Writer Of The Week: Moira Gee

Our Writer Of The Week is author Moira Gee. Moira’s new serial, “Irene’s War”, is currently running in the magazine.

Congratulations on the publication of another “Friend” serial. As a successful writer, does the level of excitement stay the same when you see your work in print?

Thanks so much. I’m really delighted.

I think I’d have to say yes, I’m always thrilled to see anything I’ve written in print. I remember when my first story was published in 1976. We were away on a family holiday and we’d called in to visit my uncle who owned a pub. When I showed him my story, he opened a bottle of Champagne to celebrate! While I can’t always stretch to that, I do always feel the same excitement as on that long-ago day in the Hope and Anchor in Stourport-on-Severn.

Why did you choose WWII this time around?

It came about when I was thinking about all the snippets of stories I’d heard from my mum when she was a child growing up during WWII in Hamilton. I spent a lot of time there when I was younger, too, so I could visualise all the streets and tenement houses. There’s a lot of true happenings from my mum’s childhood in this story.

For example, my grampa was a signalman. I loved visiting his signal box at Hamilton West station, and I remember trying to pull the levers to change the points, but they were far too heavy for me. My gran was a nurse during the war and soldier patients used to give her chocolate to bring home to my mum. I gave these jobs to Irene’s parents in the story.

Other true-to-life parts was the trouble at the Italian family’s ice cream parlour, the schoolchildren singing songs during air raids and the hut where Irene’s family spent their holidays. My mum used to cycle about fourteen miles with her dad to get to their friend’s hut. She’d be about eight or nine at the time.

It meant a lot to me to be able to bring these details to life in a “Friend” serial. I think it meant a lot to my mum, as well. She’s been my living research engine all the way through while I was writing it.

Irene’s diary worked to good effect in the serial. Do you keep a diary and, if so, does it help you as a writer?

I did keep a diary in my younger days but not anymore. I do usually have a notebook and pen with me, though, and make notes on things I see when I’m out and about. It helps me to remember details and descriptions. When I had an interview for a job on a magazine many moons ago, I was told, “A good journalist is never without a pen.” I’ve never forgotten that!

Do you have any habits or superstitions when it comes to writing?

I wouldn’t say superstitions, particularly, but I do like to have a cup of tea (or wine, if it’s the evening) beside me while I work. The tea often goes cold, which is a good sign. I often play Mozart because his music’s reputed to aid creativity. I only have one Mozart CD, though, so I should probably invest in some more.

In conversation, you’ve mentioned your writing caravan before. Is a specific location important to channel your creativity?

It’s not the location, really, it’s more the fact that I get some peace while I’m away from my hectic family life at home. The Wi-Fi signal’s terrible in the caravan, too, so there are far fewer distractions.

Over the years, how do you think you have developed as a writer?

I pay more attention to characters these days and try to make their behaviour believable. I’m also more careful about the words I use. I’m conscious that every scene or conversation should help to move the story forward, so I want every word to earn its place.

As a bit of a technophobe, it took me a long time to feel confident enough to write straight on to a screen. Mind you, there is a lot to be said for writing a story in longhand. When I do that, I find I take more time to think about what I’m writing, and I end up with far less rewriting to do.

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