Liane Moriarty on her novel 'Here One Moment' and on writing 'women's fiction'

Summary

NPR's Book of the Day: In-Depth with Liane Moriarty on Here One Moment and Women's Fiction

Release Date: July 16, 2025
Host: Robin Young
Guest: Liane Moriarty, bestselling author of Here One Moment

Introduction to Here One Moment

In this episode of NPR's Book of the Day, Robin Young welcomes Liane Moriarty, the acclaimed Australian author known for her gripping novels such as Big Little Lies and Nine Perfect Strangers. Moriarty discusses her latest work, Here One Moment, a 500-page bestseller now available in paperback and soon to grace the screen, with Nicole Kidman attached to the adaptation.

Robin Young sets the stage by highlighting the book's unique premise: a flight from Tasmania to Sydney becomes the backdrop for a series of prophetic declarations about each passenger's death. "Have you ever looked around at fellow travelers and wondered, who are they? Where do they live? How about how do they die?" (00:02). This seemingly morbid curiosity forms the crux of Moriarty's narrative, transforming a routine flight into a mystical exploration of mortality.

Inspiration Behind Here One Moment

Moriarty reveals that the inspiration for Here One Moment stemmed from her own experience during a delayed flight. "I was leaving Hobart in Tasmania, and I was stuck on the tarmac, and I did not have a book that's crucial to the story, so I had nothing to read myself" (03:16). This moment of idleness led her to contemplate the lives of her fellow passengers and their eventual fates, mirroring her introspection on mortality fueled by personal and global events, including her sister's breast cancer diagnosis, the pandemic, and her own battle with cancer.

Reflecting on her mortality, Moriarty muses, "I think for some reason, it sort of blew my mind that that information would one day be available. It just wasn't available right now" (03:41). This existential pondering became the foundation for the novel's premise, allowing her to explore various facets of human fear and resilience in the face of death.

Exploring Mortality Through Fiction

Here One Moment delves into the psychological impact of knowing one's death date and cause. Characters grapple with impending doom, leading to profound changes in their behavior and relationships. For instance, a mother is forewarned that her baby will drown at seven, embodying "every mother's worst fear" (05:45). Similarly, a bridal couple learns that an intimate partner will kill them, introducing tension and suspicion into their union.

Robin Young probes whether these dark themes affected Moriarty personally. Moriarty responds with a blend of enthusiasm and caution, stating, "There's a little of both. When I'm writing fiction, there is glee in that. This is a wonderful premise. And I also want to explore people's feelings and real emotions" (06:51). She balances the excitement of crafting a compelling story with the emotional weight of portraying characters' traumas, acknowledging the delicate line between entertainment and empathy.

Defining Women's Fiction and Reader Relationships

A significant portion of the conversation centers on Moriarty's relationship with the label "women's fiction." Acknowledging the term's sometimes dismissive connotations, Moriarty shares her journey towards embracing it. "I realized that she meant that I wouldn't want to call my books women's fiction. And I realized that's because I felt that that meant that it was something less than" (09:46). This realization stemmed from societal biases where genres labeled for women are often undervalued compared to those targeting men.

Robin Young highlights a New York Times review that praises Moriarty for centering the "joys and tribulations of mid and beyond," challenging the stereotype that turning 40 leads to existential dread. Moriarty reflects on her predominantly female readership, recognizing the importance of representing women's experiences authentically. "If a man wrote a book and called it men's fiction, he would say, yes, I write men's fiction and I'm very proud of it, so why am I not? And then I turned around and thought, okay, so I should embrace the term women's fiction" (09:46).

Adaptation and Character Development

Discussing the adaptation of Here One Moment to the screen, Moriarty touches on the involvement of Nicole Kidman but remains non-specific about character assignments. "I honestly can't see one right away. Often when the screenplay's written, you might lose some characters or that there might be. And I'm not writing the screenplay myself" (10:40). She expresses excitement over the potential collaboration but emphasizes that the characters are her creations, leaving their portrayal open to the screenplay's evolution.

When asked about the enigmatic character of the "Death lady" who predicts passengers' deaths, Moriarty explains her dynamic character development process. "I loved writing the Death lady and getting to know her through the process of writing her and coming to understand why she did what she did and who she was" (11:27). Despite initial negative perceptions from readers, Moriarty is pleased that audiences grow to appreciate her complexity by the story's end.

Balancing Technicality and Emotion in Writing

Moriarty touches upon the challenges of writing emotionally charged fiction without becoming overwhelmed. She acknowledges the responsibility of portraying characters' traumatic experiences authentically while maintaining the technical precision necessary to continue writing. "I can get myself really tied up in knots about that" (08:05). This balance is crucial for Moriarty, who strives to evoke genuine emotions without allowing them to impede her creative process.

Final Thoughts and Legacy

As the conversation wraps up, Robin Young reiterates the significance of Here One Moment as both a bestseller and a cultural touchstone soon to be adapted for the screen. Moriarty expresses her gratitude for the discussion, emphasizing the joy and responsibility that comes with writing stories that resonate deeply with readers.

Conclusion

NPR's Book of the Day episode featuring Liane Moriarty offers a comprehensive exploration of her latest novel, Here One Moment, and her thoughtful approach to women's fiction. Through candid discussions about mortality, genre labeling, and character development, Moriarty provides listeners with a profound understanding of her work and the themes that drive her storytelling. This episode is a must-listen for fans of Moriarty and anyone interested in the intricate balance between fiction and real-life emotions.

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Notable Quotes:

• Andrew Limbong [00:02]: "Liane Moriarty is one of those authors whose books you see everywhere, not just bookstores, but big box stores, too."

• Robin Young [03:08]: "Have you ever looked around at fellow travelers and wondered, who are they? Where do they live? How about how do they die?"

• Liane Moriarty [09:46]: "If a man wrote a book and called it men's fiction, he would say, yes, I write men's fiction and I'm very proud of it, so why am I not?"

• Robin Young [11:06]: "What about that woman who gets up and points her finger at everyone? What were you exploring through her?"

• Liane Moriarty [11:27]: "A lot of readers say they don't like her in the beginning, and then they love her by the end, which makes me very happy."

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This detailed summary encapsulates the essence of the podcast episode, providing listeners with a thorough understanding of the discussions between Robin Young and Liane Moriarty. It highlights the key themes, personal insights, and the nuanced exploration of women's fiction, making it a valuable resource for those who seek to engage with the episode's content without having listened to it.

Transcript

[Andrew Limbong]

Hey, it's NPR's Book of the Day. I'm Andrew Limbong. Liane Moriarty is one of those authors whose books you see everywhere, not just bookstores, but big box stores, too. Target, Walmart, Costco. Her latest book is called Here One Moment. And what's interesting to me is that the premise, if it were written by nearly any other author, would be packaged and sold at those big box stores as if it were a horror book. But because she's so closely tied to the genre of women's fiction, or chick lit, if you will, her books get presented in a different way. Here and Now's Robin Young asked her about being known primarily as a writer for a woman. And Moriarty talks about how she eventually embraced that label of female fiction. That's up ahead.

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[Robin Young]

Are you looking for a big, juicy summer read? We have just the ticket, though you may not want to take it on a plane, we'll explain, but if you do, it will be a lighter lift. Leanne Moriarty's 500 page bestseller here one Moment is now out in paperback. She's the Australian author whose books have sold over 20 million worldwide. Several the last anniversary, Nine Perfect Strangers and Big Little Lies, made into TV series, the last two starring fellow Australian Nicole Kidman. Kidman is now also involved in a Here One Moment adaptation. We'll see if we can get any more out of Leanne. The premise of the book something you might be doing right now. Have you ever looked around at fellow travelers and wondered, who are they? Where do they live? How about how do they die? Sounds like a morbid question, but in Leanne's hands it becomes a gripping, mystical one because her cast of characters are the fellow travelers on a flight from Tasmania to Sydney, Australia. The father missing his girl's performance in the Lion King, a distraught mom trying to keep wailing kids quiet, newlyweds in bridal attire. Suddenly a woman gets up, walks the aisle, pointing to each passenger and pronouncing how they will die. And when workplace accident at 43 heart attack, 91. Your partner will kill you. 25. And then months later, some passengers do die. The burning question what will surviving passengers do if they think they know they're next? And what would you do again? Liane Moriarty's book is here. One moment. She joins us now. Liane, hi.

[Liane Moriarty]

Hi. That's a wonderful introduction.

[Robin Young]

Oh, thank you. Okay, goodbye.

[Liane Moriarty]

Well, honestly, that's how I feel. You've summed up the book so beautifully.

[Robin Young]

Well, I hope so. We understand this story came from a flight you were on.

[Liane Moriarty]

Yes. So exactly the same as in the book. I was leaving Hobart in Tasmania, and I was stuck on the tarmac, and I did not have a book that's crucial to the story, so I had nothing to read myself. And I was looking around at all the people around me, and I was wondering when and how each of them were going to die. And I always look back.

[Robin Young]

Okay, hold on. Hold on. Yes, because why?

[Liane Moriarty]

Right. I think it was a time in my life that I was considering my own mortality. So a few things had happened in the years leading up to that flight. So first of all, my sister was diagnosed with breast cancer. Then we had the pandemic. So all of us were considering our own mortality. And then I myself was diagnosed with breast cancer. So I think it was all those things. And I think also just being in my 50s, I think that's a time when people start to be diagnosed with serious illnesses. So I was just thinking about the fact that 100 years in the future, somebody would be able to look at all the names of the people on that flight and they would be able to see the age of death and cause of death. And I think for some reason, it sort of blew my mind that that information would one day be available. It just wasn't available right now. And that's when I thought, imagine if somebody stood up and shared that information. Yeah.

[Robin Young]

What if it was available now? But was this a way for you to explore your own mortality by choosing a different way for each of these lives to end? I mean, you know, well, what if it would be this and that way, through the character, you could sort of explore what that might be like, all the different ways.

[Liane Moriarty]

Yes. Cause I think I was probably thinking, so I wonder. So breast cancer did not get me. Yes. I was treated and on my way. So it's just so interesting to think. I wonder what it will be. It's the most interesting thing. You know, people must be so shocked. I think, especially people who really focus on their own health and longevity. And then through Some accident. They must be so surprised when they get wherever they're going.

[Robin Young]

Well, and that's what you explore. But Leon, really, the baby on board is told that the baby will die at the age of seven by drowning.

[Liane Moriarty]

I think the thing is that because it's exploring every mother's worst fear. As soon as you have a child, that is your. Your greatest terror and imaginings. That's what you do in fiction. You imagine the very. You put your characters through terrible things. And how would this young mother, if somebody told her something so dreadful, how would she respond? Right.

[Robin Young]

Or the bridal couple, you know, that's told that an intimate partner will kill you. You know, they're going to be looking sideways, you know, give the side eye to their partner for a while. But did any of this keep you up at night? Or was it more the glee of. It's just fiction. You know, I'm thinking, I watch Midsummer Murders, you know, these shows on PBS where every week in a small town, people, like, are murdered in the most horrible ways. And sometimes I think, how am I watching this? You know, this is. If even a fraction of this happened, I'd be horrified. So which was it? Was it something that actually maybe got to your heart quite a bit, or was it the excitement of you have a great story in your hands?

[Liane Moriarty]

There's a little of both. When I'm writing fiction, there is glee in that. This is a wonderful premise. And I also want to explore people's feelings and real emotions. But sometimes you do have to just be quite technical about it, because if I allowed myself to really feel fully what I'm putting my characters through, then I'd have to stop writing. I often think that if I had in my own life, then I could never, never write about them. I always remember after I wrote the Husband's Secret, where a woman's daughter is murdered, and I received some messages from mothers who had lost their children. And I was sort of overwhelmed seeing their words on the screen with something that I wrote for the purpose of entertainment. And they wrote lovely things to me to say that I got some of those things about their own feelings, that I got it right. And I was really proud that I'd done that, but also slightly ashamed that I, for entertainment, had written about something that was somebody else's horrendous reality. So, yes, I can get myself really tied up in knots about. About that.

[Robin Young]

Well, we have to ask you about your female readers. A New York Times review of Hear One Moment, which came out, you know, last year. Now is coming out in paperback pointed out that you're one of the few mainstream fiction writers to consistently center the joys and tribulations of mid and beyond, as if turning 40 does not in fact compel one to dissolve into dust like a cursed mummy. But then again, sometimes your books can be relegated to be tree chick lit. I think your publisher prefers women's fiction. So talk about your relationship with women readers.

[Liane Moriarty]

Well, first of all, how can I answer that? Because, again, I can talk myself in circles about that. So a lot of the time my books have been described as chick lit. And I remember when I first heard that term, I thought that was just a fun, cheerful term for books about women. For women. And then as I wrote more, I thought, actually, it's, you know, it's sort of a dismissive term. And then I always remember a journalist saying to me once, so most of your readers are women? And I said, yes. And she said, okay, so it's okay to say that. And I said, of course it's okay to say that. That's just a fact. And she said, oh, you'd be surprised. Some people don't want to say that. And that's when I realized she meant that I wouldn't want to call my books women's fiction. And I realized that's because I felt that that meant that it was something less than. If it's women's fiction, it means it's not as good as.

[Robin Young]

Look how we've been brought up. Look how we've been brought up.

[Liane Moriarty]

Yeah. So that's when I thought, so that's my own internalised misogyny. Because if a man wrote. If a man, sorry, wrote a book and called it men's fiction, he would say, yes, I write men's fiction and I'm very proud of it, so why am I not? And then I turned around and thought, okay, so I should embrace the term women's fiction.

[Robin Young]

And that brings us to one woman in particular, Nicole Kidman. There she is, I thought, the flight attendant trying to serve the passengers while also searching for a tampon. And then I realized, no, Nicole Kidman is over 50, so that might not be a part she might play. But we know that she's involved, has been involved, obviously, in your past books being put on the screen and is going to be involved in here one moment, going to the screen. Is there a part you envision for her?

[Liane Moriarty]

I honestly can't see one right away. Often when the screenplay's written, you might lose some characters or that there might be. And I'm not writing the screenplay myself, but there may be two characters combined, so it may end up that there'll be a role for her. But as I'm writing, I can see the characters. They're my characters. I'm not seeing anybody in particular playing them.

[Robin Young]

Yeah, we were thinking also maybe the death lady who is the woman who goes down the aisle, who, by the way, we're not gonna give away the ending, but there's an explanation, you know, for things. What about her? Just briefly, what about that woman who gets up and points her finger at everyone? What were you exploring through her?

[Liane Moriarty]

Well, in the beginning, I didn't know who she was. I don't plan my books, so I didn't know what would be the consequences of her sharing all these predictions. I didn't know if the predictions would be accurate or not. So I just had my premise, this happens. But I loved writing the Death lady and getting to know her through the process of writing her and coming to understand why she did what she did and who she was. So yes, I don't want to give too much away except that a lot of readers say they don't like her in the beginning. Excuse me, and then they love her by the end, which makes me very happy.

[Robin Young]

Intriguing best selling author Liane Moriarty's latest book here one moment, out in paperback today, soon coming to a screen near you. Leon, thank you so much.

[Liane Moriarty]

My absolute pleasure will thank you.

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[Liane Moriarty]

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[Robin Young]

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[Liane Moriarty]

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