Mysterious People
Date: 06 February 2012
This interview by American novelist Jean Henry Mead appeared first on the website, Mysterious People and was later published in Poisoned Pen Magazine.
Your novels are medical thrillers featuring a veterinarian and a forensics technician. Do you have a medical background?
SJB: I don't have any sort of medical background (other than a crash course in practical obstetrics courtesy of my son) but fortunately I love research. My protagonists' occupations are driven by the demands of the plots. In Sacrifice, the villainy revolves around pregnant women, fertility and childbirth so by making Tora Hamilton an obstetrician I gave her an access to events that was denied even to the police. Likewise in Awakening, when the village is invaded by venomous reptiles, the villagers turn to the local wildlife vet for answers. I've stayed with the medical theme in my third book and made the main character a children's psychiatrist whose work brings her into contact with some disturbed and frightened youngsters.
Why did you chose Scotland as the setting of your novel, Sacrifice? Tell us briefly about the book.
SJB: Sacrifice was inspired by my
discovery of an old Shetland legend: that of the Kunal Trows,
semi-supernatural inhabitants of the most northerly islands in
Britain who prey upon their human neighbours. It simply never
occurred to me to set the story anywhere other than Shetland. When
I started writing, I knew next to nothing about the islands, but I
soon learned I'd picked the most fantastic setting for a thriller.
Shetland is heartbreakingly beautiful, full of atmosphere and
totally remote. When the sun goes down, it's easy to imagine having
no where to run and no one to trust.
The story opens when a young doctor finds the corpse of a woman
buried on her land. Strange runic symbols have been carved into her
flesh and her heart has been ripped out. Frustrated by a lack of
interest from the local police, Tora starts her own investigations
and discovers a disturbing pattern of missing women of childbearing
age.
Awakening is set on the Dorset Devon border of England. What about that area intrigued you enough to set your novel there?
SJB: The snakes came first with
Awakening. I loved the idea of a picture-postcard village
with something sinister lurking in the undergrowth and needed to
set the book somewhere that snakes could thrive. Also, because I
wanted to set a lot of the action underground, geology became
important. I was looking for an area of chalk downland in the south
of England where the land could be riddled with old forgotten chalk
mines. The Dorset Devon border, just inland from Lyme Regis was
perfect. Beautiful, sparsely populated and mysterious.
In Awakening, a fifty year old secret has reared its head
once more, with devastating consequences for those old enough to
remember the events first time around.
Have you named your next novel, which takes place in a graveyard with "a girl with voices?" And is it also set in the UK?
SJB: Blood Harvest is set on the Pennine moors in the north of England, on the border between Lancashire and Yorkshire. There's something about borders I find quite intriguing. Stephen King talks about border lands having "slippage", i.e., being places where normal rules of existence don't always apply. I was born and brought up in the Pennines and it's a part of the country I know really well. I've been described in the British press as the high priestess of English rural gothic, which is flattering, but not really a title I want to be stuck with. My fourth book, for this reason, will be set in London.
What's the best part of writing and the worst?
SJB: Hearing from readers who've enjoyed the books: and hearing from readers who haven't.
What's your writing schedule like and do you aim for a certain amount of words at each writing session?
SJB: Every morning I send my son off to school, walk Lupe the lurcher and then sit down at my desk. I aim to write between 2000 and 3000 words a day, which usually takes about four hours. At 3000 I make myself stop because at that stage the quality plummets at the speed of a downhill ski race. In the afternoons and evenings I do publicity work and editing.
How, in your opinion, do mystery novels differ in the UK and US?
SJB: I'd honestly struggle to answer this one, because the genre is so wide and varied in both countries. I love the US forensic thrillers, by the likes of Tess Gerritsen, Kathy Reichs and Patricia Cornwell, but we have our own homegrown versions coming from writers like Simon Beckett. The US has a strong tradition of noir, but we have authors like Mo Hayder and Val McDermid who don't pull any punches. I think the two markets learn from each other and reflect back the best of each. Consequently, English language mystery novels are the best in the world.
Has the economic downturn affected book sales in the UK? Are independent bookstores closing their doors?
SJB: Some are struggling, without doubt, but a good independent bookstore will always have a very loyal clientele. My local store report a downturn in hardback fiction but have diversifed into good quality DVDs and book-related childrens' toys. They're doing fine.
What would you be doing if you weren't writing?
SJB: Driving everyone around me crazy.
Advice to fledgling novelists?
SJB: Don't give up. But never underestimate the work involved. If you're not prepared to discard an entire year's work and start from scratch, the job probably isn't for you. And be the very best that you can. The market is so competitive you can't afford to give it less than 100%. Aim for the New York Times bestseller list and you'll probably find yourself a publisher.