I’ve been reading Susie Nott-Bower’s first novel, The Making of Her, and I’m impressed. Too often one looks at the small and independent press as a second choice for publication, but The Making of Her shows that there’s nothing second rate about working with independent publishers. The book examines being a woman in the twenty first century where looks are valued over experience. It asks questions about how we regard ourselves, how we see our flesh and skin as it changes over the years. Nott-Bower uses her experience in the world of television, the medium that puts a magnifying glass to our lives, and writes the story of Clara, a TV producer who has just reached 50 and denies her birthdays. She can’t combat other peoples’ perceptions as she wrangles with her young assistant Alix who is after her job. Clara’s best friend Josephine is married to a successful playwright and has let her own dreams of writing become buried in a verbally abusive relationship where all she is, is typist, copyeditor and cheer leader in chief.
In advance of the Reading and Being Read conference at the British Library on Saturday 20th February, 11am-4pm, I spoke to Susie Nott-Bowers about her experience of writing and publishing The Making of Her. Susie says, “It started when I went on a University of Falmouth How to Write a Novel course. The course equipped me with the steps I needed to write a novel, and we formed a critique group that met fortnightly for quite some time afterwards. I set myself a deliberately achievable target of 2000 words each week. I made a schedule and within a year I had my first draft.”
The novel follows Clara’s struggle as, within creasing pressure at work, she is forced to put aside her feminist principles and the documentaries she usually worked on for a straightforward makeover show. Susie says, “I’d worked in television for many years, and while I hadn’t worked on a makeover programme it was easy to find out about them. Clara and Jo are two sides of myself, the ambitious, outward person in need of finding femininity, and the introverted writer, the person who was in need of spirit. The novel was a way to allow them to find the hidden part of themselves.” Clara’s battle for her career, to ensure that she is seen as someone who still has value, interweaves with gradual revelations from her past. Jo finds the courage to take steps to change her life: as she separates from her soul-sucking husband she rediscovers herself, at first gradually and then with one drastic step that changes things for both herself and for Clara.
Susie completed her first draft and says, “It began as a very depressing novel, entitled The Change. I gradually edited it, changed the title, added humour, and then sent it off to a selection of literary agents. I had a few requests, but no-one took it on. An agent had held on to the manuscript for many months and then sent a brutal rejection. I was ready to throw in the towel, but a friend from my course sent me the link to Linen Press. With a last throw of the dice, I sent it to this unknown press. Within 24 hours Lynn rang to ask for the rest of the book, within a week she had offered me a contract subject to some revisions. We spent quite a few months working on it – Lynn is a fantastic editor. She asked me to write a new opening, she wanted more of Pete Street and I added a couple of smaller sub plots. At the end it was sub edited, I had a hand in choosing the cover, and it was published.”
Looking back at her experience of being published, Susie says, “It was a strange time. I was very much taken up with my parents health at the time. I did a lot of publicity, and Lyn helped too. I must have written to every magazine and newspaper in the country with no response, but a lot of bloggers read it and reviewed it. It was mixed though: wonderful to have the book published, but difficult to get it out there and get it read. It has sold several hundred copies. The small press experience has had many wonderful sides. Friends have had good and bad experiences with bigger publishers. I think all writers hanker after the big contracts. The main driver for me is for as many people as possible to read what you have written.”
Currently Susie is working on her second novel. She says, “I started another novel, then paused due to life events at 30,000 words, and now I’m looking at it again, with ideas of replanning and replotting. I put so much into that first novel and have doubts about doing it again which slow me down when completing the second novel. I wrote the first book in innocence, and now I’m writing in experience. I was reading Big Magic: Creative Living Beyond Fear, all about the creative process. In the book, Elizabeth Gilbert says the outcome of any creative act is a souvenir of the process, ‘something to remind you forever of your brief but transformative encounter with inspiration.’” However you publish your work, it is this reminder that we all hope to create.
Reading and Being Read takes place at the British Library on Saturday 20th February, 11am-4pm, and is run in association with The Institute for Modern and Contemporary Culture, University of Westminster. Book here.
This review first appeared on The Contemporary Small Press site.