Where authors talk directly about their life, their books and many more things.
Christine Gregory became attracted to New-Age ideas in her late teens. This largely involved visits to Bryon Bay to stay at the Arts Factory, late nights of drinking, and a full-throttle immersion into the alternative music scene of the noughties. Twenty-five years later, in an evening writing class the tutor asked students to create a scene incorporating all the five senses. She put pen to paper and like magic, the words flowed.
Why self-publish? Despite some literary success, Bronwyn Rodden has self-published her work, including her three Blue Mountains mysteries, inspired by many visits and her time living in Katoomba.
She outlines the various experiences (including knockbacks) that led her down this path.
The complexity of criminal behaviour is one of the themes that Emily Gale and Nova Weetman loved exploring in Outlaw Girls, their time-slip novel in which one of the central characters is Kate Kelly, younger sister of the Australian bushranger and gang leader Ned Kelly.
Global best-selling author, Alison Goodman, asks if we have noticed a quiet revolution happening on our bookshelves and television screen. She’s talking about the rise and rise of the older woman amateur sleuth.
Twenty years ago, she would have been pressed to name more than Miss Marple as an example, but now we have Elizabeth and Joyce from the Thursday Murder Club, the new Marlow Murders team in the books by Robert Thorogood, Agatha Raisin in the books by MC Beaton, and Susan Ryeland in the Magpie Murders series, to name just a few.
Erina Reddan was writing a book on cults – the one that eventually became Deep in the Forest (Pantera Press) a crime thriller about secrets, lies and cults. Not having any first-hand knowledge of cultliving, Erina started researching. What she found was so explosive that she had to do more and more to corroborate what her brain could barely compute . . .
Amanda Hampson, the author of the best-selling The Tea Ladies and its sequel The Cryptic Clue, fell into crime (writing, not indulging) almost by accident. For twenty years, her work had fallen in the vague area of ‘commercial women’s fiction’ but when her 2021 release got smashed by lockdowns, she decided to change it up and do something quite different. Crime is one of the genres she enjoyed reading and she was keen for the challenge. The crossover to a specific genre instantly made her work more marketable.
The scene of the crime is all important for Lee Christine. Her three novels in her Snowy Mountains crime trilogy, Charlotte Pass, Crackenback, and Dead Horse Gap are set in and around the small towns and ski resorts of New South Wales, an area she was very familiar with. So, when it was time to pick up her pen or her next novel, Glenrock, she felt it was important to give her readers a strong sense of place once again – this time in the region around Newcastle that has changed enormously since the closure of BHP twenty-five years ago.
Caroline de Costa first discovered FNQ – Far North Queensland – in 1994 when she came to do a locum in Cairns Hospital. The town had more of a frontier atmosphere then. She was soon hooked by the land, by the work, and by the people. It’s no surprise that when she decided to try her hand at crime fiction, she chose to set it in country she loves.
Terror in Topaz, A.M. Stuart’s fourth Harriet Gordon Mystery (set in Singapore in 1910), was released in October. The story behind the story – the murder of William Steward by his lover, Ethel Proudlock, in 1911 – shocked the world of colonial Malaya. It became a cause celebre, immortalised in William Somerset Maugham’s novel, The Letter, that later became a film.
Inspired by all the women who wrote gothic mysteries before me, I wrote my own modern-day take on one with The Fiction Writer. But I also wanted to explore what it means to create original work, what it means to be a struggling writer, and who owns any story.