JK Rowling: how Strike changed the way I write

JK Rowling is often asked questions by fans and budding writers about her writing process: where she writes, how she writes, her inspiration and her research, how a book comes about, from the germ of an idea to the editing process and eventual publication.

Here, for the first time, she answers questions about writing the Cormoran Strike crime fiction series under the pseudonym Robert Galbraith. This Q&A is adapted from a recording in a London pub close to Strike and Robin’s fictional office. For the full interview, go to jkrowling.com.

Did writing the first Strike novel under a pseudonym allow you more freedom as a writer?
I was very aware that because the manuscript had my name on it, people would just publish it, however bad it was, and I wanted honest feedback. I wanted to know that someone believed in the book and I truly enjoyed getting unvarnished feedback through my agent. There was one editor who did not like Strike having a famous father and made that point. And obviously because I can’t break cover, I can’t say: “but I know how important this will be on book eight”. You can’t say that as a first-time writer, and I was ostensibly in this situation a first-time writer. You can’t say, now, look, I know a series and I know this backstory is going to work out brilliantly in book seven, eight and nine. Who the hell are you to say you’re going to get a seven, eight and nine-novel deal anyway? But it was really good to get that feedback.

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Did you enjoy the anonymity?
It was amazing, and the first book won an award without anyone knowing it was me. I would have loved to have kept it going. I thought if I could get three books out … I wasn’t trying to fool anyone. It was bliss for me, for it just to be about the writing and the reader experience and to get honest reviews that weren’t reviewing me as a human being. By the end of Potter, they’re reviewing the phenomenon more than they’re reviewing the book. Again, not everyone, some people were reviewing the book, I’m grateful for that. Then, you know, we had the very unfortunate incident and it was leaked. I was devastated because it took away from me something that I had got back, something I’d long lost. And it was gone. It didn’t really change the writing, which was great. I was afraid it would.

Are you ever influenced by your reviews?
Let me be very honest. There’s been criticism in reviews through my career that was fair — in the sense that I would think, you’re right, that was weak and I can do better. But in terms of being influenced by certain things that reviewers would say, I would have to say, “whatever”. For example, with the Strike books, this is too long. Well, that’s how long it had to be to tell the story I wanted to tell. I’m not going to shave off 200 pages, because the book is as long as I want it to be, that’s how long it needs to be to tell the story I wanted to tell. If you don’t have faith in yourself as a writer — that is not the same as being so arrogant as to say, no one can edit this, no one’s allowed an opinion. But you have to decide who you’re going to listen to, who you trust, whose opinion is valid. And I’ve worked with some amazing editors and I’ve listened to every single one of them.

How do you plan the Strike novels?
I think it will be a ten-book series. I have a very clear idea of how Strike and Robin’s relationship will go over those ten books. It sounds dull to think, well, in that book that emotional milestone will be reached and so on. But you do have to have those points of light along the way, because I think it gives it a satisfying rhythm.

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Why did you set the Strike series in London?
I love London. Both my parents, although my mum had Scottish blood and French blood, were Londoners initially, so it’s a city I’ve known since childhood. I didn’t live here till I was an adult, but we were visiting London a lot, so it’s always been a really special place to me. And there’s such variety in London, that’s something that I really try and bring out in the Strike books. You have phenomenally wealthy people living cheek by jowl with very deprived areas, and there are so many layers to London. I try to evoke the city from the seedy and the deprived all the way through to the very high-end and elite.

How important is research for the Strike novels?
Research is important to me. I do like to go to these places I’m writing about because although Google Maps is extraordinarily useful for a writer, I like to be able to actually smell it, and feel it, and hear accents and so on. It gives you a totally different feeling.

How often do you speak to experts for your research?
I have run things past Neil, my husband, who’s a doctor. My process is normally that I will research what I need for the plot. But then I’ll check. Is this correct? Have I got the wrong end of the stick on this drug or what this injury would do or what artery this knife would sever? I’m proud to say he’s mostly said this is OK, but I prefer to do it that way round because I know what I need for the plot.

Why do epigraphs feature in the Strike novels?
I love epigraphs in other people’s books if they’re well-chosen. I also like the fact that they set the tone; this is an old-fashioned whodunnit, not police procedural. They are really eclectic, which reflects my reading patterns. So we go relatively highbrow at times with The Faerie Queene, and then you’ve got Blue Öyster Cult lyrics in there. And I really enjoy that mix, and it sets the tone for each specific plot.

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Do you enjoy the TV adaptations of your books?
For the Strike TV series I can honestly say it’s been one of my happiest collaborations. I’ve loved it from start to finish. You accept that TV requires something different. I’m executive producer, and [the screenplay writer] Tom Edge and I will talk about things, but I think Tom would agree that I pretty much let him have his way. Ninety-five per cent of the time I have no notes. I met with him yesterday and one of my tiny, tiny notes was Strike wouldn’t call Barclay Sam. He’s always going to call him Barclay. I always get asked, do you see the actors in your head? And no, I don’t. I have a very clear sense of what they look like, and I’m always thinking of them rather than Tom [Burke] and Holliday [Grainger] when I’m writing. But I’ve got no issue whatsoever if people are imagining Tom and Holliday when they’re reading the books, because I do think they do an amazing job. The most important thing is stopping the TV show doing things that I know are going to make it very difficult for us to get back on course later.

Are any of your characters in the Strike novels inspired by real people?
I could honestly say there are only two characters I’ve ever fully, properly based on real people. You know, there was one inspiration source. That’s it. Mostly it’s composite or you might take an aspect of someone’s appearance, or you might, which I’ve often done, I’ve seen someone on the Tube or something, and that gives you an idea.

How have the Strike actors influenced your writing?
I had a conversation with Tom Burke by text. So it was sort of the other way around because he’s telling me what the character is and I’m saying yes, you’re completely right, that’s what the character is. He said to me, “What about this guitar [in the TV show, there’s a sort of stylised guitar on the wall], would Strike want that?” I said, “No, no, no, no, he wouldn’t want that.” But it was too late [to remove the guitar] when we started filming. So we talked about why Strike’s in Denmark Street and Tom said to me, “I don’t think he consciously went to Denmark Street for the music, but I think there was a sort of subliminal influence from his childhood.” And I said, “Bingo!” Holliday’s the same, Holliday really has a feel for what Robin would or wouldn’t do — when you’ve got actors like that, that’s a joy. But no, an actor has never given me an idea.
The Running Grave by Robert Galbraith (Sphere, £10.99) is out in paperback on June 20. To order a copy go to timesbookshop.co.uk. Free UK standard P&P on orders over £25. Special discount available for Times+ members