Crime novelist Liz Nugent: ‘I’m never interested in the whodunnit, I’m more interested in why’
Summary
An exclusive interview with the award-winning author of the international bestseller Strange Sally Diamond on writing about abuse, the perils and perks of being a novelist in the age of social media, and more.
Dark psychological thrillers that explore childhood trauma and human depravity are not easy to write or read. And yet, Irish novelist Liz Nugent has carved an enviable career out of making domestic noir and sinister fiction accessible to readers around the world.
The winner of four Irish Book Awards and the James Joyce Medal for Literature, all her five psych thrillers—Unravelling Oliver (2014), Lying in Wait (2016), Skin Deep (2018), Little Cruelties (2020), and most recently, Strange Sally Diamond—have been chart-topping bestsellers.
Her latest book Strange Sally Diamond is inspired by the high-profile Josef Fritzl abuse case. A classic character study, it paints an unsettling portrait of why certain people behave the way they do and the extent of debilitating damage that exposure to early abuse can wreak on humans. A layered commentary on nature vs nurture, it will remind you of Emma Donoghue’s seminal 2010 novel Room.
In this exclusive interview, Nugent discusses the recent brain surgery that she underwent for her dystonia, why she thinks first novels are the easiest to write, her decision to tell the story of Strange Sally Diamond through two narrators, her distaste for shopping malls, why she prefers meeting friends over breakfast, and more.
How are you doing now after your minor brain surgery that was slated for December last year?
I have seen no improvement so far since my DBS operation, but my neurologist told me it could take six months to a year before I see a change and there is a chance it may not work at all. I choose to be optimistic.
How much does your background in film, theatre, and television help or inform your novel writing?
I would love for readers to visualize the chapters and characters in my books as scenes and real people, so I try to create as much visual incident as possible. I also try to carefully describe the surroundings of the locations so that readers can guess what a small rural Irish village or a town in New Zealand looks like. Also, I want to make it easy in case Hollywood, or indeed Bollywood, comes knocking.
Of your five books, which has been the most difficult and why?
Each one is harder than the one before because you think you’ve used up all your ideas, and I usually have to wait a long time for the well to refill. In some ways, the first is the easiest because you are not yet defined by a genre, and you are not working to a deadline. I nearly gave up on Sally Diamond so many times.
What is it that you desire more—popularity or critical acclaim?
Both are nice, and I’ve been lucky enough to have been well-reviewed and a number-one bestseller for each of my books. But if I had to choose, it would be popularity. I really love that so many people read my books. I write for them.
How much of Sally Diamond is autobiographical?
Very little, although Sally sometimes says things that I think. E.g. Why buy flowers for a funeral? The intended recipient is dead and it’s not like you can arrange to have funeral wreaths around your home. And like Sally, I am not a fan of giant shopping malls. The noise, the crowds, the brightness, and the unnecessary music are all too much for me.
Why was it important to have two narrators?
Sally does not remember any of her early childhood, so it was important to create Peter because he knows exactly what Sally’s childhood was like although he was too young and too brainwashed to understand the horror of it. Once I started to write Sally and Peter in two different timelines, I knew they were on a collision course to meet up. I didn’t know what would happen when they did meet until I got to that point.
It’s not easy to write about abuse. Did you have any rules or checks to ensure it doesn’t get too graphic or dark?
There are no graphic depictions of child abuse in the book. That is all implied. If I wouldn’t want to read that kind of thing, I certainly wouldn’t want to write it. The story is only as dark as the reader’s imagination. I also use humor a lot, so when things begin to feel heavy, I can lighten it up with some comic scenes.
What’s about the genre of psychological thriller that fascinates you?
I’m never interested in the whodunnit, I’m more interested in why. The choice that Peter makes at the end of the book is so wrong, but when we know how he has been raised, we might begin to understand it, even if we don’t condone it for a second.
What, according to you, is the biggest challenge of being a novelist today?
Social media is so distracting. Without it, I’m sure I would be much more productive. The benefit of it is that I can talk directly to readers. But sometimes, I’ll just drop in to check something, and two hours later, I’ll emerge fuzzy-headed, having wasted all that time when I should have been writing.
How has your writing process changed over the years?
I have learned a lot through the editing process and from reader’s feedback. Right now, they like relatively short books and short chapters (again, I blame social media for this). This trend may change.
I am still very undisciplined. If I have to meet somebody for lunch, then there will be no writing done that day. I am trying to convince friends to meet for breakfast so that I can still get a day’s writing done. That also means no wine which is a bonus.
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