Interview with Sarah-Jane Stratford

I'm returning to guesting occasional interviews with authors.
I'm delighted to introduce Sarah-Jane Stratford who's written the novel Radio Girls about a powerful woman, Hilda Matheson, who helped establish BBC Radio in London.

Thanks for coming on the blog to answer a few questions, Sarah-Jane.

Thank you for inviting me.

RADIO GIRLS is set in London in the late 1920s and early 30s and explores Britain’s venerable BBC. As an American writer, what interested you in exploring something so quintessentially British?

I’m pretty attached to Britain, having gotten a Masters degree from York and grown up watching a lot of British comedy and reading British literature. I’m a history buff, and like my fictional character, Maisie, I like to be where history has lived a long time. But what whetted my appetite for this story was Hilda Matheson, whose own interests and influence are universal.

Also, good stories are good stories, no matter where they come from. I’m always drawn to stories of fearless women breaking down boundaries and seeking to create something, to speak their true voice. Ultimately this is a women’s story and a human story and where it took place was secondary to the draw of the characters and the story.

What made you decide to use an actual female BBC producer to explore the work ethos, bigotry and foibles of the period?
This whole venture would not have happened had I not stumbled upon Hilda Matheson’s name when I was doing research on women in journalism. So there you go, another reason to conduct regular research. Hilda was one of those gifts a writer always hopes to come across but you don’t expect to actually find. Of course, I could have invented her – that is what fiction is meant to do, I realize – but I love writing historical fiction that is grounded in real history. It’s a nice way to bring my two obsessions together. Or possibly it’s my means of assuaging my guilt about never completing my PhD. In any case, there I was, reading about Hilda, mouth hanging open, being more and more astonished that such a woman existed and was mine for the taking. The comedian Sandi Toksvig had cited Hilda in an article on women who ought to be more known and I was determined that was going to happen.

Right up to their last scene together, Maisie and she addressed each other by their last names even though they’d worked for some time together. Was that intentional?
What I love about this observation is that in fact it feels that way, but it’s not the case – they still address each other as “Miss Matheson” and “Miss Musgrave,” which would be standard for the times and women of two different ages who weren’t related. But I’m delighted that the mutual respect and friendship comes through, even with the formality. In fact, there’s only one instance where Hilda uses Maisie’s first name and it’s a moment of high emotion, a rare moment when Hilda forgets herself because she’s overwhelmed. And what’s overwhelmed her is the information that the Equal Franchise Act is being passed, guaranteeing universal suffrage. This was one of my favorite sequences to write, because there was a lot of history to think about. So many women who had worked for this and never got to see it – never even got to see the suffrage granted to a select group of women in 1918. Hilda, a staunch progressive, must have savored this moment. It was exhilarating to write her emotion here and, hopefully, convey the weight of the history behind it.

I’ve read you’re keen to see an historical blue plaque erected at her former home to acknowledge her life and work. How’s that going?
We shall see! “Onwards and upwards,” as I have Hilda say. She only finally got her own Wikipedia page! And it doesn’t mention Radio Girls, not that I noticed (*cough*). I’m really hoping that as people get to know about her, they’ll only want to know more. Because really, how could it be otherwise? She was extraordinary – and revolutionary.

Beanie’s a thoroughly aristocratic English character who’s clever, witty and great fun. One can easily see she was a bit of a rebel at her school. But she realizes she must put duty to family before her work? How did you set about developing her so beautifully as a memorable secondary character?
Thank you! She certainly was a fun character to write. I love characters who have no filter and just speak their mind. And while I always want minor characters to be fully realized themselves, it was particularly paramount in this story that all the women be in full voice. I wanted to represent someone like Beanie, who would be in a way more radical than some of the other women in going out to work, because while her comforts were greater, she still had a great many conflicts to contend with and her class privilege in many ways curtailed her personal freedom.

You lived for a time in London? How did that help your research affect the novel’s voice?
I’m generally of the mind that you don’t have to visit a place to set a work there because again, so long as you are writing truthfully about humans, you’re being authentic. Obviously, it depends, but I never think it’s wholly necessary. That said, having spent time in London and especially walking down Hilda’s street and through the BBC’s original home definitely helped me step into Maisie’s shoes and, hopefully, make her wanderings that much more real. Beyond the physical space, though, it was the research into the programming and day-to-day life of the BBC and the people who comprised it that really brought the book to life. I was extremely fortunate in that Hilda was a prolific letter writer and wrote to Vita Sackville-West constantly during their 2-year relationship (who says long-distance relationships don’t have advantages?) and that the letters are housed in the Bienecke Library at Yale, so I was able to access them with ease and get a strong sense of Hilda’s voice and inner life. Mostly, though, it was thinking about the characters and their world that made it all real.

What inspired you to become a writer?
Hm. Insanity?

What’s next for you?
I’m in that myopic stage of feeling my way into my next book. Also, I’m available for work. At quite reasonable rates. Sometimes just for food.

You can find out more about Sarah-Jane here

Broad Street review

Broad Street by Christine Weiser is nothing short of an hilarious, entertaining romp peopled by idiosyncratic and wonderfully offbeat characters.

Okay, I'm biased. I love reading novels about strong, single-minded women with testosterone addled musician boyfriends with names like Dale who cause them endless worry and who cheat on them and treat them badly and then the women seek revenge
by setting up their own rock band that eventually starts to make it in the jealousy-riddled mid-90s Philly rock band scene.

In a story that brings the streets of Philadelphia and various haunts to glorious life, Weiser (who plays bass in a band) in unadorned, direct prose unfurls Philly mainline Kit's tale of a dead-end copy-editing job with a shrew boss called Jean who later radically transforms, drunken band practice sessions with her fellow musician Margo, a jaunt to play at a club in D.C., a spot of rivalry with another female band called The Pussy Willows and much regretted trysts in bed in untidy apartments with people she can't remember or doesn't like.

Published by PS Books, a division of Philadelphia Stories, this is a novel sure to please many, especially those who wish they'd taken the plunge and joined
that rock band in their hedonistic twenties.

It's available from Amazon and in paperback and has a Kindle edition, too.

He's Just Not That Into You--aka -Don't Go and save your hardearned bucks

I went to see He's just not that into you yesterday.

What a dud. What a bore. The only audience this might appeal to is teenage girls.

Based on a nonfiction book of the same name (if the film kept faithful to the book, then the authors are morons and it's not a surprise publishing's in crisis), the narrative thread (or lack of it) traces a number of twenty-something women in Baltimore trying to work out how guys minds work when it comes to dating.

No cliche is left unturned including the aloof and uncaring heterosexual, the boorish, farting heterosexual male, the effete homosexual with a sibilant affliction and the innocent young woman (think annoying Charlotte in Sex and the City) who has no clue how to interpret the blind dates and calls a bartender she just happens to befriend. Oh, and he falls in love with her in the end. YAWN, YAWN, YAWN.

It's self-indulgent piffle.

Ms. Aniston, whom I like, settles into the well honed role of slightly quirky, slightly befuddled, slightly scatty, lonely twenty something she's cut out for herself. She might like to rethink these roles now she's many nautical miles from that age.

Halfway through Larry turned to me and asked at the exact moment I was thinking the very same thought--"Is this ever going to end?"

At over two hours, it's value for money if you like the decidedly mediocre.

Review on Gather.com

Kathryn Esplin-Oleski, a prodigious author on Gather.com, interviewed me recently for and has just posed a lovely review of A Son Called Gabriel that I wanted to share with you.

Here it is (and you can alos see her layout in all its technicolor glory by joining Gather.com, which is a free social networking site):
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REVIEW/INTERVIEW

Damian McNicholl is a long-time Gather member (February 14, 2006) (http://damianmcnicholl.gather.com) who grew up in Northern Ireland and went to law school in Wales; in the 1990s, Damian came to the US as an attorney and taught himself to write fiction as he commuted from Long Island to New York City. Agents picked up Damian's manuscript of A Son Called Gabriel and it was published.



The protagonist, Gabriel Harkin, is the sensitive, first-born child of four in a working-class, Catholic family set in the Northern Ireland of the 1960s; Gabriel's childhood is beset by oft-brutal cruelty set within a loving family. Life is difficult for Gabriel because times were strict and he tries to hide his fears as he realizes he is not like other boys. In this coming of age novel, Gabriel soon realizes that Uncle Brendan, a priest, also struggled with a secret and had to leave Ireland for Kenya. The novel deals very poignantly with how Gabriel's parents and siblings try to offer Gabriel comfort as he struggles to conform to life. A Son Called Gabriel goes beyond most coming-of-age novels published in recent years. A must read.

A Son Called Gabriel was made an ABA Book Sense pick and was a finalist in a couple of literary awards, including the Lammies. Damian has co-authored a play with another playwright, based on 'Gabriel' that is under consideration for production at theatres in the US and abroad.


Recently, I had the opportunity to speak with Damian about A Son Called Gabriel.

* * *

Damian, your novel, A Son Called Gabriel seems to be partially autobiographical, or, at least, based on some truth. Would you like to describe for readers what growing up in Northern Ireland was like?

A Son Called Gabriel is what I refer to as semi-autobiographical. By that I mean it has the elements of truth in certain aspects of the work, especially the political climate in which I grew up where the minority in Northern Ireland were repressed and discriminated against and took to the streets to demand their civil rights, and the complex issues involved with both heterosexual and homosexual sexuality in a very conservative environment. However, Gabriel is not me and Gabriel's family is not my family.

Growing up in Northern Ireland at that time [Ed note: 1960s and 1970s] was difficult for Catholics because they did not have the right to vote and all the best jobs were reserved for the Protestant majority. That is not to say that all Protestants had good jobs, of course. There were working class and impoverished Protestants, particularly in the inner cities, who were brainwashed or allowed themselves to be puppets for their Protestant masters--the landowning, Eton-educated Protestant masters--by accepting their bigotry and ideas that Catholics were wicked and untrustworthy, and vassals of the Church of Rome whose goal was world conversion to Catholicism.

But life there was also full of joy and fun. I grew up in breathtaking part of the Northern Irish countryside where farmers tilled their fields, juicy plums were picked from trees that grew alongside the road; carnivals, sports events and concerts featuring local talent were held frequently, and neighbors socialized and looked out for one another. (We also had our share of community gossips who kept the fires well banked and used attendance at Sunday Mass for intelligence gathering and reconnaissance.)

There was a lot of church because the area I grew up in was fervently Catholic and I attended Catholic primary and high schools. The entire community attended Mass on Sundays, observed Holy Days and fasted during Lent. Lent was always difficult for children and teenagers because it meant Mass every evening for six weeks, with Benediction and Rosaries thrown in for good measure.

Contemporary Northern Ireland is a very different place. My nephews and nieces are pretty similar to American kids today because of the Internet and TV, though they are not as coddled and micro-managed as many kids are here. I was over in Ireland a few months ago and my brother's twins--they're six--are speaking with very proper English accents and it was quite hysterical to listen to them. No one can understand why they are speaking like this or where it comes from, but it's very funny. They've been talking like this for two years. A few years ago, it would have been scandalous for an Irish kid to have an English accent. But the economy over there is doing extremely well and many people over there are now as well off as Americans, so the political strife and hatred has given way to reconciliation and a slow built trust between the two cultures. Those who still hate are being marginalized. That's how it should be.


How long did it take to write Gabriel?

The first draft of A Son Called Gabriel only took six or seven months to write. I think this was because it was so personal and Gabriel and his story was already fully formed in my mind. Of course, rewriting and editing took as long again.

You have such a beautiful, lyrical style to your prose - so haunting, quite reminiscent of Frank Mc Court's Angela's Ashes. Have you published other works besides Gabriel?


Thank you. I've read Angela's Ashes and enjoyed the writing style. Gabriel is my first published novel.

Your second novel will be published in 2009. Would you like to give us any hints as to what it is about?

It will be published in 2009 (maybe earlier if they so decide) by The Friday Project in the UK. Well, I can reveal it's now going to be a series of novels and they're going to be comic with just the right amount of darkness thrown in. I like to use humor in my writing where possible, even when dealing with heavy subject matter, because I can't stand books that are too heavy.


The working title of the novel is Unusual Steps. However, after working with my editor, we made the decision to split the novel in two, as the principal characters are very strong and have their own story lines. I'm working now on Marcus's story, which is about a young well-bred man leaving Ireland for the bright lights of London.


He moves into a house belonging to a very assertive young woman who's an immigration officer at Heathrow and next door lives a very meddlesome neighbor. He also befriends a very interesting American woman who's studying at the LSE [Ed note: London School of Economics] has a couple of run-ins with the law, and the story depicts his adventures as he goes about finding his place in the world. The second novel in the series will be about Julia, the immigration officer.