Emerging Writers Series: Katharine Pollock
“Writing is a largely solitary career, so I still feel like the only woman in the room: because I am literally the only woman in my office space, at home! That said, it is wonderful to now work in an industry that values women and other marginalised people’s stories.”
I included Katharine Pollock’s debut, Her Fidelity, in my list of books to read this year, and you may have already jumped into Fruzsi’s full review - so naturally, the next step was getting Katharine involved in our interview series!
Katharine chatted with me all about confessional writing, her route to publication, the process of unpacking internalised misogyny when you’ve worked in a male-dominated industry for so long, and the beauty of re-learning the value of celebrating women.
I usually start from the easiest place, which is to ask a little bit more about you and your writing background! How did you come to find yourself as a published writer?
I have always been a voracious reader and felt writing was my calling when I had a haiku published in my grade seven yearbook. It wasn’t until my twenties that I figured out what kind of writing I really wanted to dedicate myself to.
I dabbled in journalism shortly after school but ultimately did my undergraduate degree, Honours, and PhD in Creative Writing. I had some smaller pieces (mostly personal essays) published and then wrote my debut novel, Her Fidelity, as part of my PhD.
There was a short journey to find the right home for it and to shape it into its final draft, but very happily for me, Penguin Random House liked my novel and et voila! It was published.
I’ve read in other interviews that Her Fidelity started as part of your PhD thesis examining women using confessional writing to address their experiences in music culture - which sounds so interesting! What are some key things you learned while exploring writing of this nature?
I learned that regardless of musical genre or occupation, women in music all share broad experiences of systemic sexism and marginalisation. I read a boatload of memoirs and fiction in which women confessed to their experiences, and I also analysed lyrics for what they revealed.
I even considered dancing and costumes as instances of what I deemed embodied confession. I found that no matter how particular the circumstances, every woman had a relatable story. They would also share their experiences of joy and laughter, which was very refreshing to read amongst all of the (legitimate and necessary) anger and grief.
Her Fidelity is also grounded on your own experience working in Australia’s record store and music industry. Were there any aspects of confessional writing in this for yourself?
The Kathy of my novel shares my resume and fondness for 90s TV shows, but she is a different person to me. Some emotional experiences were redolent of my own, but the novel is fictional.
However, I still describe it as confessional: it’s just not my confession or not mine alone. I wanted it to be a very personal account, and in this way, Kathy has no filter. She speaks shamelessly about everything which passes through her brain. I think this makes her more relatable, however, not less.
Even though readers may not share all of her experiences, they will hopefully resonate with her emotional truths. The only downside is it’s difficult to convince people she isn’t me, and my parents were mortified to read the more lewd or embarrassing things she recounts!
Despite this, I deliberately gave her my name as a cheeky way of blurring the lines and as a way to suggest that while her story isn’t mine alone, I do share it with many, many women I know.
“It occurred to me that I am like other girls. I'm just like them. And how rad is that?” - I think many readers will identify with this realisation that Kathy has, or something similar at least. How does it feel going from working in a typically male-dominated music industry to a typically female-dominated one in publishing and writing? Has anything stood out to you about this experience?
Like many women, I have had to recognise and process years of internalised misogyny. When you are one of a precious few, you have to fight to be seen and heard. This can lead to competition and resentment.
In record shops, things typically associated with girls, such as pop music, can be disparaged, and this can result in shame over enjoying these things. Once I allowed myself to openly love what I loved, I felt free.
Even more than transitioning out of the record shop environment, it took just getting older and maturing to realise that girls in all of their wildly varied fandoms and interests are something to be celebrated, not censured.
Writing is a largely solitary career, so I still feel like the only woman in the room: because I am literally the only woman in my office space, at home! That said, it is wonderful to now work in an industry that values women and other marginalised people’s stories.
I always love hearing about writers’ ideas on creativity and what it means to them. Do you have any particular creativity philosophies you lean into, and what’s your creative process like (if you have one!)?
I am my own worst critic and am prone to being self-flagellating if I don’t get writing done or if the writing isn’t what I want it to be in that moment. While this is an ongoing process, the PhD actually helped me to learn to be kinder to myself.
I stopped treating writing like a 9 to 5 occupation and accepted that some days I will just watch daytime TV and tell myself it’s ‘research’. That said, I try to sit down and write most days, listen to podcasts and read, read, read. I have no particular start time, but I usually begin mid-morning and shoot for at least a few hundred words.
While some may say it’s a form of productive procrastination, I usually try to clear my schedule of other work (for example, marking and lesson prep for my teaching job) so there is nothing to deter me from committing to the writing.
It often feels like getting published is seamless for new authors when we see the finished product as readers, but I know the truth is something quite different. Could you share a little more about your journey to publication with Her Fidelity?
I wrote the first 55,000 words or so of Her Fidelity for my PhD thesis. While rather short, it was quite polished by this stage, as I had been chipping away at it for about three years.
Once I finished my degree, I immediately entered it into one or two competitions and enquired with a couple of literary agents. Truthfully, I didn’t narrow my focus enough to find the right home for it. I posted on social media about how I wasn’t sure where to pitch it, and somebody from Penguin (who would end up being my fantastic editor) invited me to send it through!
After further developing the story in consultation with my team at Penguin, it was ultimately picked up. Even though I am no stranger to missteps and rejections, and even though I also credit my own hard work and talent, I still recognise how very lucky I am to have had this happen.
Many of our followers are writers who are just starting out. What would be one piece of advice you’ve learned throughout your own writing journey you’d impart?
If I can only offer one thing, it would be to be kind to yourself. If you’ll indulge me with a few more titbits, I’ll add that if you write in a style or genre which is not everyone’s cup of tea, don’t let it deter you.
Try to find a writing community, and don’t be afraid to ask for help. Also, read Stephen King’s On Writing: it’s the best guide to the craft I’ve ever read!
And lastly, what’s next for you in terms of writing and do you have any appearances or talks coming up where we could hear more from you and about Her Fidelity?
I am midway through my second novel. It is a very different concept from Her Fidelity, but I think fans of my debut will like it. I’m a pop culture fanatic, and this remains a thematic concern in my second novel.
I have a personal essay in the anthology collection Try Not to Think of a Pink Elephant: Stories about OCD (Fremantle Press, out October) and have a piece on The Guardian right now about my love for the movie Wayne’s World.
I have two events in Brisbane very soon - City Hall on September 8th, followed by Avid Reader on September 9th - and an upcoming event at Marrickville Library here in Sydney on September 20th.
Katharine Pollock is the author of Penguin Random House title Her Fidelity (2022), a funny, feminist coming-of-age. She holds a PhD in Creative Writing from Western Sydney University’s Writing and Society Research Centre. She also writes comedic personal essays, including one published in Fremantle Press’s 2022 print anthology Try Not to Think of a Pink Elephant: Stories about OCD (October release). Katharine worked for many years in independent record shops in Brisbane and Sydney. She now teaches high school English and lives with her partner Clancy and their two guinea pigs, Pepper and Piglet. Social media: @thatrecordstoregirl
Elaine Mead is a freelance writer and book reviewer, currently residing in nipaluna (Hobart), Tasmania. She is passionate about the ways we can use literature to learn from our experiences to become more authentic versions of ourselves and obsessed with showing you photos of her Dachshund puppy. You can find her online under www.wordswithelaine.com.
