Step from Conceptual into Actualisation

Anna M Holmes and Jamie Mollart discuss their adult novels. Blind Eye by Anna M Holmes is a fast-paced environmental thriller locating the plight to save a rainforest in a global context showing how independent we are as a community.

Kings of a Dead World by Jamie Mollart is a dystopian Cli-Fi novel set in a near future where the solution to depleted resources is The Sleep, enforced hibernation for most of the population.

JM: Hi Anna, I finished your book last night and really enjoyed it. I admired the pace it moved at, the way in which you discuss BIG ideas in a way that are part of the plot, rather than expository, and I thought the characterisation was really strong.

AH: Thanks Jamie, and I also enjoyed your story, though I hope humanity avoids coming to this! Writing about big ideas in an accessible way is crucial isn’t it? No reader needs to be bludgeoned over the head. Heavy-handed approaches are massively off-putting. We read novels to, in part, entertain us and maybe make us think.

JM: The thing that struck me while I was reading Blind Eye was that it’s really interesting how we’ve effectively approached similar ideas from very different places and perspectives. Kings of a Dead World is very much ‘after’ climate change, whereas Blind Eye is set now and in some ways provides guidance on how to avert the disaster I imagine. It got me wondering how you chose this particular approach to confronting climate change?

AH: Kings of a Dead World and Blind Eye make interesting bedfellows. Yes, your story is both ‘before’ and ‘after’ while mine is indeed right ‘now’. Your story deals with a world that has tipped with limited resources tightly controlled in a dystopian society. At the end of my story I leave readers with a sense of hope.

I felt I was in a unique position to write about rainforest destruction as I love telling stories and my partner is a founder member of Forest Stewardship Council (FSC). His international contacts were crucial and my own political contacts were handy to check Westminster scenes. Blind Eye started as a screenplay in 2008. I updated it in 2020 (when it was joint-winner of the Green Stories screenplay competition) and I enjoyed delving deeper and reworking the material as a novel. At least in book form it has a chance of reaching an audience. Getting a film made is almost impossible.

Jamie, I loved the imagination you brought to your story. Tell me how you built your complex future world? I am particularly intrigued by Chronos.

JM: Thank you! For me everything began with the idea of The Sleep. I was looking for the most extreme, yet viable, way of dealing with the crippling lack of resources that we will face as a result of climate change, and I came up with the idea of forcibly hibernating most of the population for the majority of the time. From there it was a case of working out logistics! I had a pinterest board which I built up as a reference point as well. It’s actually still here if you want to have a look.

I’m really interested in the idea of how the monothestic religions are fundamentally layered versions of older beliefs, but I felt that if there was such a cataclysmic change to the structure of society that the existing belief systems would struggle to hold up and people would revert to older versions. I love mythology and wanted to bring that in so I looked for gods that would reflect the two types of people that populate my world. For the Sleepers it’s Chronos, the God of time, as this is the thing they value most and for the Janitors Bacchus, the God of wine, made sense as they live a decadent lifestyle, I also wanted to touch on fairy tales and that’s why I brought in Rip Van.

While we’re talking about place, that was something I wanted to touch on with you, Anna. There’s a real tangible quality to all the places in your novel, the jungle in particular. I wondered how you went about building that or whether you’d actually visited the locations yourself?

AH: While I have visited the tropics, and trekked in rainforest, I haven’t been in the situation I describe, but my partner has. His experience, and that of a tropical forester who advised me was invaluable and a development organisation in Indonesia advised me on specifics of Kalimantan tribal groups. By the way, ‘my’ tropical forester adviser had a $100 price tag on his head – another interfering environmentalist – so I use that in my story. I did loads of desk research: environmental reports, Google Earth, videos on YouTube, images and so on. I like your pinterest board! For my first novel, Wayward Voyage, about female pirates, I spent a week on a tall ship to experience handling ropes and going aloft, as well as the usual reading and archival research you’d expect. I love film and I aim to write visually.

You have asked why I wrote my story, and of course I am keen to learn what set you off to write Kings?

JM: As with most of my writing it was a combination of things. In my day job I work in advertising and I have a deep personal conflict about the fact that I contribute to consumerism, which is one of the biggest drivers of climate change, so I knew I wanted to write something that addressed that for me. This is where all the themes of culpability and personal responsibility come from I think.

At the same time I was watching and reading a lot of classic science fiction and wanted to write something that had that sensibility. A recurring theme in all my work is the cycle of male violence and particularly in male friendships and so that is in there too.

I tend to let things percolate for a long time before I actually start putting words down on the page, so my preoccupations with consumerism, climate change, classic science fiction and the idea of The Sleep as a potential extreme solution all bumped around together in my head until I felt ready to start the actual writing process. There’s always a tipping point where I feel that I am ready to step from conceptual into actualisation, although I can’t predict when it’s going to happen, and I get a really rough first draft done really quickly, then spend the time honing and tidying it up.

I have to say, It’s been a real pleasure talking to you Anna, the thing that has really pleasantly surprised me is that despite working in different genres our work is clearly connected through a concern for our world and a desire to make people aware of climate change through our writing.

AH: This conversation has been fun, Jamie. The climate crisis is such a HUGE thing but we can’t be preachy in fiction as this will turn readers off. Well-told stories matter. It is great that we enjoyed each other’s books.

Find out more about Kings of a Dead World and Blind Eye. You can also read Jamie’s previous League interview with Kate Kelly here.

Jamie Mollart is a reviewer for British Science Fiction Association, a mentor for Writing East Midlands, his first novel, The Zoo, was on the Amazon Rising Star list and his second novel, Kings of a Dead World is available now. The trailer can be watched here and the paperback was launched on February 3rd with an Exclusive Edition only available from Waterstones.  You can find Jamie on Twitter at @jamiemollart

Communication with different audiences drives Anna Holmes’ work. She was a radio journalist before a career in arts management including with UK Arts Councils as a specialist dance and theatre officer then as an external artform reviewer. To find out more about Anna, visit https://www.annamholmes.com

Published by Lauren James

Lauren James is the twice Carnegie-nominated British author of many Young Adult novels, including Green Rising, The Reckless Afterlife of Harriet Stoker and The Loneliest Girl in the Universe. She is a RLF Royal Fellow, freelance editor and screenwriter. Lauren is the founder of the Climate Fiction Writers League, and on the board of the Authors & Illustrators Sustainability Working Group through the Society of Authors. Her books have sold over a hundred thousand copies worldwide and been translated into six languages. The Quiet at the End of the World was shortlisted for the YA Book Prize and STEAM Children’s Book Award. Her other novels include The Next Together series, the dyslexia-friendly novella series The Watchmaker and the Duke and serialised online novel An Unauthorised Fan Treatise. She was born in 1992, and has a Masters degree from the University of Nottingham, where she studied Chemistry and Physics. Lauren is a passionate advocate of STEM further education, and many of her books feature female scientists in prominent roles. She sold the rights to her first novel when she was 21, whilst she was still at university. Her writing has been described as ‘gripping romantic sci-fi’ by the Wall Street Journal and ‘a strange, witty, compulsively unpredictable read which blows most of its new YA-suspense brethren out of the water’ by Entertainment Weekly. Lauren lives in the West Midlands and is an Arts Council grant recipient. She has written articles for numerous publications, including the Guardian, Buzzfeed, Den of Geek, The Toast, and the Children’s Writers and Artist’s Yearbook 2022. She has taught creative writing for Coventry University, WriteMentor, and Writing West Midlands.

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