Rebecca Serle uses magical realism in her first person narratives. Her stories are contemporary and unfold as though they are happening right in the moment. There’s a freshness to her work- that has made her enormously popular- she’s an instant bestselling author in a world where that is getting harder and harder to achieve. The women in her novels are relatable- they travel, aspire and suffer- they laugh and cry and mend relationships- they grieve. Rebecca has a light touch, and when she needs to, she lets her character dig for life’s deeper meaning.
I was intrigued by her work life- and how she writes her books. They feel as though they are seamless, a story told on a street corner, or a sofa, between two conspiratorial best friends. So, I asked her about her process- why does it feel so natural- so easy? I want to keep turning the page as a reader. The use of magical realism is like the palette of a room- it sets the stage for the deeper meaning.
Adriana: Rebecca, I’m dying to know- how do you do it? I’ve read several of your books now, and I get that same happy feeling when I crack one open…I know I’m in the hands of a great storyteller. What is it that you do that makes your books so au courant?
Rebecca: I think it has to do with my writing process. Because I have sort of a strange process which is that I’ll have an idea for a book, and I’ll turn it over and turn it over for about eight to ten months. And then what ends up happening is that…all my novels sort of have this mid-way twist. And the twist tends to be the thing that gives the book meaning. It’s like the why. And once I understand that then I just sort of fall into a hole and I write a book in two and a half months. I really like to stay in step with it. And I think part of the reason that people say the books are fast reads is because they’re written in a way where I’m never really out of the story.
Adriana: It feels like that. It feels like I enter a world and until the conclusion, I don’t leave it and I don’t want to leave it. I don’t want to put it down. Which I think is a tribute to you. But, you know, there was another great writer who worked in the same way as you, which was Ruth Getts, and she was my mentor…and she called it “holding it all in her head”. So, it wasn’t done a little bit here, a little bit there. It has a seamlessness to it, it's a silk stocking effect. It's just smooth.
Rebecca’s immersive style is personal- and the themes she writes about are in stories we want to read. She’s a beautiful talent and as accessible in life as she is on the page.
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