Too formulaic? Clichéd? Predictable?
It’s impossible to lay these failings at Tobsha Learner’s door. Original in the extreme, she writes to explore, to fling open doors, to see where language might take her.
She is a risk-taker.
Rejecting typical notions of what constitutes ‘literary quality’, her own narrative voice is distinctly lyrical yet she also weaves a good tale. Ms. Learner is a story-teller.
British-born Tobsha originally trained as a sculptor of stone, before she began sculpting words. After around 25 years as a playwright, she moved into novels (thrillers and historical fiction) and her sexy, soulful fables, glittering with lashings of the erotic. Tobsha aims to deliver more than titillation. She delves the psychology of characters, exploring power-play and moral ambiguity.Her first collection of short stories, Quiver, has sold over 200,000 copies. Her latest novel, Picture This, is a study in corruption, the erotic gaze and the creative process.
Tobsha, as writers, we process and refine our experiences, influences and thoughts onto the page, inviting our reader to then enter their own process of interpretation. As we know, there are some stories that change us forever. Years later, we recall how such books made us feel, even if we cannot recall the details. Which authors have stirred you to new understanding of yourself?
I tend to go for the DNA of plot. As a child, I was deeply obsessed with the Robert Graves edition of the Greek myths.
In my thriller writing, I’ve referenced a number of these consciously: Orpheus and Eurydice, the Minotaur, and Medusa.
I lost my father when I was 16, while in the middle of studying King Lear for my O’ levels, so this play has particular emotional power for me. Various Shakespearian characters fascinate me: Ariel, Puck, Ophelia, King Lear (and his fool) and Falstaff (an incarnation of Bacchus really).
Many stories have thrown new light onto my own emotional experiences, as has some poetry. In terms of short story craft, authors who stand out for me include Greene, Dahl, Chekov, Bukowski, Nin, Poe, Maupassant, Lawrence, Turgenev, Nabokov, Isaac ben Singer and Wilde.
I’m eclectic in my influences. Definitely, when I discover a new writer who has broken a rule, or who perhaps has an original onomatopoeia to her/his prose, it can be inspiring.
Which themes tug at you?
Each author has an emotional template resonating under each story or narrative, regardless of their conscious intention. For me, quintessentially, it’s free will versus determinism. In terms of my erotic writing, I look at how instinct and sexual desire can over-ride the rational.
Are you influenced also by film?
My original training as a scriptwriter (and my experience as a playwright) has influenced my writing, in that I try to make it as visually simulating and visceral as possible. I tend to like films with a magical blend of great dialogue and plot but which also use the craft of film making to tell the story: mise en scène, visual subtext, great editing and so on (such as in the early Coen brothers’ Blood Simple).
As a former sculptor, tell us your artistic influences.
I once played with the idea of basing an erotic short story around a very graphic 19th century sculpture of a male angel in Prague Caste. He was a very defined, handsome man with wings of about eight foot tall (everything in proportion!). I’m inspired in the moment but then it all gets fermented and used later in imagery far less consciously.
I might be expressionistic (as opposed to cubist!). Certainly, as I get older this evolves like an underground stream of passing references and obsessions. I know I’m a little baroque in language (and I don’t necessarily like this about my work). I love the video instillation of Bill Viola, some of the drawings and sexual themes of Emin, and I really appreciate the cultural madcap commentary of Grayson Perry. When I was a sculptor in training, I was orientated to the narrative/figurative – with, I guess, similar feminist/sexual themes to Louise Bourgeoise. Lately, the abstract and more muted sublime has begun to appeal.
Tell us a little about your writing processes.
I’ve developed a very specific writing process that really heralds back to my playwriting training at N.I.D.A [the Australian equivalent of RADA]. Paul Thompson was my lecturer and mentor then, and he taught us to breakdown each scene with ‘units of action’: what happens in that scene physically and plot-wise. Beforehand, I’d develop character backgrounds (for all characters – detailed for protagonists) as well as undertaking research and creating a plot line. I know this is very unromantic in terms of how people like to imagine writers sitting down to a blank sheet, weaving from their imagination, but I truly believe in the craft of writing (talent being about 10% of the equation, and the rest sheer bloody-mindedness and making the discipline of writing a daily habit).
Do you listen to music while you write?
I can only write to classical music, without lyrics, but, at other times, I enjoy The Clash, T. Rex and Nick Cave.
How did you approach the writing of your latest release, Picture This, set in the art world of New York?
I interviewed a number of gallery owners and artists, as well as visiting locations. I drew on my experiences as a sculptor and observed artist friends’ ways of seeing. I explore the dilemma that all working creatives face, of ‘commerce versus the artistic soul’.
Tobsha Learner was born in Cambridge and raised mainly in North West London but has lived and worked in Melbourne, Sydney, Los Angeles and London. She is the author of three volumes of short stories (Quiver, Tremble and Yearn) seven novels and dozens of plays. Her latest release is Picture This. Besides writing erotic fiction, she is known for her historical fiction, and for her thrillers (writing as T.S. Learner – The Sphinx, The Stolen and The Map).
Read more about Tobsha Learner here, in her interview with The Sydney Morning Herald, or view her chatting about her work here.
More about Picture This
English instillation artist Susie Thomas finds herself investigating the supposed suicide of her female lover Maxine, a young sculptress, while embarking on an affair with notorious gallery owner Felix Baum.
Tobsha is among 130+ authors who took part in my recent series of articles on ‘Writing Erotica’. Find out more here.
2 thoughts on “Under the Skin: with Tobsha Learner”
Ah, I believe I introduced you to her work. Glad she is of such interest 😉
Love Tobsha’s writing. Quiver is my favourite so far.