From Pen to Print: T. H. Huddleston on The Cracks

For his first original novel for adult audiences, journalist and author T. H. Huddleston went back to his own university experiences and found the ghost of a socially-motivated haunted house story drawn from Britain’s cruel aristocratic past.

The Book: From Pen to Print

What was the genesis of this book? Where did you get the idea from?

The initial spark of The Cracks was lit a very long time ago by my own experiences at university, where for the first time I found myself mingling with people from all socioeconomic walks of life. Much later I had the idea of someone from a working class background who loses everything and is forced to rely on the generosity of a much more wealthy uni friend. Could such a relationship ever remain entirely equal, or would their friendship gradually tip into something more complicated and transactional?

At first I imagined the book more as a domestic thriller, a satire on class and inequality with a bit of a murder mystery element thrown in, but as I began to flesh things out a haunted house story began to emerge instead, which just fit so perfectly – the ghosts of Britain’s cruel aristocratic past emerging into a very different present.

How many drafts did you go through before you felt it was ready to query? How long did that take you?

It took quite a long time to figure out exactly what the book was trying to be – to gather all the correct elements and weave them together. I submitted two mediocre drafts to my agent Ella Kahn before she sat me down and gave me a list of things that weren’t working, all of which were entirely correct. Based on that – and some much-needed research into the real history of English stately homes – I finally managed a third draft that actually worked. 

Did you work with beta and/or sensitivity readers? How did you find them? How did you incorporate their feedback?

My agent and my partner are the only early readers I need – that said, if I thought the book required it, I wouldn’t have a problem employing a sensitivity reader.

What was your querying process like? How long did it take?

I think it was pretty traditional: Ella submitted the book to a number of established and independent publishers, we got a couple of bites and she advised me to go with Titan Books, which I was only too happy to do given their amazing track record.

Once it was in the hands of your publisher, what was the process to get it ready for release?

Under the guidance of my editor at Titan, Daniel Carpenter, I wrote a fourth draft intended to tighten things up and clarify a few elements, followed by a fifth and final draft just to streamline the language and get it completely ready for publication. With a pretty long window before publication we were able to get the book to a number of fellow authors including Nat Cassidy, Jen Thorne and others, who provided some amazing blurbs.

What would you like us to know about this book?

It’s a haunted house thriller in the classic style, with (hopefully) something to say about the world in which we find ourselves: a time of reactionary thinking and increasing inequality. Most of all I just wanted to write a compulsive page-turner that keeps surprising its readers.

Who’s the ideal reader for this one? What sort of things do they like to read about?

I hope that fans of modern horror and particularly haunted house stories will find something to enjoy here. But anyone who likes a compelling, character-driven dramatic tale with a few laughs, a few scares and a smattering of cultural resonance should hopefully get a kick out of it. Oh, and anyone who loves 1980s Washington DC hardcore punk music.

Your Writing Process 

Are you a plotter or pantser or somewhere in between? How do you do your first draft?

I’ve always been a plotter to a frankly absurd degree – I once wrote a 4,000 word outline for a 12,000 word kids book. I’m trying not to be quite so rigid in my method, but it’s difficult! 

I absolutely hate writing first drafts so I tend to power through as quickly as possible, then spend time revising and making it readable. By the time a ‘first’ draft is ready to be looked at  by someone else it’s probably gone through 4 or 5 separate passes and revisions.

How do you approach writing? Are you the type or writer who needs to treat it like a job? Is there a particular time of day you find best for you to write?

Writing is my job, so I have to treat it like one. I’m at my desk by 9 and I tend to work straight through until 2.30 or 3pm when it’s time to pick my little boy up from school. I’ll admit, however, that I get gradually less productive and more faffy as the hours go by.

What’s your writing soundtrack?

Silence, or white noise (Rain on Tent is my current jam). I could probably just about manage to write with instrumental music on, but anything with words would make it impossible. 

Do you have a writing ritual?

Again this is pretty boring, but I find it very hard to get into working if I haven’t exercised and showered beforehand – it clears my head for the day. I set a timer at 65 minute intervals (don’t ask why 65, it’s a long story) to remind myself to get up and walk around, because otherwise I’ll just sit there until my body seizes up.

Where can we follow you / find out more about your work?

I have a website, www.tomhuddleston.co.uk, and I’m on Instagram and Bluesky, both @tomhuddleston_ . Please pop up and say hi.  

The Cracks is out on 6 October through Titan.