NYT bestselling author Linwood Barclay chats about his new thriller, A NOISE DOWNSTAIRS…thrills & chills & twists galore

By Leslie Lindsay 

Fast-paced summer thriller about a seemingly possessed typewriter will have you thinking you have it all figured out and then…

Linwood Barclay is here chatting about how writing is a job he loves (but words don’t get on the page unless you put in the time), how he’s readying for R&R in Prince Edward County, and his love for typewriters and model trains. 

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I’m so glad I’ve been introduced to Linwood Barclay. His writing is sharp, compelling, and addictive in similar vein of Harlan Coben meets David Bell meets Stephen King. A NOISE DOWNSTAIRS (William Morrow/HarperCollins 2018) is a fabulous thriller beach read that you can easily finish in a long afternoon because it’s so fast-paced and has all the makings of a terrific read: murder, an unreliable protagonist, and just when you think you have it all figured out…

You’re wrong.

College Professor Paul Davis seems to have it all: house on Long Island Sound, a second wife, a son, a teaching job at a local university. But when he spots a colleague out on the road late at night, his curiosity gets the better of him and he becomes victim /witness to a crime.

And now, eight months later, he’s still struggling with PTSD, anxiety, depression; he hasn’t returned to work. He thinks maybe he’ll write about the situation–a little catharsis couldn’t hurt, right. His wife, Charlotte, purchases a second-hand typewriter for him, but soon Paul is certain he can hear the machine late into the night? Or is it just his mind? His PTSD? An intruder?

Paul starts to question everything. And frankly, so too will the reader. A NOISE DOWNSTAIRS is at once menacing and creepy, but also a good whodunit-and-why; I thought I had it figured out (at least in part), and then new things were revealed, shifting theories. Personally, I love when that happens! This is the kind of read that gives you ‘waves’ of reveals, in that you let out a collective sigh only to be geared up again for yet another…thrill.

So, so honored to welcome New York Times bestselling author Linwood Barclay to the author interview series.


A Noise Downstairs will astound, confound and thrill you. You’ll need to read it with your wits about you and you’ll want to sleep with your eyes open afterwards. A masterful novel.” 

–Gilly Macmillan, author of What She Knew and The Perfect Girl


Leslie Lindsay: Thanks for popping by, Linwood. I tore through A NOISE DOWNSTAIRS because it’s so fast-paced, dark, and mysterious. Paul is being haunted by the typewriter, so I have to ask: what was haunting you as you set out to write?

Linwood Barclay: I think what haunted me as I started this book is what haunts me whenever I start writing a new novel: Can I do it again? And more than that, can I do it better? You want every book you write to be better than the one that came before, and sometimes you feel as though you’ve done it, and other times it’s, well, I don’t know. This time, I think I managed it, but readers will really be the ones to make that judgment.

L.L.: I have to say—typewriters! It seems they are becoming a ‘thing’ these days. Tom Hanks has a collection. You’re seeing them in antique stores, even I have a couple; and at the American Writer’s Museum [in Chicago], they even have a bank of old typewriters visitors can try their hand at typing. Do you have a fascination with them as well?

Linwood Barclay: I do love them. I love the look of them, the heft of them, the fact that while using one it will not connect you, within three seconds, to a funny cat video. I love the sound of them. I started in newspapers just before computers took over, and the sound of a newsroom tapping away is the sound of history being recorded. All that said, I still work on a computer. But when I was a kid, I asked my dad, when I was around nine or ten, to teach me how to use our old Royal, and received a three-minute lesson. That was the beginning of my banging out stories.

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Photo by Studio 7042 on Pexels.com

L.L.: :Paul is struggling with PTSD regarding an incident with a colleague. What kind of research did you have to do to get this part ‘right?’

Linwood Barclay:  I’m delighted that your question seems to suggest I did get this right, especially considering I did not spend a great deal of time researching the subject. Like most people, I’ve been through some difficult times (nothing to compare with what Paul went through, mind you). And like most writers, I made stuff up. But seriously, I worked hard to imagine myself in his position, how what had happened to him would haunt him, give him nightmares, change his perspective of the world around him. I’m hoping I’ve captured that.

L.L.: Can you tell us a little about your writing process, if you have any rituals or routines?

Linwood Barclay: I spent thirty years working in newspapers, so writing is very much a job to me. A job I love, but a job. You get up, have breakfast, make some coffee, and had upstairs to the study by 8 or 8:30, and the goal is to write two thousand words. If you can do that, you’ve got 10,000 words at the end of the week, and in two or three months, you’ve got a first draft. For half of my journalistic career, I was a columnist, writing three pieces a week. There was no calling your editor to say, “Gosh, the muse didn’t strike, so there won’t me a column tomorrow.” You produced. Those work habits are drilled into me. So, aside from the coffee, no real rituals. It’s just ass-in-chair and start typing.

L.L.: What’s on your to-do list this week? It doesn’t have to be literary…

Linwood Barclay: What a week to ask.  It’s nuts. I’m trying to finish the very rough, first draft of what might be the 2020 book, am putting together a presentation for some TV types for a series Entertainment One is developing, based on my PROMISE FALLS trilogy, writing a newsletter to let everyone know about my US and UK book tours that will take place the second half of April, reading Carsten Stroud’s terrific novel THE SHIMMER, taking allergy pills so I won’t get asthmatic when we look after our daughter’s dog while she moves, watching The Affair while asking myself why, why, why am I still watching this show when it went completely off the rails not last season, but the season before THAT, hoping to get to our place in Prince Edward County, Ontario, where I will sit on the dock and drink several vodkas with lemonade and contemplate whether this is the longest sentence I have ever written. (It’s not. There’s a sentence in A TAP ON THE WINDOW that’s longer.) And may I say, what a great question, which no one has ever asked before.

L.L.: Linwood, it’s been a pleasure. Is there anything I’ve forgotten to ask, but should have?

Linwood Barclay: Is it normal for a grown man to have an entire room in his basement dedicated to model trains? (I feel I’m too close to this to give an unbiased answer.)

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Photo by Gary Spears on Pexels.com

For more information, to connect with the author via social media, or to purchase a copy of A NOISE DOWNSTAIRS, please see: 

Order Links: 

Linwood Barclay author photo.JPGABOUT THE AUTHOR: Linwood Barclay is the author of seventeen previous novels and two thrillers for children, including the international bestseller NO TIME FOR GOODBYE. New York Times bestselling author, his books have been translated into more than two dozen languages. He wrote a screenplay adaptation for his novel NEVER SAW IT COMING and his book THE ACCIDENT has been made into a television series in France. A native of Connecticut, he lives near Toronto with his wife, Neetha.

You can connect with me, Leslie Lindsay, via these websites: 

 

 

              

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[Cover and author image courtesy of HarperCollins/WilliamMorrow and used with permission. Other Barclay cover images retrieved from author’s website, 6.27.18] 

 

 

 

 

Summer chills with a dash of horror in Zoje Stage’s debut, BABY TEETH, which will leave you thankful for the family you have

By Leslie Lindsay 

Dark, chilling, disturbing psych thriller that might be best suited to the horror genre, BABY TEETH will shake you to the core and keep you flipping the pages.

Join me in conversation with Zoje Stage about scary child movies, the difference between psychopaths and sociopaths, how much fun she had writing Hanna, and so much more.

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If you want to read something this summer with varying reception, BABY TEETH (St. Martin’s Press, 7/17/18) is for you. It’s completely unsettling and will most definitely burrow under your skin and having you looking over your shoulder. And it’s deliciously compelling.

Hanna is a mute seven year old who adores her Daddy. He’s the only person who understands—accepts—her, and Hanna wants to live happily-ever-after with him. But Mommy stands in her way. Its’s one of those Electra complexes that will have you questioning everything. Is Hanna really that bad? Is her mother, Suzette, partially to blame? Is there something more at hand?

Suzette has tried with her daughter. Oh, how’s she’s tried. There have been medical tests, home-schooling (because Hanna does horrific things and gets kicked out of every school she’s ever attended), she reads to her, she takes her speech-pathologists, the park, but there is something so disturbingly defiant about her daughter. Suzette is out of options. She’s losing her mind and possibly, her marriage.

But maybe Suzette isn’t so innocent? She seems a bit ambivalent about being a mother and then there’s her Crohn’s disease, her checkered history with her own mother. Could something more be going on?

Yes. But what? BABY TEETH ends on an ambiguous note, but I promise, it will linger long after you turned that last page.

Please join me in welcoming Zoje Stage to the author interview series.

Leslie Lindsay: Zoje, I was utterly absorbed in BABY TEETH. I have to know—what was haunting you when you set out to write?

Zoje Stage: Many years ago I developed a screenplay that was a precursor to BABY TEETH, and one of the things I was interested in exploring was the taboo idea of a mother who regretted having a child. The story changed quite a bit once I decided to resurrect the concept and reimagine it as a novel, primarily because the mother and child took on equal roles in the novel. The new focus became what would a mother do if she seriously believed her child was dangerous—which let me explore the evolution of Suzette’s feelings, as well as Hanna’s misaligned thinking.

L.L.: You have a background in film. So much of BABY TEETH reminds me of horror movie—or that it could easily be adapted—did you draw any of your inspiration to classic horror stories like POLTERGEIST or CHUCKY or ANNABELLE? Or maybe not at all?! And then I just saw HEREDITARY!

Zoje Stage: While I’ve always very much liked “scary child” movies like The Bad Seed, Joshua, and Goodnight Mommy, I didn’t specifically draw my inspiration from that; rather, I wanted to depict a “scary child” with as much realism as possible by exploring relationships and certain dynamics—within a family, between a couple, and between mother and daughter. Though, because of my background, I still see in “scenes” so it played like a movie in my head as I wrote it.


Stage fuses horror with domestic suspense to paint an unflinching portrait of childhood psychopathy and maternal regret.” 

–Kirkus Review 


L.L.: Your descriptions of Suzette’s Crohn’s disease were so authentic, I started wondering if maybe you have it, too? Can you talk about that and how it appeared in the novel?

Zoje Stage: I do have Crohn’s disease, and while it served the story well for me to base Suzette’s medical experiences on my own, it made some sections very difficult to write. I didn’t want to shy away from those difficulties though, because there are so many people who live with invisible illnesses and it was important to me to give readers a glimpse into what a person who appears “normal” may actually be experiencing. And of course, little Hanna sees her mother’s illness as a weakness that she can exploit, which makes Suzette even more vulnerable.

L.L.: Likewise, I am curious about Alex’s Swedish background. I found it melded into the storyline quite organically with his being an architect and some of the family traditions presented throughout BABY TEETH. Was that a cognizant decision on your part?

Zoje Stage: To some degree, this is where the magical process happens in writing. I made certain decisions about Alex and his background, but at the moment I made them I didn’t know how all of them would play out. So, for instance, though I knew Alex was Swedish, I didn’t know until the middle of the first draft that the Walpurgis holiday would be a significant event.

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Photo by Jens Mahnke on Pexels.com

L.L.: Did you have a favorite character? Was someone more fun to write or more relatable? Do you see BABY TEETH as a tale of family dysfunction?

Zoje Stage: Writing Hanna was about the most fun I’ve ever had as a writer. I enjoyed the challenge of trying to think like a child, and working within her limitations: because of her young age, there are inherent limits on what Hanna could do physically, and also what she would know of the world. And yes, it’s certainly a tale of family dysfunction. The thing about living in a dysfunctional household is it becomes very hard to be objective about what’s happening—and even harder to conjure a solution— which is part of why it takes Suzette and Alex so long to recognize the true depth of their situation.

L.L.: I have to say, I really liked Beatrix, the psychologist. I felt she was sympathetic, bright, and quite authentic. Did you have to conduct much research to get the psychological pieces ‘just right?

Zoje Stage: I drew on some of my own experiences with different therapists as a basis for what Beatrix’s demeanor might be, and her approach to questions. Though in terms of her knowledge, I read about the perceived differences between sociopathy and psychopathy, as well as blogs by parents of dangerously mentally ill children, and watched several documentaries on related subjects. (Marshes, the treatment facility that’s featured in my book, was inspired by a British documentary about a facility for severely troubled children.) And of course I used my imagination, as I had specific ideas for Beatrix as a character.

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Photo by Pixabay on Pexels.com

L.L.: Can you tell us what’s next for you? Maybe a sequel to BABY TEETH?!

Zoje Stage: I love that so many people want a sequel to BABY TEETH! But… no, my next book is another stand-alone novel, tentatively called WONDERLAND. It will be published in late 2019, and it’s a horror novel about an artsy New York City family who moves to the Adirondacks and promptly find themselves trapped by the winter weather, and in the presence of something… scary. That’s all I’ll say. 😉

L.L.: Zoje, it’s been a pleasure. Maybe more like a ‘wicked delight.’ Is there anything I should have asked, but may have forgotten?

Zoje Stage: Thank you, Leslie! I’d just like to add that I’m so grateful for the support my debut novel has gotten from the book-blogging community! You guys rock!

For more information, to connect with the author via social media, or to purchase a copy of BABY TEETH, please see: 

Order Links: 

Zoje Stage_Credit Gabrianna DackoABOUT THE AUTHOR:  Zoje Stage is a filmmaker and writer. She was a 2008 Fellow in Screenwriting from the New York Foundation of the Arts and a 2012 Emerging Storytellers Fellow from the Independent Filmmaker Project. She lives in Pittsburgh, PA. BABY TEETH is her first novel.

You can connect with me, Leslie Lindsay, via these websites: 

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[Cover and author image courtesy of St. Martin’s Press and used with permission. Promotional book image from L.Lindsay’s personal archives]

 

 

What happens when a house-swap goes wrong, plus Thailand, reinvention, thrills, and so much more in LAST SEEN ALIVE

By Leslie Lindsay 

Chilling tale of psychological suspense hinging on one woman’s past, her attempt at reinvention, and so much more. Plus, Thailand, finding the time to read, books to obsess over and more. 

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Libby Hall wants a vacation. She’s newly married, a teacher, and has just suffered a miscarriage. She and her husband, Jamie are living in a basement flat in Bath when a leaflet flits through her door offering a house swap in Cornwall. The note indicates the couple selected their home/flat because of its close proximity to the hospital; they have an ailing daughter who needs a specialist at that particular hospital. In exchange, Libby and Jamie can live in their glorious home in Cornwall. For a week.

If it sounds too good to be true…it probably is.

But Libby is desperate. And so they make arrangements. The isolated seaside mansion is everything they hoped for–and more. Panoramic views! A fully stocked fridge! Plenty of sightseeing nearby! But strange things start happening. A sheep’s skull in a tree? A strange man who seems to be lurking everywhere they go? Is Libby just being paranoid, or is it something else?


“Just finished LAST SEEN ALIVE . . . it’s so twisty, turning and grippy. Highly recommend it!

 – Gilly Macmillan, the bestselling author of WHAT SHE KNEW


And then Jamie gets ill. They rush to the Cornwall hospital and Libby must endure a night alone at the Cornwall house.

Told in a bifurcated narrative, the first half of LAST SEEN ALIVE (HarperCollins, June 26 2018) is all ‘front story,’ and there are plenty of twists and turns, dark moments, and page-turning reading. The second half is back story, taking readers into the past and to Thailand, where a group of young twenty-something travelers are finding their way in the world–or escaping it. How these two pieces are tied together will shock and surprise you.

There’s murder, secrets, lies, and plenty of twists in LAST SEEN ALIVE, which alternates between psychological thriller with a dash of horror and a bit domestic suspense.

I’m so thrilled to welcome Claire Douglas to the author interview series. Please join us in conversation.

Leslie Lindsay: Claire, welcome! I raced through LAST SEEN ALIVE because I simply had to find out what was going on. I’m curious what inspired this tale? Was it a situation, a character, a theme?

Claire Douglas: Hi Leslie. Thank you for having me on your blog. It was the house swap idea that first inspired me. I read a newspaper article about a house swap going wrong – nothing too sinister, just a family who left the house in a mess – but it got me thinking about what would happen if you were in someone’s home and that family were in your home and you began to realize that they weren’t all that they had seemed. Years ago my husband and I rented a house by the sea. It was beautiful but very remote, and on the last day we found a sheep’s skull in the tree outside our front door. It really spooked us and I couldn’t wait to get out of there! That was the inspiration for ‘The Hideaway.’

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Photo by Oleksandr Pidvalnyi on Pexels.com

L.L.: Secrets and lies are a pivotal piece to the story. Were all of these something you carefully mapped out or did they reveal themselves to you as you wrote? Did you have a method to keep track of all the lies, twists, and so forth? Did you ever ‘write yourself into a corner?’

Claire Douglas: It was definitely the most complicated book I’ve ever written. I had to plan the plot out quite meticulously. At one stage I had all these post-it notes with scenes written on them because my brain felt like it might explode with all the information. But I still made sure there was room for the characters to breathe and to tell their own story. For example, I knew the main plot points and the twist, but I wasn’t quite sure of the exact ending. In fact I changed the ending at the editing stages. I also wasn’t sure of how best to structure the story, and in the end decided on the twist being in the middle and the story being split into three parts.

L.L.: About the half-way point, the reader is thrust into the past and an entirely different place: Thailand. I recall traveling after college. It was a bit magical. In LAST SEEN ALIVE, you mention sleeping cars on the train, how traveling companions ‘find’ one another, how there’s an intimacy with traveling with someone that you don’t often get in other forms—after all, you’re eating, sleeping, sightseeing, essentially doing everything together. Can you talk more about this, please?

Claire Douglas: The Thailand part of the story was inspired by my own experiences of travelling to that part of the world. My husband (who was my boyfriend at the time) and I did the same journey on the sleeper train, and we island hopped. We met lots of fascinating people and even though we only traveled with them for a few weeks we built up close friendships. I think it’s fascinating that when you’re travelling – especially if you’re travelling alone and meet people along the way – you can be anything or anyone you want to be. You’re not constrained by how people perceive you at home. And everything is intensified; friendships, relationships. You’re literally spending 24/7 with strangers, and as a result you end up putting your trust in them; it’s quite fascinating if something goes wrong – or that person ends up being a sociopath.

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L.L.: I think a major theme in LAST SEEN ALIVE is identity and reinvention. The other pieces of the narrative mirror this quite well: newlyweds and travel. Do you believe our sense of self is being tested and formulated, or is it more static?

Claire Douglas: I think we are constantly being tested by different situations that life throws at us, good and bad, and as a result that shapes us and makes us the person we are. I hope so anyway; I don’t like the thought of our personalities being static. I like to think we grow and change as we age; get wiser, or calmer, or stronger.

L.L.: I understand you’ve wanted to be a writer since you were a child. Whom—or what—has most inspired your writing?

Claire Douglas: I remember being in school when I was about seven and the teacher telling the class about the role of the Author, and I instantly knew that’s what I wanted to do. I loved books from an early age, a trait that was passed on from my mum, who reads a huge number of books. I was definitely inspired by authors like Enid Blyton and Roald Dahl. I was obsessed with Roald Dahl’s autobiography BOY for a few years.

L.L.: I can’t imagine going through the day without reading something–even for a few minutes. But sometimes it’s hard to find the time. When do you read? What’s on your summer list?

Claire Douglas: I can’t wait to read Lisa Jewell’s new book – WATCHING YOU. I’ve read and loved all of hers since RALPH’S PARTY in the late 1990s. I do read a lot, even when I’m writing. I try to read every night and always have to have a book on the go.

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Photo by Pixabay on Pexels.com

L.L.: Claire, it’s been a pleasure. Is there anything I forgot to ask, but should have?

Claire Douglas: No, you’ve been great. Thank you so much for having me.

For more information, to connect with the author via social media, or to order a copy of LAST SEEN ALIVE, please see: 

Order Links: 

Claire Douglas ap1.JPGABOUT THE AUTHOR: Claire Douglas has worked as a journalist for fifteen years writing features for women’s magazines and national newspapers, but she’s dreamed of being a novelist since the age of seven. She finally got her wish after winning the Marie Claire Debut Novel Award, with her first novel, The Sisters. She lives in Bath with her husband and two children.

You can connect with me, Leslie Lindsay, via these websites: 


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[Cover and author image courtesy of HarperCollins and used with permission]

Wednesdays with Writers: Stunning Psychological Debut from Roz Nay OUR LITTLE SECRET

By Leslie Lindsay 

Stunning Psychological Debut from Roz Nay about first loves, mother-daughter relationships, a disturbing twist and so much more in OUR LITTLE SECRET; oh and her TV obsessions, literary influences, those delicious almonds, and so much more.

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Stunning voice-driven psychological thriller explores first love and the dark recesses of a twenty-something’s mind. 

High School. Oh, how we loathe to love. Or love to loath. It’s often a time complicated with first love, self-discovery, and parental angst. That’s where OUR LITTLE SECRET starts–with Angela Petitjean, a girl living with her high-achieving academic parents and feeling like she’s not really fitting in. Plus, her mother is a little overbearing and a little too enmeshed in her daughter’s life. 

But back up a bit and the story actually begins in a starl interview room at a police station. The officer hounds Angela about a missing woman, whom she claims to have no knowledge of. What she ‘forgets’ to tell us is that missing woman is the wife of her first love, HP. 

Angela promises the officer she will tell him everything she knows if she is able to ‘go back to the beginning.’ He agrees, somewhat reluctantly, to hear her story. OUR LITTLE SECRET is one of those books where the backstory *becomes* the narrative; it’s a bit like a frame story in which the beginning and the end are tied together by a character looking back. 

I was completely intrigued with the mental games and present relationship between Angela and her mother. Keep a close eye on who you trust, on who you think the ‘our’ is in the title.

That said, there’s much to love about OUR LITTLE SECRET. It’s twisty, it’s dark, it’s winding and just plain evil at times. I found a handful of really fabulous lines and astute, poetic observations and psychological foreplay that left me a bit bewildered. 

I promise, OUR LITTLE SECRET is a dark, psychological thriller that will have you guessing till the very end. It’s not to be missed.

Please join me in welcoming Roz Nay to the blog couch:

Leslie Lindsay: Roz, congratulations on such a gripping debut. I’m always, always intrigued by what was haunting writers when they start out on a particular title. What was it for you?

Roz Nay: Thanks for hosting me! OUR LITTLE SECRET actually began as a homework assignment in a writing class my husband signed me up for because he wanted me to have a hobby. That’s quite funny now. Once the class was done, I couldn’t let go of Angela’s voice so I wrote the book in amongst the chaos of raising two children under five. It came at me in the snippets of time I could grab. I’d given up teaching high school in order to parent, and I missed the kids I used to teach and that sense of potential that hums around teenagers. I wanted to write a lonely story in the voice of woman who feels wronged, and who’s ended up not meeting any of her potential. In terms of being haunted by that, I think it’s ongoing: I’m always interested in the tragedies people bury, the losses they carry, or the lies they tell themselves and others. These might be themes that creep into every book I write because to me they just feel human and relatable.

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L.L.: There’s a lot of psychological tension throughout OUR LITTLE SECRET—and that’s a good thing! Did this come easy for you, or did you have to dig deep to bring that to the forefront? Did you do any research, for example, about first loves or mother-daughter relationships, or police interview techniques?

Roz Nay: First loves and mother-daughter relationships came ready-stocked for me! I actually wrote the book while my own daughter was four, so she’s very close to the character of Olive. My relationship with my mum is utterly different from the one in the book – I’m really close with my mum and had to do some fast talking when she read it! But the world as I see it is always full of tension – all of it psychological, not all of it negative – and I think writers steal moments every day from their own lives or other people’s. I’m always watching for dynamics when I sit anywhere in public, and I’ve heard some of the best lines of dialogue ever in coffee shops and bars. There’s nothing more interesting to me than what real people say in their lives, what they annotate. In fact, if you ever notice me sitting next to you in a coffee shop or a bar, you should probably whisper. Or move.


“In her debut novel, Roz Nay lures readers down a dark and tangled path that explores the aftereffects of lost first loves. Our Little Secret is a gripping addition to the psych thriller world.”
Mary Kubica, New York Times bestselling author of The Good Girl


L.L.: So why do you think we cherish those first loves so dearly?

Roz Nay: I think it’s because they happen at a time when everything’s exploding into colour and sound. And there’s so much at stake in those years because it’s all so formative. When I think of myself at sixteen, I see how curious and trusting and new I was; and while I might have held on to some of those things, newness is by definition a one-time offer. That’s what makes first loves so tender, I think: we’ve never been anywhere like this before.

L.L.:   I’m curious about your writing process—the structure, in particular—was it your intention all along to delve into the past, or did it grow organically as you wrote?

Roz Nay: I definitely knew that Angela would want to tell a story different to the one that Novak needs. And I knew that I wanted to put the two characters into a confined space, and that this disconnect between the stories they tell/need would create most of the tension for them. My sense has always been that love stories very much enjoy the company of crime stories, and so the love triangle was also always with me from the start. There were a lot of pieces of the story that evolved as I wrote, and my editors helped me find my way through it all; but Angela arrived for me pretty fully-formed, and so in a sense I always knew what the end scene would be.

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L.L.: Did you ever get to the point in the early writing process where you wrote yourself into a corner, or felt you were spinning your wheels? What propelled you to move forward, when sometimes it’s so easy to throw in the towel?

Roz Nay: The interesting thing about this book is that it was signed with a different crime and a different victim. That’s quite a serious swerve.  It was only in edits that I realized I’d forgotten to ask myself the number-one-most-important question of my main character: what does she want? Yep, forgot that one. So there was a day mid-edits, where suddenly 40,000 words of the book had to be cut and on that day I thought to myself, right, Rozzy, sink or swim. I freaked out for about three hours, and then I sat down and started the rebuild. Because what else was I going to do? I couldn’t leave Angela in the lurch like that! All the way from the very beginning, hers was a story I wanted to tell and when you feel like that, it’s really just about sitting down each day and keeping going.


“A clever and addictive read that had me enthralled from the first chapter all the way to the shocking twist that left me breathless. I stayed in bed one lazy afternoon and polished it off, then stared up at my ceiling, stunned that it was over and still half in love with the characters. It’s been a long time since I’ve read a debut this good. Roz Nay is going to be a name we hear a lot of in the future.”
— Chevy Stevens, bestselling author of Still Missing


L.L.: What—or who—are your writing influences?

Roz Nay: I grew up on Enid Blyton mysteries and all the Nancy Drews. I had a well-developed crush on both of the Hardy boys. At 15, I read John Fowles’ THE COLLECTOR which has always stayed with me in terms of ultimate creepiness done really subtly, and for beautiful sentences I always go to Ian McEwan or Donna Tartt. I read a lot of psychological thrillers now and devour anything Jessica Knoll and Harriet Lane come up with. I also really like Andrew Pyper’s style but I can only read his books in the morning sunshine or I get nightmares. For real.

 

L.L.: Angela is obsessed with HP. What’s obsessing you these days? It doesn’t have to be literary.

Roz Nay: The book I cannot stop talking about this year is Thomas Christopher Greene’s THE HEADMASTER’S WIFE. [See Leslie’s interview with Thomas Christopher Greene here]. In my opinion it’s perfect and everyone I know is hearing that opinion often and relentlessly. I’m also obsessed with the TV show PEAKY BLINDERS although it’s not a new obsession. SHETLAND is also high on my list. My daughter has just started karate so my brain is shouting instructions in Japanese at me at night which is rather unsettling. And I’ve just discovered tamari almonds at the co-op so I’m buying those in bulk to stave off book 2 writing fatigue…

L.L.: Roz, it’s been a pleasure. Is there anything I should have asked, but may have forgotten? Like, your weekend plans, what you’re binge-watching (or eating!—Crème Brule almonds, anyone?), if you’re writing another book…

Roz Nay: Almonds are getting a lot of good press here! This weekend I plan to not attend a minor hockey event, which feels celebratory because I’ve been in attendance every weekend since October with both kids. In terms of books I’m working on, I’ve written another psychological thriller and it’s with my editors , and I’ve just had my pitch for book 3 approved, so that one’s starting to fizz in my brain, too. But this weekend I’ll be walking the dog, listening to Coldplay, and hanging out with my husband and kids. I love spring – it’s all about renewal! I might even clean the fridge so I’ll really feel like I have my life together.

 For more information, to connect with Roz via social media, or to purchase a copy of OUR LITTLE SECRET, please visit:

Order Links: 

Roz Nay_credit Lisa SeyfriedABOUT THE AUTHOR: Roz Nay grew up in England and studied at Oxford University. She has been published in The Antigonish Review and the anthology Refuge. Roz has worked as an underwater fish counter in Africa, a snowboard videographer in Vermont, and a high school teacher in both the UK and Australia. She now lives in British Columbia, Canada, with her husband and two children.Our Little Secret is her first novel. Follow her on Twitter@roznay1 and on Facebook.com/roznay1.

 

 

You can connect with me, Leslie Lindsay, via these websites (please do!): 

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[Cover and author image courtesy of St. Martin’s Press and used with permission. Image of woman in interrogation room retrieved from, ‘the end’ from, image of Enid Blyton books from; all retrieved on 4.4.18].

WeekEND Reading: Internationally bestselling U.K. Author Clare Mackintosh is back with her third psychological suspense/crime novel, LET ME LIE and it will most definitely keep you guessing

By Leslie Lindsay

I’m so excited to share with you LET ME LIE (Berkley, March 13 2018), the next work of psychological suspense from New York Times and internationally bestselling author of I LET YOU GO and I SEE YOU.

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Have you read either of them? 

I was absolutely gobsmacked by the cliff-hanger ending of I LET YOU GO and the cat-and-mouse intensity of I SEE YOU had me on the edge-of-my-seat.

She’s back with her third tale of psychological intrigue and I promise, it will keep you guessing. 

 

 

 

 

 

You can connect with me, Leslie Lindsay, via these websites:

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clare-mackintosh-us-banner-2018-1[Cover and author image courtesy of Berkley/NAL and used with permission. Image of C.M. book banner retrieved from author’s website;  image of infant and mother from, image of Beachy Head retrieved from, Eastbourne pier image retrieved from , image of anniversary card retrieved from Pinterest, no source noted. Excerpt reprinted with permission from LET ME LIE by Clare Mackintosh from Berkley Publishing Group, copyright 2018.]

Wednesdays with Writers: Debut author, A.J. Finn on his HOT bestselling psych thriller, WOMAN IN THE WINDOW, how he hates the ‘post-truth era,’ his favorite ear worm of 2018 (so far), lifting the stigma on mental health, plus those black & white films that inspired the book

By Leslie Lindsay 

Intricate and suspenseful and utterly unputdownable, THE WOMAN IN THE WINDOW is on-par with smart, psychological thrillers that will stay with you long after you close the book for the final time. 

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THE WOMAN IN THE WINDOW is the most widely acquired novel of all time. Prior to publication, THE WOMAN IN THE WINDOW (William Morrow, January 2 2018) had been sold 38 territories around the world, and Fox 200, the makers of LIFE OF PI and HIDDEN FIGURES preempted the film rights, with Oscar winner Scott Rudin producing and Pulitzer Prize-winning playwright Tracy Letts writing the script.

Stephen King loves it. So does Gillian Flynn and Ruth Ware.

Oh, and it’s a debut for A.J. But it doesn’t read like one. THE WOMAN IN THE WINDOW is smooth, rich, complex, and layered. 38 year old Anna Fox is a child psychologist by training but dealing with a severe case of agoraphobia herself.  Alcoholism plays a role, too and so does her faulty memory.

Anna Fox has been a prisoner of her own NYC brownstone for 10 months. She lives alone, separated from her daughter and husband. She spends her days watching neighbors outside her window, playing Chess on-line, watching old black and white thrillers, and participating in an on-line chat group for shut-ins. Yet something’s not right. We learn this (and what lead to Anna’s agoraphobia) about 2/3 into the story.

But there’s also what Anna *thinks* she saw happen in the home near hers. Something horrific and unimaginable. But no one believes her. She’s a drunk. She’s delusional.

The chapters are short and punchy and I found the reading experience flew. I had my own theories about what was really going on and some of it panned out, yet there were still plenty of surprises. Everyone always wants to know the ending in tales like this and if there’s a twist.

There is. That’s all I’ll say. 

So pull up a spot on the couch and join me and A.J. in conversation.

Leslie Lindsay: I’m so grateful to have the opportunity to chat with you about this stunning debut. I know that THE WOMAN IN THE WINDOW draws on your lifelong long of suspense fiction, both on the page and screen; was that your ultimate inspiration for this tale, or was it something else?

A.J. Finn: Thanks for making time for me! Here’s the spark: One night in 2015, while parked on my sofa watching Rear Window, I clocked a light in my peripheral vision: my neighbor across the street, switching on a living-room lamp. In accordance with New York City custom, I watched her for a moment as she settled herself in her armchair and aimed a remote at the TV. Behind me, Thelma Ritter spoke up: “I can smell trouble right in this apartment,” she chided Jimmy Stewart as he peered into Raymond Burr’s window. “You look out. You see things you shouldn’t. James-Stewart-Rear-WindowTrouble.” When I turned back to the screen, she was glaring at me.

Interesting, I thought, how—sixty years later—I’m spying on my neighbors exactly as Stewart did his. Voyeurism dies hard.

L.L.: I heard somewhere that you wanted THE WOMAN IN THE WINDOW to have a similar cinematographic feel as some of your favorite classic thrillers. In fact, reading this inspired me to re-watch GASLIGHT and REBECCA. Can you talk more about your fascination with those old movies?

A.J. Finn: As a teenager, I lived down the road from an art-house cinema, where I camped out every weekend. The managers hosted classic-movie nights, film noir retrospectives, Hitchcock marathons… and I steeped myself in all of it. I chased Harry Lime through Viennese sewers in The Third Man. I watched the conspiring women of Les diaboliques drown a man in a bathtub. I boarded Nicole Kidman’s yacht in Dead Calm. And I checked into the Bates Motel with Marion Crane—who, of course, wound up making an early exit.

I love the look, tone, and pace of older films: they’re stylish; they‘re sophisticated; they take their time establishing their characters and building suspense. And they appreciate and reinforce the value of restraint and suggestion. By contrast, many modern films rocket forward at a breathless pace; they appear to have been shot and edited without much care or craft; and they stoop to shock tactics and cheap scares.

L.L.: Anna lives in a large NYC brownstone. Oh, how I love old houses! What was your inspiration for the setting of this story? Do you think it would have worked as well if she were, say, living in a suburban split-level in Ohio?

A.J. Finn: Ultimately, THE WOMAN IN THE WINDOW is a novel about loneliness. It explores how difficult it is to connect to others—and how easy it can be to misinterpret them. That’s why I decided to set the action in one of the world’s most densely populous cities: I wanted to demonstrate how even in a place where people are living shoulder-to-shoulder alongside others, they can still feel isolated, even alienated. Also, New York is a city familiar to fans of classic movie thrillers—Rear Window and Rope, to name but two. The urban environment lends a menace and mood to the story. Or so I hope!

L.L.: Dr. Anna Fox, your protagonist has severe agoraphobia. She’s basically been a victim of her very home for the last 10 months as a shut-in. She’s also a former well-regarded child psychologist. What kind of research did you do to get those pieces of her illness and profession ‘just so?’

A.J. Finn: I drew upon my own experience with depression, which over the years—and until my diagnosis and medication were corrected three years ago—had periodically left me unable to prize myself from bed, let alone leave the house. I also consulted psychiatrists specializing in anxiety disorders, as well as agoraphobes living in Manhattan. It was important to me to communicate, accurately and effectively, Anna’s condition.

L.L.: I’m grateful you shared this tid-bit about yourself. It seems stigma is lifting. There are books—memoirs—popping up all over. We hear about mental illness more in the public (I’m really getting tired of saying ‘media’). What are your thoughts about all of this? How does it inform your writing? Or does it?

A.J. Finn: We’ve got quite a ways to go, but I agree that there’s more discussion about and around mental health today than in years past. That said, mental illness is still perceived as a failing or defect, when in fact it’s as natural—and in many cases as treatable—as any other illness. I feel it’s informed my writing insofar as I try to create psychologically nuanced characters—characters with complications and contradictions, characters who struggle. As everyone struggles, in one way or another. My experience with mental health has also endowed me with what I consider a pretty potent sense of empathy—an invaluable asset, I think, in writing fiction.  

Instant #1 New York Times Bestseller

“Astounding. Thrilling. Amazing.” –Gillian Flynn

“Unputdownable.” –Stephen King

“A dark, twisty confection.” —Ruth Ware

“Absolutely gripping.” —Louise Penny

L.L.: Besides old black & white thrillers, what’s keeping you awake at night?

A.J. Finn: I’m deeply troubled by what some call the ‘post-truth era’ in which we live. We’re at the point where it’s broadly acceptable—at least in the political sphere—to dismiss disagreeable or unflattering facts as ‘fake news’; we hear elected officials suggesting that we ‘agree to disagree’ about inarguable facts. As a writer of fiction, I can appreciate as much as anyone else that there’s a clear, bold line between reality and make-believe. Cross or obliterate that line, and chaos ensues.

L.L.: Are you working on new?

A.J. Finn: I’m working on my second book, another psychological thriller—this time set in San Francisco, probably America’s most mysterious and romantic city. In this novel, characters actually set foot outdoors, which is a blessed relief.

L.L.: A.J., it’s been a pleasure. Is there anything I forgot to ask, but should have? Like, what you had for lunch, if you have a dog, or what ear worm is currently plaguing you? [I cannot get Bruno Mars’s “Cadillac” song to go away).

A.J. Finn: I don’t have a dog at the moment, although I grew up with six of them (not at the same time). I’ll be getting two pooches later this year: a puppy (French bulldog) and a senior rescue dog (Lab or mixed-breed). And my song of the year thus far is ‘Slower Than Usual’, by Ariel Beesley. Propulsive 80s-tinged electropop—very much my speed.

For more information, to connect with A.J. Finn via social media, or to purchase a copy of THE WOMAN IN THE WINDOW, please see:

Order Links:

AJ Finn author photo color_photo courtesy of the authorABOUT THE AUTHOR: A. J. Finn has written for numerous publications, including the Los Angeles Times, the Washington Post, and the Times Literary Supplement (UK). A native of New York, Finn lived in England for ten years before returning to New York City. WOMAN IN THE WINDOW is his first book.

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[Cover and author image courtesy of William Morrow/Harper Collins and used with permission. Jimmy Stewart in Rear Window from.Movie poster images from Wikipedia, all retrieved 3.5.18]. 

Wednesdays with Writers: Author-Editor Team Greer Hendricks and Sarah Pekkanen Pen First Psych Thriller Together, THE WIFE BETWEEN US, about exes, lies, perception, memory; plus friendship, movie deals and so much more

By Leslie Lindsay

Spectacular, mind-bending, romantic thriller about all sides of a marriage, infidelity, betrayal, and more.

Wife Between Us.jpg

When a copy of THE WIFE BETWEEN US (forthcoming, January 9 2018 from St. Martin’s Press) landed on my doorstep, I was immediately intrigued. It’s co-authored (Greer Hendricks and Sarah Pekkanen), which lends well to the ‘wife between us’ concept; that is, there’s always more than meets the eye when it comes to complex relationships like marriage.

What calls to mind with THE WIFE BETWEEN US is a smart, edgy psychological thriller in the vein of THE LUCKIEST GIRL ALIVE meets Gillian Flynn’s earlier work (SHARP OBJECTS), meets DEAR DAUGHTER (Elizabeth Little), a subtle twist in vein of HER (Harriet Lane) with a flavor of GIRL ON THE TRAIN (Paula Hawkins); but it’s probably not what you’re expecting.

Vanessa’s seemingly perfect husband, Richard abruptly leaves her. She’s forced out of their four-bedroom Colonial and into her aunt’s apartment. She drinks. She worries after her aging aunt. She reluctantly takes a job as a sales associate at Saks. She keeps a close eye on her “replacement,” the new, young assistant Richard is now engaged to marry. download (57)

But it’s not just about a jealous ex-wife. It’s not even about her being lonely and worried. It might not even be about the new woman.

There’s definitely a twist with THE WIFE BETWEEN US, and I guarantee you’ll be flipping the pages frantically to discover the truth, which will reveal itself by the end.

Please join me in welcoming Greer Henricks and Sarah Pekkannen to the blog.

Leslie Lindsay: Greer and Sarah, it’s such an honor to have you! I understand you have worked together in the past—but not as co-authors. Can you talk a bit about how you came to collaborate on THE WIFE BETWEEN US? And what was the instigating moment for this particular title?

Sarah: After working together on seven novels as an author-editor team, we knew we had a unique relationship.  Not only do we share strikingly similar narrative instincts and approaches to storytelling, but we get along beautifully as friends. When we discovered we were both itching to write a psychological page-turner – one as twisty, complex, and fresh as possible – it almost seemed predestined.

Greer: We both studied journalism and psychology, which makes us curious students of human nature.  In THE WIFE BETWEEN US, we wanted to explore how memories are colored by the lenses through which we view our worlds – and how people can share an experience but carry away markedly different perspectives and emotions. Little did we know that it would take every ounce of our collective brain power to keep track of the literary kaleidoscope we wanted to create.

L.L.:  In watching your YouTube video, I can see that your working chemistry is so natural. It really seems like you had fun with this title. Were there any challenges co-authoring?

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Greer: Our biggest challenge is technology. Because we write every word together we rely on google docs and google hangouts. Most of the time these tools work beautifully, but when they don’t it’s incredibly frustrating.

Sarah: Aside from technological glitches, we did have a lot of fun!

THE WIFE BETWEEN US delivers a whip smart, twisty plot in a taut, pacy narrative. It’s terrific and troubling. This is one scary love triangle where you won’t know who to trust. I loved it.”

Gilly Macmillan, New York Times bestselling author of What She Knew

L.L.: As for the story, my read was that a complex relationship like a marriage is so very multifaceted it’s hard to tell where one truth begins and another ends. It’s not just marriage; those lines can be blurred in just about any romantic entanglement. Can you elaborate on that, please?

Greer: There are three sides to every marriage: the husband’s, the wife’s and the truth. This is true for any relationship.

Sarah: One of our hopes was that THE WIFE BETWEEN US  would cause readers to reevaluate their own perceptions.

L.L.: I have to admit, my mind was reeling as I read THE WIFE BETWEEN US. I had to read ‘very carefully,’ for fear I might miss something. I had lots of theories. I can only imagine you did, too. Did you ever write yourself into a corner, and if so, how did you back out?

Greer:  We have two words for you: Cake Topper.

Sarah: We definitely backed ourselves into a corner with that one. It only took about 80 hours of conversation before we figured out a way to fix it!

L.L.: I understand THE WIFE BETWEEN US is to become a major motion picture. From the producers of THE GIRL ON THE TRAIN, no less! How thrilling! What can you tell us about the process and when might it be in theaters?

Sarah: We spent a day talking to various producers who were interested in our manuscript, and signed a contract with Amblin Entertainment, which is Steven Spielberg’s production company. They are currently working with a screenwriter to create the script based on our book!

L.L.: Are you collaborating on something new?

Greer: Yes, our next novel is also a psychological thriller, tentatively titled You’re Invited. It features twists and turns, of course, as well as strong female protagonists.

L.L: What’s keeping you awake at night? And let’s hope it’s not a faulty alarm system.

Greer: The plot of our new novel is as twisty and complicated as our first book and I think we are both becoming quite obsessed with all the potential twists and turns. We often email each other in the middle of the night with random ideas. Most of the time they still make sense in the morning.

L.L.: Is there anything I forgot to ask, but should have?

Sarah: Please check out our website for more information on our book – and hopefully we’ll get to meet a lot of readers on tour!

L.L.: Ladies, it’s been a pleasure. Thank you so much for being here today. Happy New Year!

Greer and Sarah: Thanks for having us!

For more information, to connect with the authors, or to get a copy of THE WIFE BETWEEN US, please see:

Greer:

Sarah:

Buy the Book!

Sarah Pekkanen and Greer Hendricks_photo credit Bill MilesABOUT THE AUTHORS:  Sarah Pekkanen is the internationally and USA Today bestselling author of seven previous novels. A former investigative journalist and feature writer, she has published work in The Washington Post, USA Today, and many others. She is the mother of three sons and lives just outside Washington, D.C.

Greer Hendricks spent over two decades as an editor at Simon & Schuster. Prior to her tenure in publishing, she worked at Allure magazine and obtained her Master’s in Journalism from Columbia University. Her writing has appeared in The New York Times and Publishers Weekly. Greer lives in Manhattan with her husband and two children. THE WIFE BETWEEN US is her first novel.

You can connect with me, Leslie Lindsay, via these social media sites:

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[Cover and author image courtesy of St. Martin’s Press and used with permission. Image of split wedding couple retrieved from, frustrated writer image from, unboxing image from L.Lindsay’s personal archives, all on 1.5.18] 

Wednesdays with Writers: Wendy Walker talks about breaking the cycle of narcissism in families, letting creative ideas in even when they deviate from the outline, hitting ‘send’ and more writing anxieties in her psychologically twisted tale, EMMA IN THE NIGHT

By Leslie Lindsay 

Where does the truth lie and darkness begin? That is the question overarching this entire book, but there’s more: it’s about love, obsession, mental illness, jealousy, revenge, and so much more. 

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“We believe what we want to believe. We believe what we need to believe.” So begins EMMA IN THE NIGHT (Aug 8, St. Martin’s Press) and immediately, I was hooked. This is a voice-driven character and right away, I can tell she has a skewed version of the world. And what’s more intriguing than reading about an unreliable narrator?

Three years ago on a foggy night, 15 and 17-year-old sisters, Cass and Emma Tanner disappeared from their home, seemingly walking into the shore of the beach ala Virginia Woolf. Everyone suspects they’re dead…and the investigation has come to a stand-still.

And then, with just the clothes on her back, Cass returns home…without her sister. She talks of kidnapping and isolation, a mysterious island off the coast of Maine where the girls were held in a home by two strangers, a husband and a wife. But–her story doesn’t all add up. There are inconsistencies. There’s talk that maybe Cass isn’t operating on all four cylinders…

Told in alternating POVs–Cass’s (first-person) and also Dr. Abby Winter’s (third-person), EMMA IN THE NIGHT is a bit of a mind-bending, staggering read. I felt I was reading a bit slower than typical, fearing I’d miss something. The prose is hypnotic and disturbing, fragmented and I think this is intentional…because…

We’re dealing with a very dysfunctional blended family. 

Please join me and Wendy Walker as we delve into this heady read.

Leslie Lindsay: Wendy, it’s great to have you! So many times a story is brewing because it’s something we’ve lived. But in your acknowledgements section, you make it pretty clear EMMA IN THE NIGHT is not about you or your family. And that’s a good thing! What was the inciting moment for this story?  What did you seek to explore?

Wendy Walker: [EMMA IN THE  NIGHT] started with the concept of a young woman disappearing and then returning home. Something about that fascinated me – what it would be like to return, and how easy it would be for her to manipulate the truth about where she’s been and why she left. From there, I needed a reason for this woman to manipulate people – and that’s when I came up with the ending. Of course, I love to explore real issues and psychological illnesses. After reviewing my research notes, I landed squarely on narcissistic personality disorder (or NPD) because it just fit this story so perfectly! The entire plot was then built around the ending and the mental illness of NPD.

L.L.: The mother of Cass and Emma is most suffering from a pathological Narcissistic Personality Disorder. This is handled quite well and I *almost* felt as if I were reading an abnormal psych textbook, yet we were hearing things from forensic psychologist Abby Winter. Can you tell us a bit about your research? I think you nailed it, by-the-way, and I’m a former psych R.N. Also, full disclosure: I’m pretty sure my own mother suffered from Narcissistic Personality Disorder.

Wendy Walker: That’s a relief – I always worry when experts and professionals read my descriptions of these illnesses! As a family law attorney with training as a guardian for children in custody disputes, I learned the basics about personality cb1fd2746c65c59894b241f7e802cbaf--abuse-quotes-a-quotes (1)disorders and how they affect children. From this base of knowledge, I launched into research using the Internet and also the mental health professionals who have been generous enough to consult with me. It was a real challenge to get the technical information across to the reader without slowing down the plot. However, I really wanted readers to understand the complexities of this illness, and especially how underneath the narcissist’s confident alter ego, lies a fractured, deeply insecure true ego. This understanding is essential to following the plot, and the huge twist at the end!

L.L.: And kidnappings! I have to say, I have a bit of a strange fascination with them, as I think others might too. Here’s why: it could happen to anyone, anywhere. Missing kids on milk cartons, the fear, the threat…you mention a couple of contemporary cases [in the book] in the media: the Cleveland, OH girls and also Elizabeth Smart. What can you tell us about your research into kidnappings for EMMA IN THE NIGHT and why do you think we have such a fascination with them?

Wendy Walker: The book started with this very fascination! I think there is something uniquely terrifying about being held against your will. Can I escape? What will happen if I try? Can I accept this as my new reality? How long will it last? Will someone find me? Maybe today? And, for those left behind with the loss but also the uncertainty, a unique kind of emotional torment. Is she dead? Is she alive? Is it easier to keep looking and clinging to hope? Or to give up and grieve? Will I ever find her? Will I find her today? I read a lot of Internet material about the psychological rollercoaster for those taken and those left behind and tried to construct the characters around that research. I also tried to put myself in Cass’s head – because, after all, she grew up in a highly dysfunctional family so her reactions would not be quite the same as another young woman.

“In this searing psychological thriller…Walker’s portrayal of the ways in which a narcissistic, self-involved mother can affect her children deepens the plot as it builds to a shocking finale.”

  Publishers Weekly (starred review)

L.L.: How do you write? Do you follow an outline or let the pen guide you?

Wendy Walker: I always try to have an outline, especially when I am building to an ending like the one in this novel. It’s so important to find that balance of delivering clues but not enough for readers to guess. Everything has to fit like a puzzle, with the last piece being hidden until the very end. As I go along, however, I do deviate from the plan as the characters take shape in my head and new ideas find themselves onto the page. Sometimes, if I like the new idea enough, I will go back and rewrite passages to support that new idea. It is the depth of the characters that really makes a book enjoyable, so I think this process of development and rewriting is just as important as having the tight outline for the plot.

L.L.: What is/are the best thing(s) an inspiring writer can do to hone his or her craft? 

Wendy Walker: Just keep writing! It is helpful to read as well, but once you find your voice, it’s more important to listen to what your readers say about that voice – what they like, what they find difficult – and then to fine tune it to make your work accessible to a wide audience. The goal with commercial fiction, I think, is to tell a great story in a way that a very broad audience can enjoy. And to do that requires constant fine tuning, rewriting, and listening to feedback from all sources.

L.L.: Can you tell us, without using complete sentences, what was going on in your life as you wrote EMMA IN THE NIGHT?

Wendy Walker: One year. Writing. Revising again and again. One son applying to all-is-not-forgotten-wendy-walker-paperback-1college. A new relationship with an old friend. General emotional chaos resulting. Launching ALL IS NOT FORGOTTEN. Excited. Nervous. Major life changes on all fronts.

L.L.: You’re stories are often about scary things: kidnappings, mental illness, violence, lost memories. What scares you about writing?

Wendy Walker: There is a twinge of terror every time I sit before a blank screen to write a new page. Even though writers are portraying made up characters, the thoughts and words and actions of those characters have to come from somewhere inside the writer’s head. I don’t think we ever stop feeling vulnerable when we put those things on a page and let others read them! There is also fear after hitting “send” – whether to a trusted reader, agent or editor. Is it any good? Does it work? Is it moving fast enough? Fear of failure with something as subjective as writing never leaves me. And then – the worst terror of all – setting the book free in the world of readers and reviewers. Sometimes I think I need thicker skin for this business! But then I’m not sure I would be able to reach the emotional depths that I like to weave into my work. In my next life – maybe a career as an accountant!

L.L.: Wendy, it’s been a pleasure! Before I let you go, is there anything else I should have asked, but may have forgotten? Like, what’s left on your summer to-do list, your nightstand reading, what you ate for dinner last night, if you’re writing another book, and if you miss practicing law? [you don’t have to answer all of those!]

Wendy Walker:  Back to school shopping. Karin Slaughter’s THE GOOD DAUGHTER. Steak. Yes. No. Seriously, I think something most readers find surprising about a writer’s life is that it is nowhere near as seamless as it appears on our social media pages! Most of us are sitting at a desk, still in pajamas, pounding coffee or Red Bull, feeling anxious about a blank screen, a deadline, reviews, sales numbers, or a plot that just won’t come together. We clean up for events and photos, but then we are right back to work. It has huge ups and huge downs and can be very isolating. Even so, I wouldn’t trade this career for anything – I fought for it for many years and I am very grateful for every person who buys and reads one of my books!

For more information, to connect with Wendy Walker via social media, or to purchase a copy of EMMA IN THE NIGHT, please visit:

Purchase EMMA IN THE NIGHT here:

Wendy-Walker-Headshot-350wABOUT THE AUTHOR: Wendy Walker is a former family law attorney in Fairfield County, Connecticut who began writing while at home raising her three sons. She published two novels with St. Martin’s Press and edited multiple compilations for the Chicken Soup for the Soul series before writing her debut psychological thriller, All is Not Forgotten. Her second thriller, Emma In The Night, will be released August 8, 2017.

Wendy earned her J. D., magna cum laude, at the Georgetown University Law Center where she was awarded  the American Jurisprudence award for her performance in Contracts and Advanced Criminal Procedure.  She received her undergraduate degree, magna cum laude, from Brown University and attended The London School of Economics and Political Science as part of her undergraduate studies.

Prior to her legal career, Wendy was a financial analyst at Goldman, Sachs & Co., in the mergers and acquisitions group. She has also volunteered at the ACLU, Connecticut Legal Services and Figure Skating in Harlem where she served on the Board of Directors for over twelve years.

Wendy is currently writing her third thriller while managing a busy household.

You can connect with me, Leslie Lindsay, via these social media sites:

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[Cover and author image retrieved from author’s website. Image of narcissistic personality disorder quote retrieved from Pinterest no source noted, all on 8.8.17]

 

Wednesdays with Writers: In her fourth book of domestic suspense Mary Kubica tackles a grieving young mother, a marriage rife with secrets, and the dark folds of one’s mind in EVERY LAST LIE, set in the western Chicago suburbs

By Leslie Lindsay 

When Mary Kubica arrived on the scene in 2014 with her twisty, dark and obsessive THE GOOD GIRL, I was hooked. And I think it’s safe to say that many others are, too. She’s a New York Times and USA Today bestselling author, making her summer books a quick read, and ones I look forward to every year.

High Res EVERY LAST LIE (1)

EVERY LAST LIE (June 27, 2017) takes a desperate and grieving young window to the edge. Clara Solberg is shattered when she learns her husband is suddenly killed in a car crash. She answers the door with her days-old infant son in her arms, wet spots on the front of her shirt. She hasn’t slept in days. Her 4-year old daughter, Maisie, also in the car at the time is unharmed. But Nick is dead.

Maisie starts having nightmares and is talking in her sleep about ‘a bad guy.’ But the crash was deemed an accident; a one-car accident due to Nick’s speeding. Still, Maisie’s response has Clara concerned, and perhaps a little unhinged.  Could someone have been out to kill Nick? But who? And why? He was an upstanding man, a dentist, a father. 

Check out the chilling book trailer of EVERY LAST LIE https://www.youtube.com/watch?v=lsYzpz_z0AY

Clara is plunged into a desperate attempt to find out what *really* happened that late afternoon as the sun bore down on the winding road on the way home from Maisie’s ballet lesson. I felt every raw emotion from pity, sympathy, disbelief, even anger.

Told in alternating POVs: Clara’s “after” and Nick’s “just before,” Kubica does a lovely job of writing domestic suspense, her strength I think, is bringing Chicgaoland to life; her characters are fully developed, flawed, and unique. There are plenty of red herrings, too but they are presented in such an authentic way that doesn’t feel forced; in many cases, everyone becomes a suspect. EVERY LAST LIE is chock full of hair-pin twists and chilling revelations.

So pull up a chair and join me and Mary for a little coffee break. By-the-way, she only drinks hot coffee, not the iced frou-frou stuff I prefer.

Leslie Lindsay: It was a few years ago as we were talking about PRETTY BABY at a local coffee shop that I asked what was brewing for your next book. You had just turned in the edits for DON’T YOU CRY.  You leaned forward and said, “It’s in its very early stages but a father and young daughter in a car. There’s an accident. The daughter remembers things that might make it seem as if the father was murdered.” Of course I was intrigued.  What ultimately inspired the storyline for EVERY LAST LIE?download (16)

Mary Kubica: While most of my novels stem solely from my imagination, EVERY LAST LIE was inspired by a news article that caught my eye.  The headline read something to the effect of: girl’s nightmares help solve the mystery of her father’s death, and immediately I was intrigued.  I knew right away that I wanted to do something with this, but being only partway through writing DON’T YOU CRY at the time, I had to table the idea for a bit.  But of course, the wheels in my mind were already turning, creating Nick and Clara long before I began to write their story down on paper.

L.L.: All of your books have been set in the Chicagoland area, which living here, I know is immense (thanks to some stats in EVERY LAST LIE, I now know it tops out at ten million). PRETTY BABY took place in the city, so too did parts of DON’T YOU CRY (also resort communities across Lake Michigan). THE GOOD GIRL was home to a wealthy North Shore community and remote Minnesota. But this book—EVERY LAST LIE—takes place nearly in my backyard. My daughter played a soccer tournament at Commissioner’s Park where Clara met with Kat. My kids will one day attend the high school on Harvey Road where Nick met his death. I know about the sex shops and seedy motels on Rt. 30; the myriad of dental practices lining Rt. 59. I think I might even know the exposed beam converted warehouse where Maisie takes ballet lessons. I’ve driven Douglas Road and Wolf’s Crossing. On a regular basis. So the question is: why this area? And might it have something images (11)to do with the fact that these tragedies often happen to just about anyone, anywhere, or something more?

Mary Kubica: I set EVERY LAST LIE in the western suburbs of Chicago because like you, this is home to me.  My own children grew up playing at Commissioner’s Park – which they dubbed the hippo park themselves, an anecdote that made its way into the novel – and many of the locations mentioned in the story are based loosely on places I know (the police station and Maisie’s ballet studio, for example, as well as the hairpin turn where Nick meets his death).  My previous novels have all been set in the city of Chicago but for this one I wanted something different and new; the suburbs fit the bill perfectly.    

L.L.: Clara’s mother is suffering from dementia. She reminds me a bit of Alex’s father in DON’T YOU CRY who is an aloof alcoholic. I like how you balance two storylines, often one with medical underpinnings. Is this deliberate on your part, or does it just sort of ‘come’ to you?

Mary Kubica: Rarely in our lives are we able to tackle just one mishap at a time.  How often do we ask ourselves, Why does everything have to happen at the same time?  We take on too much, we give too much of ourselves until we’re pulled in all directions and don’t have a second in our days to spare.  To me, Clara’s mother’s dementia is an example of real life.  Many people in Clara’s generation are dealing with aging parents while trying to raise families of their own.  It puts plenty of stress on an individual.  Add in a newborn baby and the unexpected loss of a spouse, and it’s enough to throw Clara into a tailspin.  Not only does the inclusion of Louisa help round out Clara’s character for me and give her some depth and emotion aside from her immediate family, but it’s authentic.  Many of us are bogged down by more stressors than we can handle.  If a tremendous tragedy were to occur, there’s noburroakdistance telling how we might respond.

L.L. And Clara. She is a brand-new mother having just given birth to little Felix, plus running after 4-year old Maisie when the knock arrives at the door that her husband has been in an accident. You convey a sleep-deprived, grief-stricken mother so well. Please tell me this isn’t based on fact.

Mary Kubica: I think most mothers and fathers can relate to those sleep-deprived days, weeks and months after a baby is born, when the amount of sleep we reap is slim and because of the overwhelming fatigue, we go through the motions, there but not there all at the same time.  This is something I can relate to though, thank goodness, I never had a tragedy like Clara’s to contend with at the same time.  I think some readers will be unsympathetic to Clara; she’s overwhelmed, she’s grieving, and she makes a number of poor decisions, especially where her children are concerned.  I tend to feel sorry for her because I don’t think any of us can know for certain how we’d respond in a similar situation unless we were in Clara’s shoes.

L.L.: I know you’re not a plotter, but do you start out with a sentence, or perhaps only a premise? John Grisham says an author should always know the ending before he even begins writing. I tend to disagree. Where do you sit on that debate? And do you have little hacks to keep your story moving forward…note cards, post-its? Have you ever written yourself into a corner?


Mary Kubica:
I start out with an idea, usually some sort of problem that my characters will spend the next three hundred pages sorting through.  With EVERY LAST LIE, it began with the idea that a recent widow comes to believe her husband’s death wasn’t accidental, but rather a murder.  Rarely do I know the ending of my novels when I begin; I need time to get to know my characters and figure out how the story will go before I can decide how it will end.  I write myself into corners from time to time, mostly because I’m not a plotter, because I don’t rely on notecards or post-it notes to keep my thoughts organized, but have a tendency to dive right into the writing (my favorite part!), wing it a little and see what happens.  Sometimes it works, and sometimes it takes a little backtracking and a lot of editing to get my ideas clearly across.  Sounds a little pell-mell on paper, but it’s a method that works well for me.

L.L.: There were so many ways this story could have gone. Do you ever have multiple endings in mind? Do you have difficulty deciding which direction to take? I know I would!

Mary Kubica: Yes, there are always many ways the story could go!  Truly, I consider them all before attempting to rule out the most obvious solutions.  I try and decide how the reader will envision the ending, and then do a 180 in the hopes of taking readers by surprise!  Sometimes it works and sometimes it doesn’t, but either way, my main goal is that readers enjoy tagging along on Nick and Clara’s journey.

L.L.: You’re a busy mom and yet your summer is filled with a Midwest book tour, a bit of a break and then back at it this fall. Plus, you obviously need time to write. download (17)How do you balance the demands of a family with that of in-demand author? Do you ever have to say ‘no’?

Mary Kubica: I do have to say no, and it’s been happening with more frequency lately.  I hate passing up on any opportunity, but my kiddos aren’t so little any more – they’re 9 and 11 now, very soon to be 10 and 12 – and I’m coming to the awful realization that they won’t want to hang out with Mom much longer.  I relish these days we can spend together, and make every attempt to keep my family my number one priority in life, which means that I can’t always do the travel and publicity that’s part and parcel of a writing career.  I do as much as I can from home, and many libraries, bookstores and book clubs have been wonderful to Skype or FaceTime with me to cut down a bit on travel.  Beyond that, my travel has been streamlined to help me better maintain that work life balance.  A day will (unfortunately) come when my kids don’t need me quite as much, and then I’ll have more hours in my day to commit to my career.

L.L.: Can you give us a little glimpse as to what’s next for you? It doesn’t have to be literary.

Mary Kubica: I’m just finishing up my fifth novel, called 11 DAYS, which is a story about identity and infertility, and will be released next summer.  Beyond that, my family has a trip to Hilton Head planned this summer.  I’m so looking forward to a little time away!

L.L.: As always, it was a pleasure, Mary. Thanks for taking the time to chat. Is there anything else I should have asked but may have forgotten?

Mary Kubica: I think you covered everything, Leslie!  Thank you for including me again, and I look forward to chatting over coffee sometime soon.  Enjoy your summer!

For more information about EVERY LAST LIE, to connect with Mary, or to purchase your own copy of the book, please visit: 

Mary Kubica-9ABOUT THE AUTHOR: Mary Kubica is the New York Times and USA Today bestselling author of four novels.  A former high school history teacher, Mary holds a Bachelor of Arts degree from Miami University in Oxford, Ohio, in History and American Literature. She lives outside of Chicago with her husband and two children, where she enjoys photography, gardening and caring for the animals at a local shelter.

You can connect with me, Leslie Lindsay, through these social media sites:

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[Cover and author images courtesy of Park Row Books and used with permission. Image of Harvey Rd. retrieved from Trulia.com/public images. Burr Oak tree on Katy Trail in McBain, MO retrieved from bikekatytrail.com] 

 

Writers on Wednesday: Gilly Macmillan on the challenges of a sophomore novelist, finding inspiration from real-life, getting to the truth in fiction, never tiring of new ideas, and more in her domestic thriller THE PERFECT GIRL

By Leslie Lindsay 

Last year, New York Times and USA Today bestselling author Gilly Macmillan burst onto the scene with her critically acclaimed and Edgar-nominated debut, WHAT SHE KNEW.  She returns this fall (William Morrow, September 6 2016), with THE PERFECT GIRL, her second hypnotic literary domestic psych thriller. Perfect Girl
Set in Bristol, in the southwest corner of England, a beautiful young piano prodigy (Zoe) is living a privileged Second Chance Life with her blended family, consisting of her mother, step-father, step-brother (also a pianist) and new baby (half) sister, Grace. Lurking under the surface, however are some dark secrets Zoe Maisey and her mother are harboring. Though she has a genius IQ and can play the piano darn well, moments from the past continue to haunt both she and her mother, events so tragic the mother hasn’t even told her new husband–demanding Zoe to do the same. But the cat is out of the bag fairly early in the book when someone from Zoe’s past shows up at performance at a local church.Twenty-four hours later, her mother is dead. Macmillan’s writing is razor-sharp, blending suspense and a compelling plot, told by various POVs as the aftermath of Zoe’s mother’s death unfold. I flipped the pages at a frantic pace as I wanted—demanded—to know what really happened. Macmillan does a fine job of breathing breath into different characters and highlighting blended families, domestic violence, infidelity, substance abuse, moving forward with one’s life, and the extent to which we go to maintain our secrets, and perhaps, even our innocence.

So, join me as I sit down with Gilly and chat all things writing and THE PERFECT GIRL.

Leslie Lindsay: Gilly, thrilled to have you back to discuss your second book. Thank you for taking the time to pop by. I had a tough time putting this one down. I was reading with a frantic clip and I’m curious, was it that way for you too, as you were writing? What ultimately inspired this story?

Gilly Macmillan: Thank you so much for having me!  I’m thrilled to be back and delighted to hear that you enjoyed THE PERFECT GIRL.  You’re right, I did write it at a bit of a frantic clip.  I think it was partly because it’s such a claustrophobic set-up in the book, and set over such a short time-frame, that it rewarded that kind of immersive approach to the writing.

The inspiration behind the story was a real-life case that I heard about a few years ago.  It concerned a teenage girl who was sent to jail after being convicted of causing the death of some friends in a car crash, just like Zoe in the book.  This girl served her time, but never got back on track after that, in spite of having a loving and supportive family.  I was so saddened by the story, and by the idea that a foolish teenage mistake could result in such a devastating life-altering outcome.  The idea for the book took off when I began to wonder what might happen if you tried to move on after that: who would you become, and how would you make a future?

L.L.: I’ve heard some second-and –third-time authors lament about how challenging subsequent books can be to write. WHAT SHE KNEW thundered out of the gates and seemed to become an over-night success. Can you give a little glimpse into the world of a sophomore novelist? The challenges and also the benefits?

Gilly Macmillan: The world of a sophomore novelist is a strange place.  Sometimes thrilling, but often terrifying!  The learning curve is steep when your first book goes out into the world.  I was advised to write my second novel before the first was published and I was very glad I did because the promotion work and all of the other things that happen around publication can be very distracting and time-consuming. 

The challenges of writing my second book included writing to a deadline and for an audience that was wider than just myself and my regular readers (who were my husband and my writing partner) for the first time.  I felt under a spotlight in a way that was new WHAT SHE KNEWand threatened to feel uncomfortable at first.  My solution was to tell myself to hold my nerve (this is my mantra!  Sometimes hourly!) and write a book that I would like to read myself.  That’s how I got through WHAT SHE KNEW, and it was the key to writing THE PERFECT GIRL as well.

The advantages were many.  I had had no instruction on how to write when I started WHAT SHE KNEW so I made a ton of mistakes during the writing process that took a lot of time and patience to correct during edits.  However, that rather painful experience meant that I had a much better understanding of structure and pacing and the whole craft of writing a novel right as I worked on THE PERFECT GIRL.  It was good to feel that I’d learned a lot and meant that the editing process was much smoother.

“With tightly drawn characters, a fascinating storyline and absolutely exquisite narration, THE PERFECT GIRL is sure to keep readers up at night. Gilly Macmillan proves once again to be a master of the written word and is quickly becoming one of my go-to authors. Literary suspense at its finest.”

—Mary Kubica, New York Times bestselling author of Pretty Baby

L.L.: I have to applaud your attention and sensitivity to emotionally shaken adolescents in THE PERFECT GIRL. In my former life, I was a psych R.N. working in a place quite similar to what you refer to as ‘The Unit.’ Can you talk about how you developed this piece of the narrative and what did your research consist of?

Gilly Macmillan: Thank you.  It’s very important to me to try to remain as sensitive as possible to my characters and the situations they find themselves in, so it means a lot to hear that.  In terms of research, for starters I read everything I could find about teenage incarceration.  The material I found included first-hand accounts of the experience of being incarcerated written by teenagers, interviews with people who had worked with young people in detention units, and government inspection reports of juvenile detention centers.  I wanted to try to understand the system from every angle I could so I also did face-to-face research.  I interviewed a solicitor friend about how the law might treat teenagers in Zoe’s situation and also spoke to two retired detectives.  Additionally, I visited a police custody suite, spent a morning in court, sat in on a police interview with an adult who was under arrest, and visited an adult prison.  It was only after I’d done all of that that I felt able to try to imagine what Zoe’s experience might have been like and put it into her words.  What I learned during this process made fascinating but also very difficult material and certainly made me feel somewhat desperate about how we treat some of our teenagers and young people who are in detention.

L.L.: In fact, there’s a lot of issues that pop up in THE PERFECT GIRL: divorce/re-marriage, blended families, infidelity, domestic abuse, substance abuse, and secret-keeping. In fact, I think there’s a line in the book that goes something like, ‘A good lie is one that is very close to the truth.’ When we write about all of the things that make up the world we live in—even these not-so-pretty-things, I think there’s that much truth in our fiction. Can you talk about that, please?

Gilly Macmillan: Truth in fiction is something that I think about a lot, and something that I’m always striving for.  It’s one of the reasons I love to write in first person and it’s why I take my research very seriously.  I think the best fiction in any genre can tell us something about ourselves and our world, however uncomfortable, and the act of reading gives us time to reflect on those things. images

I try very hard to write characters whose predicaments grip us emotionally because there’s something recognizable and true in them.  I think there’s room for that in crime and thriller writing, alongside intricate plotting and all of the other devices we can use to pull a story along.  If the story isn’t tugging at the reader’s feelings in some way, I don’t think I’ve done my job.

L..L.: In what ways were you influenced by some of the teen culture mentioned in THE PERFECT GIRL?

Gilly Macmillan:  My children are teenagers (well, almost, in the case of the youngest) so I’m surrounded by teen culture at home and I’m always surprised at how much of it is based around what’s online.  I love it and I loathe it!  I think it can be wonderful when they make connections with new people and share recommendations and ideas online.  It’s a completely new way of creating and maintaining friendships and experiencing popular culture, and so different from my generation’s experience of being a teenager.  Having said that, I’m also afraid of its darker side, as many parents are.  I researched some nasty message sites as I was writing THE PERFECT GIRL and was shocked by the severity of some of the bullying that can go on.

Online teen culture felt like a really important part of Zoe’s story, especially as she’s rather shielded from it by her family and perhaps, as a result, a bit more naïve when she encounters it.  I think there’s some safety to be found in education around online culture, though it’s probably impossible to protect our teenagers from all of the pitfalls.  It’s certainly a rich source of material for psych thriller writers as a result.

L.L.: And since I’ve typed the title a handful of times, I have to ask, what are your thoughts on all of these books coming out in the last four years or so with ‘girl’ in the title? Because at one time, this book was originally called BUTTERFLY IN THE DARK.

Gilly Macmillan: ‘Girl’ titles are definitely a ‘thing’ right now, aren’t they?  The book was originally going to come out in the UK under the title BUTTERFLY IN THE DARK cover_bitdbut it was decided, rightly, that having different titles here and in the US can be confusing.  When THE PERFECT GIRL was first suggested I was pleased because I think it’s a great fit for the book, and for Zoe’s character, regardless of the trend for ‘girl’ titles.  I would like to think that ‘girl’ titles have become popular because we’re living in a time when we’re developing (finally!) more positive associations with the word.  ‘Girl’ nowadays can mean somebody feisty and brave and smart and engaging, and I think that qualifies it immediately as a potentially interesting title for a book. 

L.L.: What are you working on next?

Gilly Macmillan:  I’m working on a sequel to WHAT SHE KNEW which sees the return of Detective Inspector Jim Clemo.  He has a new case to work on, which involves two teenage boys who are involved in an incident that leaves one dangerously ill after almost drowning and the other so shocked that he’s unable to speak about what happened.  It’s been great to return to a character I know so well and am very fond of and it’s an exciting challenge to write a follow on for him.

L.L.: What’s keeping you awake these days? What’s inspiring you? It doesn’t have to be literary, but if it is, then by all means…

Gilly Macmillan: That’s a tough question!  I sometimes feel as if my mind will never rest, there’s so much to think about and so much going on the world at the moment.  In terms of writing, I was inspired a great deal by a book I read last year called ALL INVOLVED by Ryan Gattis It’s a brilliant, heart-breaking, raw story of what happens during the LA riots while the police are occupied and some of the gang neighborhoods are left essentially lawless.  My third book is the thing that’s keeping me up at night at the moment.  I can spend hours fretting over characters or plot points, and even in the small hours I feel compelled to write down any ideas I have right then and there because if I don’t they’re gone by the morning!

L.L.: What question have you been asked a lot lately?

Gilly Macmillan: I’m often asked if I think I’ll be able to keep having ideas for new books.  The answer is ‘yes’!  I find life, and people, so endlessly fascinating that I’m sure that, all being well, I’ll be finding stories that I’d like to tell and characters that I’d love to explore for a very long time.

L.L.: Gilly, just a pleasure as always! Thank you!

Gilly Macmillan: You’re very welcome, it’s been a pleasure.  Thank you so much for having me!

For more information, or to connect with Gilly on social media, please see: 

Website

Twitter: @GillyMacmillan

Facebook 

“Tightly focused and fast-paced. You won’t rest until you really know what happened.”

—Lisa Ballantyne, author of The Guilty One, on What She Knew

Gilly Macmillan -¬Gilly Macmillan.JPGAuthor Bio: Gilly Macmillan is the New York Times bestselling author of What She Knew. She grew up in Swindon, Wiltshire and lived in Northern California in her late teens. She worked at The Burlington Magazine and the Hayward Gallery before starting a family. Since then she’s worked as a part-time lecturer in photography, and now writes full time. She resides in Bristol, England.

You can connect with me, Leslie Lindsay through these various social media channels:

GoodReads

Facebook: LeslieLindsayWriter

Twitter: @LeslieLindsay1

[Special thanks to L. Truskowski. Cover(s) and author image courtesy of William Morrow and used with permission. Truth and fiction quote by Stephen King image retrieved from on 8.24.16]