Coco Mellors on Sophomore Success and Her Book’s Feature in ‘And Just Like That’

Coco Mellors is well-acquainted with the concept of perseverance. While residing in New York and working as a copywriter, she dedicated years to crafting her debut novel. However, she faced multiple rejections from publishers. After a thorough rewrite, she finally sold her book, “Cleopatra and Frankenstein,” to Bloomsbury in the US and HarperCollins in the UK. The book focuses on the gradual breakdown of a hasty marriage. “There’s a lot of pressure during the publication week in this industry, but it took a year for the book to become a bestseller in the UK and two years in the States,” Mellors explains. “To me, that indicates the book has a long-lasting impact, which is wonderful.”

“Cleopatra and Frankenstein” quickly became popular among fans, recognizable by its aesthetic cover seen on social media and television shows like “And Just Like That.” Meanwhile, Mellors began working on her next novel, “Blue Sisters,” a story about estranged sisters coping with a family tragedy. Released in the UK this summer, it became an instant bestseller and is on track to achieve similar success in the US, where it hit shelves on September 3. “A book is meant to last a lifetime, and I hope to write books that people will read long after I’m gone,” Mellors says. “I love the idea of future readers who aren’t even born yet.”

Speaking from her Brooklyn home, Mellors discusses her increasing popularity as a sober writer, navigating Hollywood as “Cleopatra” undergoes adaptation, and a significant moment involving “And Just Like That.”

Since “Blue Sisters” has been out in the UK, you’ve been attending large events. What have you learned from your readers?

The audience consists largely of women in their twenties and early thirties. As a parent myself, I understand how challenging it can be for those with children to attend a 7:00 p.m. reading on a weeknight. My writing addresses complex issues such as addiction, relationships with addicts, and in “Blue Sisters,” chronic pain and endometriosis. Readers experience these themes privately through the book and then see me openly discussing them. Many find comfort in sharing their own experiences with me during book signings. I often get emotional because these interactions are incredibly moving.

Does releasing another vulnerable book feel scarier now that you’re more well-known?

I actually feel more secure with “Blue Sisters” because the story is clearly fictional. With “Cleopatra,” there were obvious parallels between myself and the protagonist, Cleo, which I played around with but later regretted. In the new book, there’s no parallel to me, so it’s nice knowing it will be recognized as pure fiction.

Can you discuss your decision to be more publicly open?

At the start of my career, I decided to be open about my sobriety. I’m transparent in my personal life about being sober; even my local deli person knows. I come from a family where most of us are now sober, so concealing this part of my life was never an option. Writing about addiction and not owning my experiences would feel inauthentic. I’m proud of being sober and wished I had more sober writers to look up to when I was younger.

The portrayal of hard-drinking, creative writers was glamorized when we were young…

Yes, it was almost seen as essential for creativity. I recently reread Hemingway’s “A Moveable Feast.” He managed to write while drinking, but it ultimately didn’t end well for him. He wrote about F. Scott Fitzgerald, who struggled with writing due to his drinking. I felt similarly in my youth, like I had potential but couldn’t fulfill it due to my lifestyle. Fitzgerald achieved amazing work despite his struggles, but I wonder what he could have accomplished if he had been sober.

The names of your characters play a crucial role in your work. How intentional is that?

Martin Amos, my teacher, spoke about the power of names. The Blue sisters each have names ending in -E, signifying their bond. Naming characters is a fun process. I have a son and initially worried that using names I liked for my characters would deprive me of options for my child. In my new book, I used a couple of names I loved, making it impossible to use them for a future baby.

When you sold the film and TV rights for “Cleopatra and Frankenstein,” did you envision being involved?

I always wanted to be involved. The book is dialogue-heavy, and I felt I could maintain the voices for the screen. I’m excited about the collaborative aspect of a writer’s room, but I wasn’t ready to hand it over completely. The process of selling the film rights went more smoothly than the book publication itself. Hollywood was more receptive, possibly because it’s a glamorous, character-driven world.

What’s the current status of the adaptation?

I’m adapting it with an amazing co-writer, and it’s been enjoyable. While I don’t want to write a book sequel, I love the idea of the storylines evolving on screen through multiple seasons. The book’s end is also a beginning — it’s about a realization that may or may not last. The uncertainty is intriguing.

The book was featured in “And Just Like That.” How did that feel?

“Sex and the City” taught me to write dialogue. I can watch episodes in my head because I’ve seen it so many times. Seeing my book on this new version of the show, held by Carrie, was beyond my wildest dreams. Their prop stylist asked for a copy, and when I saw the episode, it felt more rewarding than winning a Pulitzer.