FWA: Congratulations on the publication of Maya’s Dance, which I understand is based on a true story. How did you find the original story?
HS: I first heard the story of Lucie Pollak-Langford while I was waiting for my daughter’s ballet lesson to finish near my home on the Northern Beaches of Sydney. One of the other mothers, Sonja, was visiting an elderly couple whom she had befriended years earlier, and she was worried that Lucie was showing early signs of dementia. Sonja is a dance physiotherapist who met Lucie as a client. Over the years they had become extremely close friends; they had embraced each other’s families, and Sonja had even become the legal guardian of Lucie and her husband, Peter. She told me the essentials of the story – that Lucie was in a labour camp during the Holocaust, where one of the guards watched her dance and fell in love with her, before risking his life to help her escape. When I heard their love story I had a visceral reaction, and I’ve been obsessed with it ever since.
FWA: What changes to the story did you make along the path to publication?
HS: Maya’s Dance is inspired by Lucie’s story and my extensive research into the Holocaust, but it is a work of fiction. Of course it’s written through my eyes and with meaning ascribed to events according to my own lived experience. I have changed numerous facts, including Lucie’s name (at the request of her husband). Maya comes from Lucie’s favourite name, Maria, which she grew to love after she spent time hiding in a convent during the war. I also changed the ages of the protagonists to prevent the obvious power imbalance from distracting from the narrative. Of course I have invented scenes and situations, although all of the Nazi atrocities described in the book reflect real-life accounts. The secondary timeline in the book, including the ending in which Maya tracks down the man who saved her, are all invented. However, some of the most unlikely events – that the prisoners put on a show in which there was music and dancing, that a guard helped a prisoner to escape, and that twins were born in the camp – are all true.
FWA: What aspects of the ‘Writing a Novel’ course were most helpful to you as you were proceeding through the publication process?
HS: I wrote the bulk of the book after I had finished the course, and would never have done so without the guidance and support of my tutors. When I started I really didn’t know where to begin, and by the end of the course I had a solid idea about structure, character and plot – all the essential ingredients of a novel. Perhaps the most useful session was the session on plot by a Hollywood film producer whose advice transformed my story into the compelling read that it turned out to be. And of course the opportunity to meet agents and publishers, and to have an excerpt published in the anthology, were priceless. However, I have to say the best thing about the course was meeting my writer friends – we’re still seeing each other regularly five years later.
FWA: Were there surprises (good or not so good) along the way? What was the most challenging hurdle?
HS: The biggest surprise was when it dawned on me that you don’t just write one draft – you will keep redrafting your book multiple times before publication! I have actually really enjoyed that process of turning what was a very ordinary first draft into something that I’m so proud of now. I have also been surprised at the support from other authors. Publishing is probably the kindest, most nurturing industry I’ve ever encountered and it’s been a delight to learn about it. The most challenging aspect has been the rollercoaster of emotions post-publication: Will people like it? What if they think it’s stupid? Will it sell? How will anyone ever notice it amongst all the hundreds of other books? Imposter syndrome is real for debut authors!
FWA: What has your experience with the marketing and publicity aspects of publishing a novel been like?
HS: My publisher, Simon & Schuster, have been brilliant and have invested heavily in the marketing and publicity of Maya’s Dance. It’s quite confronting going out and selling myself both to booksellers and readers when I’m used to spending most of my time behind a desk writing. I even did a public speaking course at NIDA because I was so nervous about it all – but I’ve surprised myself by taking to it like a duck to water. In fact I’m probably more proud of my ability to speak in front of different audiences than I am getting the book published (well, not quite – but it’s a big achievement for me!) The main thing I’ve learned is that it’s all incredibly overwhelming and time consuming at first, and then it dies down and you come back to reality and start writing again. A very short but sweet few moments of fame!
FWA: Do you have any tips/advice for aspiring novelists who are seeking a publisher or agent?
HS: Don’t get disheartened by rejection. I really think it’s all about luck – an agent or publisher is looking for a particular genre to suit their mix and your book just happens to cross their radar at the right time. Your book doesn’t have to be perfect – it will be changed many times, so the draft you submit is far from the finished product – so don’t obsess about every sentence. Also just because a friend gets picked up by an agent and published doesn’t mean your book is any less than theirs. Your time will come. Keep trying. Have faith.
We are currently accepting applications for three Writing a Novel programs commencing in July 2024 and running through to April 2025:
Writing a Novel (Sydney) – Daytime
Writing a Novel (Melbourne) – Daytime
Writing a Novel (Online) – Evening