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Posts Tagged quirky fiction
We’ll make you believe the unbelievable – writing fiction that falls between fantasy and reality: an interview with Margarita Montimore @damiella
All writers are in the business of make-believe, from fantasy and science fiction to dead-straight factual.
And then there’s the fiction that likes to play between the two, explore the strange, bend the possible (here’s my own manifesto on that). When I came across Margarita Montimore’s debut novel The Rearranged Life of Oona Lockhart (Gollancz) ((Oona Out of Order in the US, published by Flatiron Books), where a woman lives her life in non-chronological sequence, I recognised a kindred creative spirit.
Margarita worked for more than a decade in publishing and social media before she decided to focus full time on the writing dream – and here’s a good moment to mention that Oona is a USA Today bestseller and Good Morning America Book Club pick. She lives in New Jersey with her husband and her dog. She didn’t tell me her dog’s name, but she did mention that Mr Montimore is called Terry. Here are the human Montimores giving a reading at Oona‘s launch night at Powerhouse Arena in New York City.
Roz Margarita, you describe yourself as a ‘writer, editor, weirdo’. I love that. I’m going to leap on the standout word for me: weirdo. Why weirdo?
Margarita I’ve been drawn to the left-of-center for as long as I can remember. And I’ve accumulated my own quirks over the years. Nowadays I think of being a weirdo in terms of embracing the unconventional and celebrating original ideas.
Roz All my life, I’ve been told I’m weird or strange. I find that hard to understand – because to me, I’m normal.
Margarita I grew up in Brooklyn as a Russian immigrant, and being part of one culture while assimilating with another gave me an outsider’s perspective. From the time I was a kid, I was exposed to foods many would consider weird (meat jello, anybody?) and odd superstitions, while also developing an interest in the paranormal and general high strangeness (yes, watching Unsolved Mysteries probably had a lot to do with that). Then there was my goth phase… I think I started out wanting to be normal but embraced the weird as being true to who I am.
Roz My kind of weirdness, at least in terms of my writing, is a taste for the unusual. It might be described as high concept – a strange thing happens, which creates its own physics for the characters and a new way to explore what it is to be human.
Margarita Yes! I’m drawn to this same thing. How ordinary people respond to something extraordinary. I’m also a fan of atypical story structures—playing with timelines, unreliable narrators, etc.
Roz I think our kinds of weird are similar. Your novels are praised for their sense of romance, mystery, suspense, and bold story concept, and also their literary qualities. When we messaged on Facebook, you used a phrase that really captured this – ‘making the unbelievable believable’. What do you aim to create with your fiction?
Margarita I aim to create stories that will entertain, but also offer thought-provoking themes if readers want to dig deeper. I like to present a world that’s a bit off-kilter but rooted in the real and familiar, so that it’s easier for readers to buy into the reality I’m presenting. And I hope that giving people a taste of the less familiar makes them look at things with a fresh perspective (whether it’s the notion of memory or aging or something else).
Roz Tell me about Oona. It’s a charming idea. Readers have commented that it raises questions about living in the moment.
Margarita Writing it also helped me be more cognizant of living in the moment, because I found I was prone to basking in nostalgia or imagining an ideal future. Now I’m trying to take the book’s message to heart and be more present, make the most of every day.
Roz I’d like to add a further interpretation – it shows the remarkable degrees to which we can change, into people we cannot imagine we’ll ever be. And if we look backwards, we find we were people we can’t imagine having been.
Margarita I love this—and I never thought about describing the story in those terms. But it’s true; in some ways, our lives are composed of adopting a series of identities. And when we live chronologically, the transition from one into another usually doesn’t seem as dramatic and disorienting.
Roz So true! We hardly notice change as it’s happening. But open a diary that’s 20 years old and… wow! Was that really me?
Margarita Exactly. It’s like an entirely different person wrote all those things.
Roz Tell me how you came to write Oonaand what you were aiming for.
Margarita Oona was inspired by the moments of disconnect I experienced in my late thirties. It was hard to believe I was pushing forty when there were some days I still felt like a teenager. And then there were others when I felt much older than I was. That got me thinking about a story in which a woman experiences her adult life out of order because she time-travels to a different age every year.
I’ve long been fascinated by time travel as a story device, but I felt like there were ways it could be used to explore more personal narrative. You don’t often get an in-depth look at the effects time travel might have on a person’s day-to-day life, their identity, and their relationships. That’s what I wanted to explore in this novel.
Roz I’ve always been fascinated by time travel too. It could be one of the greatest inventions storytellers have given us. Such a rich playground for so many powerful emotions – regret, the yearning to change something, the temptation to cheat…
Margarita And it’s a great way to explore how we deal with mistakes. Trying to fix them vs. accepting them, realizing how mistakes play into our personal growth, etc.
Roz We both have an afterlifey novel. Mine is My Memories of a Future Life. Yours is Asleep From Day – about a woman whose memory is erased in a car crash, who finds herself in a mysterious world, haunted by mysterious dreams.
Asleep From Day reminds me of Iain Banks’s novel The Bridge, where we enter the consciousness of a man in a coma on a strange version of the Forth Bridge. Funnily enough, The Bridge was a touchstone for me when I was developing My Memories of a Future Life. I was inspired by its daring vision, a fantasy where you think you know the real-life version of what you’re seeing but you can’t be sure. And also the fully fleshed characters – Banks spent as much time on their complicated lives and outlook as he did on his high-level concept. With my novel, I did something different from Banks, but Banks was a lighthouse for me. Did you have any lighthouse texts for either of your novels?
Margarita I wouldn’t say Oona Out of Order was directly inspired by any single book, though I do understand the comparisons to The Time Traveller’s Wife, a novel that I love.
Roz Me too! I admire the way she worked the concept so thoroughly.
Margarita If anything, I resisted writing about time travel for a while because Audrey Niffenegger already did it spectacularly. But once I felt I could approach the concept with a different perspective (having a female protagonist do the time-hopping, focusing on broader coming-of-age themes in place of TTW’s epic love story, etc.) I was comfortable developing this story.
Roz You like to flirt with multiple genres, don’t you? I do too. My first novel is contemporary suspense. My second is sci-fi. What will you surprise us with next?
Margarita I love to flirt with multiple genres because I feel like it gives stories more interesting dimensions. It’s not a conscious decision, it’s just that what I write tends to incorporate aspects of various genres. I don’t have specific genres in mind, but I do enjoy giving my work a surreal/speculative quality, so I expect that will flavor whatever I write next.
Roz The publishing industry generally prefers authors to stick within one box. Do you anticipate any problems with your versatility?
Margarita The problem was getting a foot in the door early on, when agents were complimentary about my work but expressed concern over how to position it. Some suggested I rework my stories for YA, where genre-bending is more prevalent. Others encouraged me to follow a more conventional plot structure, especially with Oona (fun fact: early versions of the manuscript were rejected by 200+ agents!). Thankfully, it was published with its quirk intact and embraced as book club fiction. I’ve been able to avoid being pigeonholed so far, so I’m less concerned about it being an issue moving forward.
Roz Is there a quality or theme that readers might recognise as central to all your work? I find I’m often writing about people who are haunted in some way, who feel out of place and restless, are looking for the thing they need to change in order to settle. Maybe they can, maybe they can’t. How about you?
Margarita We definitely have some overlap here. If there’s a unifying theme to my work, it’s people who are looking for home. And I use the term broadly. Home can be a place, a person, or even something we find within ourselves. It’s where we feel the most secure, where we can feel a sense of belonging while being our truest selves.
Roz Yes – a sense of belonging and security. I’m with you totally. My characters are also looking for that. Perhaps we could call it ‘inner home’.
Margarita “Inner home” is a great way to put it.
Roz You self-published Asleep From Day, didn’t you? Can you talk about that decision? Did you seek a traditional deal for it first?
Margarita The agent I worked with prior to this one submitted Asleep From Day for me and sent it to editors who specialized in literary fiction, women’s fiction, suspense, and mystery, though the novel didn’t neatly fit into any of those genres, and thus it wasn’t acquired. I decided it was best to part ways with that agent and try my hand at self-publishing. Roz, what led you to self-publish? Do you think you’ll ever consider the traditional route with any future work?
Roz My path to self-publishing was similar to yours. I had agents for each of my novels. I had enthusiasm from a range of publishers and was also being tipped for book clubs, but each time the editors worried that I wasn’t a neat genre fit. A few publishers suggested changes that might please the marketing departments, but they compromised my vision too much. Fortunately, I knew all the editorial disciplines because I’d run a publisher’s editorial department and I’d also self-published non-fiction successfully. So off I went.
As for the next novel, I’ll certainly seek a traditional home for it. I’d love to find a publisher who’s a good partner for my work. And I think it’s always worth querying to see what’s possible for each individual book.
Margarita I wish you luck with it. Hopefully, publishers are noticing that readers enjoy genre-bending fiction that doesn’t strictly adhere to formulas.
Roz What was your process for getting all the feedback and support necessary for a polished book?
Margarita I was a book coach at Author Accelerator at the time, so I had access to multiple talented editors, one of whom I hired to work on Asleep from Day. After that, I hired a proofreader.
Roz How did you develop and decide the cover?
Margarita The cover was designed by my husband, Terry, who’s a professional graphic designer and illustrator. I gave him a number of ideas but also encouraged him to develop his own concepts. The only thing I was sure of was that I wanted the cover to convey a dreamy quality. He ended up doing about 20 different designs before I picked the final one.
Roz I notice it’s now out of print. Can you talk more about that?
Margarita I decided to take it down so that my publishers at home and abroad could position Oona as my official debut. I may republish it at a later point in time, but for now I’d rather readers focus on Oona, which I believe to be a better book.
Roz Here’s Margarita out of order, 1999 to 2019.
Roz Oona is your second novel, and your debut in traditional publishing. How did that deal come about?
Margarita In very much the traditional way. I sent out queries, got an agent, and the book was submitted to editors. To my utter shock and delight, more than one editor expressed interest, so I was given the chance to speak to each one to get a sense of their vision for the book. An auction followed and I selected the editor/publisher I felt would be the best fit for Oona. Not long after that, it sold in the UK.
Roz Before your novels, you worked in publishing and social media. You also have a degree in creative writing. And you blog at cool places. What was the path from those to your books?
Margarita I initially thought I’d have a career in publishing, but after working at a literary agency, I realized agenting wasn’t going to be the right fit for me. Working at HarperCollins offered a glimpse at many more types of career paths and I loved the years I spent there, but I just couldn’t find my niche in the industry. Transitioning into social media was a lucky break, and I was fortunate to work at some of the places I did, but as I advanced career-wise, I had less and less creative energy to put into my own projects. It wasn’t until I left New York and my hectic work life behind that I could truly focus on writing books.
Roz How has that background helped?
Margarita Having a background in both the agent and publisher side of the industry has come in handy. The technology has changed (there was a lot of photocopying back in my day!)
Roz Oh lord, there was! You’ve just reminded me. When manuscripts arrived… when we marked them up and sent them for typesetting… when galleys came in… when we sent them out again…
Margarita Many of the basics are the same. If nothing else, understanding the gauntlet a manuscript has to run before it’s represented by an agent and then sold to a publisher made me aware of the long timelines and tough odds I was up against. On the social media side, having that professional background has helped me develop my author platform online.
Roz You also freelance as a book coach and editor. Tell me about that.
Margarita I don’t take on as much editorial work these days so that I have more time to write (I don’t draft quickly). But I find it deeply gratifying to help other writers develop their stories and it’s also helped me take a more objective approach to my own work.
Roz Likewise, on all counts. I also freelance as a book coach and editor. I love figuring out what a writer wants a book to be and helping them achieve it. And I often find I learn a lot from their brave attempts.
Margarita Yes, isn’t it funny when you find yourself correcting a particular issue in someone else’s work over and over, only to find the same issue in your own work later on? Editing can be a good way to become a more self-aware writer.
Roz It’s the best education. Or: our students can be our best teachers.
Margarita And we can learn something from just about any piece of writing. Even when it misses the mark, it gets us thinking about how to improve it and what makes for a satisfying story.
Roz What’s it like to be publishing in these strange times?
Margarita It’s a strange time to be doing book promotion. But I’m also amazed by how the writing and book community is unifying in the face of this global crisis. Whether it’s independent bookstore owners hand-delivering books to their customers, book clubs shifting their meetings to online discussions, the numerous reading lists being shared, or the countless ways authors are supporting each other’s work. I hope people will continue to turn to books as a source of comfort and a positive escape. And I’m proud to be part of a creative community that is determined to thrive in difficult circumstances.
And here’s an update on my own strange times
Asleep From Day, Audrey Niffenegger, book club, book club fiction, how to write a time travel story, Margarita Montimore, Oona Out Of Order, quirky fiction, romantic mystery, romantic suspense, speculative fiction, stories with time travel, surreal, The Rearranged Life of Oona Lockhart, The Time Traveller's Wife, unreliable narrator, versatile authors
This week I’m interviewing Laura Stanfill, author, all-round literary citizen and founder of the literary imprint Forest Avenue Press in Portland, Oregon. Here’s Part 1. Find her on Twitter as @ForestAvePress
Roz Laura, tell me how Forest Avenue Press started.
Laura It began as a grassroots display of community. And as a way to keep my brain busy while nursing an infant through colic. I knew so many talented, hard-working Oregon authors knocking on doors in New York and being turned away. It made sense to create one more home for literature right here in Oregon, instead of trying to bend our aesthetics to appeal to East Coast tastemakers. Besides, there are so many long-running literary presses in Portland. I was surrounded by willing mentors, who held out their hands to me as a newcomer.
I’ve always had a strong do-it-yourself ethos, probably inspired by my dad, who founded a collector magazine and put issues out for years. That’s how I saw my press—and still do: as a way to bring people together around a common subject matter. His passion was air horns; mine is literary fiction. When we had the opportunity to go national by signing with a distributor, I took it. We do publish authors from all over the US now, but a high percentage of our catalog remains Northwest focused.
Roz Your website sums up the Forest Avenue personality – ‘a fresh, complex, sometimes nutty, and often-wondrous approach to storytelling.’ How did you develop this? How long did it take?
Laura That speaks to my personal taste as a reader, and how I want our readers to be surprised by our books; a lot of readers come up to me and say how refreshing it is to read titles that aren’t predictable. We’ve always wanted to create space for essential voices that weren’t finding homes elsewhere —authors of color, LGBTQ authors, neuroatypical authors, and other underrepresented voices—as well as amplifying other authors and presses who are doing this kind of work in the world.
Roz Was it your intention from the start?
Laura The personality of the press has definitely shifted over the years. One of the things I love to tell new publishers is that it can take some time to get clear—and then clearer—about your mission and goals and taste. And that’s okay.
Roz Did you make any wrong turnings?
Laura When I first started, I wanted quiet novels, because those were the ones New York kept saying won’t sell. Asking for quiet novels seemed like a statement of purpose to take that phrase back, to turn ‘quiet’ from an oft-repeated rejection to a celebration of character-driven fiction.
But after growing into my publisher self more, and really honing in on my reading taste, I realized I love more whimsical, quirky—and dare I say it—loud novels. Boisterous novels—whether through their unusual language, or their humor, or their ambition to say something in a way that nobody has said it before. Novels that carry us someplace else while lodging deep into our hearts.
Many of our releases in the past two years have some genre aspects, like Renee Macalino Rutledge’s The Hour of Daydreams, a lush and poetic evocation of a marriage from the point of view of a village. It’s based on a Filipino fairy tale about star maidens and its mix of gorgeous language and real-world grit is buoyed by the theme of how we as human beings tell stories about each other because we can never really understand each other.
One constant, which I didn’t realize until our readers began telling me that they appreciated it, has been publishing books that aren’t predictable, that don’t fit into a commercial mold. Their stories might go anywhere—and often whirl into surprising territory. Unpredictable territory. I want to believe our readers come to our books and experience wonder and delight, the way we felt as children, when the world of reading opened up.
Roz Wow. It takes a confident, masterful storyteller to pull that off.
Let’s talk more about story. There’s a perception that literary fiction is often disdainful of plot. Clearly some of this is personal taste – a book that is plotless to one reader is an up-all-night page-turner to another. But many of my favourite literary writers are also cracking story writers by anyone’s judgement. Any thoughts on the plot-plotless debate?
Laura After planting my flag on “quiet novels” and receiving submissions where the characters sat around and looked at each other, I realized I needed to retool my thinking. I love deep, introspective, character-driven fiction. I love language that takes chances.
Roz I do too…
Laura But I do love a good plot. And writers who do all of that well end up with not-so-predictable, evocative, and completely fascinating novels. And that’s what makes me happy as a reader and as a publisher. I want it all!
Roz Me too!
Laura There are plenty of small presses pushing experimental work out, and it’s great, but I land in this plot-with-deep-characters-and-cool-language side of the industry, and I’ve cultivated a readership of fans who love these kinds of books.
Parts per Million by Julia Stoops, just out from Forest Avenue, is one novel that blends detailed characterizations with a heady, forward-moving plot. Julia worked on the book—about a trio of eco-activists—for 10 years, and it was a finalist for the PEN/Bellwether Prize for Socially Engaged Fiction. Three point-of-view characters propel the engine of the plot, which moves inexorably toward a stunning conclusion. Parts per Million is full of protests and environmental activism but it’s also built on the stranger-comes-to-town trope, where a young, sick woman who has nowhere else to go disrupts the household these three characters have built for themselves. We’re super-excited that we have a deal with Blackstone Audio for the audiobook.
Back to personal taste, in our first year as a press, my wise publisher friend Rhonda Hughes of Hawthorne Books told me to publish books I love, because that’s how I would build a brand and a community of readers. We can’t please everyone and shouldn’t try, or we’ll fail. We just have to keep going, one book at a time.
Roz It’s so interesting to hear you describe this process. You’ve built a style for Forest Avenue in the same way as writers build their distinctive identities. We try a few things, find some don’t excite us as much as we thought, then we discover our true calling. Wonderful.
Coming up next time: marketing literary fiction
diverse voices, diversity, Forest Avenue Press, Hawthorne Books, Julia Stoops, Laura Stanfill, literary fiction, Parts Per Million, PEN/Bellwether Prize for Socially Engaged Fiction, publishing literary fiction, quirky fiction, Renee Macalino Rutledge, Rhonda Hughes, starting a literary imprint, The Hour of Daydreams, underrepresented voices
Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books
JW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)
Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.
authors, character or plot, Depth & Heart, Fix and Finish With Confidence, guest posts, having ideas, how do you finish a book, how I write, how to write a book, how to write a novel, how to write quirky fiction, inspiration, interviews, JW Hicks, literary fiction, literature, My Memories of a Future Life, Nail Your Novel, publishing, quirky fiction, Rats, Roz Morris, self-publishing, strange fiction, Triskele books, writer's block, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, writing routine, writing style
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