Emmanuel Olisah is the bestselling author of the critically acclaimed "The Silent Variable" series, which has sold over 2 million copies worldwide and been translated into 15 languages. His latest novel, "Shadows of Tomorrow," debuted at #1 on the New York Times bestseller list and won the 2024 Hugo Award for Best Novel. Born in Lagos, Nigeria, and now based in London, Emmanuel has become a powerful voice in contemporary speculative fiction, known for his intricate world-building and deeply human characters. We sat down with Emmanuel at his favorite café in Camden to discuss his writing journey, creative process, and advice for aspiring authors.

The Beginning of a Writing Career

Interviewer: Emmanuel, when did you first know you wanted to be a writer?

Emmanuel Olisah: You know, I've been making up stories for as long as I can remember, but I didn't seriously consider writing as a career until my late twenties. I was working in software development at the time, and while I enjoyed the logical problem-solving aspects of that job, I felt like something fundamental was missing from my life. I started writing my first novel during my lunch breaks and on weekends, scribbling scenes in notebooks between debugging code sessions.

Interviewer: What was that first novel about?

Emmanuel: [Laughs] It was absolutely terrible—a sprawling fantasy epic with about seven different protagonists and a magic system that made no sense whatsoever. I thought I was writing the next "Lord of the Rings," but it read more like fan fiction written by someone who'd never actually read Tolkien. But you know what? It was exactly the novel I needed to write. It taught me about plotting, character development, and most importantly, about finishing what I start. That manuscript will never see the light of day, but it was my writing school.

Finding His Voice

Interviewer: How did you transition from that first attempt to "The Silent Variable," which is quite different in tone and scope?

Emmanuel: The breakthrough came when I stopped trying to imitate other writers and started writing about the questions that genuinely kept me awake at night. "The Silent Variable" came from my fascination with how small, seemingly insignificant decisions can cascade into world-changing events. I was also deeply influenced by my grandmother's stories about growing up in colonial Nigeria—the way she described how technology and tradition clashed and merged in unexpected ways.

I spent two years on that book, and the first year was just figuring out what I was really trying to say. The science fiction elements were always there, but the heart of the story—the exploration of identity, belonging, and the price of progress—that took time to emerge.

The Writing Process: Then and Now

Interviewer: How has your writing process evolved over the years?

Emmanuel: In the beginning, I was a complete pantser—I'd just sit down and write whatever came to mind. Sometimes it worked, but more often I'd write myself into corners that took weeks to escape. Now I'm much more structured, though I try to maintain that sense of discovery that makes writing exciting.

I spend weeks outlining before I write a single scene. I create detailed character profiles, not just their backgrounds but their speech patterns, their fears, their contradictions. I plot out major story beats, but I leave room for surprises. I also write sample scenes—dialogue exchanges, character moments—just to get a feel for the book's rhythm before I commit to the full manuscript.

Interviewer: Do you have any unusual writing habits or rituals?

Emmanuel: I write my first drafts entirely by hand in these cheap composition notebooks. There's something about the physical act of writing that connects me to the story differently than typing. I also listen to the same playlist for each book—I spent weeks curating a specific set of songs for "Shadows of Tomorrow" that captured the emotional arc I was trying to achieve. My neighbors probably think I'm obsessed with Radiohead because I played "Everything in Its Right Place" about a thousand times while working on chapter twelve.

The Challenges of Success

Interviewer: Success can bring its own pressures. How do you handle the expectations that come with being a bestselling author?

Emmanuel: It's both a blessing and a burden, honestly. When "The Silent Variable" took off, suddenly everyone had opinions about what my next book should be. My publisher wanted "The Silent Variable 2: More Variables." Fans wanted me to expand the universe endlessly. Critics expected me to completely reinvent myself.

I had to learn to tune out the noise and write the book that excited me, not the book that market research suggested I should write. "Shadows of Tomorrow" is very different from my debut—it's more intimate, more psychological. Some readers were initially disappointed, but I think it's a stronger book because it came from a genuine place of curiosity rather than commercial calculation.

On Representation and Responsibility

Interviewer: Your work often features diverse characters and explores themes of cultural identity. How important is representation to you as a writer?

Emmanuel: It's crucial, but it has to be authentic. I write diverse characters because that reflects the world I live in and the stories I'm interested in telling. But I'm very conscious of not treating representation as a checkbox exercise. Every character, regardless of their background, needs to be fully realized and essential to the story.

I also think there's a responsibility that comes with having a platform. Young readers, especially young Black readers, have told me that seeing characters like themselves as the heroes of space operas and fantasy epics meant something to them. That's incredibly humbling and motivating.

The Craft of Writing

Interviewer: What aspects of the craft do you still struggle with?

Emmanuel: Endings! [Laughs] I can set up complex plots and develop characters for hundreds of pages, but bringing everything together in a satisfying conclusion is still the hardest part for me. I probably rewrote the last three chapters of "Shadows of Tomorrow" fifteen times.

I also struggle with knowing when to stop worldbuilding and start writing.