It’s now a year and a half since my debut novel What You Call Free was published. For most of the time since then I’ve been working on the next novel and I’ve been immersed in 1919: the bright lights of Paris and the depths of Scapa Flow; ghost-filled rugby changing rooms and post-WW1 hospitals where despair meets hope.
I’ve been making early forays into the research for book three too. How did those 1920s aeroplanes ever stay up?
That’s right, they often didn’t.
But the 17th century is calling to me! Between September and January I’m fortunate enough to have a series of opportunities to speak about What You Call Free. As I prepare for these, I remember just how invested I am in the lives of these two real women, Jonet Gothskirk and Helen Alexander.
It’s good to be back.
What You Call Free is available to purchase in paperback and ebook direct from Ringwood Publishing and from your usual book retailer.
For details of forthcoming events see events page.
Scotland’s creative writing centre, Moniack Mhor, is a very special place. I’ve stayed there twice in the last few years, and those two weeks were hugely influential in the writing of What You Call Free.
I’ve been working on this book for a very long time! I began writing it in 2013, although the idea had been there for much longer. In 2016 I entered it into the Bridge Awards’ Emerging Writer Award and was delighted to be ‘highly commended’, and to receive a grant towards a Moniack Mhor retreat as a result.
The format for the tutored courses is a perfect combination of workshops, one-to-one tutorials, evening readings, and as much thinking time, writing time, good food, good wine and good conversation as you could possibly want. With some trepidation, I chose a historical fiction course led by Isla Dewar and Margaret Elphinstone, and travelled to Moniack. Although I am used to having my non-fiction words published in different forms, my fiction writing had always been a private and solitary enterprise. I had never done a creative writing course or joined a writing group, and had rarely shared or spoken about my work. I learned a great deal on that course, but I think its real significance lay in giving me permission and confidence to think of myself as a fiction writer. It was a completely new experience to speak the language of fiction with other people and to discuss my writing and my dreams. The book I was working on – at that time called Sackcloth on Skin – was a bit of a sprawling, multi-strand, multi-timeframe mess, but my first visit to Moniack Mhor encouraged me to believe not just in the book but in myself as a writer.
Eventually I was ready to send it out. There were some positives – a couple of longlistings for example – but then came the stream of rejections from agents and publishers. If you have ever put yourself through this you will know how completely demoralising and destructive it is. By the end of 2018 any confidence I’d discovered at Moniack was fast disappearing. And yet, I couldn’t quite bring myself to give up on this story. I still believed in it, but something needed to change. My choice seemed to be either to self-publish the book as it was or to change it drastically. I decided to try removing everything but the 17th-century storyline, and rewriting it as a historical novel.
It should have been devastating but it was actually quite cathartic! By the time I had cut out everything I no longer wanted, the book was about half the length. It was much easier to see its weaknesses, and where the historical story needed development. Around the same time the Moniack programme for 2019 dropped into my inbox. I hadn’t planned to go back, but a course on ‘Finding the heart of your novel’ led by James Robertson and Cynthia Rogerson caught my eye. Could Moniack work its magic a second time?
I signed up, and then left the book aside until June 2019, when I returned to Moniack with a mutilated half novel! I was worried the course might not live up to my first experience, but it was a wonderful week. As before, the setting, the people, the generous help from the tutors and the encouraging atmosphere all combined to help me to understand how to take the book forward.
I spent the rest of 2019 rewriting, and by the start of the year was ready to begin the daunting prospect of sending my novel – now What You Call Free – out again. But this time I had more experience, and the support and advice of writer friends made on that course. In summer 2020 the book found its home – with Ringwood Publishing, an independent Glasgow based publisher who publish an exciting range of Scottish fiction and non-fiction. It should come out early next year. There’s still a long way to go, but I will be forever grateful to Moniack Mhor for helping me firstly to believe in myself as a writer and then to understand the book I was writing.
This has obviously been a really hard year for Moniack Mhor, but they continue to offer online courses and opportunities. Check them out, and support them if you can!
During the course of the summer I received the wonderful news that my debut novel is to be published by Ringwood Publishing next year.
I’ve shared a bit over the years about the progress of this novel. I began working on it years ago, alongside my freelance writing and heritage career, and it has been through many drafts! There were some really encouraging early moments, including being highly commended in the Bridge Awards Emerging Writer Award and longlisted for the Mslexia Novel Award, but there have been so many disappointments too.
The decision I took 18 months ago to move to a different part-time job, giving myself time to focus properly on my fiction, has proved to be really important, as was my second visit to Moniack Mhor in June 2019.
After a drastic rewrite, which included removing an entire storyline (around half the manuscript!), What You Call Free (yes, new title too) has at last found its perfect home.