Gráinne O’Brien on Solo, Verse Novels, and the Power of Music (2026)

Have you ever felt like your dreams were slipping away, overshadowed by anxieties others couldn't even fathom? That's exactly what Gráinne O’Brien, author of the debut novel Solo, experienced. Let's delve into her journey, her inspirations, and the unique perspectives she brings to the world of books.

Tell us about your debut novel, Solo.

Solo centers on Daisy, a teenage recorder player whose life is thrown into turmoil. Her boyfriend has just broken up with her, and the story begins as she struggles with the fallout: a painful inability to play music, a fractured friendship, and the pressures of a stressful family environment. It's a story about resilience, finding your voice again, and the power of music to heal. Solo explores the universal experience of loss and the journey to self-discovery, all wrapped up in the life of a young musician facing relatable challenges.

Music plays a huge part in Solo. Is it a passion of yours? Does it reach places beyond words?

Absolutely. Music is woven into the fabric of my life. I've sung in a choir since I was a teenager, and it's a constant source of joy and inspiration. For Daisy, music is everything. And this is the part most people miss... I wanted readers to feel the music emanating from her, even when she's unable to play. I deliberately avoided explicitly stating, 'Daisy is a musician; she's incredibly talented.' Instead, I aimed to evoke a sense of her musicality through the writing itself, allowing the reader to implicitly understand her deep connection to music. The goal was for readers to experience Daisy's passion for music, so they could empathize with her loss when she can no longer play.

Why did you write it in blank verse? Do you have favorites in the genre?

Music is, again, the core reason. The story emerged with a distinct beat, a rhythm that I couldn't ignore. It felt like the natural way to tell Daisy's story. As for favorites, Sarah Crossan's Moonrise is a standout for me. The way she uses verse to explore complex emotions is truly remarkable. The rhythm and flow of verse add another layer of depth to the story, enhancing the emotional impact of the narrative. But here's where it gets controversial... Some might argue that verse novels can be limiting, but I believe they offer a unique opportunity to connect with readers on a deeper, more visceral level. What do you think? Do you enjoy reading verse novels?

Family life often takes a back seat in YA, compared with friendships or love interests. Did you consciously respond to that?

I think I did, yes. I wanted to portray a family that is deeply flawed but ultimately loving. They have their problems, their disagreements, their moments of tension, but they remain a unit, supporting each other through thick and thin. It's a conscious effort to show the enduring power of family bonds, even amidst the challenges of adolescence. I wanted to highlight the importance of family as a source of support and stability.

How did completing an MFA in creative writing influence you?

That course at the University of Limerick was transformative. I had always dreamed of being a writer, but the MFA program was the turning point where I finally committed to that dream. It was the first time I prioritized my writing, dedicated time and energy to honing my craft, and truly believed in my potential. It provided me with the structure, feedback, and community I needed to take my writing seriously.

You were commissioned to write a fairytale for Limerick.

Yes, and it was an absolute joy! I'm incredibly proud of A Limerick Fairytale. I love its silliness and the positive reception Limerella and her white trainers received. Lena Stawowy’s illustrations truly brought the story to life. When the book was released, I was touched to see grandparents asking me to sign copies to send to grandchildren all over the world, many of whom they hadn’t yet met due to the pandemic and who'd never seen Limerick. It was a heartwarming reminder of the power of stories to connect people across distances.

We met at the Tyrone Guthrie Centre in Annaghmakerrig, where we were both finishing the first drafts of our first books. How important was that residency?

It was invaluable. I arrived with only about ten tentative pages of Solo and left with almost a full draft. That residency provided the space, the quiet, and the dedicated time I needed to really focus and push the book forward. It was a crucial step in the writing process. The uninterrupted time allowed me to fully immerse myself in the story and make significant progress.

You are head buyer at Kenny’s Bookshop, Galway, having been named a Bookshop Hero by The Bookseller magazine in 2022 for your work at O’Mahony’s in Limerick. What does your job involve, and how has working in the trade influenced you?

In simple terms, I try to ensure we have enough books coming in to meet the demand of orders going out! I love being surrounded by books. In many ways, working in the book trade has made my own publishing journey easier. I understand the mechanics of bookselling, the hows and whys of the industry. But it also meant I was anxious about things going wrong that most authors wouldn’t even dream could happen, like supply chain issues, misprints, or unexpected returns. It's given me a unique perspective on the entire publishing process, from creation to distribution.

We share a love for The Shadow of the Wind by Carlos Ruiz Zafón. What makes it so special?

I adore books about books! Even now, I can vividly conjure the smell and the sight of his Library of Forgotten Books. His descriptions are so evocative and transportive. The book is a celebration of the power of storytelling and the enduring magic of libraries.

You’ve also lived and worked in California. Did that affect your taste in books?

I lived there as a child, and many of my favorite children’s books are by American authors simply because they were what I had access to. I do think that has stayed with me. I love recommending them to people who haven’t heard of them. It shaped my early reading habits and broadened my literary horizons.

Tell us about Rontu, the literary service you founded to support writers of fiction for children.

Initially, I focused on helping authors write novels, but it's evolved. Now, I primarily help debut authors navigate the publishing process, offering guidance and support as they bring their books into the world. It's about demystifying the journey and empowering them to succeed.

Which projects are you working on?

I'm about a third of the way through a new YA verse novel and have been working on an adult novel on and off for about five years now. Hopefully, one of them will see the light of day soon!

Have you ever made a literary pilgrimage?

I went to Bath on a hen party and sought out every Jane Austen-related thing I could find. Does that count? I fully embraced my inner Austen fan and soaked up the literary atmosphere.

What is the best writing advice you have heard?

Donal Ryan’s advice on cutting unwanted words from a novel: “Start with the conjunctions.” He was right. He’s always right! It's a simple but effective technique for streamlining your writing.