Eithne Shortall is well-known as Arts writer for The Sunday Times, but temporarily parked the day job to embark on her first novel, Love in Row 27, now in bookshops.
The story - based around Aer Lingus check-in attendant Cora, who is pre-occupied with matchmaking her passengers - has been warmly received by the queen of comic romance herself, Marian Keyes, who describes it as "fresh, funny and very charming". Added to that glowing endorsement, Love in Row 27 has been storming up the book charts since its release. Surely it can’t get better? Turns out it can: Shortall’s début has been optioned for a possible TV series. Pretty good innings for a first-timer.
Here, a slightly hoarse-but-happy Eithne chats to Céire Duggan about everything from dealing with constructive criticism to the thorny topic of paying contributors and, rather importantly, what’s next on her Netflix hit list.
It's out in 7 weeks! As well as swoony endorsements from @MarianKeyes, @ChrissieManby & Patricia Scanlan... here is my Dad ☺️#LoveInRow27 pic.twitter.com/SiXBjmFxqz
— Eithne Shortall (@eithneshortall) April 13, 2017
First off, great picture of your dad pretend-reading your book on Twitter. Did he get to read Love in Row 27 before it went out?
My dad didn’t but, stupidly, I did give my boyfriend the first ten chapters of a really early draft which was a terrible mistake. It was early in our relationship and I couldn’t take any criticism so it was a case of "right, that’s it; you’re not reading any more!" I suppose, at that early stage, I didn’t want anyone reading while, of course, now I want everyone to read it!
You mentioned that when you signed with your agent, a huge re-draft followed. What did you change?
Well, I completely re-wrote the last six chapters, they are absolutely nothing like the original book. I think I was originally trying to write three types of books. I’m a broad reader and I suppose I refused the idea that it has to fit into some sort of genre. Now, it is a love story but it doesn’t all get tied up quite as neatly with a bow.
So… could that mean that your next book (it’s a two-book deal) is possibly a sequel to Love in Row 27?
No! I’m already halfway through it and while it is also about love, it’s more about the end stages of love, whereas this is very much about the beginnings. Different characters, different settings and in Dublin this time around.
Cora’s mum is dealing with early onset Alzheimers. Her condition, and its impact on her daughter, is written about with a great deal of insight and empathy. Can you tell us more about where that came from?
A lot of people have said that and think that perhaps it’s from personal experience but it’s nothing so direct as my mother, thankfully. It seems that it (Alzheimers) is so much in the air now and with people living longer, it’s become more common and you’re constantly thinking about it; that it will happen to you or your parents. It’s particularly devastating when people get it younger, when they still have so many years to go. I’m really close to my mother so, in a way, it was imagined. But I did speak to a number of people dealing with it and read about it too. I suppose also, as a writer, your words are so important and the thoughts of losing my memory and my words… it’s written from imagination, but it felt real.
Listen: Eithne Shortall talks to The Ray D'Arcy Show:
We need your consent to load this rte-player contentWe use rte-player to manage extra content that can set cookies on your device and collect data about your activity. Please review their details and accept them to load the content.Manage Preferences
So, you’ve a busy few weeks ahead with Love in Row 27 and you’ll also be speaking at this year’s Borris House Festival of Writing and Ideas next week. The Literary Festival "culture" seems to be booming in Ireland right now. Why’s that?
I think, in general, in the last couple of years, there’s been a real growth in 'chat'. People love going to talks. Jim Carroll’s Banter is a great example – the sessions can be about any subject and he gets four people to talk about them. I just think it’s great to hear people talk. The Borris House Festival of Writing and Ideas is particularly good. I’ll be going for the weekend and plan to go from talk to talk; it’s like people-watching but they’re on stage.
With the growth of talk culture comes the question of compensation for contributors. You’ve gone on record with your views on the topic before. How does the world of literary festivals fare in this regard?
I do believe that if you’re buying a ticket to see someone talk, then the person that you’re seeing should be paid. So, I tend to say ‘yes, I’m happy to do that and are you going to pay?’ and I would encourage writers and friends to do the same. It can be easy to talk about state subsidies but I do think it’s up to festivals to pay writers. But I have to say that any festival I’ve been involved in are paying writers and, importantly, are also treating writers well, which I’m told wasn’t always the case.
Final update: pic.twitter.com/WnWUL02FWy
— Eithne Shortall (@eithneshortall) June 5, 2017
Finally Eithne, you’re relatively new to Netflix, how’s it working out for you and what’s next on your hit list?
I’ve just watched Dear White People and it was SO good! It was the first time I’d watched something in a long time. I’ve also watched Gilmore Girls – A Year in the Life which was good, though not as good as the original and I’m currently taking recommendations. I’m told Mad Men is great so that could be next. Oh, and I’m really liking Conor McPherson’s Paula on RTÉ One.
Find Love in Row 27 in all good book shops nationwide now.
