Julie Fison: 'A story is so much easier to write when you know what you’re trying to say'
BY Katie Smart
9th Aug 2022
Julie Fison studied on our six-month online Writing Your Novel course in 2020, as she was making the move from writing for children to writing adult fiction. Her novel One Punch, an intense family drama following two mothers at the centre of a tragedy, is out now from Affirm Press in Australia.
We spoke to Julie about what inspired her to start writing family dramas and the writing advice she’d like to pass on to aspiring authors…
You studied on our six-month online Writing Your Novel in 2020. How did your time on the course impact your approach to writing?
I found the course incredibly useful in so many ways. Prior to starting the CBC course, I’d been writing children’s fiction. I’d had eleven books and a play published, but when I decided to move into writing for adults, I felt I needed some extra support. I knew how difficult it was to get a publishing contract, and I wanted to give myself the best chance of success. The course definitely did that. The combination of amazing tutors, great content, feedback from industry professionals and extremely talented classmates made a huge difference to my work. One Punch had been bouncing around in my head for several years, but I started writing it in 2020 – just before I began the course. Being (virtually) surrounded by professional and aspiring writers, and having regular feedback from classmates and tutors was invaluable. I knew I had a solid premise for the story, but Lisa O’Donnell and Andrew Hurley, my tutors, encouraged me to reconsider my main characters – to dig a bit deeper. By tweaking them, I ended up with a much stronger story. I’m very grateful for their feedback! I’m also thankful for the great guidance on writing a synopsis and a pitch letter. It rounded off the course perfectly.
Many of our students form writing support groups. Are you still in touch with any of your course mates?
Yes, we are. The group is a little depleted from the original class, but that makes it a bit easier to keep up with everyone’s work. I really value feedback from my writing group and it’s so great to have friends to share the highs and lows of writing!
Your novel One Punch is out now from Affirm Press in Australia. The story follows two mothers and their sons after one of the boys inflicts a life-changing injury on the other. Can you tell us a bit more about the novel and the inspiration behind it?
The story has a very simple premise: A seventeen-year-old boy is fighting for his life after being felled by a coward punch. His mother wants revenge. The perpetrator’s mother will do anything to keep her son from jail. With a moral dilemma at its core, One Punch is an ideal book club read, and appeals to fans of Liane Moriarty, Jodi Picoult and Celeste Ng.
I began thinking about the issue when my older son started university. That year, an 18-year-old school-leaver was punched in a random attack in Brisbane’s (Australia) nightclub area. Tragically, he died of his injuries the following day. Although I didn't know the victim, I knew so many boys just like him – energetic young men with their whole lives ahead of them. Despite the publicity around this senseless death, tough new laws, and the media campaign One Punch Can Kill, the assaults continued. I heard so many stories that year of young men being punched outside nightclubs. A friend’s son was among them – punched unconscious outside a bar, then kicked repeatedly in the face when he was on the ground. I felt compelled to write a story about violence against young men. I wasn’t sure exactly how I was going to do that. But after further research I started to encounter the other side of the story – young men, just out of high school, jailed for assault. I decided to explore the story from both sides. One Punch is told from the point of view of the two mothers at the centre of the tragedy – ordinary women facing extraordinary circumstances. It delves into the question of how far parents might go to protect the ones they love, and the lies they tell themselves to justify their choices. It’s a very serious topic, but the story has levity too – just like family life.
Family dynamics and parental love play a big part in the narrative. What drew you to write about mothers and sons?
As a mother of sons, I felt it was a topic I knew very well! I have more than two decades of experience in the area, and have accumulated so many stories over the years. Writing a contemporary novel about mothers and sons – exploring the tough times and the lighter moments of family life – seemed like the natural thing to do. Plus, I used to be a news reporter, so I’m drawn to topical issues. But writing about something so close to home also presents challenges. Everyone wanted to know how I would react if I were in the position of either of my main characters, and whose side I was on, as I wrote the novel. I can honestly say I felt for both of the mothers. No one can win in that kind of situation. It’s a terrible tragedy for everyone.
What does a typical writing day look like for you?
I do my best work in the morning – when my mind is fresh and full of new ideas. I get up early, take our energetic border collie for a walk, then get stuck into my story. I tend to read the previous day’s work first, so I know where I am in the story. If I’m doing a first draft, I might give it a very light edit as I read through, then get on with the next chapter. I work for about an hour, then take a quick break from my desk – make a cuppa, do a few stretches. I might finish at lunchtime, or continue working in the afternoon – depending how productive I’ve been! I put my phone out of sight and turn off email to avoid disruptions while I’m working. I love silence – so, no noisy coffee shops or music for me. And if I get stuck, I get away from my screen – go for a walk, pick up a book. I’m always surprised how the subconscious solves a problem when you give it a break.
Who is your favourite fictional character of all time?
That’s a tough one. I’m going to say Douglas Stuart’s Shuggie Bain. I’m obviously attracted to mother-son stories – but this relationship is very different from those in One Punch. Shuggie’s unwavering love for his alcoholic mother is heart-breaking, but there’s also so much compassion and humour in this story. Shuggie is an unforgettable character.
Do you have any advice for the aspiring authors reading this?
There are a few things that work for me. I find it useful to let a story rumble around my head for a while before I make a start – to give the plot a chance to develop and to give the characters a chance to start talking to me.
Take lots of short breaks when you edit so you don’t skim over sections that need to be improved. And before you submit, read your entire manuscript out loud. I’m always surprised at the things I pick up when I read aloud. Clunky sentences, repetition and over-writing really stand out.
I think it’s also important to be able to sum up your story in one or two sentences. A story is so much easier to write when you know what you’re trying to say. And it’s helpful to have a short, strong pitch when it comes to selling your story to an agent or publisher.
Finally, what’s next for you and your writing journey?
I have a second book on the way with Affirm Press. It’s another gripping family drama – due to be published next year. It’s very exciting, but I’m feeling the pressure. I haven’t had the luxury of tossing this one around in my head for years. But it’s going well, I’m enjoying the process, and Affirm is a great publisher to work with – so it will all work out, I’m sure!
Get your hands on a copy of One Punch.