Author interview: Claire Wong

Claire Wong photo
I am delighted to share part one of an interview with Claire, author of
The Runaway. She gives us an insight into writing poetry and novels, as well as how she fits writing into her everyday life. One of her poems can be found at the end, which is a wonderful added bonus!

Have you always been a writer?

I think so. I remember writing my first poem when I was five. It was based on the Nativity story: two children woke up one night to hear shepherds out in the street. Curious about the commotion, they decided to sneak out and follow them, and ended up coming to a stable where they saw something very unexpected!

 

Which writers influenced you as a child? And who influences you now? Who do you enjoy reading purely for pleasure too…

As a child I loved books set in other worlds, so Tolkien, C.S. Lewis and Brian Jacques were all favourites of mine. As a teenager I enjoyed the dark comedy of Lemony Snicket and classics like Jane Austen. These days, my biggest influences are contemporary writers like Niall Williams and Susan Fletcher, but I still think of C.S. Lewis when I want to say something meaningful in an accessible way.

I enjoy reading books that don’t quite fit the main genres. They’re a risk, because you don’t know exactly what to expect if it isn’t a romance or a thriller or a historical mystery, but you stumble across some wonderful gems along the way.

You fit writing around a day job – how do you find the time, and is there a particular spot you like to write in?

At the moment, I’m in the office Monday to Thursday, and then Friday is my writing day. I think knowing I have a limited amount of time to write helps me be disciplined about making the most of it. I set up a workstation in the dining room, because it has a good-sized table and lots of natural light.

You write poetry – what prompted you to write The Runaway, your first novel?

I’ve been writing novels and short stories for a long time, but it’s taken me a while to finish one I was happy to see published. I suspect The Runaway ended up being that one because it contained a message and a story I felt compelled to tell.

I find poems easier to craft and hone quickly, in part simply because they are shorter and you can see where work is needed. I needed to give myself a lot more time to edit The Runaway before I showed it to anyone. I learned a lot from that process, which I’ll be able to apply to future novels!

Is there a big difference in the way you approached writing the book as opposed to your usual method for writing poetry?

You know, I’m surprised by the number of similarities! It began with an idea I felt I had to articulate – in this case the effects of a person leaving or being left behind, and the amazing extent of what’s possible when you choose to see the best in someone. I started scribbling in a notebook until it was full and then typed up those words so that I could rework them. One big difference was the sheer number of different voices I needed to develop for The Runaway – a poem usually only has one voice, but there was a whole cast of characters to grow here and I didn’t want them to all sound the same as each other!

Cannon's Mouth magazine coverWhat was the first piece of work you had published and how did that happen?

Back in 2013, I had a pair of poems published in a magazine called The Cannon’s Mouth. They were about how different people process loss and hope, and the way faith fits with those things. I’d decided to risk sending some of my work off to poetry magazines that year, which was a scary thing to do, but I’m pleased to say it paid off!

Claire will be sharing more about her book The Runaway in part two of this interview. For now, let me leave you with one of her poems, ‘Adrift’.

Set adrift in the dark
when the last blaze of evening colour
turns quiet on the waters
all her safety net routines in that sky furnace

how many meetings of the board
and quantifiable philosophies
did it take to rationalise the need
for that stealthy trip to shore?

They loosed the ropes
murmuring agreements and best interests
pushed this little boat to the tides
and she awoke to no landmarks
but blue horizons all around

and soon
she knows
She’ll be dancing on the waters

waves teem with songs like you’ve never heard
to be adrift in arms that catch you each time
is to be secure in the storm
so that not knowing is its own kind of certainty

direction comes in its own time
with a breath to the sails
though we’ve lost much that seemed precious
nothing’s lost in this place

 

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