This is a bit of email correspondence between 26 boardster Elise Valmorbida (right, above) and 26er Veronika Dapunt (left) who’s currently launching her debut novel Death and Other Occupational Hazards with Penguin Random House. The novel was shortlisted for the CWIP award (Comedy Women in Print Prize), winning the attention of literary agents and publishers. Veronika took Elise’s creative writing courses at Central Saint Martins.
Elise: Hello! It’s going to be fun discussing Death and Other Occupational Hazards. That’s because it was fun reading it! There was a certain moment when a significant character tries to guess at Death’s identity. (She’s on sabbatical in female human form, no giveaway black cloak/scythe/trimmings.) His logic is flawless, the timing is perfect, and this reader (me) had a mini laughing fit all by herself. Veronika, how much do you work at being funny, or does it just happen? In fact, how did you come up with this concept of Death’s new story in the first place?
Veronika: I’m so happy you enjoyed the book! And especially that it made you laugh — so lovely to hear. When I started writing, I don’t think I consciously set out to be funny — it just happened somehow, whatever the subject matter (even Death). These days, I tend to focus more on the techniques around comedy and making sure that the humour in my work comes across in the best way.
I’ve always been drawn to stories featuring fantastical elements, and especially those with Death as a personified character. I loved the character in Terry Pratchett’s work, like Mort or Good Omens, and also the melancholic yet humorous Death in The Book Thief as well as Brad Pitt’s iconic portrayal in Meet Joe Black. I think what I particularly enjoy is the wise, poignant perspective that the character often brings to a narrative, and how, contrary to expectations, this actually feels very life-affirming. What was clear to me, however, was that stories featuring Death as a woman were few and far between, and I thought perhaps I could contribute to changing that. That was the catalyst for me to start writing Death and Other Occupational Hazards. The traditional portrayal of Death is of course a grim reaper figure in a black cloak, with a scythe (which my Death/Delara laments). Do you think differently about how Death is portrayed, having read the book?
Elise: …Some really interesting examples you offer there. I’m not sure now if I’ve ever come across Death as a female character, but I did note that ‘The Boss’ is male, as are the ‘VP for Pandemonium & Perdition’, and the ‘Human Communications Director’. It’s one of the pleasures of your book that everything is organised along the familiar lines of a corporate environment. Do I remember rightly that Revelations is the work of a tucked-away comms department called Special Projects? Personally, I love the Grim Reaper outfit. Who doesn’t love a black cloak? And the scythe is such a great bit of branding (unique marque and all that). Your character Death, incarnated as Delara, does a whole new thing with bright florals and fancy footwear. I did forget the usual iconography and weirdly started picturing Delara as you. Have I ever seen you in flamingo-heeled shoes?
Veronika: Ah the flamingo-heeled shoes! You haven’t seen me in those, but not because I didn’t want to wear them — I saw a pair once, but sadly they were out of my price range. If I could have afforded them, I most certainly would have worn them!
Elise: Death is very much defined by her relationship with her sister, Life. Their sibling rivalry and camaraderie felt very well observed. As you know, this year we’ve been running an ongoing 26 project called Memento Mori. To look at death—consciously, regularly—is a way of helping us mortals to value life in the present. I often find myself writing about death. My fiction research has taken me into embalmers’ rooms, undertakers, all sorts. May I ask you about the dark themes that underpin the comedy?
Veronika: You’re right that there are some dark themes underpinning my novel, but their main purpose is to show the complexity of life — both light and dark. So of course mortality is a theme, but I very consciously chose to link Life and Death to acknowledge that the latter is a very natural part of our existence and making peace with that is likely to lead to a more fulfilled life.
Other darker themes that underpin my novel relate to corporate corruption, short-termism, the infiltration by the mafia of our food supply systems, as well as exploitation of the environment. The storyline around tomatoes and the mafia in some ways adds comedy, but it was also researched in detail and is accurate. The Guardian has done several exposés on how the Italian mafia makes millions from tinned tomatoes, and the human suffering and environmental damage incurred as a result of something as innocuous-seeming as the tomato trade. I wove these dark themes into the narrative, because whilst I primarily wanted to write an entertaining, engaging and uplifting story, it was also important to me that my book had something to say about the world.
You’ve mentioned that you often find yourself writing about death. Why do you think that might be? I have encountered quite a lot of creative work that engages with the subject in illuminating, surprising ways, so I have been wondering why we, as artists, seem to be drawn to this.
Elise: The Stoics, Existentialists and Zen-heads all have a lot to say about death, and I like reading them, often, as part of my own Memento Mori reflection. It feels natural to me to face into death, to write about it because it matters, and to live as fully as possible in the meantime. A few years ago, I went to an interesting conference about death. The presenters included philosophers, academics and medical practitioners. We are very good at denial when it comes to mortality. (Although I wonder how the mafiosi think about death!) A GP at the conference talked about the phrase “saving life”. She said we never save a life; we simply prolong it. As writers, how can we not be intrigued by this…?
But now I must ask the inevitable question: do you have another book in your head yet? What comes after Death?!
Veronika: I have a two-book deal with my publisher so am currently working on my second novel, which I’m very excited about! It’s due to be published in 2026.
Elise: I teach a lot of student-writers, and many aspire to write a novel. Only a few get to the finishing line, and fewer still get past the publishers’ doors. Any personal advice?
Veronika: Joining a great writing group (like the one that developed out of the course I took with you, Elise) is really helpful. I would also advise to initially focus on the craft of writing, rather than publication. As we all know, the route to publication is rarely straightforward and often involves a lot of setbacks, so perseverance and a love of writing itself are key. Finally, entering as many competitions as possible is beneficial in the early stages to get interest from agents and publishers. I received my first offer of representation after winning runner-up at the Comedy Women in Print Prize, so I would definitely recommend this.
Elise: All good advice. Thank you Veronika. I wish you (and Delara) every success!