Page 41 - Reader's HouseMagazine - Issue 62

to become one of my most popular titles, both in the UK and abroad. It also refocused reader attention on my earlier books and those that were to follow. But the Carnegie Medal win was defining in another sense too: it gave me a shot of self-confidence; and that, as most wri- ters will tell you, riddled as we often are with self-doubts, is a rare and precious thing.
After turning 70, you chose to dedicate your time to mentoring aspiring writers around the world—ranging from children as young as six to adults in their eighties. What inspired this transition?
I was in my twenties and pushing to finish my first novel. I had to fit this around the vari-
Tim Bowler is a literary luminary
whose compelling novels and mentor-
ship efforts inspire countless readers
and writers worldwide.
larly those of school age, what recurring strengths—or challenges—do you notice? And how do you guide them while preser- ving their unique voice?
Tutoring young writers is a joy. They’re embarking on a creative arc which I hope will burn brightly for the rest of their lives and
I’m in the privileged position of being asked
to help them. But the truth is, they don’t need much help. They just need to be unleashed. They’re creatively fearless. They’re like small gods who haven’t yet realised they possess superpowers. That’s where I come in: showing them how good they are, how great they can be. It’s a different dynamic teaching children, especially the very young ones. With adults I’m just me but to the kids (their parents tell me) I’m like a cross between an elderly sage and a handy extra grandfather. Whatever I am to them, however, to me they’re all miracles, and whether they’re writing about unicorns or saving the rainforest, they fill me with hope for the future of our world.
River Boy by Tim Bowler is a tender, poetic tale about life, loss, and acceptance. Jess’s journey captures the bond between a granddaughter and her dying grandfather, blending realism with mysticism. Bowler’s metaphorical river showcases life’s flow beautifully. A gripping read that’s emotional, artistic, and deeply inspiring. Suitable for all ages.
was crammed and now I’ve never been busier, or more professionally fulfilled. So I’m not sure about a legacy, but if anything I have ever written, said or done has left a warmth in someone’s heart, I’ll settle for that.
ous jobs I took on to earn a living, so I’d get up at three in the morning, grit away at the novel for a few hours, then go out to work. I was struggling with the writing, however, and felt
As someone who’s spent decades writing fiction and is now deeply involved in edi- torial coaching, do you find that helping others refine their work has reshaped how you think about your own writing? Yes, it has. I love editing manuscripts, not
I needed some guidance. A friend mentioned
a retired writer in his late sixties who offered tutorials to aspiring authors. These were pre-internet days so writers would post him their extract, he’d speak his suggestions into an old-fashioned audio cassette, and send it back in a jiffy bag. I found it incredibly useful and although I didn’t work with him for long, I decided that if I ever got anywhere in writing, I’d offer to help others in like manner when I reached a similar age – so here I am.
to impose my opinions on another author’s work, God forbid, but simply to suggest improvements. Proofreading on its own would frustrate me. I would find it hard to correct all the mistakes in a text but not be empowered to recommend stylistic improvements. There is indeed a coaching aspect to this, as you rightly mention, and that’s why I offer authors a joint copy and line edit. That covers the correction of mistakes but also allows my pedagogic side to express itself and hopefully help the author to look at the way he or she is using language. I also offer general manuscript critiques and both these editorial processes impact my own writing. By analysing so closely the writings of others, seeing what works and what doesn’t, suggesting changes, pondering solutions,
You now tutor writers from across the globe via Zoom, making your work more varied than ever. How has connecting with such a wide range of voices and cultures influenced your perspective on storytelling?
It has broadened it enormously. I have always enjoyed reading literature from around the world, usually in translation, but working directly with storytellers from other countries and cultures has been liberating for me. Every author, including those from very similar ba- ckgrounds, has his or her unique writing voice, and twenty such authors given an identical writing prompt will usually produce twenty utterly different stories. But factor in cultural, ethnic, spiritual and national differences as well and the stories become even more richly varied. Authors from China, Russia, Kuwait
I realise that in a subtle way I’m coaching myself too.
or wherever will make references to concep- ts that are entirely new to me. I marvel not only at this but at the fact that many of these authors are writing out of their mother tongue into near-perfect English. I don’t think they have any idea just how much I learn from the experience of mentoring them or how much they inspire me.
With such a rich body of work and now this deeply fulfilling mentoring journey, what do you hope your literary and crea- tive legacy will be—for both your readers and the writers you’ve helped along the way?
I never think about a legacy. I prefer to focus on being useful now. My aim, if this doesn’t sound pretentious, is just to give good service. For me, that involves connecting with people and sharing a (hopefully wholesome) portion of myself with them. My books were one way in which I did that and I still receive lovely emails from readers, so that makes me feel I haven’t written in vain. Mentoring and editing are other ways to connect and share and give something of myself. I wasn’t sure anybody would be interested when I first offered my services two years ago but within six months I
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When mentoring younger writers, particu-
Tim Bowler
River Boy winning the Carne- gie Medal in 1998 was certainly a pivotal moment.”
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