What kinds of fiction did you read as a child and teenager, and did you have some favourites?
I read a lot of different stuff. A particular favourite was Marquez's 'Chronicle of a Death Foretold'.
Would you say your childhood and teenage reading has had a distinct influence on how you write fiction now, and why?
Not especially. I think the local Queensland writing scene in the 90's and the rise to prominence of local authors like Armanno and Earls and Birmingham when I was in my twenties was more influential than my teen reading experiences.
What did you do before you became a published novelist, and how did you come to write your first novel and get it published?
Prior to signing a contract with Hachette for my novel 'Kindling', I was a school teacher by day and writer by night. I wrote three novels - 'The Procrastinator', 'Most Valuable Potential' and 'The Umbilical Word' which were published by small independent presses. There were building blocks of success along the way: 'Most Valuable Potential' was shortlisted in the Queensland Premier's Literary Awards; 'The Umbilical Word' manuscript secured my relationship with Curtis Brown agent, Tara Wynne. By the time 'Kindling' came along, the planets were aligned in terms of a debut deal with a major publishing house.
How would you describe your style of fiction or your approach to writing fiction?
My fiction has been compared to Nick Earls and Nick Hornby and, more recently, Andrew McGahan. I look up to each of those writers, so I'm very flattered by those comparisons.
Is your first published novel standalone or part of a series, and what advantages or disadvantages does this present for you?
'Kindling' is a standalone novel. The major advantage of this is creatively I can move on and explore new ideas. The disadvantage is, in the absence of a series, you tend to forego publishing security.
Have you found writing your second novel easier or more challenging than writing your first novel and why?
Every new piece of work is a challenge. I recently completed my new novel 'Finding Fault' - it has a little bit to live up to given 'Kindling' reviewed strongly. The main challenges with 'Finding Fault' related to some 'firsts' I wanted to explore as an author: specifically, the use of an overseas setting and the reliance on female narration.
Who is another novelist whose fiction writing you admire and why?
My brother, Simon Groth. He has a wonderful sensibility. His novels are rich and textured and set in worlds where the light doesn't shine too often. Every time I read one of his stories, I'm wowed.
Summarise your debut novel in one paragraph?
On the surface, 'Kindling' is the story of an autistic boy who runs away to a suburban fire, and his widower father‘s attempts to intercept him before he gets there. On a deeper level, it is a tale about nurturing the spark that resides within us all and fighting the flames that life sets in our path.
How would you describe the appeal of this novel to readers?
'Kindling' makes the reader laugh, cry, sweat, scream and punch the air in triumph (not necessarily in that order).
Summarise a chapter from your debut novel in one paragraph?
Readings Bookseller described the opening chapter 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..."
How would you describe the contribution this chapter makes to the novel?
The opening chapter sets a compelling tone and immediately reveals the importance of tempo to the unfolding plot. It thrusts the reader headlong into the journeys that drive the story: a father's quest to find his son, both literally and figuratively; and a 'different' boy's flight into a world beyond his understanding.
Author website: http://www.darrengroth.com/
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