Inside The Indie Author: A Conversation with Caroline Topperman

Have you ever considered writing under a pseudonym, and why or why not?

That's an interesting question. No, I haven't seriously considered writing under a pseudonym. Given that my work is primarily creative nonfiction with a strong cultural and social focus, I believe it's most effective to publish under my own name. My professional goals include securing speaking engagements and contributing articles on these topics, and maintaining that personal connection with my work is important for those pursuits.

What is your “go-to” method for working through or around writer’s block?

Oh, writer's block is definitely a challenge, I get stuck all the time! My go-to method really revolves around accountability and collaboration. I find that working closely with my mentor is incredibly helpful. We typically meet every couple of weeks to discuss my progress, and she's fantastic at helping me navigate any roadblocks I encounter. It's that combination of structured check-ins and having someone I trust to bounce ideas off of that really keeps me moving forward.

What comes first – the location, the plot, or the characters – and why?

That's a great question, and it's a bit different for me since I write creative nonfiction. Essentially, the core story I want to tell comes first. However, because I'm working with real events, the location and characters are already set. They're inherent to the narrative, not something I create. So, it's more about how I shape and present that pre-existing reality to bring the story to life.

What are your least favorite and most favorite things about publishing a book?

Marketing, definitely marketing. Pitching, in particular, isn't my strong suit. While I'm certainly capable of promoting my work, it's not my comfort zone. Ironically, I'm perfectly comfortable with public speaking, like doing readings or addressing large audiences. But when it comes to the more direct, one-on-one self-promotion, that's where I struggle.

What is a significant way your book changed from the first to the final draft?

Oh, it's almost unrecognizable from the first draft. Initially, it was much more anecdotal, more of an extension of my blog, Style On The Side. But after getting feedback during the pitching process, the consistent message was to really hone in on the core family story. So, I essentially restructured the entire book. Even then, my editor at HCI was instrumental in shaping the final product. We added about nine thousand words and rearranged chapters right up to the very end…

What was the inspiration for your most recent book?

In 2013, I moved to Poland looking to shake up my life, and to find a deeper connection with my family roots. While my family has both Jewish and Catholic heritage, I grew up in a secular environment in Toronto with an attachment to Jewish culture. So, moving to Warsaw was a bit of a culture shock. Walking the streets my Jewish grandparents once walked, I felt this profound connection. It was also during this time that I witnessed the rise of right-wing populism, which added another layer of complexity to my experience. That's when it clicked—my family's story, set against this backdrop, was one that needed to be told.

What is a “darling” you’ve killed in a book that you’d like to resurrect in a future book?

That's a fun question! Since I work in creative nonfiction, the concept of 'killing darlings' is a bit different for me—I'm not creating fictional characters to eliminate. However, writing my first book did spark a desire to explore certain figures I'd previously overlooked. It's like a different kind of resurrection, really. I'm currently doing a deep dive into my father's family history, which feels like bringing those stories and personalities back to life in a way.

Where are your most productive writing spaces, and what elements are important about that space to keep you focused on writing.

I think my writing process has a bit of a split personality. When it comes to the initial inspiration, that can strike almost anywhere. I find traveling, visiting museums or galleries, and hearing other people's stories are really key for sparking ideas. But when it's time to actually sit down and write, that's where things shift. I used to be a morning writer, but now I prefer evenings. Once the day's distractions are done, I can really focus on getting my thoughts down. And when I'm in the final push to finish a project, I've discovered that a complete change of scenery is essential. A hotel room, where I can isolate myself, is surprisingly effective.

If you were to give one of your side characters a novella of their own, who would it be, and why do you think they need their own story?

It would be my mother. She passed away a long time ago, and I've always felt she had so much more to say. There's a whole story within her that I'd love to explore. It feels like giving her a voice she never fully had, and I think that's incredibly important.

What risks have you taken with your writing that made the book better?

The biggest risk I took, and I believe it significantly improved the book, was sticking to my initial vision of writing creative nonfiction. Early on, many people suggested I shift to historical fiction. It would have been an easier path, perhaps. However, I felt strongly that my work needed to be semi-political, and the most authentic way to achieve that was through nonfiction. So, I trusted my instincts, even when it meant going against the grain, and I think it ultimately resulted in a more impactful and genuine book.

What’s the best monetary investment you’ve ever made with regard to your writing practice?

Without a doubt, the best monetary investment I've made in my writing practice has been hiring a professional editor. I truly don't understand how writers can skip this step. It's simply impossible, and I mean that sincerely, to be completely impartial about your own work. And equally impossible to catch every single mistake. A good editor is absolutely a writer's best friend.

When you first began writing, what was a common procrastination trap you encountered, and how did you overcome it?

Early on, and even now, a common procrastination trap for me is getting lost in research. Because I delve into historical and family research for my books, it can be quite emotionally draining. I've realized a lot of my procrastination stems from a sort of self-preservation. It's almost like my brain saying, 'This is a lot, let's take a break.' So, I've learned to build in deliberate breaks, to recognize when I need to step away and recharge, and to approach research in manageable chunks. It's about finding that balance between pushing through and respecting the emotional weight of the material.

What is your writing software of choice, and what is its best feature?

I love Scrivener, especially its corkboard feature. As a very visual person, being able to see my entire story laid out on the screen is incredibly helpful. However, lately, I've been relying quite heavily on Google Docs. The convenience is just unbeatable. I can easily jot down notes from my phone, I don't have to constantly worry about saving, and the version history is a lifesaver. Being able to easily pull up old drafts and track revisions has come in handy more times than I can count. 

Do characters’ names come immediately to you?  Do you add them in a final draft?  Where do you find names, and how do you make a final decision about the names you’ll use?

It’s a bit different for me since I primarily write creative nonfiction. If I were creating fictional characters, I imagine I'd really struggle with names. But since I'm writing about my own family, the names are already set. However, that doesn't mean it's been without its challenges. Because most of my family's names are Polish, I've had to grapple with the decision of whether to use their full, formal names or the more common short forms.

Tell us the title of one of your favorite novels, and why this book is a favorite.

Oh, that's an easy one, I'd have to say Dance, Dance, Dance by Haruki Murakami. I'm a big fan of his work in general, but that book really stands out. It was actually given to me by a friend from film school, which makes it even more special. What I love most is how Murakami builds these incredibly immersive worlds that blend the real and the supernatural. The pacing is just perfect, and I find myself completely disappearing into his books from the very first page.

Think of the title of a hugely popular novel.  What is one major thing you would change about the book?

I'm going to take a bit of a different approach to this question. Instead of changing the content of a hugely popular novel, I'd actually like to talk about book covers in general. They're such a crucial part of a book's presentation, and they're definitely subject to trends. One trend I'm seeing right now that I'm not particularly fond of is the use of abstract art on covers. I have a feeling that in a few years, those covers will look quite dated, and I think it's a shame when a when a book's visual presentation doesn't have a more timeless quality.

What are you reading right now?

Right now, I'm actually juggling a few books. When I'm deep into a project, I find it really valuable to read competitive titles. It helps me see how other writers have tackled similar themes and gives me fresh perspectives. Currently, I'm reading Joe Dunthorne's The Children of Radium, Dani Shapiro's Inheritance, and Julie Sedivy's Memory Speaks. It's a bit of a diverse mix, but they're all contributing to my current work in different ways.

If you could take on the identity of a character in one of your favorite books for twenty-four hours and retain the memory of that experience, which character would you choose?  Tell us the title, author, character name, and why you would want to be that character.

I think I'd choose to step into my mother's life, specifically around 1968, when she was a student at the École des Beaux-Arts in Paris. It wasn't from a book, but from the book I wrote. I would want to experience that time period, the student riots, and the general social unrest firsthand. I've written about it, but to truly understand that moment in history, and her perspective within it, would be incredibly powerful.

If you could save five books from being destroyed in the apocalypse, what books would you choose, and why?

1. Neverending Story because it was a book that captivated me as a kid. I disappeared into its world many times, I still hold a soft spot for it in my heart.

2. Anything by Murakami because there is a depth to his writing that I still haven’t discovered.

3. Anything by Vivian Gornick, she is a brilliant writer with important things to say and teach us about the world (or the world that no longer exists since there was an apocalypse).

4. How to Invent Everything a survival guide for the stranded time traveler, this should be self-explanatory.

5. The Skeptics Guide to the Universe to help us keep it real as we rebuild the world.

Tell us a little something about your current WIP.  When do you expect it to be released?

I'm actually really excited about my current work-in-progress, which is titled The Road to Tang-e Gharu. It's a project that delves into lost memories, folk tales, and the story of one of the most incredible roads ever constructed. It's also deeply personal, focusing on my family's experiences in Afghanistan during World War II. My aim is to have a solid draft and proposal ready by the end of 2025. However, since I'll be pitching it to agents, I don't have a firm release date yet. It could be a couple of years down the line, but I'm really looking forward to seeing where it goes. 

What are the titles and genres of each book you’ve written?

1. FitWise, a nonfiction book based on my fitness blog.

2. Tell Me What You See, a book of visual writing prompts.

3. Your Roots Cast a Shadow, part memoir, part cultural commentary.

How can readers find you?  Website, social media, amazon author page… share all the links!

www.carolinetopperman.com I’m @carolinetopperman across most social media channels.

Caroline Topperman, a European-Canadian writer, is the author of Tell Me What You See which draws inspiration from her travels. Her hybrid memoir, Your Roots Cast a Shadow (HCI Books), explores explosive intergenerational histories that link war zones and foreign shores with questions of identity and belonging.