What We Can Know by Ian McEwan

I love how whatever Ian McEwan writes surprises me. He hasn’t settled for a genre and I like that it feels as though he’s still playing and enjoying himself.

In What We Can Know, which will be published in September, it’s about 100 years in the future from now, the seas have risen and in England only islands remain. Tom, an academic, is obsessed with a lost poem from about 2014 written by a famous poet for his wife, Vivian, whom Tom also obsesses over to the detriment of his own relationship with Rose.

The first part of the book is Tom’s search, both in surviving papers and then via an actual treasure hunt (I love this bit especially), where Tom tries to piece together where the poem might be and what it is about. The second of the novel is the ‘true’ story, which I also really enjoyed, although none of it came as a revelation (maybe it wasn’t supposed to). But of course, there is throughout the brilliant McEwan writing, and the easy story-telling. I really enjoyed this.

Does this sound appealing? Are you going to be reading it?

Buy it from Bookshop.org UK here.

7 Gripping Novels Full of Suspense

This article was originally written for Crime Reads.

Mysteries or Suspense

Publishers, booksellers, and many readers like to know the genre of a novel. Where will it sit on the bookstore shelf? How to categorise it online? Which types of readers will it appeal to?

Sometimes it’s easy to slot a book into a category or genre: romance, crime, or indeed, mystery. But there are lots of novels which are too slippery for that. They have plenty of suspense and often a good dose of secrets and the unexplained to propel the story forward, even though their premise is not built around a central mystery which follows a trail to a satisfying conclusion.

My novels have often been categorised as mysteries and although I’m okay with that, I don’t write them with that genre in mind. But I do try to use suspense in a number of ways. In my fourth novel, Unsettled Ground, a close reader might see some clearly placed clues in the first chapter, but whether a reader does spot them or not, the suspense which builds and the revelations that are scattered throughout the novel are more about the protagonist, Jeanie, discovering these surprises, rather than the reader.

One way a skilled writer can create suspense is to make us – the readers – develop it in our own minds. Leave just enough unsaid, and we will fill in the gaps. And the images in our heads are always worse than the reality. That’s why a writer or a screenwriter should never actually show the monster.

Another way to create suspense is to not allow the reader inside the head of the character who is able to provide the answers, and instead show us only glimpses through the eyes of others. Or alternatively, have the reader so close inside the protagonist’s head we experience their confusion and are kept in the dark for as long as they are.

Sometimes writers will show us the “terrible thing” right at the start of the book, and then circle back in time, as with The Secret History by Donna Tartt. There’s no mystery about what was done or who did it, but the suspense is created by making us guess when it is going to come and why the terrible thing was done.

Whichever suspense techniques I might use, when a reader contacts me after they’ve read one of my books to tell me that the suspense kept them reading long into the night, I know I’ve done my job.

Here are seven recommended novels which aren’t mysteries but are full of suspense. Click on the images to purchase on Bookshop.org where available:

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From Editing to Publication: How a Book makes it onto Book Shop Shelves. Copyedits

This is the second part in a series about how my next book, Hunger and Thirst moves through the process of editing to arriving onto bookshop shelves. The first part covered structural and line edits with my UK and US editors at Fig Tree/ Penguin and Tin House / Zando. And in this part I’m going to be looking at copyedits which I’ve just finished checking for my US editor.

What are copyedits?

Copyedits are done on a novel to check for inconsistencies, missing words, repetition of words, that the publisher’s house style is being used, and many more things. Is a character’s eyes blue at the start of the book and brown at the end? Are capital letters and italics used in the right place? I’ve even had a copyeditor spot a plot hole in a previous book that no one else had. They are life savers.

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Hunger and Thirst: My New Novel Coming in February 2026

Delighted, excited and terrified… My sixth novel, Hunger and Thirst will be published by Fig Tree (Penguin) in February 2026 in the UK and Commonwealth, Tin House in the US, and Bond Street Books (Doubleday) in Canada.

“Ursula, a renowned, reclusive sculptor find the past she has been running from catching up with her when a documentary-maker begins to dig into the unsolved disappearance of someone Ursula knew back in the 1980s. Set in and around a local art school and steeped in the atmosphere of the horror films Ursula watches, it’s a compelling and chilling story of loneliness and possession, of the dangerous line between wanting and needing and of how far a person will go to belong.”

It’s been great fun rewatching all my favourite horror films from the 1970s and 80s, and drawing on my memories from that time, when I was an art student studying sculpture and living in what was essentially a squat. Ghost stories and horror novels were the first books I read as a teenager, and it’s been interesting (and difficult) to see whether I can write something a little bit scary.

Join the Arvon Editing Retreat in January 2025

I’m delighted that I’ll be back at Arvon in January 2025 teaching Editing Fiction and Non-fiction again.

Are you currently editing a novel or some non-fiction? In January 2025 I’ll be back teaching on an Arvon residential writing week in Shropshire on how to edit fiction and non-fiction, this time alongside fellow writer, Mike Parker. Mike’s books include the bestselling Map Addict, republished last year, On the Red Hill, which was Highly Commended for the Wainwright Prize and won the Wales Book of the Year, and his most recent, All the Wide Border, named by Waterstones as one of the best ten travel works of 2023.

And I’m very excited that our guest author, visiting for an evening discussion is Kit de Waal, author of novels, My Name Is Leon, The Trick to Time, as was short stories.

From a developmental review to the fine detail of the line edit, from comprehensive rewrites to the final polish, using exercises, readings, discussions and tutorials, we’ll share techniques, tips and best practices which will help you hone your voice, clarify your thoughts and transform your writing. Along the way, we’ll talk about the detail of hitting word-editing counts, creating and working with book maps, and how to break down your edit into manageable tasks. You will leave with a better understanding of how to know what needs changing, and how to know when it’s done. Whether you’re already published or just starting out, this course is for anyone with a draft that they want to bring to its best.

The week includes group teaching, workshops, one-to-ones with the tutors, as well as evening activities, accommodation and all meals. This writing week is held at wonderful house called The Hurst set in beautiful and inspirational grounds in Shropshire.

Arvon residential weeks are immersive, energising, and great fun!

More information / to book.

Insights from Festival America 2024: Authors and Connections

I have just returned from Festival America – a literary festival held in Vincennes on the outskirts of Paris, and what a wonderful, inspiring, energising and creative time it was. I was there talking about my novel Terre Fragile (aka Unsettled Ground) which was published by Editions Stock in France in January.

It’s the eleventh year of Festival America, which happens every two years. And this year for the first time, the festival also invited authors from Europe, bringing our total to 80. France does literary festivals differently to UK festivals. Firstly, French audiences are so engaged and enthusiastic! That’s not to say that UK audiences aren’t, but they are much smaller. Even for the events with authors who might not be today’s ‘literary stars’ (me included), the turn-out was always more than 100. There are no questions from the audience, but after the event the authors sit in the signing tent behind their piles of books, sometimes for up to three hours. (In the UK, books are sold and signed immediately after each event – sometimes in the bookshop; sometimes just outside the event room, and authors aren’t expected to sit behind their books while potential buyers walk past.) What I really love is that authors and books are selected for panels based on a theme, and that means that authors of my level are often sat next to the ‘literary stars’ talking about a particular subject. The picture above was a panel about ‘What use is literature to the world today’, hosted by a bookseller, with me, Colson Whitehead and Stephen Markley (and our amazing interpreters). I’m certain 95% of the audience were there to see Colson, 4% to see Stephen (sorry Stephen) and 1% me – but that meant lots of people bought my books who had never heard of me before, which is a wonderful thing.

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I got to thank Lauren Groff (and give her hug) for her wonderful quote that she gave for Unsettled Ground. I did three separate school events in one day. I got to meet the whole of my Stock publishing family. I met Donal Ryan for the first time, and we talked about silence in fiction with Antoine Wauters. I sat a seat away from Richard Ford in the signing tent (he’s also published by Editions Stock). I love his writing and I introduced myself and well, we mostly talked about the weather in Paris and Missouri. I was on a panel about families with Szilvia Molnar, and I was so interested in what she had to say that I bought her book (in English – Shakespeare and Co had a stall in the signing tent). And then same happened when I talked about ‘On the margins’ with Jakob Guanzon. I saw a dog on the back of a motorbike, wearing glasses. I met Matilde, my French translator who has been translating my books for eleven years, but this was the first time we’d met in person. I bumped into Susan Barker, who was there with her author partner Glen James Brown. (Susan’s brilliant and scary novel, Old Soul will be published by my UK publisher, Penguin Fig Tree next year.) I laughed about with Colm Tóibín – mostly nonsense – and we pulled silly faces for no reason at all.

Sorry – not sorry – for all the name-dropping. It’s exciting meeting your literary heroes (and have them live up to expectations), but it is even more wonderful to meet so many writers who are new to me and discover their books.

Thank you, Festival America, for the invitation, the fun and the hard work.

Join the International Instagram Giveaway for One Ukrainian Summer and The Memory of Animals

I’m hosting a Giveaway on Instagram for a signed copy of Viv Groskop’s memoir, One Ukrainian Summer, and a signed copy of the paperback of The Memory of Animals. To enter visit my Instagram account: www.instagram.com/writerclairefuller, find my post with this image and follow the instructions.

The Giveaway is open to everyone no matter where you live, and closes on 21st July.

I’ve just finished reading One Ukrainian Summer and I loved it! It’s an account of a year in the 1990s when Viv travelled to Russia as part of her university degree. Age twenty, she works in St. Petersburg teaching English, and falls in love with a Ukrainian rock star. Things are not as she expects when she travels to his home in Ukraine to see him on stage. It’s funny and sweet, and so interesting to read about Russia just after it stopped being the USSR.

Enter the Giveaway.

The Memory of Animals, a novel about love and survival is published in paperback in the UK

The Memory of Animals is published in paperback in the UK today, 4th July. There might be other things on people’s minds on the day of the general election, but I’m delighted to see this novel about love, survival and octopuses out in the world. I’ve heard from my editor at Fig Tree Penguin that lots of copies have gone out to Waterstones, and independent bookshops, and of course there are plenty of places online to buy a copy.

Click here to buy a copy from Bookshop.org

Newsletter giveaway
I’ll be running a giveaway for a signed copy to a UK-based reader on my newsletter. So sign up here.

Instagram collaborations
I’m very excited to be collaborating with four fantastic authors over the next four weeks on Instagram to giveaway copies of their novels and The Memory of Animals. I’ll be starting next week with Sarah Freethy, the author of the fabulous The Porcelain Maker, and culminating in a very exciting giveaway in conjunction with my publisher. So do follow me on Instagram.

Book club visits
If your book club would like to read The Memory of Animals (lots of meaty themes and issues to discuss) I’d be delighted to visit your group when you meet to discuss it, either in person if you’re in Hampshire, or online. All I ask in return is a donation (of any amount) to Read Easy Winchester – an organisation that helps adults learn to read. Drop me a line to discuss further.

Book club questions and signed bookplates
If you would like book club questions for The Memory of Animals (or any of my previous novels), or signed bookplates, please get in touch. No charge, but I would appreciate a small donation to Read Easy Winchester.

Event in Wendover, Buckinghamshire
I’m delighted to be celebrating the publication of the paperback with an event at Real Magic Books in Wendover, Buckinghamshire on 9th July. Tickets and more information here.

The Memory of Animals: Paperback Publication Day in North America | Claire Fuller

I couldn’t get a deer for my publication day image, so a couple of goats kissing will have to do. These two live at the end of my garden in a neighbour’s meadow, and when she goes away, I get to feed them. I don’t know their proper names but we call them The Fonz and Lady.

But I’m not here to tell you about goats, no matter how much I love them, instead I’m here to tell you that it’s paperback publication day for The Memory of Animals in North America. The jacket is still that wonderful hyper-realist painting of a deer with coral growing up its legs by Lisa Ericson, designed by Beth Steidle. So thanks to her and all the wonderful people at Tin House.

The paperback is available to buy from all bookshops and online, or if you fancy entering my giveaway on Instagram for a North American reader to get a signed copy, click here.

If you do spot the book in your local bookstore, don’t forget to take a picture and send it to me.

Happy reading!

Claire

Teaching Editing at Arvon, May 2024

Are you currently editing a novel or some non-fiction? In May 2024 I’ll be teaching on an Arvon residential writing week on how to edit fiction and non-fiction, alongside fellow writer, Adam Weymouth. Adam’s first book, Kings of the Yukon, tells the story of his 2000 mile canoe trip down the Yukon River through Canada and Alaska.

From a developmental review to the fine detail of the line edit, from comprehensive rewrites to the final polish, using exercises, readings, discussions and tutorials, we’ll share techniques, tips and best practices which will help you hone your voice, clarify your thoughts and transform your writing. Along the way, we’ll talk about the detail of hitting word-editing counts, creating and working with book maps, and how to break down your edit into manageable tasks. You will leave with a better understanding of how to know what needs changing, and how to know when it’s done. Whether you’re already published or just starting out, this course is for anyone with a draft that they want to bring to its best.

The week includes group teaching, workshops, one-to-ones with the tutors, as well as evening activities, accommodation and all meals. This writing week is held at wonderful house called The Hurst set in beautiful and inspirational grounds in Shropshire.

Arvon residential weeks are immersive, energising, and great fun!

More information / to book.