by Meetali Sharma
This is part of Between The Lines, an interview series with writers in Singapore about the craft and creative process of writing.
Ever wondered what drives an avid reader, to immerse themselves completely in the worlds they discover? For Yeo Wei Wei, stories weren’t just an indulgence—they were a universe of endless possibilities waiting to be explored. Growing up she stepped into the pages of endless tales, where plot twists replaced games and books became the ultimate adventure. Novels weren’t just a diversion —they were a calling, a doorway to a life shaped by creativity and boundless dreams.
We had the distinct pleasure of meeting Yeo Wei Wei. She is a Singaporean writer and translator with a rich background in academia and the arts. A former university lecturer, she penned her first short story before transitioning to roles in an arts school and art museum. Through her experiences and choices, she demonstrates how the world around us—and our responses to it—profoundly influence the stories we tell.
Find more about her at her work at :
Your writing career must be filled with intriguing moments. Could you take us back to the beginning and share what first inspired you to start writing? We would love to hear about the genres that initially captivated you and how your style and genre preferences have evolved over time.
Yeo Wei Wei: Writing has always been a deeply personal journey for me, rooted in my fascination with language as more than just a medium of communication. I see it as something dynamic—like a truck carrying boxes, each loaded with its unique cargo of meaning, culture, and emotion. My home language, existing in its own distinct sphere, has also shaped my perspective on how words transcend boundaries because the most intimate language is always your native tongue, the one that carries your thoughts and feelings. It’s the language of your heart, the one that shapes your earliest memories and the one that echoes in your mind when words fail.
From around the age of seven or eight I began to read quite a lot. I discovered my primary school’s library. Mostly I read the sort of books that most children enjoy -- adventure stories, mysteries. I didn’t read poetry until I was seventeen, at JC. And it was only when I did my graduate studies that I really got into poetry. Reading continues to be one of my biggest pleasures in life.
In your story ”Innocence”, imagery such as 'ceramic animals becoming fast friends,' carries certain depth, transcending mere imagination. How do you perceive the role of such imagery in your writing? Do you consciously craft these layers of nuance, or do they emerge naturally as part of your creative process?
Yeo Wei Wei: I’m glad you noticed those ceramic creatures. The character saw those ceramic creatures and so I put them into the story. I wouldn’t have put them into the story if they didn’t mean anything to the character.
I follow my characters as much as possible. I try to see the world through their eyes. So the imagery in each story evokes the characters’ world view. Imagery also makes the story world come to life for the reader. What the character notices will be noticed by the reader too. So yes, there is definitely conscious crafting going on in my use of images. I choose the kinds of images that work best for my characters and their story worlds.
The last sequence of the story “here comes the sun”, the falling of the dog tag as the burying of a relic, how did you craft this particular angle of the narrative, especially in relation to the dog, the mynah, and Mdm Goh?
How did you decide to intertwine the story arcs so closely? How does this contribute towards the overall depth and cohesion of the narrative?
Yeo Wei Wei: Me and a bunch of other writers were invited by the poet Yong Shu Hoong for a project where we would visit a nursing home in Singapore and then craft a story around it. I had initial reservations about it. However, I decided to take part, and my visit to the nursing home proved to be a pleasant experience. The airy environment, reminiscent of a school (apart from the fact that there were some unused wheelchairs lying), stuck with me, as did the image of a mynah bird on the floor, ignored by the women in the dementia ward.
During my visit, I also met a lady who shared with me her longing for her dog, which resonated with me as a dog owner. These experiences influenced my writing, and I started with the image of the mynah bird, which eventually led to the story "Here Comes the Sun."
Initially, I wanted to incorporate the Beatles' song "Blackbird" into the story, but the mynah bird in my narrative had other plans, insisting on singing "Here Comes the Sun" instead.
In your stories, you present different stages that each hold their own meaning, almost like separate instances.These elements in a different form then create the complete narrative, shaping the story as a whole. What do you think about the way these individual moments contribute to the overall resonance? ( Such as in “Beholder”)
Yeo Wei Wei : When crafting my stories, I focus on the inner landscape of my main character, allowing their emotions and experiences to guide the narrative. I don't have a preconceived structure or technique; instead, I follow the character's instincts and responses to the situations I've created for them. This organic approach ensures that the story unfolds naturally, without forced plot twists or artificial revelations.
I'm drawn to the idea of replicating the human experience in my writing, where memories and emotions can resurface unexpectedly. I avoid forced flashbacks or contrived plot devices, opting for a more intuitive and character-driven approach. This allows me to create a sense of movement and progression in my stories, even in the compact form of short fiction.
Influenced by the way paintings can convey multiple layers of meaning, I strive to achieve a similar depth and complexity in my writing. I aim to craft stories that can be read in one sitting, much like a poem, where the entire narrative world is contained within a single, wholesome experience. By staying true to my characters and their emotional journeys, I hope to create stories that resonate with readers and linger long after the final page is turned.
There is a bundle of striking personifications in your stories. In the view of craft, how does the use of personification enhance the reader's connection to a character's inner world? Do you think it allows us to convey what might be lost with a more straightforward description?
What advice would you give to young writers who are starting out on their journey ?
Yeo Wei Wei: Personification is a powerful tool in storytelling. By attributing human-like qualities to abstract concepts or objects, personification creates a sense of intimacy and immediacy, drawing the reader into the character's inner world.
In the example you provided, "The image haunted him, especially on the lids of his closed eyes at night," the personification of the image as a haunting presence creates a vivid and unsettling atmosphere. This technique enables the reader to feel the character's emotional state, rather than simply being told about it.
As a writer, I've learned that the key to effective personification is to allow yourself the freedom to experiment with language and imagery. Don't be afraid to take risks and try out new techniques – it's often the most unexpected and innovative approaches that lead to the most compelling writing.
To young writers, I would offer the following advice: don't be too hard on yourself during the first draft. Allow yourself to write freely, without worrying about grammar, syntax, or perfection. Just let the story flow, and don't be afraid to be descriptive and detailed. It's only later, during the editing process, that you should start to refine and hone your work.
One technique I've found helpful is to print out your work and cover up certain words or phrases to see if the sentence still works without them. This can help you identify areas where you may be using unnecessary language or overwriting.
Another important piece of advice is to take breaks from your work and come back to it with fresh eyes. This can help you approach your writing with a more objective perspective, and make it easier to identify areas that need improvement.
Ultimately, personification is a powerful tool for building empathy and connection with the reader. By using this technique, writers can create characters that feel more real, more relatable, and more human. And by embracing the freedom to experiment and take risks, young writers can develop their own unique voice and style.
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