My first interview at YALLFest was with Jonathan Stroud, author of the Bartimaeus series and the Lockwood & Co. series. I’m a big fan of Jonathan’s novels, so I was thrilled to have a chance to pick his brain about his writing process. In fact, I’m such a huge fan that (this is embarrassing to admit, but we’re all friends here) I actually named a character after him in my short film Saying Goodbye. So I
was super nervous before the big interview, as in knees-knocking, palms-sweating, will-my-voice-even-work nervous. Fortunately, Jonathan is a charming English gentleman, so my nerves immediately disappeared as we chatted about writing, the perfect cuppa, and giving kids the
opportunity to be creative.
Jonathan, thank you for the interview with AYAP! Since many of our readers are participating in National Novel Writing Month this month, I was wondering if you’ve ever participated?
I’ve never actually done it, but about ten years ago I contributed a pep talk for it, which I think they still use (read it here). I think it’s excellent. You need deadlines – deadlines are important.
When NaNo rolls around each year, it reignites the pantser versus plotter debate – where do you stand on this vital matter?
Well, in the outset, I am a pantser. For me, I always start with just jumping in – all my books tend to start with just a scene or a kernel of an idea, and I throw myself in and I just write and I see what happens. I think that’s kind of necessary because you get an energy and excitement. Though often some things don’t work, so plenty of times I’ll try that and it doesn’t have the energy, but when it does, it’s really exciting. And, you know, almost the fact that you haven’t got a plan means that you go down interesting avenues.
Later, I’m very much a plotter, and I will stop and I will create structure, and then I will carry on writing and change the structure. And I think, personally, it’s a bit of a 50-50. I think you need both – you need both sides of your brain working. I’m skeptical of people who say, “Oh, yeah, I just let the muse take me.” I think, no, you do need structure. There are certain books you read and you kind of go, “Hmm, this person’s got pretty good ideas but they haven’t actually got the discipline to make it tight,” which I think is something you do have to have as well.
One of the standard questions we ask authors is: “What’s your writing ritual like?” but you helpfully have your Day in the Life on your website (check it out here). It says you print out your pages at the end of each day and read them in the morning – do you do revisions at that point or is it just to get you back in the work?
It sort of works on a number of levels. When I’m thinking creatively, when I’m making notes and sort of quick ideas, I like to use pen and paper because somehow that’s more instantly creative and you can do little drawings, and it’s just much more primal.
So then after you finish a first draft, what is your revision process like?
Well, I tend to revise very piecemeal. Like as of now, I’m working on the fifth Lockwood book, and I’ve currently got like 120 pages of stuff, and it’s bits and pieces from all over the book – versions, early drafts, things that won’t get into the book – but they are all attempts at finding ways in, opening windows on the book. When I get back from America, I’ll go back to the beginning and work my way through, and some parts I will be revising – I’ll spend a long time on them and work on them, work on them. Other chapters will be very easy, and I’ll sort of do it quite quickly.
Has there been an AHA! moment along your road to publication where something suddenly sank in and you felt you had the key to writing a novel? What was it?
The one time when I had a real AHA moment, kind of a feeling of inspiration, was many years ago when I came up with the idea for the Bartimaeus books. I was walking along the road, and as I walked I had a couple of key ideas. The primary one was I wanted to write a book about magic, but I didn’t want to make it about hero wizards, which were very much in vogue. I thought, no, I’ll make the wizards the bad guys and have this demon or djinni as my narrator, my hero. And, yeah, that’s right, the magicians will be politicians and the country is ruled by them. And those two sort of linked ideas, I thought, ‘oh, that’s good,’ and I went home and quickly wrote the idea down.
Speaking of Bartimaeus, I’m a huge fan. How did you come up with doing footnotes for him, which is such an amazing part of his voice?
Well, thank you. On the first day, when I sat down to write the opening chapter – and this is a case in point when I had no idea what the story was, I just knew it was going to be spoken by the djinni and there was going to be this kid and that’s all I knew – and I sat down and his voice just came out, and I think on the second page the first footnote appeared. And it just seemed right because he’s such a know-all, and he’s been around for thousands of years, he thinks he’s far superior to anybody who might be reading the book. And I did it and thought, ‘Oh, this is going to be great, it’s a real aspect of his personality.’ It wasn’t sort of artificial, because footnotes, I love footnotes, but sometimes you feel like they’re kind of detached from the text. But, this, the whole point was it was part of his character to do this, and it was infinitely playful, which was wonderful. So it was a good day’s work.
You mentioned above that you’re working on the fifth Lockwood novel, so I guess that answers my ‘what are you working on now’ question.
Yes, this should be the fifth and final one of the Lockwood series. It’s been great – I’ve really enjoyed it. Again, it’s deadline things. Specifically setting out to write one book every year, which I find quite tricky because I’m not the world’s fastest writer because I’m revising and fiddling around, but I can just about do it. So this will be the fifth, and I’ll try to wrap things up in a kind of good and tight way.
Do you have ideas on the horizon for what you’re going to do next?
Nooo? No. I am thinking about it. It will be something different. Having done ghosty, paranormal adventures for a while, I’ll definitely do something that’s quite different. Beyond that, I mean I’ve got lots of files, I’m sure you have ideas, you scribble them down, you put them in there. So there’s lots of different types of ways I could go, but part of the fun, I think, is not— it’s the plotting versus pantsing when you’re trying to start a new series. It’s quite important – you need to kind of riff and go with your instinct at the time.
Tea is a big part of your characters’ lives and from your website, I know it’s a big part of your writing process, so tell us how to make the ideal cup of tea.
Well, I mean, there are so many different ways. It depends on if you are Japanese or you Americans make tea in different ways to the way I make tea, and even that’s a generational thing. When I was a kid, I’d go around to my grandparents, and you’d brew the tea loose and it would be in the teapot and it would all be kind of stewing in there and then you’d have a strainer and it was all very sort of polite.
I love what you said on your website about author visits in that “it’s essential that a writer reminds himself of who he’s writing for” – so what does a typical author visit look like for you?
Traditionally, it’s about an hour presentation. It does depend on where you’re doing it. If you’re doing it in a school and you’ve got an hour, then that’s great because you can get a PowerPoint thing going. I like to show visual things because in a typical audience of kids, some of them will be great readers who love all my books, others will not have a clue who I am and be kind of looking at their watch.
That leads perfectly into your Freedom To Think campaign, so would you tell us more about it?
It comes from me thinking a little bit about how I create – the things that work for me and the things that don’t work for me – and looking back on my childhood and how I began as well. My parents unearthed all sorts of little books and things I’d done as a kid. And when I was looking at them, I thought, okay, there’s a strong connection between these things I did when I was five and what I’m doing now. And at the time, you’re not aware of it, but actually it’s pretty obvious. So even when I was very small, there was a certain route that I was trying to take, and it involved me spending a lot of the time on my own, kind of riffing and messing about just like we were discussing. And I’m sure it was the same with you and many others. People who have this kind of urge tend to find the time to do your thing, and it involves reading and looking around and daydreaming.
It seems like a lot of it will be about parents and schools giving children space, but what can writers in the kidlit community do to help facilitate this?
I think we’re all in a way doing it anyway because we’re promoting reading, which is one aspect of it. Reading is about sitting quietly and opening doors and looking in different directions, so we’re already doing it.
For more information about the Freedom To Think campaign, including ideas to encourage kids and other ways to get involved, go here.
Thank you, Jonathan, for taking the time to chat with me!
As we wait for the last Lockwood & Co. book, make sure you’ve read his latest, THE CREEPING SHADOW.
ABOUT THE BOOK
The Creeping Shadow
by Jonathan Stroud
Disney-Hyperion
Released 9/13/2016
After leaving Lockwood & Co. at the end of The Hollow Boy, Lucy is a freelance operative, hiring herself out to agencies that value her ever-improving skills. One day she is pleasantly surprised by a visit from Lockwood, who tells her he needs a good Listener for a tough assignment. Penelope Fittes, the leader of the giant Fittes Agency wants them–and only them–to locate and remove the Source for the legendary Brixton Cannibal. They succeed in their very dangerous task, but tensions remain high between Lucy and the other agents. Even the skull in the jar talks to her like a jilted lover. What will it take to reunite the team? Black marketeers, an informant ghost, a Spirit Cape that transports the wearer, and mysteries involving Steve Rotwell and Penelope Fittes just may do the trick. But, in a shocking cliffhanger ending, the team learns that someone has been manipulating them all along. . .
Purchase The Creeping Shadow at IndieBound
View The Creeping Shadow on Goodreads