Leanne Ellul: 'I write what I believe I know how to write best'

Leanne Ellul is a Maltese poet and writer whose work spans poetry, prose, and children’s literature. Her writing is often both playful and lyrical. Her latest book, bejn il-kmiem (Merlin Publishers), is a young adult novel that explores the theme of self-harm through the perspective of a first-person plural narrator.

1. What’s been the most defining moment in your career so far?

Reading at Commonwealth Day 2025 was a truly special moment. It gave me the opportunity to share my poetry at a multicultural event, while also offering a glimpse of our language. The poem I read, A Résumé of Bees, which I specifically wrote for the occasion, is particularly close to my heart. It delves into themes of ecological decline and explores humanity at its best and at its worst. At Westminster Abbey, I was surrounded by schoolchildren whose presence and encouragement deeply warmed my heart. Those few minutes reading A Résumé of Bees passed quickly, yet they remain a memory I will hold dear forever. It was also incredibly heartwarming to learn that teachers in Malta were showing the recording of the event in their classrooms, and the children kept repeating the chorus – Aħna n-naħal. In-naħal aħna – after watching it. It’s deeply moving to witness the power poetry has on us. It makes us vulnerable and can stir us in so many different ways. Poetry is a reminder of what makes us human.

2. As a creative, how do you navigate the world and speed of social media?

I don’t really. Most of the time, I prefer to do things my own way. It’s true that I post on social media, but I rarely keep track of what I’ve shared. Having said that, I really appreciate all the shares and comments because they make the engagement of social media meaningful. I am truly grateful for that. Sometimes, I think I also underestimate its reach; I recognise that I’m a bit naïve when it comes to social media. There was a time when I used it like a diary, but these days my feed probably looks more like a noticeboard. That said, it is still a way for me to share happy moments, and sometimes not-so-happy moments, from my life. I’ve considered removing it altogether, but so far, I’ve kept it because of work commitments, though on some days I barely use it at all.

3. Do you consider artificial intelligence a threat to your career, or an opportunity?

I see artificial intelligence as a tool – like many other tools. I find it tends to perform better with academic or journalistic texts than with poetry or literary writing. That said, I’ve read AI-generated literary pieces which, while I might have suspected their machine origins, still struck me as quite ‘good’. I remember reading an article by Ian Leslie titled Why AI Will Never Supplant Human Novelists – or Win the Booker Prize. He argues that while AI can generate text by identifying and mimicking patterns in existing literature, it lacks the uniquely human ability to write novels that challenge or disrupt settled notions of reality. Leslie concludes that because AI is limited to what is already known, it cannot replicate the depth or originality that human novelists bring to the page. I like his line of reasoning. While I’m no expert, and I don’t wish to downplay the influence or growing sophistication of AI, I still see it as a tool. A powerful and useful one, yes, but ultimately a support for the writer, not a replacement. For example, during the research phase of a very personal book I’m beginning to explore (Hunch), I came across letters and responses a close family member once received. Out of curiosity, I used AI to generate fictional letters that might have preceded those replies. It was a simple exercise, just to see what the process might reveal. I found it surprisingly emotional. In some cases, the imagined letters struck a chord.

4. How do you stay motivated and inspired, especially during tough times or when the work feels hard?

Most likely, that’s when I write the most. I just keep pushing through, I suppose. But yes, there are times when everything feels difficult, not just writing. When it comes to writing specifically, I usually take a step back, accept the tough moments, and try to absorb whatever is happening around me. If I still can’t write, then I simply don’t. Instead, I read more, listen more, and observe more. There are also a few techniques I use to get things moving again. For example, I might rewrite one of my own poems or respond to someone else’s poem with a few verses. Writing is hard, and more often than not (unless I’m working on something light or humorous for children), it feels like a struggle. Ernest Hemingway once said: “There is nothing to writing. All you do is sit down at a typewriter and bleed.” While I don’t want to over-dramatise the act of writing, there are moments when it does feel exactly like that. It’s also an act of discipline, and that’s why, despite everything, I try to keep going. Eventually, I return and sift through it, picking out the best bits.

5. How do you balance your creative instincts with the expectations of your audience or collaborators?

I mainly write for myself. It’s not that I don’t consider an audience. I do. But usually, I imagine myself as the audience (be it children, youths, or adults) and think about it from that perspective. I feel that if I had to write solely to please A, B, or C, I would end up contradicting myself. I write what I believe I know how to write best. And most of the time, I think it works, because the audience can sense the rhythm, the flow, a kind of writing that comes from the core and is true to oneself. That’s when I think the audience can truly connect. I still like to listen to what audiences want, because if it’s something I can work on, I already know it will be well received. When I work with others – which I love to do – I listen to them and grow from that conversation. It’s a matter of give and take. Otherwise, I’d just be writing on my own, and I believe writing is more than that. But it’s also a give and take when I write alone. For instance, sometimes I have to silence my inner punster for the sake of the story. While I’m a very jolly person, I often find myself writing about quite sad topics, especially when writing for adults. Sometimes, I feel the need to balance that out too.

6. How do you approach a new project? Do you have a specific process or routine you follow?

I tend to begin by absorbing as much as I can through reading, music, film, walking, and meeting people... I always encourage younger writers to go out and live their lives whenever they’re stuck or whenever they want to embark on a new project, and to write from that point onwards. I believe writing begins from lived experiences, even if one doesn’t write exactly about them. Really and truly, during the thinking and research phase, the writing has already started. Research, of course, can take many forms. Reading other seminal works is, in itself, a form of research. That’s usually when I start jotting down notes and refining my own thoughts. From there, I try to write as much as possible. Once I’ve gathered enough material, I begin shaping an outline. I love having a structure to follow – it becomes a kind of fill-in-the-blanks process. It might sound easy, but it’s not. Even with a plan in place, I constantly twist, omit, and rewrite. For me, writing is also rewriting. I write as much as I can and then pick out the best pieces. I try to stay with it as closely as possible, though taking a few days away from the project is important too. I like to return to it with fresh eyes, and when I feel the time is right, I share it with someone I trust. I must say the process also depends on the genre. Most of the time, the story is completely different from one genre to another.

7. Can you let us in on some of the future projects, works?

There’s a picture book in the pipeline! I’m very excited to be working with a lovely illustrator and the amazing Merlin team. There’s also a surprise at the end of the book, which I’m sure younger readers, and the young at heart, will enjoy. I think many people will relate to the story, because most of us, in some way or another, have been through it! I’ve also previously mentioned Hunch. Hunch will take the shape of a collection of poetical texts accompanied by photographs that piece together the story of a close relative. It’s a book I’m emotionally invested in, and so it’s taking its time. I’m still in the research phase, though I already have a sense of how I’d like it to look. Together with Inizjamed, we’re also working tirelessly on the next edition of the Malta Mediterranean Literature Festival, which I can promise will present a fresh new concept.

Extra round

What’s the most surprising thing you learned while writing?

That you can never please everyone. As obvious as it may sound, I’ve had this realisation a couple of times. The Death of the Author is also very real. Sometimes, I intend a verse or an idea in a certain way, only for it to be understood differently by some readers. But that’s also part of the joy of writing. Even though my name is on the book, it belongs just as much to the reader.