I first met Theresa Smith through the Australian Women Writers Challenge, an initiative established to re-dress the gender balance in mainstream Australian book reviewing. Theresa joined AWWC in 2016 and answered the call for volunteers later that same year. She now serves as the Historical Fiction Editor and has recently taken on the social media aspect of AWWC, moderating the two Facebook groups – Love Reading Books by Aussie Women and Australian Women Writers Challenge News and Events, as well as handling the AWW Twitter and Pinterest accounts. In between, Theresa works as a secondary school careers advisor and manages a growing family. Oh, and she also writes novels. Like what does Theresa not do?
If she wasn’t such a genuinely nice person, I’d probably have to hate her. 🙂
Theresa’ fifth novel, Lemongrass Bay, was published in 2017 and, although it is not my genre – like not historical or even vaguely Welsh language and culture related, Theresa is so incredibly generous in her support of other Australian women writers, I decided to check it out. Turns out it is one of those titles that will give Indie Publishing a good name. I enjoyed Lemongrass Bay so much, I asked Theresa to answer a few questions for my blog.
Set in a fictional, North Queensland town, Lemongrass Bay is a multi-viewpoint story that revolves around a fractured friendship group. When reckless photographer, Ethan, is struck by lightning, his relationship with Emma-Louise deepens. However, the news that Emma-Louise’s ex, Jimmy, is coming back to town resurrects past scandals, upsetting Emma-Louise’s fragile sense of equilibrium and undermining her long-term relationship with best friend Rosie. But in the end, the past must be faced, the lines of friendship re-drawn, and nothing is quite as simple as it seems.
Sound intriguing? I asked Theresa about her inspiration for the novel.
I was originally going to set the novel in Darwin, because it was inspired by a news article I read on ABC online about a man being struck by lightning on a Darwin beach and surviving. This idea formed the basis of Lemongrass Bay but I wanted to capture that small-town slice of life atmosphere, and Darwin is too big of a setting for that. While I’ve lived in small towns before, I currently live in Mount Isa and I’m constantly reminded of how very different living in a remote small town is from living in a small town that’s not far from a bigger regional town. Remote living changes the dynamics within a town. This is what I wanted to capture but I needed the town to also be on the water for the plot to work, so I made up Lemongrass Bay. It is inspired by Karumba, a small fishing town in the Gulf of Carpentaria, but only in the sense of location and the minimal facilities available.
I love a novel with a strong sense of place and the small town environment, where everyone knows everyone, is one of the aspects of Lemongrass Bay I most enjoyed (apart from the crocodiles). There are some seriously funny scenes involving the town blog, two man police force and Rhett Butler the fat, re-named cat. The multiple storylines, gave me a sense that I was in fact resident in Lemongrass Bay. I wondered how Theresa developed these storylines, whether she wrote them individually and chopped them up later, or in their finished order:
I am very much a person who writes in the the order that it appears in the book. Even when editing, I struggle to jump all over the place and prefer to edit in the correct order. I have a fear of inconsistency, writing something that doesn’t make sense and then not knowing how to fit it in with the rest. If I write in the order that the finished story will be in then I know I won’t have overlooked everything.
That all sounds reasonable until you fall under the spell of Theresa’s well-placed darts and see how artfully they impact the unfolding story. As one who is stronger on character development than plot, I imagined the nightmares Theresa must have had trying to work out how and when to add each new insight.
I have evolved into a plotter. I wasn’t with my first three novels, but I was with the last two, even more so with Lemongrass Bay. I’ve grown quite fond of scene maps and timelines. In saying this though, my plotting is fairly loose and is more of a guide so I don’t lose track rather than a rigid plan from start to finish. The story still evolves very much as I’m writing it and it’s not unusual for a new character to simply emerge onto the page with no prior warning.
So not a plotter or a ‘pantser’ Theresa’s process falls somewhere in between. I asked how her to classify her work and tell me how, in turn, this matches the books she reads for pleasure (you know, when not managing AWWC’s social media and juggling the multiple activities listed above).
All of my books are similar and I think after much deliberation and feedback I can safely peg them as Women’s fiction. They certainly all contain romantic elements but not enough for them to satisfy romance readers and I’m not into happy endings; realistic conclusions are more my style.
I have fairly broad reading tastes. I enjoy thrillers, crime, romance, women’s fiction, rural fiction, memoirs, classics. My favourite though, is historical fiction and literary. If those two are combined, all the better!
Theresa’s love of reading is certainly reflected in her writing. There is a tactility to Lemongrass Bay and its characters which is funny, poignant, angry and desperate by turns. Their streams of consciousness exude a kind of quirky rightness. The following is one of my favourite descriptive passages, evoking an incredibly strong visual image of the girl in question. I’ll leave it with you as a taster of what Lemongrass Bay has to offer:
She ran then, right out of that reception room located at the back of the church, down the isle past all of the shocked faces who by that time had begun to put two and two together and were most definitely not coming up with five.
She ran down the street, and then down another one, her wedding dress bulky and dragging behind her. She kept on running even as she reached the end of the bitumen and found herself on the sand and tufts of hard spinifex. She continued down the smooth beach, her footprints the only ones marring the sand, not caring at all if the crocodiles were out sunning themselves. As she ran, she tore of her veil and kicked off her shoes, throwing all of it out over the surf.
Every part of her ached: she thought she might have been having a heart attack her chest was so swollen. Or a brain haemorrhage, her head was pounding so viciously. Her stomach cramped, a clutching white hot pain that stole her breath away. Sobs tore through her, the disappointment and humiliation it all too much to catalogue in such a devastating moment. She stood the sun hot on her back, dizziness threatening, her breath coming in short painful gasps. Her legs were wet, the skirt of her dress turning red with the spreading stain that seemed in sync with the increasing pain in her abdomen.
Describing herself as an impatient person, in terms of her writing, Theresa came to Indie publishing after her book was rejected by the major publishers. There is no evidence of that impatience in her finished novel however. Lemongrass Bay is well edited and well-presented, its story well told. It demonstrates what is possible in the brave new world of small press publishing.
For more information visit Theresa Smith Writes or the AWW site.