I recently had a lovely interview with crime fiction aficionado and editor extraordinaire, Jonathan Amid of litnet.co.za. He asked great questions and I really enjoyed answering them. Here are the first two:
Charlotte, Balthasar’s Gift: A Maggie Cloete Mystery, is a terrific debut, one that strikes a neat balance between lively pacing and frenetic action and carefully considered social commentary. Why did you decide that the crime fiction genre was appropriate for the story you wanted to tell, one that returns to South Africa under the presidency of Thabo Mbeki?
Thanks for your kind words, Jonathan. I always knew that the first book I was going to write would deal with the way Thabo Mbeki’s presidency refused to face up to HIV/AIDS and thus consigned a generation of people to their death, not to mention depriving hundreds of thousands of children of the love and protection of their parents. It was and continues to be such an acute tragedy – and one which South African fiction writers have up to this point largely ignored.
The first draft was literary fiction, written from the points of view of Lindiwe, Sanet and Francois Bezuidenhout’s wife Samantha. The very bare bones of the story were laid down. Then, one dark and rainy night, as I drove my sleeping family home from Berlin, it dawned on me that the best way to tell the story was as crime fiction and that it needed to be told from the perspective of a journalist, who could both pursue the murderer and frame the story for the reader. That was the night that Maggie was born.
How did your previous experience in the field as a former journalist relate to or influence your approach in writing fiction? How did your research make the writing easier?
I was very happy to use my experience as a journalist in South Africa in the early 1990s to flesh out Maggie’s work life. I was a very impressionable 18-year-old when I first worked in a newsroom at The Natal Witness, and the newsroom politics, strife between the journalists, competition for headlines and bylines really struck me. I was quite starstruck by some of the journalists I worked with, especially the investigative reporters who, along with the photographers, seemed so tough and cool. I was such a novice, and the newsroom is a sink-or-swim environment, but so many of them kindly saved me from drowning.
There is a huge difference between writing news and writing fiction. Although I have always earned my living as a writer, I started writing Balthasar’s Gift only when I turned 39, because the idea of writing creatively was very scary. It took me many years to get up the courage to really commit to writing a novel.
My reading tends to err towards literary fiction, so I always imagined that I would write with great literary flourishes. It surprised me, as I churned out the drafts of Balthasar’s Gift, that my style was quite spare. One day, I hope to write literary fiction with long run-on sentences, deep metaphors and burning ideas.
I don’t think the research made my writing easier, but it helped with two things: getting the facts right and developing empathy both for people who have HIV/AIDS and for their carers.