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Your next favorite book
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Christoper Parker discusses his first novel, The Lighthouse, set off the coast of Oregon, why it took him 10 years to write and what he learned in the process.
The Lighthouse took you nearly 10 years to finish. Where did it all begin and how did the timeline of the process progress?
It began somewhat naively. I had the idea for the story I wanted to tell, I calculated how many words I could write per day, and I figured I could be done in three months. The first draft ended up taking three years and it was awful. It was overwritten and full of subplots that went nowhere. I then began reading as widely and voraciously as I could, determined to learn and understand more about the craft, and I started the manuscript again from scratch. The second draft took a further three years, followed by another couple of years of editing and revision. Had I known what was involved at the beginning, I'm not sure I would've begun!
What was your motivation to keep writing all these years?
I believed in the story so much that I had no choice but to see it through to the end. At times I felt very much like a sailor lost at sea — too far from home to quit but no sight of a destination either. I had no choice but to just keep sailing. It did me no good to plot an end date or to try and hurry along the process. My only approach was to do my best every day, keep making progress and moving forward. As long as I did that, then I knew that one day I would find myself at the finish line.
What were some of your personal goals with writing this story?
To finish the thing! On a personal level, I simply wanted to do the best job I could and publish something my daughter could one day look back on and be proud to say, "My dad wrote that." The book is dedicated to her, and she's the reader I want to impress the most.
While you're from New Zealand, you set your book off the coast of Oregon. Is there any significance with choosing this setting?
This was a decision made early in the process, mostly because the characteristics of the story lent to a North American setting. Ryan lives and works on a ranch, and Amy (in the first draft of the book) was a swimmer on a college scholarship — both these elements felt more quintessentially "American" than New Zealand. As for Oregon, that choice was driven by the needs of the story, too. It was important that the fictional town of Seabrook be situated in a picturesque landscape where a haunted lighthouse wouldn't be out of place, and Oregon's beautiful, dramatic coastline was the ideal setting.
How did you come up with Amy and Ryan? Are they inspired by anyone in your own life?
Amy and Ryan aren't inspired by anyone in particular. The idea began with the concept of the lighthouse and then the characters were brought to life to serve the building's pivotal role in the story. However, once I began writing Amy and Ryan and spending time with them, they took on a life of their own and I became quite attached. Over the years, they've become like extended members of the family. Even though the story has been written, I still think about them often and know everything that happens after the final page.
What are some surprising things you've discovered self-publishing your novel?
Just how challenging it can be to know when it's time to let go. When you're publishing traditionally, you'll likely have a deadline, but when you're self-publishing you've got all the time in the world, which can be a blessing but also a curse. It can be very tempting to get stuck in a loop of getting feedback and making tweaks to the manuscript in the hope that you'll be able to create something that pleases everyone. But that's never going to be possible. There's a fine line between making improvements and editing the life out of the story, and at some point, you need to know when enough is enough.
One of the major themes in the book is Amy's process of grieving her mother. Why was it important to include themes of grief and loss? I think, like everyone, I am intrigued by the concept of death and the eternal question of what ultimately becomes of us. The book does deal with grief and loss, but more than that, I believe The Lighthouse is a story about love — not just the love that exists between two young people who are fatefully thrown into each other's lives but also the kind of love that exists between a grieving husband and his wife, as well as that unconditional, unshakeable bond of love that exists between parent and child. I believe love is more than a fleeting emotion or just a chemical reaction in the brain. To me it's a tangible part of the human spirit that endures long after we're gone. The Lighthouse is an exploration of those ideas.
Why is The Lighthouse such an important story to you? What do you hope readers gain from the book?
It's important to me because it's the exact kind of book I'd like to pick up and read — a story that takes readers on an exciting, unexpected ride and has a bit of everything: mystery, love and a touch of magic. I just hope readers are entertained and that the themes and ideas explored in the story resonate with people.
Without any spoilers, can you talk about the significance of the lighthouse?
I've always been fascinated by lighthouses and long admired them. It was never my intention to write a novel featuring one, but when I thought up the central idea of the story, there was no other building better suited to play the part. There is also an obvious strong echo between a lighthouse's role in being a guiding light for sailors out at sea and the part it plays in being a beacon for Amy and Ryan. In my story, it is a symbol of light and hope, both literally and metaphorically.
What projects are you working on next?
I have the rough outline of the next novel sketched out, and in the meantime (while getting The Lighthouse ready for publication) I wrote a children's story about a troublesome dog that's being illustrated now. That only took a month to write, and I found the process refreshingly easier than the gargantuan task of completing a full-length novel. I am, however, looking forward to immersing myself in the next one.
Unless otherwise stated, this interview was conducted at the time the book was first published, and is reproduced with permission of the publisher. This interview may not be reproduced or reprinted without permission in writing from the copyright holder.
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