OW: What is your favourite genre to write? Why?
LW: I’ve always written within speculative fiction: typically science fiction and post-apocalyptic fiction, with the odd detour.
Like many science fiction writers who grew up during the 1980s, I was a nerdy kid surrounded by a media landscape saturated with science fiction, and living through a point in time in which the genre’s terminology and motifs were being absorbed into our cultural language. To an enquiring mind that soaked up external stimuli like a sponge – especially one obsessed with books, giant monsters, Ghostbusters and Star Wars – science fiction seemed like the logical way to express and understand the influence of this changing world.
And then there’s science fiction’s ability to make us question what we know, by reframing it as a ‘what if?’ and then digging deep. To this particular fan, the ability of science fiction to open our eyes to what is by showing us what it might become, is nothing short of genius.
OW: Do you model characters after real people?
LW: I think I speak for many writers in saying that I don’t so much model my characters after real people, but rather appropriate aspects of real people and attribute them to my characters. This is certainly the case with The Rain Never Came – no single character is based on a real person, but the same can’t be said for some of their behaviours, mannerisms, figures-of-speech and peculiarities, not to mention some of the character interactions.
We’re fascinating creatures with individual habits and quirks that would seem odd, if not bizarre, to anyone but ourselves. And so, to make a character more human and alive, these habits and quirks need to shine through, even if only subtly. The trouble here is that making up a quirk or habit can seem ridiculous, even if only to ourselves – which can then have a knock-on effect on our confidence and flow.
This is why it’s okay to occasionally steal things from real life and give them to your characters – sometimes the truth really is stranger, more interesting and more convincing than fiction.
OW: Have you ever written something you didn’t like, but felt necessary for the overall story?
LW: Absolutely, as I think every writer has – there were many instances of this in The Rain Never Came, some of which anyone who has read it will recognise straightaway. But as unlikeable as these instances may be, they’re there for a reason: realism.
All writers should strive to make their stories as believable as possible, even if the events and locations therein are purely fictional or speculative. We should do our best to make them ‘real,’ especially their characters and their characters’ lives. And a large part of what makes our own lives ‘real’ are ups and downs – no life is perfectly balanced and as smooth as the proverbial, no matter the surface impression. Happiness and sadness, joy and depression, excitement and boredom, engagement and disenchantment; they are complimentary emotions that can only exist in contrast to each other.
Our stories should reflect this: good things should happen, and so should bad things. It goes without saying that we often tend to prefer writing the ‘good’ to the ‘bad’ – show me a serious writer who doesn’t invest a fair bit of emotion in their work, and I’ll show you a liar. And so it is with The Rain Never Came. Bad things happen in it, things that I didn’t particularly like writing, but they were necessary for both the story as a whole and as realistic balances to the good.
OW: Do you take criticism hard or do you have a thick skin? Have you ever received criticisms that you felt were unjustified or too harsh? Are you your worst critic?
LW: So far, most of the feedback I’ve received on The Rain Never Came has been positive, or at least encouraging. I’m ready for anything negative, though – quality is in the eye of the beholder, as some people say, and no piece of art, be it a book or a song or a movie or an actual piece of art art, is ever perfect. And nor should it be.
Luckily, I’ve got pretty thick skin. And it helps that I’m hard on myself, and push through a lot of redrafting and rewriting before showing my work around for an initial round of feedback – I don’t want someone to judge my work if it’s full of logical flaws, continuity problems, grammatical mistakes, plot holes and so on. That way, each piece is as polished as that point in time dictates, and so the feedback received is on the major elements instead of the minor.
OW: How do you keep motivated to finish a writing project?
LW: For me, the simple answer is to have another project to look forward to when I’m done. I believe that most writers have more ideas than they know what to do with – if we can harness that, and stay sharp enough to use these ideas as blueprints for future projects while still dedicating our passion to the project in front of us, then there’s always something to look forward to. Anticipation and delayed gratification: there’s sometimes no better motivator.
OW: What would be your advice for aspiring authors?
LW: There’s as much advice for aspiring authors out there as there are aspiring authors, but I’ll share a way of thinking that works for me. Writing a good book only takes a few things: a spark of talent that can be nurtured, an idea that can become a story, and discipline and routine, as well as a lot of time and a job that allows you that.
Find these things, and you’ll get there.
(Originally published on On Writing, 3/8/2018)