Grace Alexander: 'I’m endlessly interested in the way women are portrayed in the media'
BY Maya Fernandes
21st May 2026
In this interview Grace Alexander, author of the debut book club novel The Lowe Job, shares her approach to writing complex family dynamics.
'Writing through a family lens allowed the characters to have a strong, stable base from which to question the institutions around them. Sororal relationships are so unique. You fight for (and with) each other in a way you wouldn’t with anyone else.'
We caught up with Grace to discuss her time studying with us, the inspiration behind her debut novel and her advice on how to approach agents for the first time.
The Lowe Job follows the indomitable Lowe family in the wake of a jaw-dropping political scandal. How did you create distinct voices for each of the characters whilst maintaining their shared family dynamic. And did you plan their arcs in advance or let them evolve as you wrote?
Writing a family of sisters felt natural, as someone who grew up the middle of three girls. My own sisters would not be shocked to hear that I’m not a planner when it comes to writing. I tend to have a few bullet point ideas of where I think the story could go, but I’m very driven by character and I like to see where I end up – it’s as much of a surprise to me when writing, as it is to people when reading! Working this way does mean that I end up writing myself into holes though, and the editing process involves one or two total overhauls. Despite how much I hate myself for this approach in the early stages, I can’t seem to do it any other way. Any time I’ve tried to create a more detailed plot in advance of writing, I’ve ended up with flat characters who are just vestibules for plot, so I’ve learnt to lean into my slightly chaotic method.
Perhaps as a result of doing things that way, by the time I have a readable draft, I have so many scenes and pieces of backstory for each of the characters, their traits and voices feel very clear in my mind.
Fame and media exploitation play a huge role in the novel. What inspired you to explore these themes, and what made you want to engage with them through a family lens?
I’m endlessly interested in the way women are portrayed in the media. I’m a 90s baby and so I grew up with the 90s tabloids and all the joy and positivity those brought to the world… Things have moved on, but there is still a huge difference in the way stories about women are presented versus men. I was on maternity leave when I wrote the first draft of this novel and so I was consuming a lot more media than I might otherwise, and it was eye-opening.
The Lowe Job is about a family of four sisters. The story begins when the eldest sister, Lili, gets caught having an affair with her boss, a married politician. It’s a scandal that could easily see her vilified by the media. Lili and her mother, Lydia, need to make a quick decision about how to control Lili’s fate. They understand that there is a power imbalance between Lili and the politician, in part because he was Lili’s boss, but most crucially because his status gives him influence over the media, and therefore the ability to sway how the public absorbs details of the affair. Lydia decides that their only choice is to control the narrative by forcing themselves into the spotlight, so that they’re given the opportunity to tell their own story. It’s a new field for the whole family and they take some tumbles along the way.
Writing through a family lens allowed the characters to have a strong, stable base from which to question the institutions around them. Sororal relationships are so unique. You fight for (and with) each other in a way you wouldn’t with anyone else. Someone summed it up to me as, I’d give my sister my kidney but not my phone charger. For my sisters and me growing up, it was very much, I’d give her the shirt off my back, but not this exact shirt because I want to wear it out on Friday and I don’t trust her to wash it in time.
Sisterhood shapes the Lowe sisters’ response to the crisis because although they would do anything to protect Lili, there are also the complex sibling dynamics that come to play. We have all worried that one sibling is favoured, or become frustrated when patterns of behaviour re-emerge, and the Lowe sisters experience all these complicated feelings towards the situation. However, ultimately, they will do what is needed to protect each other.
What novel do you most frequently find yourself recommending to others?
1Q84 by Haruki Murakami was recommended to me years ago and is one of very few novels that I have read multiple times, which I think is telling. I will recommend Americanah at any given opportunity, to anyone who will listen. It is perfection. Similarly, Donna Tartt can do no wrong. The Secret History and The Goldfinch are also two of my all-time favourites. More recently, Margo’s Got Money Troubles is a novel I adored. I read it in about 3.5 seconds. It was so much fun. And less recently, Frankenstein. Everyone should read Frankenstein.
You’re represented by C&W literary agent Susan Armstrong. How did you know that she was the right agent for you? Do you have any tips for new writers approaching agents for the first time?
I know I’m biased, but Sue Armstrong is the best agent there is (joint best actually, with my US literary agent Lisa Grubka at UTA). Before having an agent, I didn’t understand how important it was to get that relationship right, which I realise is a bit shortsighted. Agents are not just working on and selling your book, they are also there to deliver feedback, constructive criticism, advice, and so much more. I struck gold with Sue, because not only is she phenomenal at her job, but we are compatible in terms of feedback styles, and I trust her advice implicitly.
For new writers approaching agents, I would say think about what you value in a working relationship. Do you want someone who will be direct with you about what is and isn’t working? Do you want a softer approach? Do you want someone who will be a bulldozer for you and your work? Do you want someone who will take a more nuanced approach? When you meet agents, just like when you meet anyone, you will quickly realise if you are going to gel or not. Trust your instincts.
You studied with us on our flagship Writing Your Novel – Six Months course in London. How did your time with us shape your approach to writing?
It was hugely helpful for me for a couple of reasons. Firstly, it kept me going with the writing of my novel. I have always written for fun, but in the past, I have shelved whatever I’ve been working on after a first draft. Going on this course was my way of ensuring that I pushed through and edited my story, to get it to a place where it would be ready to share. And that was the second huge benefit of the course for me – the sharing of work. It was daunting, but getting feedback from other people whose writing I read and loved, was hugely valuable.
Many of our students find lifelong writing friends on our courses. Are you still in touch with anyone you met on the course?
I am! I was lucky to be in a group with wonderfully talented writers, and I love that we still share our work with each other and meet up to talk all things books and writing, or just to drink wine and discuss trash TV.
And finally, what’s next for your writing journey?
I’m working on a second novel at the moment, as well as a fun TV project. Who knows where either of those will go, but in the meantime, I’m looking forward to celebrating The Lowe Job publishing with family and friends at the launch party in a couple of weeks, as well as the events we have scheduled around its release.
Get your hands on a copy of The Lowe Job, out now from Orion.
Grace was a student on our London Writing Your Novel – Six Months course in 2023.
The books linked in this blog can be found on our Bookshop.org shop front. Curtis Brown Creative receive 10% whenever someone buys from our bookshop.org page.