Lian Hearn

How did you become a writer?

I must have been born a writer. I was making up stories by the age of four. Writing them down was harder. My handwriting as a child was slow, clumsy and illegible. I was taught to write again at age 15, in a modified italic. I still write all my first drafts by hand.  I worked as a journalist, film critic and arts editor before I emigrated to Australia and had my three children. When they were small I wrote poetry and made up stories for them. My youngest child went to school and I thought I would try and write a novel. It was published eventually and I was on my way. It was 1986 and I have been a full-time writer ever since.

Name your writing influences (writers, books, teachers, etc.).

I’ve always been a wide and eclectic reader, but I’ve never done a writing course or read many books about writing. I learned how to write from reading. I studied French and Spanish at school and university and so was influenced early by literature other than English. Now I read in Japanese as well, which has an effect on my style. As a teenager I loved Ray Bradbury and Kurt Vonnegut. Also Lord of the Rings which I read when I was 19 and it was still a little known cult book. When I was poised to try writing my first novel Diana Wynne Jones was a huge influence.

When and where do you write?

I write very early in the morning, in bed, the cat on my knee, a cup of green tea to hand. I like to start before anyone else is awake, while I am still half in the dream world.

What are you working on now?

I’m writing a further tale of the Otori, looking at what happens to the characters who survive the trauma at the end of The Harsh Cry of the Heron. I’m also letting some ideas for horror stories simmer away somewhere in my unconscious.

Have you ever suffered from writer’s block?

All my life I’ve written in stolen hours so I’ve never had time for writers block.

What’s your advice to new writers?

Trying to be a writer is full of paradoxes and contradictions. Grow a thick skin but be sensitive to everything around you. Get a day job but make writing your priority. Read other writers but find your own voice. Have the highest expectations but don’t be disappointed. Be prepared to sell yourself in a marketplace but remain modest. Success if it comes will be followed by failure, so have courage.

Lian Hearn is the pseudonym used by British born Australian writer, Gillian Rubinstein for her Japan inspired medieval fantasies, Tales of the Otori (2002-2007) and The Tale of Shikanoko (2016) These books have been translated into 40 languages and published around the world. She has also written two historical novels, set in 19th century Japan, Blossoms and Shadows and The Story Teller and his Three Daughters. In her previous incarnation Gillian wrote over thirty books for children and teenagers, as well as numerous plays, winning many awards and inspiring many young writers. Previously she worked as a film critic, freelance journalist and editor in London and Sydney. She lived for thirty years in South Australia and now lives in the Northern Rivers area of New South Wales.

Nayomi Munaweera

How did you become a writer?

I think the writing chose me. I was unhappy in grad school and trying to write a dissertation. At some point I realized that I wanted to write fiction not analyze it. I dropped out and started writing a novel. It was 12 years before my first book was published and I felt comfortable calling myself a writer.

Name your writing influences (writers, books, teachers, etc.).

Salman Rushdie, Lionel Shriver, Joyce Carol Oates, Michael Ondaatje, Hilary Mantel.

When and where do you write?

In the morning, when I am as close to the dream world as possible. Never at night because I write about dark things and I don't want nightmares.

What are you working on now?

A third novel. It has a very different protagonist from my other two books. He's dangerous and thrilling. I can't say more than that.

Have you ever suffered from writer’s block?

No really, because I write novels--big projects--so if some part of the book isn't working I can work on a different bit. Which is not to say that some days I'd rather do anything else--root canals included--than write. On those days I try to do research or interviews etc :)

What’s your advice to new writers?

This is not a job. This is a calling. If you are called you won't have any choice but to answer. Throw off your clothes, wade into the water, dive deep, deeper, deeper. It will be hard, it will be cold and lonely and sometimes terrifying but if you go deep enough you will be rewarded beyond your wildest dreams by the writing itself.

Nayomi Munaweera’s debut novel, Island of a Thousand Mirrors, was long-listed for the Man Asia Literary Prize and the Dublin IMPAC Prize. It was short-listed for the DSC Prize for South Asian Literature and the Northern California Book Prize. It won the Commonwealth Regional Prize for Asia. The Huffington Post raved, “Munaweera’s prose is visceral and indelible, devastatingly beautiful-reminiscent of the glorious writings of Louise Erdrich, Amy Tan and Alice Walker, who also find ways to truth-tell through fiction. The New York Times Book review called the novel, “incandescent.” The book was the Target Book Club selection for January 2016. Nayomi’s second novel, What Lies Between Us was hailed as one of the most exciting literary releases of 2016 from venues ranging from Buzzfeed to Elle magazine. Her non-fiction and short fiction are also widely published. www.nayomimunaweera.com.

Dawn Raffel

How did you become a writer?

I started as a daydreamer. You know the kid who’s a million miles away when the teacher calls on her? That was me. And from the time I could read, books were both my refuge and my window on the world. Let’s blame it on that. By middle school, I was always writing something.

Name your writing influences (writers, books, teachers, etc.)

Everything that influences who we are influences what we write, doesn’t it? I devoured the Russian classics, especially Tolstoy, though I doubt anyone would see that in my work. I have huge admiration for the dialogue and silences of Harold Pinter and Edward Albee, and tremendous regard for the courage and wit of Flannery O’Connor and Grace Paley. Is that traceable in my work? That’s for someone else to say. I studied with Gordon Lish, who is a phenomenal editor and teacher. I count Robley Wilson as a mentor. And I learned something from every writer I’ve worked with in a long career as an editor. I spent several lifetimes in dogs years as an editor on staff before going freelance. 

When and where do you write?

In my head all the time. On the page under pressure. I tend to procrastinate.

What are you working on now?

A heavily-researched nonfiction book that is taking me way outside my comfort zone, in a good way.

Have you ever suffered from writer’s block?

Daily. But usually writer’s block is fear of what’s going to come out on the page. If you’re writing well, no matter the topic, you’re going to learn something about yourself and it might disrupt your idea of who you are. 

What’s your advice to new writers?

It’s supposed to bring you joy. That’s not exactly the same as “fun.” And it doesn’t mean it’s easy—it isn’t. But when people talk about bleeding onto the page and all that other crap, forget it. Suffering is part of the human condition, not a badge of honor. You don’t need to seek it out to be a better writer. Find the joy.

Dawn Raffel’s four books include a novel (Carrying the Body), two short story collections (In the Year of Long Division and Further Adventures in the Restless Universe) and a memoir (The Secret Life of Objects). She teaches at the Center for Fiction in New York and works as a freelance book doctor.