'Kindling'. It's my most accomplished work to date. It was also a very personal piece. The premise of an autistic boy running away to a suburban fire and his widower father attempting to chase him down was one I was thrilled to explore. And I was proud the writing managed to do justice to the idea.
What genre(s) do you consider this story primarily to be, or how would you describe this story?
It was described by Australian Publisher & Bookseller as "a book you could put in the hands of anyone fifteen and over". I like that description.
What is a published fiction story by another author you would compare this story to and why are they similar?
Niccolo Ammaniti's 'I'm Not Scared'. They're similar in their reliance on a child's narrative, ascending tempo and theme of innocence unravelled.
To what extent did you use any pre-existing story formula, template, paradigm, plot design, archetype, or theory or principle of story/plot structure in planning, writing, editing or rewriting this story?
'Kindling' is a two-voice story. The plot drivers of accidental revelation, flight and pursuit really demanded there be a dual perspective. Additionally, I felt both protagonists had enough compelling and intersecting substance – in their past, present and unformed future – for the reader to meaningfully connect with each character.
Additionally, the trope of a journey in which obstacles are to be overcome structures the narrative in the book.
How would you describe the first chapter, scene or section of this story in one paragraph?
Readings review describes it thus: "Some novels – even some truly great novels – can take a while to seduce you. This is not the case with 'Kindling', which opens on a panicked man searching his house for his son even as reason dictates that the boy isn’t there; a mere two pages in and already you know that Darren Groth is not a writer who wastes time..."
What makes this chapter, scene or section an effective opening for this story?
It gives the story immediacy and gravity. It creates an instant emotional response in the reader; one which overlays the plot arc building to this pivotal moment and the commencement of the chase at the beginning of the book's second 'act'.
What major stages, twists or turns does the story conflict take in this story before the conflict is resolved (or not resolved)?
The story is reasonably linear. There are two major flash-points: The revelation of tragedy leading to a boy's decision to run away; and father and son coming together at the fire following journeys undertaken. There are surprising turns and near misses in the plot arc after the protagonists are separated, but ultimately as stated in the narrative by father Nate: "It had to be this way. This night could only reveal its truths at the blaze. The mistakes made, the failures fashioned – their brand could only be forged at three hundred and fifty degrees..."
How would you summarise the major sub-plot or sub-plots in this story? If this story has no sub-plots, how would youe describe the main sub-plot or sub-plots from one of your favourite published fiction stories by another author?
The major sub-plot of the novel is the tragic circumstances of wife Felicity's death in a house fire five years previous and its implications for the 'front' story.
What does the story gain from the sub-plot or sub-plots?
It is the key driver of the front story. Felicity's passing and the revelation of its cause provide shape to the protagonists' every action, thought and feeling. It is the source of their pain and healing, their fear and courage, their despair and triumph.
To what extent would you describe your story discussed here as typical or atypical of your fiction stories?
At face value, 'Kindling' reflects much of my work to this point. It is a small, simple story, chronicling small, good people contending with big, bad life challenges. Beneath that, there are certainly some deeper layers I wanted to dig into. The idea of heroism. Of making amends for past wrongs, perceived or otherwise.
Author website: www.darrengroth.com
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