Motherhood is often painted in soft pastels—an endless loop of joy, firsts, and unconditional love. But what about the sharp edges, the unspoken anxieties, and the creeping sense of losing oneself? In her poignant debut novel Baby Teeth, released on 6 February 2025 by Orion Books, Celia Silvani strips away the idealized portrayal of motherhood to reveal its raw, unfiltered truths. Told through alternating perspectives, the novel delves into the impossible choices parents face to protect their children—choices that, on the surface, may seem incomprehensible to some. Already making waves for its unflinching exploration of modern parenting, Baby Teeth examines the complex world of online motherhood forums, free-birthing, antenatal care, and the overwhelming pressure to “do it right,” while also shedding light on the quiet fears that hover between night feeds and naptime.
Following the release of Baby Teeth, The Indiependent had the privilege of speaking with Celia Silvani about the novel’s inspiration, her creative process, and the digital spaces where mothers connect, vent, and sometimes unravel. Our conversation touched on the delicate balance between fiction and personal experience, the realities of modern motherhood, and the profound way online communities shape maternal identity. Read on for an in-depth look at the mind behind Baby Teeth.
[Trigger warning: Baby Teeth contains discussions and references to pregnancy and infertility. There is also a scene of pregnancy loss.]
Baby Teeth touches on complex themes like pregnancy, motherhood, and the influence of online communities. What was the initial spark for this story? Was there a moment when you thought, “I have to write about this”?
The idea was sparked by an article I read during the early lockdown, when I finally had time to open all the longreads I’d bookmarked: “I was brainwashed by the internet,” it said. This introduced me to the radical, challenging, and empowering world of free-birthing, where people decline any medical intervention in pregnancy and birth. I couldn’t stop thinking about it. What would make someone trust an online community over trained professionals? How much of that is about autonomy, and how much is about a system that has failed them? Baby Teeth grew from that question, but it quickly became something more—a story about loneliness, trauma, and the choices we make when we just want to be seen and understood.
While we’re at this, your book addresses the controversial topic of free-birthing and skepticism around antenatal care, a subject that sparks intense debate both online and offline. What do you think it says about modern views on medicalized childbirth?
I first drafted this book five years ago, and since then, free birthing is thought to have grown substantially in the UK. This is for a number of reasons, some of which include medical trauma, a response to the highest-ever C-section rates, and reports of proven bias and negative outcomes (e.g., significantly increased maternal mortality among Black women). Skepticism toward antenatal care is very real, and until the healthcare system earns women’s trust, it is completely understandable that people may seek support elsewhere. While this is not my experience (I opted for a very medicalized birth for my first child and will be doing the same in a few months for my second), I felt it was essential to show that these kinds of antenatal decisions do not exist in a vacuum.
Great insight! About your book—Claire feels incredibly real—she’s flawed, loving, and struggling in ways we can all relate to. Did she come to you fully formed, or did you discover her along the way?
Claire wasn’t fully formed at first, but she became so real to me over time. During lockdown and the years that followed, I wrote in every spare moment I could find, and Claire became my constant companion—tender, lonely, fiercely protective of what she loves. I don’t think characters have to be likable, and Claire certainly isn’t. But she is raw and deeply felt. Her loneliness, her trauma, the way she reaches for connection, all became much more layered through editing, especially when I was working with my brilliant agent and editors (the Orion team called themselves my ‘book midwives’). It was very important to me that Claire’s decision to freebirth wasn’t made in an unthinking way. It’s tangled in Claire’s past, her pain, and her desire to belong.
And she discovered a sense of belonging in an online motherhood group that almost felt like a cult. What was it about these online spaces that intrigued you? Did you explore any real-world communities when creating this aspect of the story?
I did a lot of research—I wanted to do it justice, and also because I was fascinated. I quietly joined groups, never engaging, just watching the way conversations unfolded. The intensity of it—the language, the unspoken rules, the self-belief—was unlike anything I’d ever seen. I also spoke to obstetricians and midwives to understand why some women were turning away from traditional care. The book was never meant to condemn free-birthing, and I hope readers don’t see it that way. It’s a legal choice, often made for deeply personal reasons. I tried to approach it with curiosity rather than judgment.
Your writing carries a slow-burning tension, creating an eerie psychological unease rather than relying on outright horror. Was there a particular scene or theme that was especially challenging to write?
Without giving any spoilers, I found some of the scenes in the final quarter of the book very, very difficult to write. I always knew what would happen (and I hope any reader considering this book looks at the trigger warnings first), but knowing didn’t make it easier. I felt devastated when I wrote those pages. I cried for Claire and Flora. They are two women trying, in their own ways, to protect the people they love so much. That was the hardest part—writing the pain of love failing to be enough, situations out of their hands, and the guilt they then grapple with.
I’m sure we can all relate to getting a little teary-eyed by the end of this book—it stays with you long after the final page. Let’s dive into the title, especially the tagline, “A mother knows best…,” which is so striking, a mix of innocence with an ominous undertone, much like the story itself. How did you come up with that?
Funny enough, the original title was “Brooding,” but Baby Teeth felt much more powerful. It perfectly balances something soft with something much more primal and unsettling. I also love the tagline the Orion team developed “A mother knows best…,”—it really plays into the age-old saying, while hinting at the darkness the book contains. This question is so interesting because my publisher arrived at these decisions with the exact intention of signaling the dark themes to potential readers!
How much of your own experiences—whether personal or observed—shaped the emotional core of this book? Did writing Baby Teeth challenge or reshape your own perceptions of pregnancy and motherhood?
Writing Baby Teeth absolutely challenged my perceptions of pregnancy and motherhood; I was naïve to so many issues before I started researching. I’ve never experienced any form of medical trauma, and I know just how lucky I am to be in that position. I also hold the NHS here in especially high regard because of the care my mum receives to help her live with terminal cancer. The process taught me a lot about how privileged I am to feel and be this way. I started writing the book long before my husband and I decided to try for a family. Our journey to conceiving our son was long and difficult. My own experiences, therefore, weren’t part of Baby Teeth at all. In fact, it was so surreal living through some situations I’d researched heavily for the book (like what happens at your first midwife appointment—based on conversations with friends and friends-of-friends) when I finally carried a pregnancy to viability with my son, back in 2022. I wanted to say: I know what you’re going to ask next!
In the age of MomTok, influencer parenting, and curated family blogs, motherhood has become a spectacle. Do you think this constant visibility has made it feel more performative? Has it created unrealistic pressure for women to present an idealized version of themselves?
I think about this all the time. I’m an absolutely avid consumer of content, and my algorithm loves to push me into more and more niche communities. I’ve always wondered if it’s a blessing or a curse to have so much information, comparison, and opinion available 24/7; if it was easier when a mother’s ‘village’ was her immediate physical community. In Baby Teeth, the internet is almost its own character. For Claire, it’s both a lifeline and a cause for great distress. It connects her, but it also isolates her further. Generally, I think there’s something powerful in the way online motherhood spaces can really help reduce loneliness—just one video, one post, can make you feel understood. But at the same time, the pressure to perform, to curate, to get it right, can be so difficult.
What advice would you give to mothers navigating online communities today, especially in terms of finding support without compromising their mental well-being?
The internet is a source of both joy and despair for me. After I had my son, I turned to it during some very dark moments (I had postpartum anxiety). I googled everything. I think one of the hardest things to remember is that people are far more likely to share the bad than the good. It’s human nature. But when you’re in the thick of it, those stories can feel like they’re closing in on you. Also, anyone can be anyone online. Anonymity can bring out the best in people, but it can also reveal their worst.
In literature, motherhood is often portrayed as either saintly or monstrous, but your novel embraces the messy, complicated in-between. How do you hope readers—mothers and non-mothers alike—connect with this more nuanced portrayal?
Yes, and that’s exactly what I was aiming for! Mothers are often presented in such a binary way. I hope readers see that Claire, Flora, and all the mums in this group are simply people trying to navigate their way through a world that is not particularly sympathetic to pregnant people or parents. I wrote them with the intention that they were trying to do their best. However, I’m such a believer in the death of the author, so any interpretation a reader has is valid. When it comes to discussion, I hope it sparks conversations about the overwhelming number of decisions people face when navigating pregnancy and motherhood. I’ve mentioned it already, but I truly hope readers don’t feel like I have judged anyone who has chosen to freebirth. I also hope it prompts conversations about trauma and loneliness, and how profoundly these experiences can shape someone’s behavior – and this goes way beyond antenatal choices.
Now that Baby Teeth is out, what’s next? Are you working on anything new?
I’m working on book two! It’s very different from Baby Teeth—it’s a look at bridesmaid culture, the wedding industrial complex, and what constitutes bullying. I’m really obsessed with it and am racing to finish my first draft before I have my next baby.
That already made me super intrigued. Can’t wait to read that. Do you see yourself sticking with psychological thrillers, or are there other genres you’re excited to explore?
I very much hope to stay within the wide ‘book club fiction’ genre: books with a talkable topic at their core.
And, just for fun—if Baby Teeth were to be adapted into a film or series, do you have a dream cast in mind?
Ahhh, I can only dream! But I’d love to hear readers’ ideas!
You’ve already shared some valuable advice, but as we wrap up, what would you say to aspiring writers hoping to land an agent or secure a book deal, based on your debut experience?
My publishing journey has been one of the most exciting experiences of my life. I first wrote the book way back in 2020, secured my incredible agent in early 2021, and signed a book deal with Orion in spring 2022. My biggest advice to anyone looking to become a writer is to back yourself. You have to completely believe in your work. Publishing takes a long time—just look at the above timeline—and you need to be the biggest advocate before your agent or editor can take on that role. And read. Read constantly. Read within your genre so you know what works, but also read far beyond it. Read for fun. Remind yourself why you wanted to write in the first place—why you’re willing to put yourself out there and leave a little slice of your heart on every page.
Thank you so much for chatting with us, Celia! And don’t forget to pick up your copy of Baby Teeth—trust us, this is one story you won’t want to miss. Don’t forget to share your thoughts with us on Twitter on @indie_pendent!
Words by Khushboo Malhotra
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