bride of Lammermoor, and The Castle of Otranto), woven with real events and people from the early 19th century. For example, book one, The Shade Between Shadows, briefly mentions the Gottingen Seven: a group which included Wilhelm and Jacob Grimm. It’s something said in passing, but for my fellow folklore nerds, it will hopefully be a smiley moment!
What is one great lesson you have learned as a writer?
That there will always be people out there who will want to read my work. It’s so easy to feel like you’re not good enough, but I will never forget the first time a reader approached me and said I was their favourite author. The honour and gratitude brought me to tears. I adore my readers so much, because every single time the impostor syndrome wakes up, I only need to remind myself of the wonderful connections I have made with the people who matter. The world will never run out of space for stories, and I’m so happy to have learned that mine are wanted.
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