Hi Kayte, and welcome to The Book Muse.
First, thank you for taking the time to answer my questions about your latest book, The Botanist’s Daughter, which I reviewed here on the 4th of August for the blog tour. I hope you can answer the following questions in as much depth as you would like to.
- What was your initial inspiration for this story, and where were you when it came to you?
About three years ago, I took my young daughter to the Sydney Botanic Gardens for a picnic as it was not long before she was due to start school. It was a sultry late-January day and we were looking for fairies (there is a fairy trail there) and ended up at the Herb Garden. In the middle is a wonderful cast bronze sundial on which is a raised relief of herbs. I put my hand on the warm metal and instantly knew there was a story there – it was like a bolt of lightning. I had a vision of a young, headstrong girl in a similar garden in England and I spent the rest of the afternoon in a daze as I thought more about who she was and what her story might be. I fully believe that stories come and tap you on the shoulder and it is the writer’s job to try and do justice to them.
- Gardens, and in particular botanic gardens such as the one in Kew, and the Royal Botanic Gardens in Sydney, as well as Anna’s landscaping business play an important role in the story. Following on from where you got the idea, what is it specifically about gardens that you are the most attracted to? Did this attraction help to formulate your plot and characters?
I’ve always loved gardens, and the mystery and magic of growing things (though sadly I have a rather brown thumb, not a green one!). I also love the names of plants and flowers, that often sound like poetry, and have fond memories of listening to my grandmother tell me the names of all those that bloomed in her garden. The scent of tomato plants and greenhouses takes me straight back there.
- On the theme of gardens and plants, do you have any favourite literary gardens or plants? When I think of this, The Secret Garden and the plants in Herbology in Harry Potter immediately spring to mind – are there any characters linked to gardens and botany that you like?
The Secret Garden is a book I have re-read many times. Dickon is one of my all-time favourite fictional characters – a gentle and wise boy who was so in touch with nature. More recently, I loved Vanessa Diffenbaugh’s The Language of Flowersand Garden Spellsby Sarah Addison Allen, which combine two of my favourite things – gardens and magic.
- Are you a plotter or a pantser when it comes to writing?
I’m mainly a plotter – I actually have a whiteboard where I map out the main beats of the story – usually once I am a little way in and know where it might go. That really helps me get the emotional structure of the narrative clear. However, I still leave plenty of room for the detours my subconscious might take me on.
- The dual timeline is fascinating, and I found it very effective to tell your story – as it has been for several other historical fiction novels I have read over the years. What made you choose this format to tell Anna and Elizabeth’s stories?
My favourite thing about history is when it becomes tangible in the present – an object from the past that still exists today provides a very clear link to that time.
I also wanted to have two characters that could almost have been better placed in each other’s era – Elizabeth is modern, confident and headstrong, whereas Anna is cautious. calm and quiet. I liked having the ability to contrast and compare events in both of the stories.
- What challenges did you face when writing the dual timeline, and what were they? Is there any advice you received or something you found out about writing a dual timeline that could help writers who want to use this format?
Near the beginning, I contacted the novelist Kate Forsyth, as I had read and loved her book, Bitter Greens, which has a dual timeline that works really well. She was generous enough to give me the advice to write each one separately, to keep my head in the world of each story, and that is what I did. When I came to stitch the narrative together, though it was mostly surprisingly seamless, it required great concentration not to give away the mystery of the past in the present narrative until close to the end, and to try and remember what the reader did and didn’t know at any given point.
- What sort of research did you do, and how intense was the process? What strategies did you use to ensure the process was smooth and accurate?
I’m not certain I used any particular strategies – I looked for as many reference books, both on Victorian everyday life, and Chile in the 1880s, as I could find, from my local library and the State Library of NSW, and read, made notes of points of interest, before starting to write. I spent several months doing this.
During the writing process, when I found myself wanting to know certain facts and details, I stopped to find them out – for example I found a very helpful online community of ship enthusiasts who helped with the type of vessel Elizabeth would have sailed on and from which port; I found photographs of Valparaiso in the 1880s and so could see what the town looked like, which buildings existed then.
I also found a wonderful diary written by a sea-captain’s wife who lived in Valparaiso in the 1830s. This was fifty years before the time of my story, but her descriptions of the landscape and the plants that grew there was an invaluable primary source. I also visited several exhibitions of botanical art and about 19th-century plant hunters in both Sydney and London during the course of writing, and read many letters written by plant hunters when they were on their expeditions.
- I love that the novel is distinctly female driven in both the nineteenth and twenty-first centuries by Elizabeth, Daisy and Anna and her family. These relationships were key to the story – what kind of sacrifices did you make in terms of character for Daisy and Elizabeth for the time you set them in, if any, and why?
One of the books I came across in my research told the stories of a number of extraordinarily adventurous women in previous centuries, and when I visited Kew, I discovered the Marianne North Gallery, which houses the paintings of this Victorian adventuress and botanist. So, I knew that I could faithfully create characters who were equally single-minded and brave, even though this was not generally expected of women in those times.
- Daisy’s sacrifice after a significant and heartbreaking event in the novel was crucial to the plot and uncovering the secrets that link Anna to Trebithick. The impact these had on me as a reader was profound – i was shocked and saddened but knew I had to keep reading on to find out what happened. Were these scenes and revelations hard to write, emotionally, and how so?
Yes, I remember writing the scene where Daisy discovers Elizabeth and Tomas with my heart in my mouth!
- What more can you tell us about the Devil’s Trumpet, its history and what it does? Does it still exist in the world, or is it a mystery plant to many still?
One of the clues in writing the story was a newspaper article I came across online about a rare, poisonous plant (actually a class B drug and illegal to cultivate in England) that had mysteriously sprung up in an English suburban garden. The owners eventually realised that it must have grown from seed imported from Chile that they had been putting out for the birds. That plant is the Devil’s Trumpet – datura.
- In Kew, Ed tells Anna that he believes the plant is extinct, or at least, that they have no samples available. Is there any truth in this, or did you take a bit of creative licence with Ann’s cultivation of the seeds in Sydney?
I invented a sub-species of daturaas the plant that Elizabeth went looking for, but when I researched if it was possible to germinate very old seeds I was delighted to find that scientists have successfully grown seeds up to 32,000 years old.
- Who was the most challenging character to write, and in what way did you find this to be so?
Damien Chegwidden – I had to rewrite him several times to make him truly villainous, but also not a one-dimensional baddie. I wanted the reader to understand what motivated him – I kept the adage ‘everyone is the hero of his or her own story’ very much in mind.
- Damien Chegwidden is of course, the villain in this novel – against anyone who is trying to beat him in finding the Devil’s Trumpet – were there people and situations like this in real life, do you think, of botanists competing to see who could find plants first?
According to accounts I read, early plant hunters were sometimes cooperative and collaborative, although several (particularly orchid hunters in the late nineteenth century) were unscrupulous – or worked for unscrupulous men – and would strip an area of the desired plant, urinate on a competitor’s haul to kill them, or even pull a gun on a rival!
- Finally, the ending left things quite open to the imagination – does this mean there is potential for a follow-up, or are you leaving this to the imagination of your readers?
I love stories that leave a question for the reader’s imagination to decide on, and help the story and characters live on in their mind. I hope, in some small way, I managed to achieve this, while still providing a satisfying conclusion.
Any further comments, or anything I may have missed?
The book is ultimately, I hope, about courage: Elizabeth’s is bold and obvious, and Anna’s more subtle, but both have to summon inner strength, albeit in different ways.
Again, thank you Kayte for agreeing to appear on my blog as part of the blog tour for your novel.
Elizabeth Trebithick lives in Victorian England, in an old house, alone after the death of her father and sister’s marriage. Headstrong and determined to make her own way in the world and not be confined to the female universe that society, her sister and brother in law seem bent on setting out for her, Elizabeth sets out on a quest presented to her by her father before his death – to Chile to find a rare plant with miraculous qualities, that might have the answers and cures to many ailments, but getting it from Chile to England will be the challenge. But so will life aboard a ship for many months, and then life in South America: falling in love, making enemies and the consequences that come with hiding secrets and secret missions.
Title: After the Lights Go Out
As were all characters. Nobody was perfect – not even Prudence’s dad planned for having three teenage daughters in his bunker, it would seem. So the girls have to use a bit ingenuity to come up with solutions to problems, that in turn they get to use to help the town. For much of the book, there is a hope that things will turn out, until the return of one resident sets in motion a series of quick events that force people to make last minute decisions, and that leads to a conclusion that in some ways, I had not expected, but that i had also hoped for – and leaving it open ended felt right, allowing the reader to imagine what happened next.
Title: Scrublands
Martin Scarsden is travelling towards a Riverina town a year after a tragic event took the lives of several townsfolk at the hands of the priest, to write a piece on the anniversary of the events. He arrives in a town with a ghost-like aura, where many businesses are shut, or failing, and where everyone has their own version of events that doesn’t quite line up with the official record that Martin has to work with, and he finds that he needs to probe further, and dig into the rumours spun by previous articles – which leads into conflicting account after conflicting account, and further conflicts with characters as he asks the wrong questions, writes a story that goes to print too quickly and brings a media storm to the town, resulting in more deaths and the discovery of more evidence and hints that the crimes committed a year ago were not as cut and dry as the first seemed – questions of motives and suspects, and whether they were linked in anyway come up throughout the novel. Through all this, Martin is quite taken with young Mandalay Blonde, whose involvement and knowledge of the people involved must be peeled away slowly, throughout the novel as the secrets of the town and its residents are uncovered in a media frenzy that seems never ending.
Title: The Legacy of Beauregarde
As well these characters, friends of Gordana Claudia, Madeleine and her husband, and Ilijana and her brother, Dan, are present, and their stories and links to the Seminary and Marcela are woven throughout – and there are mysterious incidents and deaths happening, and each character, whilst trapped within their own lives and dilemmas, is somehow linked to all the other ones – and each chapter is told from a different characters perspective, which at first , feel like individual stories linked simply by time and place, by the setting of the novel.
Title: The Desert Nurse
In 1911, Evelyn Northey has just turned twenty-one – the age she believes she will receive her inheritance from her long-dead mother and be able to go out into the world and make her own life, and her own decisions – away from the controlling home of her father. When she finds the conditions of the will – and her father’s ruling – prohibit this – she spends the next three years training to be a nurse in secret – a step towards her goal to becoming a doctor.
Anthony has taken an interesting tack with his book – using a young sailor named Isaac Manley to tell the story, and how Isaac sees encounters with Indigenous people of Australia and the Pacific Islands throughout the journey – which includes the various understandings and misunderstandings that occur when two cultures clash, and attempts made by the crew of the Endeavour to ensure respect is given to these people. As Anthony said in an 
