Richard Roper: 'Every writer, no matter how successful, struggles and has to keep learning how to tell stories'
BY Maya Fernandes
15th Jan 2025
Richard Roper is a much-loved member of the CBC tutor team. He is a former non-fiction editor and a novelist, published by Orion in the UK, Penguin in the US, and around the world in 20 languages. Richard’s debut novel Something to Live For was optioned for TV and was a Barnes & Noble fiction book of the month in the US. His second novel When We Were Young was published in 2021, followed by This Disaster Loves You in 2024.
As a senior commissioning editor for non-fiction at Hachette UK, Richard has commissioned and edited numerous Sunday Times bestsellers and award-winning titles across a range of genres.
We’re delighted that Richard is teaching on our upcoming Writing Your Synopsis – Masterclass one-day online course, designed to guide you through the tricky art of writing a synopsis step by step. He is also a CBC editor providing manuscript and submission reports to writers looking for in-depth feedback before formally submitting to literary agents.
We spoke to Richard about his writing routine and what he enjoys most about working with CBC students . . .
You are a tutor of our Writing Your Synopsis – Masterclass and a regular editor for our editorial services. What do you find most rewarding about working editorially with budding writers?
I love hearing people’s ideas for stories, and meeting budding writers who bring all their passion and inventiveness to the table reminds me how I felt to be starting out myself. Writing is always a learning curve, and I find that when I’m giving advice to new authors it’s often stuff that I need to be reminded of myself – so it’s helpful for my own writing too.
You are also the author of Something to Live For, When We Were Young and your latest release, This Disaster Loves You. Your novels explore characters whose lives appear perfect, but hide deeper struggles beneath the surface. What inspires you to create these layered narratives?
Everyone you meet has a story, and I am fascinated by what makes people tick, and the versions of ourselves we present in public and in private, the things said and left unsaid. The protagonists of my novels so far tend to be reserved in nature, yearning for something more, and I love throwing them into situations where they might just get what they’ve wished for.
Do you have a writing routine or any rituals that help you to stay focused whilst working on a novel?
I have tried to find a routine, but I’ve ended up writing each book slightly differently. The only thing I have settled on is trying to write first thing. I am a very talented procrastinator, and the most mundane of tasks will rocket up my priority list when I’m writing, so I find that it’s better to start on the book as soon as possible when I’ve woken up, and leave emptying the dishwasher until later . . .
As both an editor and an author, do you find it challenging to separate your editorial eye from your creative voice, or do you feel that having a knowledge of both perspectives enhances your writing process?
It’s definitely most helpful when I’m planning a novel. The two work in tandem as I can use the enthusiasm that comes with creating alongside the more measured approach of working out how to put the story together. Where it starts to become a problem is when I’m reading for pleasure, and I have to stop the more analytical side of my brain getting involved!
What advice do you have for writers new to self-editing their own fiction?
Start with the big picture stuff first. If you know a whole part of the plot isn’t working, or a character needs cutting, then begin there. It’s tempting to start with typos and the more cosmetic stuff, but you should get to that last, once you’ve done the heavy lifting. The other thing I’d say is to not to feel downhearted if you’re reading a draft and spotting things that aren’t working. That’s a good thing! You’ve identified a problem and now you can go about fixing it.
What novel do you most frequently find yourself recommending to others?
Anything by David Nicholls.
Do you have any tips on the best way for writers to get the most out of taking a writing course or getting a manuscript report?
Be safe in the knowledge that everyone – your fellow course members, tutors and editors – is in the same boat. Every writer, no matter how successful, struggles and has to keep learning how to tell stories. The fact you have put yourself, and your work, out there should be a something you take real pride from.
Do you want to learn more from Richard?
Apply for our one-day Writing Your Novel – Masterclass course taking place on Weds 5 Feb.
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.