Jane Sanderson is the author of This Much is True which was released in June 2017.
After decades in a deeply unhappy marriage, Annie Doyle can barely bring herself to care that her husband Vince is finally about to die.
But as the family gathers to see out his final days, Vince utters a single word that will change everyone’s lives completely:
Who is Martha? And why is Annie so quick to dismiss the mention of her name?
As Annie’s long-held secrets start to emerge, the lives of everyone she holds dear will be changed forever…
Hello Jane, thank you so much for joining me today and congratulations on the release of your book, This Much is True. What was your typical writing day like when writing this book?
Ah, if only there was any such thing. Every day seems to be different, depending on what other demands there are on my time. I work at a desk in my bedroom at home, and am easily distracted by almost everything that happens around me: dogs barking downstairs, postman knocking at the door, phone ringing, washing to be done, drying to be folded, dogs to be walked, dinner to cook … do you get the picture?! I write between all those other activities – half an hour here, an hour there – until the book gets more than halfway finished, and then I always make a priority of it, find the discipline to turn a blind eye to other things, and forge ahead to the end. On the whole, I’m probably most productive either very early in the morning, or late in the evening.
Can you tell me a little about This Much is True and what inspired the novel?
It was actually inspired by walking my dogs, here where I live, in Herefordshire. But that really was just a starting point for a story about secrets, lies, and the redemptive powers of friendship. Annie Doyle is a deceptively complex woman, whose ordinary existence hides some extraordinary truths, and who can only deal with the miseries of her past by ignoring them. I wanted Annie’s fledgling friendship with Josie and Sandra to be a catalyst for change; through their example she begins to see another way of being. Of course, I also wanted to explore the idea of secrecy in friendships too – the lines we don’t cross, the things we never tell. Annie has more to hide than most of us, but I believe we all protect our secret selves, to one extent or another.
Do you have many pages of planning and research for this book or did you just see where it took you?
I have a notebook with random memos to myself about things I mustn’t forget, but that’s all. I research as I go, and I don’t really plan at all. It sounds like a recipe for disaster, but it works.
What’s the editing process like for you – how do you approach it?
It’s a fluid process, and I edit (that is, rewrite, correct, add material) as I write, rather than at the end. I don’t do drafts – my first draft tends to be my only draft, but it will have undergone an awful lot of tweaking as it took shape. Then, of course, the manuscript goes to the editor for their input, and the copyediting stage is equally crucial to weed out the continuity errors and grammatical blunders, but on the whole I try to be as efficient as possible during the actual writing of the story. It’s my journalist’s training, I reckon – it dinned into me the importance of producing ‘clean copy’.
What elements do you feel make a good novel?
Great characters and believable dialogue. If those elements are in place, I’m happy. Plot matters – of course it does – but sometimes a great novel can actually be about very little; if the reader cares about the characters, and can hear them when they speak, then that’s the basis of a truly good read, in my view.
Do you have any writing rituals – coffee, music, silence, a specific place you need to write?
Silence, generally, and I always write at a small desk at my bedroom window, which has a beautiful view of the Brecon Beacons in the distance, but I have to keep the shutters closed because the light bleaches out my screen! Coffee and tea are essential to my day, whether I’m writing or not.by
Novel Kicks is a blog for story tellers and book lovers.
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