2023/2024 - BBC Writers’ Access Group Digital Programme
2022 - Blue Pencil Agency First Novel Award, longlist
2022 - Yeovil Literary Award (Novel), longlist
2022 - Diverse Voices Screenplay Competition, 84th percentile
2021 - Arts Council England DYCP Grant, Literature
2019 - Diverse Voices Screenplay Competition, 81st percentile
2017 - Mslexia Novel Prize, longlist
2015 - Yeovil Literary Award (Novel), shortlist
2015 - Mslexia Novel Prize, shortlist
2013 - Mslexia Novel Prize, longlist
2012 - Gold Dust mentee
CV
Agent and author feedback
“We have really enjoyed reading the manuscript. There is much to admire in the characterisation and we particularly liked how it impacted on the narrative itself. We found the first half of the novel incredibly strong.”
- Lucy Morris, Curtis Brown
“Your attention to detail is faultless and you write with confidence and elegance. I have no doubt you'll succeed.”
- Sophie Lambert, Conville & Walsh Literary Agency
“You do write very well.”
- Felicity Rubinstein, Lutyens & Rubinstein Literary Agency
“I would love to hear from you if you've got any book ideas you'd like to explore. I would love to work with you.”
- Alison Starling, Publisher, Octopus Publishing Group
“It was an absorbing read. I loved the grounded quality of its detail, and of Petrina's narration of her culinary and writing history, fused as all that is with the intriguing 'notes' you're introducing into the unfolding story. The extract has a resonant quality which I found both spell-like — intriguing — and unsettling. I very much enjoyed it and admired it.”
- Alison MacLeod, Booker-longlisted author, Visiting Professor at the University of Chichester and a Fellow of the Royal Literary Fund
External views of my work
“I really feel you write from the soul - it's so apparent.”
- Anne Kibel, Literary and Talent Agent, AK Artist Management
“Very impressed and intrigued.”
- Jill Dawson, Novelist
“I think you write very well.”
- Sue Armstrong, Conville & Walsh Literary Agency
“I loved the grounded quality of the writing. There’s a colourful cast of characters that I became absorbed in. Petrina’s situation is compelling, and I can see the promise of your idea.”
- Karen Stevens, Senior Lecturer in Creative Writing, University of Chichester
“Inspirational and refreshing.”
- Helen Wedgewood, Editor, HarperCollins Publishers
“It’s the perfect novel so far.”
- Heather Holden-Brown, hhb Literary Agency
Excerpts
Ivy [excerpt]
By Louisa Carter
I climb a fire escape—barely clinging to crumbling brickwork—to reach the door. Right there. On the Oxford riverbank. Walked past countless times but never seen.
Indoors, she leads me up two narrow flights of stairs and then through another front door. A wall of glass looks across the river to the mud banks. But this is not the first thing I notice. It is the smell—the smell of his house, twenty years ago.
How?
Wood floors. Down-filled cushions. Beeswax candles.
And?
Elusive traces, unidentifiable yet excruciating in their familiarity. The strangeness leaves me dazed. I laugh.
Ivy? Her voice is clear and strong.
I turn to face her. I do not tell her what I think: that I only came here to discover if I can be like him.
Do you want them open or shut? She nods at the shutters, stares at me and waits. I look at the grey-mud river. Then to her bare feet. Her white hair that hangs straight, as low as her navel. I think about how much I like the river. But the shutters will make this private, safe. Womb-like. Tomb-like.
I don’t know!
She nods, walks over and half closes them so the light slants in and cuts shapes across the wooden floor. I breathe more slowly.
She motions me to the chair in the corner. She sits opposite me, lights a cigarette, narrows her eyes as she inhales, takes a mouthful of tea then sets the mug on the floor.
Do you want to tell me why you came.
I no longer know, so I stare at the knots on the wooden floor, the frayed edge of a rug, her soft-soled shoes. She seems different now—older. I blink, look away then look again, but still the same. What happened to the woman who let me in? I feel frustrated that I’m not saying what I wanted to say, and all the while she is smoking and gently tapping her foot.
I think you knew someone I knew, I finally say, quickly and in a low voice. He’s dead now. He died.
She watches me, still smoking.
A long silence fills the space and something seems to pulse in the atmosphere between us. I can almost hear her sifting through her knowledge, choosing which bits to reveal.
It’s time to stop giving him the power, she says at last.
Her words sting. That was not what I came to hear. I want to protest but am silenced by an unexpected exhaustion.
You don’t need to know, she adds, as if this will make it clearer somehow.
She drops the cigarette into her tea. Stands up and opens the blinds. When she turns to face me she looks like she did when I arrived.
You must leave now.
I’m familiar with these abrupt endings. I zip myself up and thank her and permit her to throw me out into the cold. Cut off the moment the door closes. It’s growing dark. Soft autumn rain dances like snowflakes in the headlights, red brake lights glow all along the Abingdon Road.
Lying witch, I think to myself, and walk on.
*
The winds have picked up again. I’m sure this is a sign. It comes in violent gusts, thrusting itself through my woods, then settling into stillness. A gruelling rhythm. I bend down and pile kindling on top of old newspaper, strike a match, watch as the sparks create a flame.
The fire is blazing now. My fingers sting as they lose their numbness too quickly, my head aches hot. Thawing. Alive. Too close. I move back. It is better to be distant, to just smell the smoke. Now I can add more logs and put the kettle to boil on the stove top. I’m not sure I need more than this.
The last few crab apples cling to the half-bare branches, a flash of red against a landscape turning brown and skeletal in front of me. There is crab apple jelly to be made, but not by me. I am done with the idea of domesticity, of preserving and pickling.
I think back to yesterday and of her words. It’s time to stop giving him the power. The same sense of hostility rises up in me.
He left me.
They left me.
What does that have to do with power?
***
Under Dazzling Skies [excerpt]
By Louisa Carter
I lift my window blind but there is only darkness. The pulsing white dot on the screen in front of me moves closer to the western edge of Australia, and I’m disappointed that we won’t get to see the ocean turn to land beneath us. I lean towards the window and look harder this time. The inky opaqueness of earlier is softening a little and there’s something closer to a diffuse charcoal shrouding whatever lies beneath.
For once, I’m grateful for the publicity that will surround the launch, the book readings and interviews that can’t come soon enough. I’d grown restless in Italy, and when Judith mentioned the possibility of Australia I pushed her to make it happen. I was - am - well aware that I can no longer think of Australia without thinking of Lara, and despite the obvious size of the country, I can’t help but hope for a serendipitous meeting. The thought never lasts long before I shake my head and tell myself what a fool I am. I don’t even know if she still lives here. She could be back in London, she could be anywhere. I have no claim over her and need to stop thinking as if I do.
Since Judith sent me the cuttings last year, I have made a point not to follow news of Lara, if indeed there is any. Of course she will have a website, one or more galleries must represent her by now, and there will be Tweets and Instagram posts, perhaps even interviews, exhibitions. I know all this and yet I’ve resisted the temptation to delve. Seeing her success laid out in front of me won’t answer the questions that remain. And yet I fly with a hope I can only pretend to ignore.
‘Espresso?’ A hostess places a small tray on the table in front of me and sets down a reasonable looking coffee, a glass of sparkling water and a small plate of thinly sliced ruby grapefruit. I’m grateful as ever to be travelling business class and thank her with a nod before turning back to the window. The sky has lightened, and the black has now dissolved into a muddy haze tinged with orange. And then, as if cracking open from the very centre of the earth, I see a line of blazing orange.
‘It’s quite something, isn’t it, to see the sun rise here?’
I turn back to see if the hostess is talking to me. She smiles.
‘Quite something,’ I reply and return my gaze to the window. I’m not one for small talk at the best of times.
As we head towards the central desert of Australia the sun appears to expand beneath us, the earth burning ochre and gold and crimson, and I remember what it is I love about this land: the intensity, the red earth, the ancient memories. Our impact is unforgivable and unresolved.
What am I even doing, talking about European peasant cooking to a land of settlers, who care more about my recipes than the history of their adopted land. Of course, my book is far more palatable, fitting neatly into a cosmopolitan Australia, one that celebrates multiculturalism, Italian espresso, fusion cooking, and small scale farmers’ markets. I live within my bubble of privilege and take it with me wherever I travel. I’m fully aware of my hypocrisy.
There are other Australias, but I’m as guilty as any other visitor in choosing not to see them, preferring not to be disturbed by the darker truths when I check into the Park Hyatt, or later, as I stroll along the harbour’s illuminated edge to dine at Quay or Aria on bluefin and mud crab at a linen-clothed table. Can I be this kind of traveller and still acknowledge the Gadigal of the Eora Nation, the traditional custodians of this land. Can I turn the other way and still pay my respects to the Elders both past and present.
It’s not long before the pilot gets to show off as the plane passes above the airport then crosses the coast. We are now above the intense blue of the ocean, heading away from our destination. Then comes the familiar sharp turn back on ourselves, the ever-wondrous descent over Sydney harbour, the opera house, the harbour bridge; I have no idea if this is technical or simply to delight. The sun illuminates the cabin each time the wing dips eastwards, and everything is blue and dazzling below. People murmur and gasp - it’s always impressive, no matter how many times I’ve seen it, and never more so than on a brilliant, blue-skied Sydney morning like this one.
***
Solar [excerpt]
By Louisa Carter
Why Finland, I’m still not sure. I often think I was misguided, that I was confused by its Nordic nature, when in fact it’s harsher and sharper-edged than the other Scandinavian countries. I knew little about it but felt compelled to learn more. This was in the early weeks of my smell disappearing, so that I could no longer earn a living making coffees, not only unable to smell, but even to taste properly. I couldn’t detect if the coffee was over or under-extracted, the milk turning, the water taking on a mineral edge. The subtle but essential notes of cherry, caramel, stone fruits and leather escaped me entirely, leaving me untethered, as if I was part-removed from the world around me.
I was employed for the very skills that I had lost, and so, overnight, I also became unemployable. There were cups to be washed, tables to be wiped, and other menial tasks I could have done instead, but not enough to justify a full wage. Anyway, I felt too disorientated in the café that had lost its smells and, therefore, its very substance. I can only compare it to walking in total darkness, so I felt as if I were bumping into things that weren’t even there, whilst missing the things that were. It induced a sense of panic, and I would have to run outside, to the small, paved area by the bins, to feel the cold air on my face.
Perhaps it was the idea of the coldness of Finland that had appealed to me most, a grating wind chill, swimming in ice-crusted lakes, as if this would somehow slap my senses awake. But in truth I’d thought, for no logical reason, that Finland would have the answer. Not that I had the question at that time, only a vague sense of trying to find something that I felt certain I’d misplaced at some point in my existence. I knew that this sense of emptiness, of longing, was familiar to most humans, but my need seemed somehow more compelling, more complicated, than anyone else I knew. It was as if I came from another planet altogether, and that by going to Finland, I could find somewhere I belonged. Or perhaps I did have the question and it was as simple as who am I? or, more accurately, why am I the way I am?
What preceded the abruptness of my decision to travel to Finland, to the wooden cottage with a chimney and a glimpse of the brutal grey of the Baltic, was clearer. Even so, there were two threads, and I was still trying to unpick the one from the other, to understand which was cause and which was effect.
There had been the morning I woke up feeling disorientated and unsure. It had taken a minute or two to understand it was because I couldn’t smell anything. I realised in that moment how animal-like I was, how I used my nose to understand what the weather was doing before I even looked out the window, to the crows circling and to the sky behind them. How my sense of smell told me that everything was the same as when I’d gone to sleep, that no one had passed through my room, that there was no fire smouldering or gas leaking, or any number of other dangers that are imperceptible to those who can’t smell. It was how I knew I was safe.
I’d seen the doctor later that day, the fear of some neurological disaster prompting me to insist on an emergency same-day appointment. There had been simple blood tests and a wait-and-see approach and then, two weeks later, I found myself back there.
‘So, you mean the fact I can’t smell is in my mind?’ I had asked, irritated by this diagnosis with its undertones of Victorian hysterics and female neuroticism.
‘Yes and no,’ he replied. ‘It is not in the mind, it is very much in the body, and it is very real. But whereas one person might experience this as a result of, say, a brain trauma or an autoimmune condition, you have lost your sense of smell because of psychological distress.’
‘But I don’t have any psychological distress.’
He had leaned back into his chair at this point, looked at me, eyes narrowing, and I couldn’t tell if he thought I was slow and moronic not to spot my subconscious’ ruse, or if there was truth in what I was saying, and he had maybe missed something important.
‘My mum had a really strong sense of smell,’ I told him, hoping this would explain some genetic predisposition to olfactory disorders.
‘How old is your mother now?’
‘She’s dead.’
Nodding slowly, he had looked away and typed something lengthy into my notes.
He went on to warn me there would be a wait of several months on the NHS for my six sessions of CBT. The fact that my job depended on me being able to smell seemed irrelevant to him, and he handed me a leaflet on depression.
‘We could try you on a course of antidepressants. Or anti-anxiety medication, in the meantime.’
‘But I’m not depressed,’ I tried again. “And I wasn’t anxious until I lost my smell.’
‘Somatisation is a form of mental illness. Have a think about it and we can book a follow-up in, say, a month’s time?’
I’d asked him about going private, not that I could afford it, but nor could I afford to be unemployed. He had scribbled a website on a piece of paper and handed it to me, a local charity offering reduced-rate therapy. And it was this small piece of off-white paper, with its roughly torn edge and near-illegible doctor’s scrawl, that had led me to the second, possibly more significant thread: Bob Clarke - psychotherapist, magician, everything.
***