I recently did a Q&A with the up-and-coming American
book blog
Sirens of Suspense, which
is run by the distinctly siren-like
Chantelle Osman. Rather than focus on any
one book, she was interested in looking at all of them, and seeing how they all
fitted together. The result is below:
Unlike many authors
with a historical bent, you don't specialize in one era. Your books are all
very different, in both theme and location—pre-WWII Berlin (The Einstein Girl),
Revolutionary Russia (Zoia's Gold), Communist East Germany (The Valley of Unknowing) — and require a lot of research. Tell me a little bit about what
inspires your choices? Are these periods of history that have always interested
you? Do you have a wish-list of places/times you'd like to visit with your
work?
I don’t deliberately choose a setting, and then look for a
story that will work there – at least not consciously. The premise comes first,
and in developing that premise I will set the story in whatever times and
places work best. That said, modern European history took up most of my studies
at university, and I’ve retained an interest in the subject ever since. I guess
that, for me, places like Berlin or Dresden or Stockholm are close enough to be
familiar, and yet just far enough away to feel challenging and different. But
if a good story idea came along that demanded a contemporary non-European
setting, then that’s what I would write.
I don’t have a wish-list of places to use as a setting. It
would be nice to have that degree of control over my literary destiny! But, as
I said, I’m pretty much at the service of the story, and go where it tells me
to go.
Your latest novel, The Valley of Unknowing, features protagonist Bruno Krug who embodies both the
author's dream come true and worst nightmare. He garnered great fame and
success with his debut novel, but has been unable to write anything half as
good since. Was it emotionally challenging to put yourself in his shoes? Can
you talk a little bit about creating Bruno, and also a bit about the political
nature of creative endeavours in Communist East Germany?
The fact that Bruno is a novelist made writing about him
more enjoyable for me that it might otherwise have been. I got to exorcise some
demons, and to draw on my own experiences as a writer in developing his
perspectives and attitudes – even though some of Bruno’s more literary
reflections didn’t survive beyond the first draft! Bruno is in part a product
of his childhood experiences (his most famous book is called The Orphans of Neustadt), and of German
history; but his life as a writer also informs – or misinforms – his view of
the world. In fact, Bruno can’t help but see his life as a living fiction; it’s
almost the only way he can make any sense of it. (Some readers have pointed out
that since The Valley of Unknowing is
a novel, Bruno is right on the money, but I think you can be too clever about
these things!)
Your father was an
industrial chemist and your mother an officer in British Intelligence. What led
you to the written word? Did your parents foster this love at an early age?
My parents were supportive of anything and everything I
wanted to do; so it was always up to me. I was first drawn to the theatre, and
it was in that area where I first tried my hand – very tentatively – at
writing. I was at university then. I subsequently turned to prose fiction
because working solo was really the only avenue open to me, my studies being
over. Once I was on that road, I found it increasingly difficult to get off!
Part of me still gets very excited, though, about the performing arts, because
I love creative collaborations (at least, when they work!). I have co-written
one play, which saw a number of successful fringe productions. I would write
more, but I don’t think anyone would pay me to do it!
Every mystery/thriller
author would probably kill (excuse the pun) to have a parent who was, for all
intents and purposes, a spy. Is this as exciting as we all imagine? Did her
work at all prompt the uncovering of secrets that is a common thread in your
books?
For much of her career in intelligence, my mother worked
alone behind the Iron Curtain without the protection of diplomatic immunity.
This was highly unusual, especially for a young woman, and I think it was
exciting for her, although not infrequently frightening as well. However, her
story only became known to me when I was an adult. I suppose it is possible
that years of obvious tact, and a certain guardedness about the past, may have
influenced my outlook subliminally, but I’d probably have to go into psychoanalysis
to know for sure! Certainly I am drawn to characters who don’t wear their
hearts on their sleeves. That much I can say.
Earlier in your career
you collaborated with mystery writer Gary Humphreys for a series of books under
the name Patrick Lynch which focused on developments medicine and
biotechnology. Unlike those forward-looking novels, your more recent work ties
to the past. What prompted this change?
I’ve always had an interest in science – another family
trait, this time from my father’s side. The six Patrick Lynch novels were all
built around nightmares; dramatic and disturbing events made possible by the
advent of new biotechnologies or by Man’s (witting or unwitting) impact on the
natural world. They were carefully researched and quite journalistic books.
When I began to focus on my solo work, I suppose I was probably ready for a
change of mood and a change of scene. Contemporary Sweden and revolutionary
Russia were what came along (in Zoia’sGold); and that pretty much suited the bill. More historical novels
followed from that, although The Valley of Unknowing, being set in the late 1980s, does not strictly qualify as
‘historical’ by the most common definition. I’m quite happy about that,
actually.
What's coming next for
you?
I have two writing projects for the New Year. I’m going to
start drafting a book set in the immediate aftermath of the First World War.
The starting point here has been some largely forgotten - but I think
extraordinary – aspects of the conflict, and it’s going to be taking me into
some dark territory. I may also be collaborating on a big screen adaptation of
my previous novel The Einstein Girl,
which was optioned last summer. It’s more than four years since I worked on
that book, and the prospect of helping craft a screenplay is very enticing.
