{"id":46709,"date":"2022-07-19T12:06:22","date_gmt":"2022-07-19T11:06:22","guid":{"rendered":"https:\/\/suffolkcommunitylibraries.co.uk\/?p=46709"},"modified":"2025-10-20T12:29:05","modified_gmt":"2025-10-20T11:29:05","slug":"meet-the-author-benjamin-wood","status":"publish","type":"post","link":"https:\/\/suffolkcommunitylibraries.co.uk\/lt\/meet-the-author-benjamin-wood\/","title":{"rendered":"Meet the Author: Benjamin Wood"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” da_disable_devices=”off|off|off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” link_font_size=”19px” global_colors_info=”{}”]<\/p>\n

19 July 2022<\/strong><\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” link_font_size=”19px” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Benjamin Wood was born in 1981 and grew up in northwest England and is the author of four novels. His debut, The Bellwether Revivals (2012), was shortlisted for the Costa First Novel Award and the Commonwealth Book Prize, and won one of France’s foremost literary awards, Le Prix du Roman Fnac.<\/p>\n

His second novel, The Ecliptic<\/em><\/a>, was shortlisted for the Encore Award and the Sunday Times Young Writer of the Year Award. His third book, A Station on the Path to Somewhere Better<\/em><\/a>, was shortlisted for the CWA Gold Dagger Award and the European Union Prize for Literature.<\/p>\n

His newest work, The Young Accomplice<\/em><\/a>, was published by Penguin Viking in June 2022 and is also available on the Suffolk Community Libraries catalogue<\/a>.<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” link_font_size=”19px” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″] <\/p>\n

Who were your heroes (literary or otherwise) as you were growing up?<\/strong><\/p>\n

Until my late teens, my main literary inspirations were mostly songwriters (Paul Simon, Thom Yorke, Michael Stipe, Jeff Buckley, Elliott Smith) because that\u2019s what I hoped to become. I only got into the habit of reading fiction seriously in my early twenties. At that time, my literary hero was Michael Marshall Smith, an amazing sci-fi novelist whose books I completely adored (and still do). I was very fortunate to be able to meet him when I was nineteen, because he liked a demo tape of my songs that I\u2019d sent to him via his publisher; he came to watch the first ever gig I played in London, at a place called The Kashmir Klub, and we stayed in touch after that. He is every bit as gracious and generous and brilliant a person as I hoped he would be when I read his books in my youth. I owe him a lot.<\/p>\n

 <\/p>\n

Your first novel, The Bellwether Revivals<\/em>, drew comparisons with Donna Tartt. Was this a help or a hindrance for you as a young writer?<\/strong><\/p>\n

I\u2019d say it was mostly helpful to me. I read The Secret History<\/em><\/a> about ten years after it came out, when I was doing a screenwriting degree at University of Central Lancashire. In those days, I had a brilliant tutor called Ailsa Cox, who could tell from the verbosity of my screenplays that I was probably better suited to writing fiction. She asked me one day in a tutorial, \u2018Have you ever thought of writing a novel?\u2019 and I told her I\u2019d written about five or six first chapters of various novels that never went anywhere. Her follow-up question was: \u2018Well, have you read The Secret History<\/em>? I think you\u2019d like it a lot.\u2019<\/p>\n

So I picked up a copy that day and it turned out that Ailsa, as always, was very astute\u2014I devoured that book, as many readers have done. It has a rare mix of elements which make it utterly compelling: strong characterisation, big ideas, foreboding atmosphere, narrative tension, a sense of the cinematic and of being invited into an exclusive world. It wasn\u2019t the first literary novel I had fallen under the spell of so deeply (that was Paul Auster\u2019s New York Trilogy<\/em><\/a>), but The Secret History<\/em> was my favourite book for many years, until I went to study creative writing in Canada, where my tastes began to diversify.<\/p>\n

I wasn\u2019t trying to mimic her style or approach in any way with The Bellwether Revivals<\/em>, but I think it helped to have Donna Tartt as the benchmark for my youthful aspirations. I wrote that book when I was 26 years old, and it didn\u2019t come out until I was 30. So it has a slightly wide-eyed quality about it, which I think is probably to its benefit. The place it\u2019s most loved today is France, which I\u2019m very grateful for and still trying to understand.<\/p>\n

 <\/p>\n

How much of a role does research play in your work? I’m thinking for example of personality disorders in The Bellwether Revivals<\/em> and the artistic community in The Ecliptic.<\/strong><\/p>\n

All of my novels \u2014 even A Station on the Path to Somewhere Better<\/em><\/a>, which was conceived to be a project that would require less of it \u2014 has involved an enormous amount of research, be it book-based or fieldwork. That\u2019s really so that I can give the story as much verisimilitude as I can \u2014 in relation to the period, the place it\u2019s set in, the type of jobs the protagonist and other characters are engaged in, etc. For Bellwether<\/em>, I had to learn so much about psychological disorders, yes, but also music theory, choral music, and some pretty niche classical composers, which \u2014 as a self-taught musician in the Lennon-McCartney sort of tradition \u2014 was tough going!<\/p>\n

As I recall, The Ecliptic<\/em><\/a> involved a lot of dry research into paint-making and colour theory, as well as walking round the island of Heybeliada with a notebook for a week. But the research phase of a novel is often the most spiriting, because you can come across a detail within a text you\u2019re reading, or in some archive, or just wandering about a certain place which you know can be fashioned into the fabric of a scene later on. I like to feed my creativity with facts then let my imagination project itself into the gaps of what I\u2019ve learned.<\/p>\n

 <\/p>\n

Your latest novel is The Young Accomplice<\/strong><\/em><\/a>. Can you tell us a little about it?<\/strong><\/p>\n

It\u2019s the story of two siblings, the Savigears, who leave borstal in the early 1950s to become apprentices at a pioneering architecture practice in Surrey, run by a married couple, the Mayhoods, who want to help young offenders get a fresh start in life. Their aim is to establish something like Frank Lloyd Wright\u2019s Taliesin Fellowship in Wisconsin, and they have nothing but the best intentions\u2014but sometimes people\u2019s kindness is what makes them vulnerable. And that\u2019s all I\u2019ll say\u2026<\/p>\n

 <\/p>\n

How did you find the character of Joyce and how did she develop over the various drafts of the book?<\/strong><\/p>\n

She was one of the first characters to arrive in my head as soon as I decided on the framework for the story. Very early on, I toyed with the idea of having the Savigears be two brothers instead, but I changed it back, because the gender dynamic made the scenes have much more life, more tension, more everything really. Joyce\u2019s sections were the parts of the novel I enjoyed writing most: I felt I understood her character\u2019s viewpoint and I really had a handle on her manners of articulation from the first line of dialogue I gave her. She\u2019s the first character I\u2019ve ever created whose perspective I could comfortably live with writing forever. I might return to her character some day, I suspect.<\/p>\n

 <\/p>\n

Is there anything you can share with us about your latest project?<\/strong><\/p>\n

I always start with the aim of my next book being a slim, elegant volume. 150 pages of lean and shimmering prose. But then my ideas seem to get bigger, and my characters\u2019 voices tend to be more expressive than those original intentions allow. But maybe, just maybe, I might achieve it with the next one, who knows?<\/p>\n

 <\/p>\n

One thing you would love to do again and one you definitely wouldn’t!<\/strong><\/p>\n

I would love to do a writing residency in snowy Istanbul again. And, as a lifelong supporter, I would definitely not repeat the experience of enduring Everton\u2019s 2021-22 Premier League campaign.<\/p>\n

 <\/p>\n

What is the funniest or strangest reaction to your books from a reader?<\/strong><\/p>\n

I once had a review on Goodreads from a person with a yowling cat avatar whose favourite books were listed as entirely cat-focused non-fiction, and the review just said: Booorrrrriinnng. There are no cats in any of my novels, so I don\u2019t know what this person was expecting.<\/p>\n

 <\/p>\n

As a writer the best part of my job is…<\/strong><\/p>\n

Tinkering with the page(s) I wrote the day before.<\/p>\n

 <\/p>\n

Can you tell us one thing about yourself that your readers may not know?<\/strong><\/p>\n

For years, I\u2019ve had a recurring dream in which Thom Yorke is my new best friend and he invites me to record an album with him in his studio. It hasn\u2019t transpired yet, but I\u2019ll keep writing the songs for our imaginary project, just in case.[\/et_pb_text][et_pb_divider _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

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