
Ciara Geraghty: Author of 10 novels on turning to children's books
Tell us about your new book, Wanda Broom, illustrated by Fay Austin
All Wanda wants is to be an ordinary girl. Which is not easy when your mother is a witch. When Wanda, her mother and her granny are forced to move after yet another spell goes wrong, Wanda is determined to blend in and not attract attention. Then, the world wide web of witches and warlocks informs Esmerelda that she has to undergo an assessment to determine whether she is fit to remain a witch. Wanda is certain her mother will fail the test. Part of her wants her to. Then she can get what she's always wanted. An ordinary life.
What inspired you to write a children's book?
I got the idea during lockdown when Covid seemed to have given me a terminal case of writer's block. Once I started working on the story, I was cured. It was different to anything I'd written before and there was no editor peering over my shoulder asking if we were there yet. There was a freedom to the project that made the words fly on to the page, as if Esmerelda had cast a spell that worked for a change!
What do you think makes a good children's book?
No matter who you are writing for, the same rules apply. You need authentic characters, interesting stories. Children are the most discerning readers I know. Patronise them at your peril.
Which are your favourites?
I loved the Five Find Outers by Enid Blyton. Like Fatty and his pals, I too lived in a sleepy little village but nothing ever happened. I didn't go to boarding school. I'd never eaten a macaroon. But they made my mouth water, all the same.
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Tell us about the podcast, BookBirds, which you co-host with Caroline Grace-Cassidy
Another project born out of lockdown. We reread novels we adored in the past and talk about how they – and we – have changed in the intervening years.
Who or what made you a writer?
Anne of Green Gables is definitely one of the reasons. I loved this 117-year-old literary heroine like she was a real, live girl – a kindred spirit if you will. It was the first time I cried reading a book. When Matthew died, I felt his loss like it was mine. I realised then the power of words on a page and even though I wouldn't start writing for 22 years, a seed was planted in my 12-year-old brain that day.
You've written 10 adult novels. Can you detect a common theme in them?
I would say female empowerment is a recurring theme. I love a bit of strident feminism.
Which one are you proudest of and why?
The Stories That Remain, a novella, inspired by the true story of Peggy Mangan, her faithful dog, Casper, and the last walk they took together. I wrote the book for Patricia Scanlan's Open Door series which promotes reading for adults who have struggled with literacy.
Which projects are you working on?
A book of interconnected short stories, The Relief Road. It's about the inhabitants of a seaside Dublin town over five days during a heatwave, when a group of Irish Travellers set up camp on the relief road around the town.
Have you ever made a literary pilgrimage?
I recently kayaked to Holy Island on Lough Derg to visit Edna O'Brien's grave. There was nobody else there save for some indifferent sheep, grazing amongst the monastic ruins. I sat by her grave and thanked her for her bravery. For her insistence on being an intellectual, beautiful, sexual, outspoken woman in the Ireland of her youth, which was fraught with danger for such women. The price she paid for living on her own terms was exile. But still, it was here where she returned to in the end. Rest in Power, Edna O'Brien.
What is the best writing advice you have ever heard?
'No matter. Try again. Fail again. Fail better.' (Samuel Beckett)
Who do you admire the most?
I am a great fan of Dr Rosaleen McDonagh, a Traveller and disability activist, feminist, playwright, academic. I love her memoir, Unsettled, a series of essays that offer startlingly clear snapshots of her lived experience, growing up on a halting site, living with cerebral palsy, being placed in residential care, defying expectations. 'Writing is a gift that has saved me from myself,' she writes in the introduction. This slim volume is a gift to readers everywhere.
You are supreme ruler for a day. Which law do you pass/abolish?
Enshrine in our Constitution the right of all citizens to housing. We want our kids to have their own homes so we can barge in at all hours of the day and night, eat everything, drape 10 coats across the banisters, promise to walk their dog and then never do. That's only fair. Isn't it?
Which current book/film/podcast would you recommend?
Book:
Dublin Written In Our Hearts, celebrating 20 years of One Dublin One Book. Edited by Declan Meade;
Film:
A Real Pain (written by Jesse Eisenberg);
Podcast:
The New Yorker Fiction. A writer reads a short story and then discusses it with Deborah Treisman, fiction editor at the New Yorker.
Which public event affected you most?
In 1990, Nelson Mandela visited Ireland after serving 25 years in Robben Island. He arrived in Dublin the same day the Irish team returned from Italia '90, after winning the World Cup! Mandela invited the Dunnes Stores anti-apartheid strikers – a group of 11 young, working-class people, nine women, two men – on to the stage at the Mansion House so he could thank them for their support throughout their three-year strike. He told them they had changed the world.
The most remarkable place you have visited?
Rotorua, New Zealand. Not because of how it smells – no offence, Rotorua, but you smell pretty bad. The rotten egg-ish smell of it all is hydrogen sulphide, produced by all the geothermal activity in the area. It's a thermal wonderland, with bubbling mud pools, steaming lakes, erupting geysers. Even the backpackers' hostel I stayed in way back in 1995 had its very own thermal pool.
Your most treasured possession
?
My violin. It belonged to my grandfather, Michael Trainor, and was made in 1792. Pop, as I called him, worked in the local shoe factory in Baileborough, Co Cavan. He also kept cows, wrote for the local paper, and played in various bands. He could also play piano and the box accordion, but the violin was his favourite.
The most beautiful book you own?
Page after Page by Heather Sellers, a sort of self-help book for wannabe writers, which I bought when I began writing, at the tender age of 34. It's a beautiful little hardback that fits easily into most handbags, so you don't have to answer any awkward questions when you're starting out. The book made it perfectly acceptable for me to harbour dreams of being a writer. It was like having a miniature mentor in your bag, one who thought you were doing grand.
What writers – living or dead – would you invite to your dream dinner party?
Elena Ferrante. Because then I'd be the only one who knows who she is. And I'd never tell. She'd appreciate my discretion and we'd become brilliant friends. Paula Meehan. I love how she reads her poems aloud, her shock of white hair and the fact that she's from Dublin, so I feel like she's 'mine' in some small but significant way. Maeve Brennan. I've been playing catch-up with Maeve Brennan's impressive body of work since I read her short story The Springs of Affection in Sinéad Gleeson's anthology, The Long Gaze Back. Maeve would bring some New York style into my home, perching on the edge of the kitchen table in an elegant black suit with a cigarette at the end of a slim ivory holder. Alive to her keen observational skills and the ferocity of her intellect, I'd beg her not to write me into one of her stories. While secretly hoping that she might.
The best and worst things about where you live.
I live near the sea, which, as an all-year-round sea swimmer, is handy. The worst thing is the bus service. And the lack of cycle lanes. And, while I'm at it, can we get a few more trains, please?
What is your favourite quotation?
'That is the mystery about writing: it comes out of afflictions, out of the gouged times, when the heart is cut open.' (Edna O'Brien)
Who is your favourite fictional character?
Jo March from Little Women.
A book to make me laugh?
Rachel's Holiday by Marian Keyes. (Warning: This book will also make you cry.)
A book that might move me to tears?
Charlotte's Web by EB White.
Wanda Broom is published by Eriu
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Writer Orlaine McDonald: ‘I felt a strong need to transcend that little working-class girl who had got herself up the duff'
Orlaine McDonald and I meet at her home in southeast London on an outrageously gorgeous May morning. McDonald, who is 55 but looks not a day above 40, greets me with a big smile and a resonant voice that belies her petite five-foot stature. We sit in her sun-drenched livingroom, packed with plants, to chat about her debut novel, No Small Thing . Now out in paperback, it won the Kate O'Brien Award and was shortlisted for the 2024 Nero Book Award for debut fiction and the RSL Ondaatje Prize. Its setting, based on the estate where McDonald lives – 'extremely beautiful' in both spring and autumn – features as 'almost a fifth character', she tells me. No Small Thing opens with a woman climbing to the top of a water tower and 'taking flight'. We only find out which of the characters it is at the end – a narrative tension that keeps us turning the pages. The arresting image, which seeded the idea of the novel, was based on a news story McDonald cut out years ago – 'a tragic case of two young French girls who had a suicide pact', she says, adding that her cousin took his own life when she was a teenager. 'I just kept thinking, why? What led them to do that thing?' READ MORE The novel covers the year before the suicide. Michaela ('Mickey'), a young mother, has left her abusive partner, taking her 11-year-old daughter, Summer. With nowhere else to go, she returns to her own mother Livia's home. Estranged for years, as Livia took off when Mickey was a child, the tensions between the three generations are beautifully rendered. Livia is also visited by her own mother, Meriem, in the form of a ghostly voice. It's an element that 'draws deeply' on McDonald's grief after losing her mother to ovarian cancer 'far too young'. 'It's no small thing … to be a mother,' Meriem's spirit tells her. 'Or to lose one.' Young motherhood is familiar terrain for McDonald. She had her first son at 19, and her daughter, the DJ Jamz Supernova , at 21; a third child followed with her second husband in her late 20s. 'There's a lot of teenage parenthood in my family,' says McDonald; her mother and sister were both 17 when they had their first babies. While it wasn't always easy, she credits early motherhood for her ambition. 'I felt a really strong need to prove everybody wrong … always wanting to transcend that little working-class girl who had got herself up the duff.' The women in the novel – with 'skin tones from deepest cinnamon to buttermilk' – struggle with their identity, as McDonald did growing up. Among only a handful of kids of colour at school in England's West Midlands region, she and her siblings 'experienced quite a lot of racism'. With an Irish mother and a Jamaican father, both proud of their heritage, 'it was very much instilled in me that we're here but we're not from here, and that was a bit confusing,' she says. [ Aunts fictional and real matter more to us than they may know Opens in new window ] 'The English were the baddies in my family history – the queen was bad, the empire was bad … But then here is where I live, and here is all I know.' McDonald finally found a sense of belonging in youth theatre. Her father first sent her to drama to bring her out of her shell. 'I was extremely shy … undersized … with big, thick glasses and a big afro. And I really struggled with my identity so just wanted to not be seen. And my dad rightly recognised that this isn't going to pan out well for this kid.' While they 'weren't a book-buying family', her father 'was kind of this aspirational figure that would turn up every now and then and bring us books that he wanted us to read about black history and bring us food that we might not have tasted before. I remember him bringing avocados. No one on my estate had ever eaten avocado, [or even] knew what an avocado was.' After drama school, where McDonald met her ex-husband, the two founded a small theatre company together. They wrote 'bits for that' and a play for young people that got commissioned by Half Moon Theatre in London. But it wasn't until her 40s that she began writing in earnest – first as part of a writers' group 'just for the fun at our local bookshop, kind of dilly-dallying with short stories and poetry' and then more seriously in an MA in creative writing at Goldsmiths , University of London. As a black writer, whether we do it to ourselves or whether or whether society asks it of us because of that underrepresentation, we do have that question that white writers wouldn't have, which is, how am I portraying these characters? — Orlaine McDonald The MA, she says, was 'an absolute game changer. It just blew my mind. Two years, one day a week, of being immersed in literature, writing, process, having access to writers who would come and talk to us, one-to-one tutorials, sharing work on a weekly basis. It was just everything I could've dreamed of.' McDonald got divorced shortly after the MA, and writing was backburnered until she had the time and space to pick up the pen again. This is the 'first time I've ever lived on my own and not been a carer,' she notes, 'because I had caring duties from when I was very young.' Alongside the theatre company, she worked in education, bringing drama to vulnerable kids and working as a learning mentor. She started writing No Small Thing in the mornings before her day job at the end of 2018, although 'some of the characters were making themselves known' earlier. Then, when lockdown hit, with no social commitments outside of work, 'it gave me this unadulterated time that I'd never had before'. The chapters of No Small Thing alternate between the perspectives of Livia, Mickey, Summer and their upstairs neighbour, Earl. Earl watches the household with interest and befriends Summer. He's drawn to them because he too has experienced what McDonald refers to as an 'interruption to his mothering': we flash back to a tragic police intervention in which he watches his mother die at the hands of the police after a false accusation of drug possession. Despite wanting to do better by Summer, Mickey's own lack of mothering bears its scars, and she develops an alcohol problem. In a literary landscape where black protagonists are woefully underrepresented, and working-class black women especially, I'm curious if McDonald was worried about portraying them as flawed characters. 'I asked myself the question a couple of times,' she says, 'but I then just ignored it. I think, by then, these women were just so alive to me. As a black writer, whether we do it to ourselves or whether or whether society asks it of us because of that underrepresentation, we do have that question that white writers wouldn't have, which is, how am I portraying these characters? I hate those best-under-30 lists. I couldn't have written this in my early 20s. I didn't have the life experience 'And it annoys me that I had that question. It annoys me that I questioned it myself. But it very quickly became something [about which] I just thought, well, actually I'm not going to go down that road, I'm going to write very truthful characters.' The book, I tell her, is all the stronger for it. 'A lot of that is the people in my family, the people that I know, people in my friendship group,' McDonald says. 'None of us are perfect, and that's what makes us interesting and human, isn't it, the contradictions?' I ask if publishers' diversity initiatives are succeeding at all. 'It can always be better,' McDonald says. The attention it was given 'after George Floyd and Black Lives Matter has tailed off, and I think that's a real shame. It's got to be in publishing that that changes because publishing is the gatekeeper of what people read.' As with education, while there are people of colour in junior and support-staff roles, 'the people in charge are white, middle-class people. So until it changes right up there … ' And while McDonald says she hasn't experienced any ageism as a midlife debut novelist, 'I hate those best-under-30 lists,' she admits. 'I couldn't have written [this] in my early 20s. I didn't have the life experience.' Before I head back out into the sunshine and McDonald goes to spend time with her three-and-a-half-year-old granddaughter, Forest ('the light of my life'), she lets me peek into her office. Like the rest of her home, the decor is cheery and colourful, with a turquoise wall, yellow couch and an orange-potted Chinese monkey plant. 'I feel extremely lucky to have a room to write in,' she says. A yellow shelf above her desk holds talismanic works, including books about writing, such as Mason Currey's Daily Rituals and Jami Attenberg's 1000 Words . I also spot Feel Free by Zadie Smith, whom McDonald counts as an inspiration along with writers including Diana Evans, Kit de Waal, Bernardine Evaristo and Anne Enright . Claire Killroy's Soldier Sailor, her current read, which she's finding 'fantastic', is on her desk. [ Claire Kilroy: 'I haven't met one mother who didn't talk about failure' Opens in new window ] 'I like short, punchy novels,' she says, citing Niamh Campbell's This Happy and Natasha Brown's Assembly as other examples. McDonald is working on a new novel – 'first draft vibes' – which is in the precious incubation stage, so too early to share the details for fear of jinxing it. A tiny cutting of the Chinese monkey plant sits on her desk in a little turquoise pot, like the seedling of her work-in-progress. Perhaps unsurprisingly, given the acclaim that's greeted No Small Thing, writing a second novel 'feels a lot scarier,' she says. '[I'm] working very hard to try to take away the editing voice and just concentrate on the story.' Above her desk are Post-it notes with quotations cheering her on. One, from the critic Maris Kreizman, reads: 'So write the thing that you want to see in the world. You're the only one who can.' It's no small thing. No Small Thing is published in paperback by Serpent's Tail