SPFBO Author Interview: Carol Carman

What inspired you to write your SPFBO entry? Is there a particular story, personal experience, or idea that sparked this book?

I’ve always been interested in looking at fairy tales and well-known stories from a different perspective; sometimes from a minor character’s point of view, sometimes from logical reasoning, and sometimes just asking ‘What if?’. With my first book, Gingerbread Children, the question was ‘What if Hansel and Gretel weren’t the innocent victims that they’ve been made out to be?’. With Twicetime, the questions was ‘What if Frankenstein had been a woman?’

How would you describe your writing process? How did it evolve during the creation of this book?

I’d say my writing process is constant but sporadic, because I’m always writing but I have a lot of projects on the go at any one time.
For a novel, once I know roughly what I want the story to be about, I start by drawing a mindmap of the premise to see what facets of it I can explore. Then I write scenes which most appeal to me. They can be from any part of the story arc, but by writing a scene which is clear in my mind, it sometimes – not always – gives me a springboard to write the scenes that immediately precede or follow it. If I find that I can’t write any preceding or following scenes, I just print off the scene I’ve written, put it in a ring-binder and write a different scene.  In that way, I build up a collection of scenes and then all I have to do is fill in the gaps between them with other scenes to complete the story. 

 What challenges did you face during the writing or publishing process, and how did you overcome them?

One of the biggest challenges is editing. Having spent so much time writing a book, the last thing a writer wants is to do it cut it down again. But it has to be done if the book’s going to be the best it can be. I paid a reputable agency for an editorial assessment of the book and – although expensive – it was invaluable in pointing out things that, as the writer, I was too close to the book to see. Having followed their advice, it’s a much better book as a result.

Who are your biggest literary influences and how have they impacted your writing style?

Terry Pratchett, without a doubt. He really opened my eyes to the possibility of writing characters who live in a world which – on the surface – is vastly different from our own, yet truly it isn’t, and doing it with humour. I’m very much about the humour. Also, he showed me that books didn’t have to be written in strict chapters, but more like a film where you cut from scene to scene. Without Terry Pratchett, I wouldn’t have written my books.

How do you approach world-building in your fantasy novel? What elements do you think are essential for a compelling fantasy setting?

For me, the most basic necessities in world-building are believability and consistency.  Wherever a book is set, it needs to be well-enough described for me to believe in it, and that described world should be true to its own rules, capabilities and limitations.

The goal is to thread it through your story subtly so people don’t notice that you’re world-building. But if you do have to impart a lot of information, then make it relevant to what’s happening in the book at that point, and keep it in the style of the book you’re writing. So, for example, I have sections in my book which are ‘Notes on…’  and the subjects they cover are always relevant to the scene which immediately follows, and they’re written with the same humour as the rest of the book.

I felt I’d got it right (and naturally was immensely pleased) when author and reviewer Jennifer deBie  (jenniferdebie.com) wrote: ‘There are authors (particularly fantasy authors) who feel the need to bombard readers by overloading their work with worldbuilding details or the character’s innermost thoughts, and those who know how to balance their world, story, and characters. Carman, thankfully, is one of the balancers, and the way she weaves her tale is truly a masterclass in keeping perspective on the story at hand.’

All I’ve got to do now is live up to that reputation!

If you could give a piece of advice to the main character in your book at the start of their journey, what would it be?

Do what you have to do.

As a self-published author, how do you navigate marketing and promoting your work?

As I’m not rich and famous, I haven’t mastered this yet! If an opportunity presents itself to introduce people to my work, then obviously I’ll take it. Talks, book fairs, regular media posts, engaging with other creatives, competitions, interviews like this – everything helps! 

What made you decide to participate in the SPFBO competition? How do you think this experience will benefit you as an author?

I participated last year and found it invaluable to get feedback on my book Gingerbread Children from one of the reviewers and, although I didn’t win, I did get some satisfaction from not being rejected immediately (you have to take what you can in this game!). Participation gives me a chance to connect with other writers, readers and reviewers and feel part of something bigger than my own immediate circle. Plus I get to see what other people are writing, see how high the standard of fantasy writing is (very high) and I get to find books I want to read that I might not otherwise have known about.

If you were to win SPFBO, what impact do you think this would have on your writing career?

Winning SPFBO – which I would trumpet from the rooftops, make no mistake – would have a massive impact. It would mean I’d have an independent validation of my writing which I could brandish with pride and confidently show to people – including agents – and say, ‘See? I told you I could write!’

What's next for you after SPFBO? Are there any upcoming projects you can share with us?

I’m half-way through writing my next book, which is a twist on Sleeping Beauty (see my answer to question 1), I’m trying to put together a book of short stories, I’m writing a dystopian novel with a cartoonist and I’m considering publishing a book of comedy poetry, mostly about deaths in comic circumstances. Derisory Demises, perhaps, or Ridiculous Reapings. Hmmm. Might need a bit of work. 

Website for the books: https://mccawmedia.co.uk/