Adam Interviews... E.C. Hibbs!

Today, we’re delighted to chat with E.C. Hibbs, an award-winning fantasy author, artist, and storyteller from Cheshire, England. Hibbs is known for her captivating blend of fantasy, folklore, and unique characters that transport readers to magical worlds. Her journey as a writer began at an early age, and she has since published works such as Blindsighted Wanderer, The Tragic Silence Series, and The Winter Spirits of The Foxfires Trilogy. Hibbs has also shared her talents as a calligrapher and live storyteller, performing in front of audiences that include renowned figures like Ed Byrne and James McAvoy.

With a background in Wildlife Conservation and a deep love for nature, Hibbs often infuses her stories with themes of natural wonder and ethereal beauty. When she’s not writing or drawing, you can find her giving talks on fairy tales or practicing Shotokan karate, where she holds a 2nd Dan black belt. Join us as we delve into her creative process, inspirations, and upcoming projects in this exciting interview.

For more about E.C. Hibbs, visit her official website: echibbs.weebly.com

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Patreon: https://www.patreon.com/echibbs

Ko-Fi: https://ko-fi.com/echibbs

A book that pleasantly surprised you?

The Boy, the Mole, the Fox and the Horse. It has that rare ability to speak to everyone regardless of age or circumstances. It’s simple, yet sincere; filled with beautiful messages and gorgeous illustrations. I received a copy when I was going through a rough time, and at first, I was confused as to why I had been gifted it. But by the time I finished it, I was in floods of tears. It’s become one of my favourite quick reads, and I think everyone, young or old, should have a copy on their shelves.

Coffee, tea, or cacao?

Hot chocolate, hands down. I can’t stand tea or coffee! I fail at being English!

Where do you get your information or ideas for your books?

From very varied sources! I always do a lot of research for every story, which can take a few years! I read as many books as I can get my hands on, but I’ll also watch documentaries, speak with people who have relevant experience or qualifications, and try to immerse myself in as many aspects as possible. Sometimes that means trying things out, travelling, or learning a new skill. But often, potential information threads start with a simple Google search, and then I see how deep the rabbit holes take me!

What is your work schedule like when you’re writing?

I’m usually out of the house early, and I go to the library for a few hours, where I answer emails, schedule my social media posts, and do general admin. Then my day job takes me into the evening, so when I get home, it’s writing time. I have a beautiful 120 year-old roll-top desk, where I work by candlelight (partly for the ambiance, partly because I have really sensitive eyes). Evening is when I have the most energy, so I usually write for 4-5 hours - sometimes later, if I don’t need to wake up early the next day!

When did you write your first book and how old were you?

I was five years old. I don’t remember much about my first story, except that there was a dragon involved. But I do remember my mum sewing it together, so it looked a little like a real book! I wrote my first novel when I was twelve, in my high school library, mostly by hand!

Is there a trope you find yourself going back to in multiple works? Or one you avoid?

Not tropes as such, but variations on similar themes often run through my books, even though the stories themselves are often very different from each other. I tend to draw on a lot of history, fairy tales and folklore. I like to have layers woven into the story, such as references to classic literature and all the research, which gives depth but also re-read value. And I often emphasise acceptance and strength in my characters: that quiet, unassuming tenacity which we all possess. As for what I tend to avoid… No hate to authors who do this, but I will never use a book title like “Thing of Thing and Thing.”

Do you hear from your readers much? What kinds of things do they say?

I hear from readers quite a lot, mainly on social media, but I absolutely love chatting at signings and events. I’m always so touched that people take the time to reach out to me. I’ve had readers who have given me gifts inspired by the books; readers who have followed me to multiple events across the country… Whether they’ve been with me for ten years or ten days, I appreciate them all so much. I simply could not do this without them, and I will never stop thanking them for that.

What literary pilgrimages have you gone on?

The first which really left an impact was the Lake District, where I visited Beatrix Potter’s Hill Top Farm, and William Wordsworth’s Dove Cottage (and bought my first quill!) My favourite, however, is the Bronte Parsonage in Haworth, Yorkshire: home of Charlotte, Emily, Anne and Branwell Bronte. I never get tired of walking those cobbled streets and wandering on the moors.

Does writing energize or exhaust you?

It really energises me. I love the entire process. I always look forward to my writing sessions, and I can easily lose track of time. Sometimes I even need to set reminders of when I should stop to eat!

What are common traps for aspiring writers?

With SFF in particular, I’ve often heard the claim: “It’s fantasy, so you can make everything up!” That might be true, but SFF demands even greater suspension of disbelief than other genres of fiction, while amplifying those other genres at the same time. As a result, I insist that SFF writers have even more responsibility to establish grounding in their stories, and that comes from research and planning. It’s tempting to skip it, because you just want to get to the writing part, but it can be equally fun, and make the writing itself even more immersive for you. But no matter the genre, I also think it’s easy to underestimate the importance of editing. It’s called a first draft for a reason, and stories are truly made in the edit. Just because you’ve finished writing the manuscript does not mean it’s complete, and you need to be prepared to get your hands dirty. You might be attached to the story, but the end result will thank you for being ruthless! I fell into both of these traps in my early days, and they are always the ones I focus on when I’m speaking with aspiring writers!

Do you try more to be original or to deliver to readers what they want?

I think it depends on the definition of what readers want. At the end of the day, there are only a handful of plots in the world, but the endless creative ways we interpret them is what makes a story stand out. In that respect, there is an audience for everything, and every trend begins because something dared to break the mold somewhere. I like to write original stories, but my approach is to write the kinds of books which I always wanted to read, and never found. If, as my own intended reader, I react that strongly to them, I won’t be the only person in the world who feels that way. It’s a case of honing your skills, refining your voice, and finding your people.

Do you want each book to stand on its own, or are you building a body of work with connections between each book?

It depends. I do have a few books which are self-contained, but I’ve also written a couple of series which are filled with layers and connections. The largest is the Tragic Silence Series: a vampire saga which follows an ensemble of characters over 250 years, but each instalment can be also be read as a standalone. I had so much fun creating that - it was like a weaving a tapestry!

If you could tell your younger writing self anything, what would it be?

This is actually an exercise which I do whenever I have a particularly amazing moment. I imagine walking into my school library, and I find little Emma, sitting by herself in a corner, scribbling away at her first manuscript. I give her a hug, take her to the window, and show her all the characters she will create and all the readers who will welcome them, standing side by side. And then I say to her, “All this is possible because you didn’t give up. So, thank you, and don’t ever stop.”

What does literary success look like to you?

For as nice as it would be to do a world book tour, see a screen adaptation of my books, or have midnight book launches… I measure my success by the impact my work has on my readers. Even as a kid, when I dreamed about being an author, it was the idea that I could connect with people in my own way. So I cherish the little moments, which really aren’t little at all. When someone keeps coming back to get my latest release. When someone sends me a piece of fanart. When I hear that someone recommended me for a panel or special appearance. And when someone tells me that the books have helped them through difficult times, that means more to me than if I had sold a million copies.

What’s the best way to market your books?

For me, it comes down to three things: know who your readership is, and therefore, where you can interact with them; strike a balance between trusted marketing methods and learning new ones; and always be genuine. I think people can see through a fake personality as easily as they can spot plot holes, and as the saying goes, “Let your weird light shine, so the other weirdos can find you!”

What do you have coming next?

Quite a lot! My next big release will be The Road Through Night, Book 2 of the Nightland Quartet: a historical gothic fairytale retelling. That will be released on 2nd March 2025. I’m also deep into writing a prequel novel for my steampunk dystopia Run Like Clockwork, and five short stories set in that world have recently concluded on my website. Exciting times!

EXCERPT - From The Shade Between Shadows (Nightland Quartet, Book 1)

“Have you always been mute?” Greta asked suddenly.

My throat constricted. I pulled out my notebook; sketched a young girl, akin to myself, then drew a thick line across the mouth.

“You could talk, but you stopped?” Greta guessed.

I nodded with a sideways motion. In a way.

“So you could still do it now, if you wished?”

No.

“Have you tried?”

Yes.

“And don’t you miss it? Or wish it could be so again?”

On some days, I certainly did. But I was more likely to revel in my silence than to resent it. It was my comfort and my shield, even if nobody understood why.

I held vague memories of attempting sound. I had been late to use my voice anyway — my first utterance didn’t come until the age of four. A year later, I mentioned the shades, only to be answered with ridicule and the strike of the matron’s rod. The more I sought to speak, the harder the blows rained down.

With each beating, I came closer to an ultimate realisation. I couldn’t convey through the narrowness of twenty-six letters. Every time I tried, my throat closed, as if I were wearing a hangman’s noose. A doctor stated that my vocal cords were too weakened to talk again; that the muscles were in danger of atrophy. But I knew it was more than that. Quite simply, my way was in what was felt and perceived, not what was told: the depths and colours of a perfect image unbound by stark lines.

And so, I didn’t think myself truly silent. I possessed a voice, as sure as any other. It was simply not the same as any other I had met.