GALO: Many readers have expressed that they’ve found themselves crying while reading the novel, and even for some time after. One reviewer on Goodreads writes, “After two days, my tears have dried, but my heart still aches for Will and Lou.” Another on Amazon states, “…throughout parts of the book I was a blubbering mess. Moyes certainly plays the heartstrings with a deft pen…” When writing this book, did you yourself shed some tears? And what emotions did you find yourself dealing with when writing the novel, and after turning in the final manuscript?

JM: I did cry throughout the last few chapters. It’s not unusual — I’ve found that if I don’t cry while writing I can’t really expect the reader to feel the same while reading it. I did feel very connected to the characters — they were clear in my head from page one (this very rarely happens), so I felt very emotional about the prospect of letting them go. This is the first time in 12 books I have ever considered writing a sequel.

GALO: I couldn’t help but notice that your story compares a bit to the French memoir (You Saved My Life) turned 2011 film The Intouchables. Just like your story, the film deals with an aristocratic quadriplegic man whose household hires a lower-class caretaker for him; a man who had given up on life and love, but with time and effort, a beautiful friendship evolves between the two men as they push each other into trying new things and learning from each other’s strengths and weaknesses. In your novel, the same instances can be found regarding Will and Louisa. What’s more, your novel has been acquired by MGM studios for adaption to film. How do you see this film adaptation and your novel differing from that of the French film, and what might you say to critics who possibly will incessantly compare the two?

JM: I’ll admit I was horrified when I heard about The Intouchables. I heard about it when a film studio contacted me about possibly optioning MBY — and then pulled out because of The Intouchables. But I made myself watch it on a flight to NY last September and I loved it. I was also reassured that they are, at heart, very different stories. Yes, they are both about quadriplegics and their carers. But mine is essentially a love story between a man and a woman, and on another level about who gets to dictate what makes a life and whether you have the right to end it. I think on-screen they will be very different beasts. I hope people will enjoy them both!

GALO: I know the book was only acquired about two months ago by MGM; however, can you tell us an approximated estimation on when the film might hit theaters both in the UK and U.S. if all goes according to plan? And perhaps you could reveal a little bit on where the movie will be filmed, who might be directing it, who you would like to see play Will and Louisa (are there any contenders thus far?), and what are your hopes for the film (will you yourself be working closely on it)? Is there anything you fear, such as elements from the novel being left out or certain inaccuracies?

JM: I’m writing the screenplay at the moment, so the movie is in its very early stages. There have been no firm discussions about directors or actors, but we have a very good producer on board and MGM have been extraordinary in their backing for it so far, so I’m hoping we’ll have more news before long. As for things I fear — well, I have some say as I’m writing the first draft, but equally I think if you allow a book to be optioned you have to accept that it will be someone else’s vision. I’m confident that MGM and I see things very similarly though, and that it will be a faithful representation of the book.

GALO: Just like news stories, fiction and non-fiction books have the capability of sending a message to people, informing them of certain issues, and encouraging them to take action. What do you hope that readers take away from this novel?

JM: If it has a message (and I’m a bit wary of books with “messages”), then I think it is just not to judge people without having walked in their shoes. We cannot know, or even really imagine, what it is like for someone in Will’s shoes, or judge him for making the decision he does. Likewise, we should not judge those around him for helping or opposing him. I hope reading the book makes people challenge their own views on the matter.

GALO: Physically disabled people are no different from me and you (they have the same emotions, same yearnings, etc.), yet some people act uncomfortable or unsure when someone with a physical health condition is around them, averting their eyes elsewhere or treating them as if they’re different and not worthy of spending time with. And then there are those who constantly show pity, which proves uncomfortable to the disabled person. Part of this may stem from fear and lack of knowledge, despite the current times of the constant flow and attainability of information via the Internet, TV or media. What do you think ought to be done in regard to people, especially younger generations, coming to an understanding and acceptance of physically disabled people as well as helping them, and in turn learning to act relatively normal around them? What do you think society is lacking currently in terms of this – and what role should artists play in helping with this issue?

JM: I think visibility is key. In Britain last year, the Paralympics did a great deal for “normalizing” disability with the wider population. I think the more people spend time with people with disabilities, they realize that they are essentially very similar, just with different practical requirements.

GALO: Me Before You has a very particular setting to it. Unlike how your novel begins with Will residing in London prior to his accident, you base the book in a rural area whose only attraction is a nearby castle. Why did you decide that this quiet setting would be beneficial and interesting to the novel instead of the fast-paced and lively life of the city?

JM: I liked the use of an English tourist town because class distinctions are made more explicit there. There is usually a “big” house and lots of smaller ones and the class differentials are less fluid. But I also liked the idea of somewhere where not much happens, a “safe” environment, but ultimately one which would never challenge Lou.

GALO: Speaking of settings, where did you yourself write this novel? Were there any particular locations that made the flow of creativity more fluid?

JM: I wrote it in lots of locations — I always do. Some was written in a small town, some in Paris, some in my office and some in my bed! I tend to move around depending on where I find it easier to write at any given time. Whatever works!

GALO: Prior to Me Before You, you had written, I believe, a total of 18 novels, most of which revolve around the subject of love. What captivates you about this particular emotion; are you perchance a hopeless romantic at heart?

JM: I have actually written 10 novels and one novella. Most of them do contain a love story but they usually contain something else too — whether it’s a look at what we’re doing to our oceans (Silver Bay), or the morals and issues surrounding restitution of stolen artworks (The Girl You Left Behind). I’m not a great romantic in real life — my husband says I complain when he buys me flowers because it means washing up a vase!

GALO: I read on your blog that you’re already writing a new book in the midst of your tour for Me Before You. Can you share a little about what your new novel might entail (is it another love story)? And have you thought about writing a non-fiction novel that goes back to your reporter days, perhaps one full of stories from your travels?

JM: The new book is about a single parent living on the breadline who has a math prodigy for a daughter. It’s about what happens when she tries to give her daughter a leg-up — mostly on a road trip that also involves a man she cleans for, her stepson and a large dog called Norman.

Featured image: Author Jojo Moyes on a Land Rover. Photo Credit: Phyllis Christopher.

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