The author discusses her successful writing journey, new book, key messages it conveys and how she used personal experiences for the story.
By Priya MuljiJun 08, 2024
THE pressure of delivering best-selling debut novel Would I Lie To You doesn’t seem to have affected Aliya Ali-Afzal.
The talented author has followed up that fabulous first effort with her newly published book The Big Day, another immersive novel filled with relatable moments. The story of unexpected events leading up to a wedding day demonstrates once again that she has a strong ability to connect situations, characters, and emotions to a wide array of cross-cultural readers, from all age brackets.
Eastern Eye caught up with the unstoppable author to discuss her successful writing journey, new book, key messages it conveys and how she used personal experiences for the story. She also spoke about her creative process, character development and sweet method of overcoming writer’s block.
How much did the overwhelming success of your debut novel mean to you?
It was an incredible feeling, especially as I had not really expected any of it. My book was in shops all over the world and iconic writers like Sophie Kinsella were praising it. Best of all, readers, complete strangers said they loved my book, staying up till 2am reading it. It was better than any daydream.
Did that success put pressure on your next book?
Massively. I wrote Would I Lie To You with no one to please but myself. This time, I was conscious of not disappointing my readers, agent, or editor. At the same time, the positive reviews of my first book gave me the confidence that maybe I did know how to write a book again after all.
What inspired you to start writing the story of your new book?
I was shocked at how something as simple as a wedding can cause so much conflict, stress, financial worry and immense pressure to please everyone, especially in desi weddings. A happy time can easily escalate into family clashes and expose long suppressed cracks in relationships. I started to imagine what could go wrong and then I couldn’t stop myself.
Tell us about your new book.
Noor is excited to be planning her wedding to Dan but her OTT desi mum-zilla Leena thinks she knows what’s best for Noor’s wedding and her life. I wanted to explore the push and pull we feel between pleasing our parents and being true to ourselves. It’s also a roller-coaster countdown to the wedding day, complicated by Noor going on a quest to discover the truth about her parents’ marriage, which could end up threatening her own future.
How does this book compare to the first one?
In both books, I have complex female leads and explore how they react when the stakes in their lives and relationships are high. I love that readers have described both books similarly: page turning, emotional, funny, and intelligent.
Did any personal experiences or real-life events significantly influence the book?
Yes, my own wedding experience. I wanted to get married on top of a hill in Hawaii, wearing a grass skirt, but my parents organised a weeklong desi extravaganza with hundreds of guests. Looking back, I realised this wasn’t just about the wedding but my lack of confidence in using my voice and directing the course of my life.
What is your favourite part of the story?
I love Noor and Dan as a couple and their relationship, especially the way Dan has gained Noor’s trust despite her life-long apprehension about marriage.
Who are you hoping will connect with your new novel?
I have a broad range of female readers in terms of age and both women of colour and white readers. If you like books by Marian Keyes and Lianne Moriarty, and if you enjoyed Crazy Rich Asians, Father of The Bride and My Big Fat Greek Wedding, you would also enjoy The Big Day. I hope British-Asian readers enjoy the realistic, non-stereotypical representation and everyone likes the intergenerational dynamics. I also recommend it as a mother-daughter buddy read, especially if wedding planning.
What is your writing process?
I think of the main character first and then everything else starts to come alive. As I love my books to be full of suspense, I plan the plot meticulously, especially the unexpected twists.
How do you handle writer’s block?
Eating a lot of pistachio ice cream and allowing myself to write anything. Even if it’s not perfect, I know I can edit whatever I write later.
How do you develop your characters?
It feels like meeting a new person. We develop a relationship and I start to discover who they really are, their secrets, past and motivations. This is one of my favourite parts of writing.
What specific challenges did you face while writing this story?
I wrote this book during a very difficult time in my personal life and felt guilty at missing some deadlines for my publishers. However, whenever I was writing, this book also became my escape and refuge. I loved hanging out with these characters and wedding planning with them. It was the perfect alternate reality to get lost in.
Are there any particular themes or messages you hope readers will take away from your work?
A key theme is freedom. I hope it prompts readers to think about how to live a life where you are free to be yourself; whether living between two cultures, pursuing dreams that feel authentic despite resistance and achieving freedom from past hurts, especially generational scars.
What can we expect next from you?
I can’t say much, but my goal is to always be entertaining, thought-provoking and keep readers fully engaged.
The Big Day by Aliya Ali-Afzal is published by Aria (Head of Zeus) and available now in UK in paperback, eBook and audio, online and all good bookshops
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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