Tag Archives: Interview

Savidge Reads Grills… Sofi Oksanen

Someone was asking me the other day how I choose the authors for my ‘Savidge Reads Grills…’ and my response is that because this is a blog that’s about my personal reading life I only want the authors whose books have meant a lot to me in some way to be those that I grill. ‘Purge’ by Sofi Oksanen was a book I read last year and raved about. I thought it was incredible and wanted everyone I knew to read it, its one of those books you by for everyone you know and then realise you might have bought someone it twice. ‘Purge’ is still a book that I think about a lot, it’s never quite let me go, so naturally I wanted to Grill the mind that created it. As luck would have it I managed to catch up with its author over a virtual coffee in an airport…

Picture by Toni Härkönen

Can you explain the story of ‘Purge’ in a single sentence without giving anything too much away?

Not really, sorry 🙂 What is most important theme in the book depends on the reader and their personal background… For some it’s a book about betrayal or obsession, for some about the envy between sisters, for others it’s a book about repression in general or about the history of Estonia. Or history of any occupied country.

How did the story come about? Was it a series of subjects you had always wanted to write about? Where did you create Aliide and Zara from or did they just create themselves?

Well there were several different reasons on the background. I wanted to write about passive resistance by women – as a child I had heard lots of legends about forest brothers, the members of the resistance movement in occupied Estonia, but they wouldn’t have managed without the help of women and children and I wanted to write about what it meant for women and children, the helping.

Then there was another story in the family, about a girl who was taken to be questioned and she did came back home and looked like she was physically ok, but she never spoke since. So I started to thinking, what does it take to make someone that silent? I had just read books by Slavenca Drakulic, a Croation author I value highly – she has written about the Balkan war and it was shocking and appalling to realize there were rape concentration camps practically in the middle of Europe in 90s. It’s something that doesn´t really fit with the image we have about modern Europe. But it did happen. So how can we be sure it won´t happen again? Rape wasn´t defined as a war crime until lately (by European Union). So there´s lots of work to be done.

And another point: Soviet narrative has been defining the Eastern European countries for decades – also in the West. So there are plenty of Eastern European stories and voices who deserve to have their own voice.

‘Purge’ is a book that has really haunted me ever since I read it, how did you work out how to put the reader through all that without making it clichéd or emotionally manipulative?

Well this is quite difficult question – I just try to write as well as possible 🙂

I also think its one of those rare books that you live through with the characters; you really experience it which can be quite hard to read. How hard was it to write a book that so emotive and harrowing, how did you stop yourself from becoming an emotional wreck?

Writing is easy, always 🙂 I’m afraid it would be more difficult for me not to write.

‘Purge’ has been turned into a play in America, how did that come about and how involved were you? Will it be coming to the UK? Are there plans for a film?

Purge is just about to have its premier in Washington DC; the first production in US was in New York City. I haven’t yet heard about confirmed productions in UK, but hopefully the play will be staged in UK as well. The rights for the film have been sold, but I don’t know when the film is coming out.

I’m pretty busy with all the translations coming out all over the world and that means lots of travelling as well so I don’t have really time to get involved with the stage productions as well. I trust the professionals know what to do 🙂

The success of ‘Purge’ has been phenomenal; you’ve won awards and been read by hundreds and thousands of people. Does that put pressure on you for the next book, or are you just enjoying this all at the moment and not thinking down that route?

Well I’m afraid I don’t really have to think about this success, there’s so much work to do and so many productions on the way.

When did you first know you wanted to be a writer? How long have you been writing for?

I started writing when I learned to write and that was at the age of six.

Which books and authors inspired you?

Marguerite Duras, Anna Ahmatova, Sylvia Plath, Arto Salminen, Asko Sahlberg, the Brontë-sisters, Aleksandr Solzenitsyn. As a child I really loved adventures of Angelique, by Serge Anne Golon.

Are there any Finnish authors that you really wish were translated into English but haven’t been yet?

Plenty! Let’s say Arto Salminen and Asko Sahlberg. Rosa Liksom and Aino Kallas are Finnish authors I rate but there are translations in English available.

Describe your typical writing routine, do you have any writers quirks or any writing rituals?

Not really. My daily routine is so irregular nowadays and has been since I published my first novel. I can write everywhere, but prefer solitude, and let’s say it’s always good to have a cup of coffee and a cigarette.

How relevant do you think book blogging is to the publishing industry? Do you ever pop and see what people have thought of your book or is it something you avoid at all costs?

Well book blogging is not too active in Finland, but it’s very important for example in Lithuania where people don’t trust media (too much corruption), but they trust bloggers 🙂 And I guess the influence of book blogging is especially essential in the countries with limited freedom of speech and corrupted media.

In Finland book bloggers can push the attention to books that are ‘old’ or marginal and besides it diminishes the influence of big papers, or their critics, and that is a good thing. New, fresh voices are always a good thing. However due to my profession I make my personal reading list on the basis of the catalogues publishers are sending me 🙂 And also on the basis of my work in process.

You have two other novels prior to ‘Purge’ please say these are soon to be translated into English?

Depends on the publisher 🙂

Which contemporary authors do you rate at the moment?

Oh, there are plenty of them! So I cannot pick up just one. But my favourites from the past few years are books by Kazuo Ishiguro, Sarah Waters and Chimamanda Ngozi Adichie’s Half of a Yellow Sun.

Which book, apart from your own, would you demand Savidge Reads and readers run out and buy right this instant, a book you would call your favourite?

My all time favourites are for example Nightwood by Djuna Barnes and L´Amant by Marguerite Duras. And very important is also The Gulag Archipelago by Aleksandr Soltzenitsyn. I just bought the Finnish rights for the book (for my company) and I’m publishing it in Finland 2012-2013. It will be the first time when the book will be completely published in Finland – for example the first volume was published in Finnish in 70s, but in Sweden… Finnish publishers didn’t want to risk their business with Soviets so they didn’t dare to take the book.

What is next for Sofi Oksanen?

The new novel coming out in Finland 2012 fall. It’s the third part of the Quartet, 4-novel serious about separation of the Europe and its consequences. And this fall there’s also coming out a book including my lyrics. And plenty of translations.

A big thank you to Sofi for taking time out to be grilled, you can find her website here. You can also win a copy of ‘Purge’ in the post below.

13 Comments

Filed under Savidge Reads Grills..., Sofi Oksanen

Savidge Reads Grills… Jane Harris

The wonder of the internet means that you can do an interview anywhere in the world. So today we are whizzing up through the countryside with Jane Harris, author of ‘The Observations’ and ‘Gillespie and I’ which has become my latest favourite book, with Glasgow as the destination. Whilst sipping on cups of tea, from a flask of course not that train dishwater, and maybe munching on a cupcake or two. Discussing ‘Victorian sensation novels’, second book syndrome, reading, writing and books. So grab yourself a cup of tea too and join us for a natter…

Can you explain the story of ‘Gillespie & I’ in a single sentence?

Thinking of a single sentence to describe this book is quite difficult. I’m tempted to take the Hollywood route and say that it’s “Jaws” meets “The Turn of the Screw” – but with a heart. (Simon can confirm that without their being any sharks or boats he actually knows what Jane means here.)

How did the story come about? Was there anything in particular that inspired you with this novel?

When I was thinking about what to write after ‘The Observations’ I went back to the box in the attic where I’d kept a number of unfinished ideas for short stories (which is where I discovered the beginnings of ‘The Observations’). On one scrap of paper, I found something I’d scribbled years ago: “Artist, 19th century, Glasgow.” This appealed to me – although I’d wanted, after my first novel, to write something contemporary and short. But this historical idea was the one that grabbed me so. . . I went with it. Initially, I had thought of writing something quite feminist, perhaps featuring one of the Glasgow Girls (a group of Scottish female artists of the time) and her struggles to be taken seriously as an artist, but once I began doing my research the story changed direction. It was particularly when I read about a particular court case that the beginnings of a psychological thriller plot began to form in my mind.

It’s a book that you don’t want to give too much away with, so that makes reviewing it and questioning you rather difficult. I think it’s safe to say that the narrator Harriet Baxter is quite a complex lead figure, how did you create her?

You’re right, she is complex and also flawed (as are most, if not all, of my characters). I like flawed characters. I had a lot of fun with Bessy, the narrator of ‘The Observations’, but I knew that in my second novel I wanted a new challenge and so I picked a character who was quite different from Bessy. Instead of an almost illiterate (though clever) Irish girl who is quite garrulous and uncontrolled in some ways, and who doesn’t know the first thing about punctuation, I came up with Harriet who, as narrator, is a highly-educated, very controlled Englishwoman, who is completely anal and who over-punctuates and uses long sentences. I had in mind one or two old ladies of my acquaintance, apparently charming, girlish-voiced old dears, whose polite manners and polish conceal a viper-like wit.

As ‘Gillespie & I’ goes on there are lots and lots of twists and turns, which of course we don’t want to spoil. Yet when reading it there are the subtlest of hints which cause the reader to become engrossed and also rather uneasy, was that a difficult situation to create? How do you know when you are sewing the right, or indeed wrong red herring, seeds of doubt in a readers mind as you write the book?

I was learning all about that sort of technique as I wrote this book and I’m still not quite sure what the answer is. I think partly it’s down to instinct. Of course, I plan everything beforehand, the major twists and turns, but I tended to seed the red herrings and clues as I went along, and kept checking that I wasn’t overdoing it by reading everything aloud. It’s only when the manuscript is finished that you can really tell whether you’ve over or under-done it. I also had a lot of help in this respect from my editor and a handful of trusted readers. As it turned out, in the initial draft, I had been too subtle, so it was a question of going back and making a few things a bit clearer.

I think it’s fair to say that both ‘Gillespie & I’ and your debut novel ‘The Observations’ are quite gothic and have the Victorian ‘sensational’ feel about them, were books by the likes of Wilkie Collins and Mary Elizabeth Braddon books that you have always loved or is this just the sort of books you naturally write?

I’m an indiscriminate reader in that I will read almost anything that is set in front of me. As a child, I would read cereal packets if there was nothing else to hand. So I devoured all kinds of books: contemporary, pre-20th century, all the novels my parents left lying around, and everything I could carry home from the library. To be honest, I think it’s an accident that I’m writing this kind of novel. When I started writing, I was coming up with contemporary short stories about my boyfriends and family. It was only in desperation (after almost giving up writing) that I decided to try and write a novel set in the 19th Century, based on an unfinished, lengthy short story which seemed to hold some promise. Luckily for me, that book caught the attention of a publisher. However, having said that, as a child I loved 19th Century novels like Jane Eyre, Great Expectations, The Water Babies etc, and as an adult I still love Henry James, Charles Dickens, Jane Austen, and Wilkie Collins. However, I do wonder if I’ll return to writing about the contemporary. One strand of ‘Gillespie and I’ is set in the early 1930s, which pleases me, because at least I have a toehold in the 20th century.

After the success of ‘The Observations’ did you ever worry about that ‘second book syndrome’ or feel any additional pressure about ‘Gillespie & I’? Was this why there was such a gap between the two?

The only thing that worried me about ‘second book syndrome’ was the fact that, even before I had begun book two, I knew for certain I’d be asked this question by journalists and bloggers and it would be an effort not to betray my irritation. Ha ha! (but true).

Here’s the long answer. I don’t think I felt any additional pressure for the second book. I think writing books is hard enough anyway. The first one was hard. The second one was hard. They’ll all be hard, in different ways. My first novel took me 12 or 13 years -four years in total of writing with about nine years of just lying in a box (that’s the novel, not me), so I’ve done the second book in less than half the time. The gap between the two was four years (The Observations was published in 2006 in the UK, and I submitted ‘Gillespie and I’ at the end of 2010). Both these novels are 500 pages long: that’s twice as long as the average novel, so it follows that it should take twice as long to write them. Four years divided by two is two years. The received wisdom is that a writer should be turning out a book every two years. If you look simply at page count, I’ve done that. Besides, I could have produced a book within two years, but it would have been a much worse book. In my opinion, the book is everything; some arbitrary deadline is nothing. Better to have a book that I’m proud of – a book that gets reviews like the one you gave ‘Gillespie and I’ yesterday (for which MANY thanks) – than a book which is undercooked or less ambitious.

Both of your novels seem perfect for adaptation, have there been any discussions of this, can we look forward to them on the screen?

‘The Observations’ was optioned for television but nothing has come of that so far and I believe the option may now have expired so it’s available again. I’d love to see an adaptation of ‘Gillespie and I’. I was particularly impressed by the recent TV adaptation of ‘The Crimson Petal and the White’. I had been dreading the series as it’s a favourite book of mine and I was worried they’d make a hash of it but I think they did a fine job. So, we’ll see what happens.

When did you first know you wanted to be a writer? How long have you been writing for?

I always enjoyed writing compositions at school, but nobody in my family was a writer, I didn’t know any writers and it just didn’t seem like a career option. In my secondary school the careers guidance woman told me that hairdressing was a safe bet. I had to take my exam results to the assistant head and ask him if they were good enough to go to university, because nobody was pointing me in that direction. It turned out my results were good enough, and so I went to university and took English and Drama as my main subjects. I loved reading literature, but got rather sidetracked into theatre and drama (the English Department at Glasgow was so dry and old-fashioned in those days that it put me off reading for years). So it wasn’t until years later, when I was 29, that I began writing in earnest, and that only happened because I was stranded in a country where I didn’t speak the language, knew virtually nobody, and had no TV and hardly any books and no money, nothing to distract me, apart from a pen and some pieces of paper.

Which current contemporary authors do you really rate?

Anne Tyler. William Boyd. Jonathan Franzen. Sarah Waters. Michel Faber. Barbara Vine.

What is your favourite ‘guilty pleasure’ read?

Well, I do love leafing through my collection of back-copies of “Hustler”. Not really. Seriously though, I don’t think I have a guilty pleasure read. I love reading Victorian ‘true crime’ stories, such as the Madeleine Smith trial – perhaps that counts?

Describe your typical writing routine, do you have any writers quirks or any writing rituals?

I begin work early, as soon as I wake up, which can be anything (under normal circumstances) from 6am onwards. I work all day, that is, I sit at my computer all day, although sometimes I’ll delete more words than I write. For the last novel, I tended to begin the day by editing what I’d done the previous day. I always read the work aloud as I write. Every few paragraphs, I’ll pause and read it back. Sometimes, I go outside and look at the garden for a breath of fresh air, but I hardly ever leave the house. I like things to be neat, so tend to tidy up the room if it’s looking too disorganised. I read a book during lunch or, if my husband is working at home, we eat together, chortling, while watching an episode of Seinfeld. Laughter is important. A chuckle at lunchtime and a chuckle to end the day (night-time chuckle is currently the fabulous “The Trip” with Steve Coogan and Rob Brydon). I rarely work beyond 6pm, though I will sit at the computer fiddling about on Facebook and Twitter in between bouts of writing and at the end of the day. When writing a novel, I require satisfaction-guaranteed TV in the evening, in order to cleanse my brain, so am a fan of all the most wonderful shows like The Apprentice, Masterchef, Great British Menu and America’s Next Top Model. Having spent all day in the 19th Century, trying to juggle plot and characterisation and voice and sentences, I require something to take me into a different world entirely. Plus, I can’t really go out much while writing as I find it too distracting, with the result that I’m a bit of a happy hermit.

How relevant do you think book blogging is to the publishing industry? Do you ever pop and see what people have thought of your book or is it something you avoid at all costs?

Book blogging seems to me to be increasingly important. I think that readers and book-lovers have found a real community online in sites such as yours, a place to share opinion and hear about what people whose opinions they respect are reading. I am as much of a book fan as anybody, so I do surf sites to track various books (but after I’ve read them – I hate knowing too much about a book or film before I experience it for myself). As for my own books, I can’t help but read reviews. I know that it’s possible not to (which is the route my husband takes, as a film-maker) so I do believe those people who say they don’t read reviews, but I, for one, can’t help it.

Which book, apart from your own, would you demand Savidge Reads and readers run out and buy right this instant, a book you would call your favourite?

Gosh, that’s a hard question as I’m not sure I have a single favourite book. I’m assuming that all Savidge Readers will have read Great Expectations, so I might have to plump for The Accidental Tourist by Anne Tyler, which is still up there for me as a work of genius. (Simon is slightly embarrased to say he has not read Great Expectations, Dickens escapes him – oops!)

What is next for Jane Harris?

I’m reaching the end of writing some short stories, a bit of a break from writing novels, and about to turn my thoughts to a new book. Don’t want to say too much now as I believe you can talk a book away.

***

A big thank you goes out to Jane Harris for taking part in this. I was very excited and interestingly so was she, there is mutual appreciation in the air. You can visit Jane’s website here to find out more. Oh and if you fancy winning a copy of ‘Gillespie and I’ then simply scroll a little further down… after having left a nice comment here of course.

12 Comments

Filed under Jane Harris, Savidge Reads Grills...

Savidge Reads Grills… Natasha Solomons

I haven’t done a ‘Savidge Reads Grills…’ post in quite some time (which is interesting as I have quite a lot of them planned in the next two months) but after reading ‘The Novel in the Viola’ by Natasha Solomons and being as charmed by it as I was, and want all you to be, I had to rush off some emails and see if she would take part. With it having just been chosen as a Richard and Judy title I wasnt sure she would have time, but hoorah she did and so we sat down with a virtual cup of tea or two (and possibly one of her freshly baked pies) and had a natter…

Can you explain the story of ‘The Novel in the Viola’ in a single sentence without giving too much away?

One sentence? Are you kidding? I’m a novelist — it takes me 100,000 words to say anything… (That’s why I’m rubbish on twitter).  Someone described the book succinctly in a review, so I shall steal that: ‘The Novel in the Viola’ is both a love story set during the Second World War, and an elegy to the English Country House.’

How did the story come about? Was there anything in particular that inspired you with this novel?

I’d always wanted to write a story set in the Dorset ‘ghost village’ of Tyneham, a place I’ve been haunted by since I was a kid. During the Second World War, the War Office requisitioned Tyneham for military occupation. Churchill promised that the village would be returned at the end of the war. The departing villagers pinned this note to the church door:

‘Please treat the church and houses with care; we have given up our homes where many of us lived for generations to help win the war to keep men free. We shall return one day and thank you for treating the village kindly.’

But the villagers never returned. After the war, Churchill reneged on his promise and the village was requisitioned permanently. I wanted to tell the story of Tyneford/ Tyneham through the eyes of an outsider, a young refugee maid.

Elise is a character that really lives and breathes through the pages of the book, where did she come from? Is she based on anyone you know? How hard is it to create a heroine?

Elise Landau is inspired by my great-aunt Gabi Landau, who, with the help of my grandmother, managed to escape Nazi Europe by becoming a ‘mother’s help’ in England. Many refugees escaped this way on a ‘domestic service visa’ – swapping cosseted lives for the harsh existence of English servants. I read a series of articles by Austrian and German women who had been domestic servants in Britain, and also spoke to several ladies in London. One woman I spoke to had never even on put on her own stockings before she came to England – she had a maid to do it for her. In London she became a char.

I’m glad you called Elise a heroine – she’d like that. It would make her want to stand very tall and flick her hair. Elise was so easy to write, an absolute pleasure. When I started writing ‘Viola’, I realised that she wanted me to get out of the way and let her tell her own story. I think in this instance I felt rather like I was the reader.

The opening line ‘when I close my eyes I see Tyneford House’ instantly made me think of Daphne Du Maurier’s ‘Rebecca’ and I was wondering if this was intentional or just a coincidence?  There were flavours of other books here and there which I found really comforting, was that something you wanted to create? It’s a lovely nostalgic reading experience either way.

Absolutely. I’ll never forget the first time I read Rebecca. The Novel in the Viola is a modern take on the 1930s novel. It’s inspired by Stevie Smith’s The Novel on Yellow Paper, A House in the Country, Marianna and so on. I also remember the pleasure of those long adolescent summers spent reading books like Jane Eyre, Moon Tiger and A Room with A View. I lost days and weeks to those novels – I was far more interested in those worlds than I was in the real one. With The Novel in the Viola I wanted to recreate that feeling in an adult reader; return them to those summers where they had to read on, had to find out what happened to the girl in the story.

Tyneford is as much a lead character as the wonderful, wonderful Elise, well I thought so anyway, was it hard to make Tyneford’s story and Elise’s coexist without one taking over the other?

I didn’t really think of the stories as separate – Elise is telling the story of Tyneford, and it is all filtered through her memories. She loves the Tyneford coast, and now that she’s in exile, it’s even more precious.

‘The Novel in the Viola’ has recently been chosen as one of the next Richard and Judy reads, congratulations you must be thrilled, how did you find out, do authors have any input in the process or do your publishers keep it hush, hush? How much effect do you think being in that bunch of books will have on ‘The Novel in the Viola’?

Thank you – it’s really exciting. There are lot of great books out there and as a reader it’s really hard to know what to choose. So, I think it’s fantastic to have an endorsement from Richard and Judy – it’s like a recommendation from a friend, and I think that does make a difference for people. They do really choose the books themselves. These are the ones they enjoyed reading – it’s actually very genuine.

Have you read any of the other Richard and Judy recommendations you’re amongst and can you give us any recommendations?

I haven’t yet. But I’m really looking forward to all of them – the fun is that they’re all so different. I’m going to take ‘The Poison Tree’ on holiday with me, and Lizzie Speller’s ‘The Return of Captain John Emmett’ is on my bedside.

After the success of Mr Rosenblum’s List’ did you ever worry about that ‘second book syndrome’ or feel any additional pressure about ‘The Novel in the Viola’?

I had a bit of panic and then spoke to a great friend of mine, a composer called Jeff Rona (who composed the music for ‘The Novel in the Viola’). Jeff told me a story that I found really helpful. When he was a young flibbertigibbet of a composer, he thought about his music as ‘important’. He knew he was creating pieces of art, and this thought often made writing music difficult. Nothing was good enough – what would posterity think? Sometimes it wasn’t even fun. Then, one day he was in the studio trying some stuff out when he ran into a well known RnB artist. This guy was recording and having a great time, and he and Jeff got chatting. ‘The problem is,’ said RnB guy to Jeff, ‘You think of your music as fine china while I think of mine as paper plates.’

From that moment, Jeff resolved on only ever making paper plates. He sits in the studio and plays about, experiments, tries stuff out, has fun and doesn’t worry about the significance of his composition. And believe me, his music is amazing (it’s the staple of my playlist when I’m writing).

While Jeff is talking about composing music, I think the metaphor holds for writing fiction too. I don’t think of my writing as either important or significant. I like to have fun when I write. It’s not always enjoyable – some days it’s just hard and I feel that everything I do is nonsense. But, when I don’t worry and try stuff out, play with words and see what works and what doesn’t, good things happen. I can always cut the mistakes. Throw stuff away. After all, I only write on paper plates.

When are we going to finally see the film of ‘Mr Rosenblum’s List’?

We’re just starting to think about directors. That’s super-fast for the film business!

When did you first know you wanted to be a writer? How long have you been writing for?

I always knew I wanted to be a writer. I’m a story monster. But I’m dyslexic so learning to write was really hard for me. As is spelling the word dyslexic. It’s a really mean word to give to people who struggle with spelling.

Which current contemporary authors do you really rate?

Ian McEwan, Andrea Levy, David Mitchell, Nathan Englander, Penelope Lively, Siri Hustvedt, Michael Chabon, Aaron Sorkin, David Chase, David Simon. I think that some of the best writing at the moment is in long-form tv.

How relevant do you think book blogging is to the publishing industry? Do you ever pop and see what people have thought of your book or is it something you avoid at all costs?

I think anything which promotes reading and books is a great thing, especially with the ever shrinking arts pages in newspapers. It’s lovely to have a place where people can chat about books whether it’s online, in a living room or coffee shop. I don’t tend to read reviews. I try to focus on what I’m reading and what story I want to tell next.

Which book, apart from your own, would you demand Savidge Reads and readers run out and buy right this instant, a book you would call your favourite?

Moon Tiger by Penelope Lively. I read it first as a teenager – actually, that’s not true – I listened to it on story tape travelling around France with my parents. For once, I never wanted the driving to end. I re-read it again last year terrified that it wouldn’t be as good as I remembered. It wasn’t. It was better.

Describe your typical writing routine, do you have any writers quirks or any writing rituals?

I like to start the morning with a good walk. It’s both a great way to procrastinate and also gets the mind moving —  When it’s raining like it was this morning, I feel very discombobulated. I liked to work in the summerhouse at the bottom of the garden. There is no phone and no internet. I have to avoid the internet or I get nothing done.

 What is next for Natasha Solomons?

I’m just starting book 3, which instead of ‘Untitled 3’, I’m referring to as ‘Ethel’. It won’t be called Ethel. There is no Ethel in the book. Unless someone gets a dog. The dog could be called Ethel.

***

A big thank you to Natasha for taking the time out of her, rather ridiculously, busy schedule and doing a Savidge Reads Grills. You can read her blog here and visit her website here. Also a big thank you to her publishers, Sceptre, who have kindly said they will give four copies of ‘The Novel in the Viola’ away, you can see how you can be in with a chance here. Also if you have any questions for Natasha you might just want to pop them in the commemts and she just might pop by and answer them…

18 Comments

Filed under Natasha Solomons, Savidge Reads Grills...