MELVIN BURGESS

Melvin Burgess writes acclaimed - and sometimes controversial - books for young people. His first, The Cry of the Wolf (1990), was shortlisted for the Carnegie Medal. But it was for his teenage novel, Junk (1996) that he gained wider recognition. Winner of the Carnegie Medal and the Guardian Children's Fiction Prize, it's an honest and disturbing account of teenage homelessness and heroin addiction on the streets of Bristol, and has been adapted for television. In 2007, it was shortlisted for the Carnegie of Carnegies. Melvin's latest book is Sara's Face (2006). He lives in Manchester with his wife and children. Go to Melvin's page on Contemporary Writers, or his website, to find out more.

This interview took place in April 2007, with questions from EnCompass readers and Reader in Residence Susan Tranter.

 Photo: Penguin Books 

Susan Tranter: Can I start by asking what kind of things you like to read Melvin? Can you recommend any great unsung books to EnCompass readers?

MB: Try Theories of War by Joan Brady. Not exactly undiscovered, but it's one of my favourites.

DavidR: Melvin - did you always see yourself as a writer for young people, or have you tried writing for adults too? What is it about writing for youngsters that appeals?

MB: I must admit I came into it by accident. But writing for teenagers is a new thing, really. Not only that, but media for people not yet eighteen is set about by censorship unrelated to actual life, it means there are so many books not yet written. It's an open field, which is why I've stayed there.

Ben: I heard something about Bloodtide and Bloodsong being turned into films - is it true?

MB: It looked as if it was happening - but no. As usual, it all fell through. People are always sniffing around those books, but so far, no one has managed to get beyond the early stages. I think the fact that it would have to be a big budget is a problem...

Celina: Of course, every writer works on a book with a 'message' in his / her mind to pass on to readers but especially for young people. Does Melvin Burgess believe that every book must be made to teach something or can it just be fun to write and read?

MB: I disagree - I don't always have a message. I think that a good book, well written, about people's behaviour and trying to understand people's behaviour, has so much in itself, a message is often superfluous. And of course books can be just plain fun as well.

Lulu: What inspired you to write Sara's Face? And did you have any unscrupulous rock stars in mind when you created Jonathon's character?

MB: Sara's Face came about after seeing an old movie called Eyes Without a Face - a wonderful old black and white French film. It was about face theft, and it set me thinking about modern preoccupations with appearance, celebrity, the modern obsession with youth - and of course, cosmetic surgery.

Dodgy: Did you consciously decide to step into fantasy writing with books like Bloodsong, or did the story come first, and the futuristic setting afterwards?

MB: All along I wanted to update the Volsunga saga. It seemed to me that when those stories were originaly told, they would have seemed a lot more contemporary to listeners, and I wanted to try and bring them to life in the way they must have once seemed. Fantasy always takes place in the past, which makes it safe escapism. It's science fiction we turn to when we want to talk about the possible.

DDP: Which kind of books do you prefer to write - realistic ones about ordinary kids, or imaginary worlds?

MB: Both, just as much as the other.

Charlotte: Do you get annoyed when your books cause controversy in the media, or is any publicity good publicity?

MB: Well, it is good publicity - you have to welcome anything that lets the public know you have a new book out! And it's a real thrill to feel that a book of mine is causing public debate. On the other hand, I feel there's a lot of hypocrisy involved. I don't think anyone who knows young people or deals with young peolpe would seriously consider that a book like Junk is unsuitable. It's a mad argument, from the sort of people who think kids should be reading Dickens and that all sex must occur within marriage. So I'm not sure it is always very useful debate, which is depressing.

Dodo: Which of your books have you enjoyed writing most, and which do you think is the best?

MB: The one I enjoyed writing was called Loving April - it just flowed. It was like drinking a glass of milk, writing that book... so easy. The best one is probably Bloodsong.

Braker: After Junk came out, did you get letters from any kids who were using heroin, and had it helped them?

MB: I do get letters from kids on heroin still to this day - and from people with a loved one having drug problems. And I'm teribly proud that it's helped some people understand that situation.

Sara: I think I've seen you say in an interview somewhere that the audience you've been writing for has got older as you've got older. Does this mean that you'll be writing for adults soon?

MB: One day, I will. I think I'm going to run out of my own adolescence in a few years - then I'll have nothing left to say and I'll have to move on.

T4: Which of your books have you had to do most research for? Do you enjoy the research process, or do you prefer to just use your imagination?

MB: In the past I've not had to do much research, because the books that have a contemporary setting have been topical - their subjects have been public knowledge.  Junk was different, but I knew those people and that place, so I already had the material for that. Just now I'm writing a book about children's homes in the eighties, and I'm having to do a lot of research for that, and I'm really enjoying it.

Susan Tranter: Well good luck with that, and many thanks for taking part Melvin!

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