A Beautiful, Terrible Thing, the remarkable debut from Miranda Moore, is a powerful and compelling story of love, loss, and the fragility of life. This is a tale of first love born in the shadow of tragedy, a raw, deeply moving exploration of two young people forced to grow up far too soon after a catastrophic event changes everything.
Reeling from the loss of her younger brother in a road accident, Cara finds unexpected comfort in Nathan - brooding, handsome, and just a year older than her. But Nathan is tormented by guilt, struggling with his mental health as he faces the truth of what happened and his own role in it. Their connection offers solace, but also pain, as their love unfolds amidst heartbreak and the slow, uneven path toward healing.
Around them, family and friends grapple with the same devastating aftermath, each trying to make sense of the unimaginable.
We are thrilled to welcome Miranda Moore as our Debut Author of the Month - a stunning new voice in contemporary fiction.
Q. What inspired you to write A Beautiful, Terrible Thing? Was there a specific moment or idea that sparked the story?
A. I was a passenger in a friend’s car one day, and she was looking at her satnav and nearly crashed into a woman who was crossing the road at a set of traffic lights. It made me think how easily that could turn tragic, especially if there was nobody in the passenger seat yelling at you, and how that single moment would send shockwaves through so many lives. I signed up to a novel-writing course planning to write a happy adventure story about an eight-year-old boy who finds a dinosaur egg in his cupboard. But instead, this story came out. That seed must have been sitting there, waiting for its moment to germinate.
Q. The novel captures grief and love with such emotional precision. How did you prepare yourself emotionally to write about such heavy themes?
A. That’s an interesting question. Perhaps surprisingly, I don’t prepare myself for writing about trauma and dark subjects. They just seem to come out. I simply try to be as honest and direct as I can. Nobody likes to be patronised so I’m just giving the reader the most authentic, raw account I can. I try to really get inside the mind of whichever character I’m writing. I think if you have empathy then that comes naturally.
Q. The pacing builds intense anticipation toward the revelation of their shared tragedy – was that structure deliberate from the beginning, or did it emerge during writing?
A. That structure became apparent fairly quickly. I was writing in alternating chapters between my two main characters, and it was clear to me that the reader knows the link long before the characters do, a bit like when you’re watching something through a gap in your fingers, waiting for something terrible to happen. It’s difficult to watch, but you have to keep watching to see how it all blows up and then resolves.
Q. Cara's interest in astronomy feels very authentic and adds a contemplative layer to her character. Was that inspired by your own love of the night sky?
A. How did you guess?! Actually, you’re right, I do share a love of the night sky, but Cara’s knowledge is well beyond mine so obviously I had to do a little research! I did go and see Brian Cox’s Horizons tour which was truly mind-blowing in the very best way, and I do love a telescope on a cold, clear night! A trip to the Kielder Observatory is one of the most incredible nights I can remember.
Q. The book deals with the aftermath of a tragedy, and explores themes of suicide and self-harm, with Nathan reluctant to seek help for his feelings of guilt and despair. How did you approach and research writing about this very difficult subject?
A. I tuned in to how I believed Nathan would feel. I let my mind settle into a relaxed, receptive state and simply wrote from Nathan’s perspective what he was feeling, how he was withdrawing, and how he was resisting help. I didn’t do any particular research for this aspect of the story but rather tried to authentically inhabit Nathan’s character. That sounds a bit creepy, sorry Nathan! I think it comes more from spending time with people, observing nonverbal communication (body language, facial expressions, sensations) and imagining how people feel in painful times. So I guess it was emotionally tuning in rather than research. I wanted to keep the suicidal ideation and self-harm elements subtle, rather than centre stage.
Q. Cara is a keen reader, and in one part of the book takes great solace in escaping into a story "it had taken me out of my world and into its own. And even though it was undeniably sad, it had moved me, and that sadness felt comforting." How do you describe the power of reading and the joy of books in your life? Do you have a particular genre that is a go-to in times of stress or sadness?
A. This feels like a very insightful question. I love it when people have paid attention – thank you! The power and joy of reading are massive for me. And perhaps there was a subtle parallel between this story and the one Cara was responding to. I don’t go to a particular genre if I’m feeling stressed or sad but, perhaps counter-intuitively, I do find comfort in reading dark things when I’m feeling dark myself. I also love non-fiction, memoir and nature writing so dip into those as well as fiction. Quality writing is the thing I love, whatever the genre.
Q. Music plays a significant role in the book, with song references woven throughout the chapters and a playlist for both Nathan and Cara included at the end. What inspired your choice of these songs, and do you tend to listen to music while you write?
A. I tried not to impose my own musical preferences onto Nathan and Cara, but certain songs suggested themselves, plus I listened to some more recent music to make sure it was up-to-date for the characters’ ages. The playlist is supposed to follow the storyline and reflect the dynamics, so I just picked the songs that felt right for each element of the story. I don’t generally listen to music when I work.
Q. The book ends on a hopeful note about accepting a new reality and learning to live again. Why was it important for you to leave readers with that sense of hope?
A. I’ve whacked the poor reader over the head with trauma for 280 pages, so I needed to leave them with an enduring sense of hope. I also wanted to leave both Nathan and Cara with genuine hope.
Q. Where do you see Nathan and Cara now? Do you have any plans to revisit their story?
A. I see them with bright things on the horizon, each getting on with their own version of their new reality. I don’t plan to revisit their story.
Q. Congratulations on winning the inaugural Search for a Storyteller competition, established by David Fickling Books for unagented, unpublished authors. It has certainly been a great launchpad for your writing career. Can you tell us a bit about the competition, and how DFB have worked with you to publish A Beautiful Terrible Thing.
A. Thank you, it has! The competition was open for the month of February. You submitted your full manuscript, together with a cover letter and synopsis. The whole team at DFB have been utterly brilliant. They are an absolute joy to work with, and their expertise and support is unparalleled. I love them all to bits! I went through a few rounds of edits with two editors and was included at every step. The whole team has worked so hard to get this book out there and promote it. I am deeply grateful.
Q. Finally, how did it feel to hold the finished copy of your debut novel in your hand – and how did you celebrate?
A. It felt like alchemy, to have sent off a file in Word and be holding this beautiful book in my hand. Opening it, reading the comments at the front and flicking through the chapters felt very special indeed. I think I went for a walk in our local woods and cooked a very normal family tea! To celebrate the launch, I went out for a meal with my family and another with my crit group friends, who were super excited. They have been the most incredible support, from first draft through to published novel. Finally, I treated myself to a red and pink notebook, which I look forward to filling up with notes and ideas.
Thank you for the interview and for everything you do to promote books, reading and authors. Three cheers for LoveReading!
Thanks Miranda - we're already excited for your next book!
A freelance editor and writing coach, Miranda Moore won the Search for a Storyteller 2024 competition launched by David Fickling Books and Arvon, for outstanding unpublished writers of all genres and styles for readers aged between 8-18 years old.
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