An Interview with Beverley Lee: Part One

By Gab Harvey

From as far back as she can remember, Beverley Lee has always been held captive by the written word. Her earliest memories are of books and how they made her feel. She spent most of her formative years with her nose between the pages, or at the local library, devouring books, and losing herself in the worlds of fantasy and adventure. She was that child who would always try to find Narnia at the back of any available wardrobe. Even now the smell of paper in a bookshop makes her feel like she is eight again.

Her writing journey began at the age of seven, when she created terrible, but enthusiastically written, cliché ridden pony stories, complete with illustrations, for her long suffering teacher. But she can’t remember a time when she didn’t make up stories in her head, even when there was no chance to write them down.

The closest thing to magic that she knows is creating characters and new worlds that never existed before. She loves the way the images and voices take form, and the way they take on a life of their own as the words spill out. Beverley is very much drawn to the darker side of fiction and the shadowy place between light and darkness where nothing is quite as it seems. She loves flawed characters – they have a depth and a tantalising wealth of possibility.

Inspiration comes in many forms – a snippet of conversation, a stranger on the street, a song lyric fleetingly heard. Life is inspiration. The very best story is the one you have to tell.

She is a people watcher, a dreamer, a lover of nature and simple things. She collects feathers, picks up seashells and likes to run her fingers over old stone. There’s history there. Stories just waiting to be discovered.

The best way to grow is to support other people and she is passionate about helping other writers as they begin their journey.

Beverley Lee is a writer of dark fiction (dark fantasy/horror/supernatural suspense). Her first book The Making of Gabriel Davenport picked up three 5 star seals when recently reviewed by Readers’ Favorite. It also won the June Go Indie Now! Excellence in Literature Award for her poetic style, outstanding plot, and complex characters





Which was your first book, and when did you write it?

My first published book was The Making of Gabriel Davenport, although I’d written many other stories in serial form when I dabbled in vampire fan fiction when the internet was new and shiny. I started writing Gabriel in 2014 and penned a few thousand words, then abandoned it until early 2015, when I pulled it from my files and started playing with it again. Originally, Gabriel was a girl, but as soon as I changed the gender of the baby the whole story started to flow. It took me three months to get that first draft down, and six drafts more to get it to a point where I felt confident to let it fly. It was published in April 2016.

The Gabriel Davenport series is a trilogy. Did you know it would be a trilogy straight away or did it evolve into one? And more generally, do you normally your stories before you write it, or you start with a general concept and see where it goes while writing?

It was only ever going to be a standalone, that one book everyone is supposed to have in them. It wasn’t until Moth and Teal came on the scene that I realised that there was much more of the story to tell. Moth, in particular, blazed onto the page and demanded that I write the sequel. And as soon as I started writing Shadows it was clear that this would be a trilogy.

I never plan/plot everything. I always have a beginning, the end, and a few key points I want to hit, but I let my characters lead me on their own paths. I trust them to make their own story. Sometimes this is seamless, and others it takes thousands of words to actually find what they’re trying to tell me, words that never make it into the final book, but which give me a deeper insight into their characters and what makes them who they are.

You are a very loved indie author and you do a lot to support other independent authors. Can you tell us something about your beginning in the indie world?

The most important thing for me was getting The Making of Gabriel Davenport out there. I wanted people to read my story and to connect with my characters. At first I tried going down the traditional publishing route. I entered all of the pitch days on Twitter that I could, honing my book into an impossibly measly 140 characters, and hoping that someone would see the potential. I did get a few nibbles, but after consideration, they didn’t feel *right* and I’m a huge believer in gut instinct. I tried sending off the first three chapters to a host of agents and small presses, all with no success. I became one of those writers with a stack of emails that went unanswered. I’d given myself until the end of 2015 but I think I knew deep down that I’d have to try another way, as I had it professionally edited in December of that year. But I’ll be honest, the thought of actually going down the *other* route scared me silly!

Back then I knew virtually nothing about self-publishing apart from the fact that you could do it through Amazon, so I had to learn everything. I spent hours going through the pros and cons of buying my own ISBNs (which I did), which book trim size was best for my genre, costing, what colour page to use. I lost myself in the forest of ‘how to self-publish’ websites.  I bugged all of my friends that had done it before for advice and their list of pitfalls.

I learned that having a solid social media platform is incredibly important. I’d had a pretty consistent Twitter presence during Gabriel’s creation, and it would probably have never got past the first ten thousand words without the support of my writing challenge group. Having people around you that really understand what you’re going through, who you can rant at when nothing seems to make sense, and share those highs when everything is rolling along beautifully, is worth more than gold. I discovered Instagram in September 2015, and through the #bookstagram community quickly found another support network of amazing writers and readers. Here people seemed to get me even more than on Twitter. They were genuinely interested in the progress of my book. As the time drew closer to publication they were the ones who shouted out my book baby, giving me the confidence to push it even further. They are my first readers, my first reviewers, and for that I’ll always be very, very grateful.

Some things I couldn’t do myself. Formatting and I just do not get along. I ended up outsourcing this, partly because I didn’t have the time or the patience to mess around with it. I’m a firm believer that even after countless revisions and beta readers’ eagle eyes, that a professional editor is a must. They *see* things you don’t even think about. I thought my finished draft was pretty tight when it went to my editor, but she found places where my enthusiasm for over explaining took the reader out of the story, and after changing what she’d highlighted, I could see the difference. I lost a lot of what I held close in some of these changes, but I learned so much.

It has all been a huge education, and even now I’m only just scratching the surface of how to market properly. I’ve learned to give myself more space at the end of the process. It was such a fine line between success and disaster with Gabriel. I didn’t receive my books from Create Space (now KDP) until the day of launch, or my business cards – both because I didn’t appreciate how long it would take to get errors corrected and then sent back. I ended up paying a lot to have both get to me on time, a cost I didn’t have to pocket if I’d allowed myself more leeway. Each time I publish I learn; and as the bar always seems to be changing it’s a bit like walking a tightrope in the dark!

It’s not enough to have a well written and captivating story. You have to get it in front of the eyes of possible purchasers who won’t blindly scroll past it. They want an immediate impulse buy – something to grab their attention in the few seconds that they give to each book. Categories. Keywords. Algorithms. Words that Hemingway never had to deal with, but a must for a modern writer to understand.

Would I consider being published traditionally? Quite possibly. But it would have to feel *right*.

There are so many pros and cons for each, and each book, each writer, is different.

I never plan/plot everything. I always have a beginning, the end, and a few key points I want to hit, but I let my characters lead me on their own paths. I trust them to make their own story. Sometimes this is seamless, and others it takes thousands of words to actually find what they’re trying to tell me, words that never make it into the final book, but which give me a deeper insight into their characters and what makes them who they are.

Many horror creatures are tied to religion (vampires, ghosts, possessions, demons, devils) do you find this to put a limit to horror creativity as a genre?

Not particularly. As a writer you have a choice when creating your characters and your worlds. You can wander down the well documented pathway others have used so well, or you can take layers of these horror entities and skin them until you have what is right for your story. They say that there is no such thing as an original story anymore, but I tend to disagree. No two writers create exactly the same book, and it’s in the subtle ways that they shift and mould these much loved creatures into fresh and exciting story fodder that really matters.

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Does writing energise or exhaust you?

Both. If I’m writing and really in the flow, and the words are spilling out faster than I can type them, that is the most exhilarating feeling. When a character takes hold and becomes the thing you think about constantly even when you’re not writing, it’s like a burning itch that never lets go.

But the days when the words refuse to come and it’s a slog to churn out even a few pages, those are the kinds of days when you start to question yourself, and the exhaustion sets in. Also, when I’m editing I find it incredibly tiring as I’m literally picking apart each sentence one by one.

Do you have a writing space and more generally a writing routine?

I’m lucky enough to have a study which is where I always write. Just being here sets me into writing mode, a little bit like going into any workplace.

I would love to say that I have a definite routine and that I’m very organised, but alas that is not true, and I don’t have a specific time of day to write. I’m very much character led as I’m working, which means I plan a little bit and then hand it over to my characters to give me their approval. If they stall and the words are hard work, I know I’m thinking along the wrong lines. Once I get the threads starting to weave together I’ll usually go for a certain number of words a day to keep myself accountable. Sometimes those words can be penned very quickly and others I’ll still be sitting in front of my screen five hours later. I’m a huge scribbler of random phrases and thoughts though – I have notebooks full of them, most not very legible.

I don’t have a specific number of hours. It can be as little as one or as many as seven, depending on where I am in the story and that dreaded word sure to strike fear into any writer’s heart – deadlines!

Is the Gabriel Davenport trilogy set somewhere specific in England?

Meadowford Bridge and Westport Quay are fictional settings but there’s little pieces of places I have visited in each. If I had to pinpoint where the trilogy was set I would say somewhere in the south west of England, in between the coast and rolling moorland. Westport Quay is actually an amalgamation of a quaint little English fishing town and the French Quarter of New Orleans.

Noah’s church in The Making of Gabriel Davenport is based on the church in the next village to me, complete with lychgate, although I renamed it as St. Jude’s for the irony of the patron saint of hopeless causes. The winding hill Olivia drives along in the storm is also a real life location, a switchback road a mile away from where I live.

Did you start by writing novels or did you “evolve” into it after writing a lot of short stories?

I evolved. I’ve always written story in some form and I think a lot of writers start out in the shorter style as they cut their writing teeth and try to find their voice. I’ve had a couple of short stories published in anthologies. As I mentioned above, I also wrote a lot of fan fiction, and the seeds of characters that would grow to be Gabriel and Clove were born there.

That’s the end of the first part of our interview with the lovely Beverley Lee. The second part of this interview will be going live on the 16th of December, so stay tuned and watch this space!


1 Comment

  1. Fascinating interview with an author who understands her own process as a writer. So interesting – and helpful – to glimpse something of the craft, faith and sheer hard work that brought forth the magic of the Gabriel trilogy.

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