Hello From A Heatwave

I'm still pale and ginger but also out the other side of writing despair. Plus: the Q&A I promised

I am writing this update on the train from Cork to Dublin after a week in East Cork. The temperature on the train is approaching nuclear levels of meltdown: it’s the hottest day of the year across Ireland and from my window I see parched yellow grass, dusty hills and clear blue skies. It’s the height of summer and I. Love. It. But I am pale and ginger, and did not manage to completely avoid sunburn. A woman stopped me after a long walk in the woods and shouted the word “melanoma” at me, and although I giggled at the time, I now have aftersun across my shoulders and some regret for dismissing her concerns.

Although it is hard to marshal your thoughts when your brain feels like hot fudge, I will try! (And I will apologise for any heat-related typos.) Firstly: the trip. It was my first week off since starting in the new job and how lucky am I to have picked the week that a heatwave came to Ireland? I stayed in a lovely house in Castlemartyr and the aim was twofold: chill out and stop overthinking life, and start a new book. I did indeed stop overthinking, and I did indeed start a new book.

It’s never that simple though, life, is it? I’ll be totally honest here; the process of starting a new book filled me with a very unexpected level of despair. I’ve been trying to figure out why that is, and I think I have an idea now of why. My debut novel, The Lies Between Us, which comes out next year, was written in my own sweet time with literally zero expectation. Sure, I had told people I wanted to write a book and was trying to put the words on the page, but no one was waiting on it. The whole process was entirely mine, private and full of wild hope and delusion. For some reason, I don’t really remember the process of starting to write The Lies Between Us. I definitely remember sketching out different timelines, I remember key scenes, tedious moments, I remember the joy of it all.

But this time feels so different. For some reason, having just sketchy ideas felt really scary. Every thought or character trait or idea for a scene was laden with an ominous thought: is this good enough? Is this anywhere near good enough? Was The Lies Between Us some fever dream that I can never hope to achieve again?

For me, writing despair looked like this: staring at an empty Word doc. Lying face down on the bed. Cleaning the most random objects in order to procrastinate. Doodling. Organising everything and nothing. I’m very relieved to say this was not a permanent state. One afternoon, my husband saw me lying on the couch and staring at the ceiling when I was supposed to be writing.

“Right,” he said. “Let’s brainstorm. What have you got?”

Grudgingly, as if I was revealing an embarrassing secret, I detailed some of the characters and scenes and little sparks that were flying in my head. An hour later, after talking it out and bouncing ideas around, I had my new cast of seven characters pinned to the back of a drying rack. Two hours after that, as the sun streamed in through the patio doors and two fans threw some hot air at us, I had a rough outline (a very rough outline). That was last Tuesday, and every day I am fleshing it out a little bit more. I then came across the most useful quote: just get it written. Make it good later.

So that’s what I will do for this next thriller, which is similarly set in a heatwave. I’ll get it written and I’ll hopefully make it readable later. Lessons learned: writing despair is temporary. Talking it out with someone you trust really helps. Getting the words down is all that matters. And put sunscreen on your shoulder blades, for the love of god.

Now! In an Instagram story a few weeks ago, I asked for a few questions and I promised I would answer them here. With apologies for the delay (the days are like minutes lately) here is the Q&A.

Q: How did you get an agent (very excited to read your novel)

A: Hello TFB! I’m very excited for you to read it too! There’s a long answer to this, and a short one, and I’ll give you the short one because I am melting into a puddle on this train lol. The way I found my amazing agent (hi Florence!) was through what I would describe as very careful matchmaking on both our parts. I had finished my novel, reworked it thoroughly on foot of constructive criticism, and was ready to submit. I went through a list of around 400 agents on the Jericho writers website, and whittled the list down to around 20 agents who I thought might genuinely like my book. I then very carefully researched around ten, read interviews with them, stalked them a little on social media (sorry) to get their vibe, and submitted a personal query to them. I also took careful not of their submission guidelines. Taking the time to tailor your query letter is so important. After this, some agents asked to read the full book. Then they asked to set up a call. A dream scenario.

Q: Legit q! If not on sale until 2026, why send review copies to other authors so soon?

A: I’m going to give you an answer, G, that might not be entirely accurate but is my best reading of my situation! My publisher, Penguin Sandycove, began sending out advance reader copies around six weeks ago. I have been so… overwhelmed? Grateful? all the things… about the responses we have received so far. I think the main reason for going that early is because these are very busy authors we are submitting to: they have their own punishing schedules for books released and books still to be released. It makes sense to give them as much time as possible, so that when we come out with the cover reveal (soon!) we have those quotes and blurbs ready to try and build the book up and get some momentum behind it. To the best of my knowledge, we will do another advance copy round to reviewers etc soon.

Q: What was your process for developing the story, the plot and the characters?

A: Hello J! In my ramble above, I was saying the process of starting The Lies Between Us is a little oblique in my memory. This is probably because a) I have a terrible memory, shocking bad and b) the process of starting the novel took place over a long period of thinking. But what I do know is that I started with one central scene in my head. It’s a key scene between two characters and, for me, it is the very heart of the book. I kept asking myself the same question about these characters: what if? What if this happened to them? What if that happened to them? What if this was me? How would I feel or react? And from there it grew legs. The sense of location was also pivotal. I went to Dunmore East for the first time in between pandemic lockdowns and I just fell in love with it. I could visualise these characters there so clearly. From here, I asked myself about these characters futures’. Where would they be in ten, 20 years? How would this one dangerous scene impact the rest of their lives? And then the full story was born.

Q: Can you still enjoy reading books in your genre or are you comparing it/taking notes?

A: There’s E! Hi! You already know I’m sweating my head off on a train so I don’t need to make excuses to you. This is such an interesting question. Before I got an agent and publishing deal, I used to read books in my genre with such jealousy. How did they do this? How did they make that character so REAL? Will I ever be able to do this? And that was kind of a horrible way of reading and dissecting a novel. Now that I am near the other side of it, with a book soon to come, it is so different. I read books in my genre now and want to stand up and applaud. I marvel and saw WOW. That’s amazing. What a brain. I take notes in the best way: with appreciation for the technique and in the spirit of always learning. Maybe it’s because I know I’m nearly there myself, but I also think it is because I now have a deep, deep appreciation for how hard and long the process is. I salute my fellow writers and I feel the sacrifice that went into always saying No to get the damn thing done.

Q: Do you have any advice for aspiring journos?

A: Hello EW! Yes indeed I do. The most important quality you can have as an aspiring journalist is Determination with a capital D. Lot’s of people inside and outside of the industry will have lots of reasons to say No. (You’re too young / not experienced enough for this story / not around long enough / don’t have enough contacts / haven’t written enough etc etc). Don’t let their No’s get you down. Everyone started somewhere. Reach out to older journalists you admire. Don’t be embarrassed to pursue a story even if it feels futile. Put yourself out there: meet politicians, personalities, PR people, whoever offers. Apply to every internship. Watch carefully how the other journalists in the newsroom operate. Believe in yourself. You are the future of journalism! Finally: PICK UP THE PHONE AND RING PEOPLE. Make a nuisance of yourself. Leave some mud on the carpet :)

Q: Better to get an editor to go over a manuscript before going out to publishers, I take it?

A: Hmmm. Sadly I am about to roll out the most annoying phrase in publishing: it depends. Lots of writers benefit from an external editor when they are starting out. But of course, it’s a signifiant added expense that you have to foot yourself. If you’re really stuck and feel this could help, and you can afford it, do it! But also remember if your idea is strong enough, you will go through an extensive editing process with your agent and publishers.

OK that’s it for me! Thank you for reading on this hottest of days. Stay hydrated, lash the suncream on and enjoy it. These moments in the sun are rare.

Let me know your thoughts, too. Jen XXX