INTO THE FIRE cover image
Today I’m delighted to welcome author Manda Scott to the CTG blog as part of the INTO THE FIRE blog tour. Manda is the author of four critically acclaimed novels about Boudica and, writing as MC Scott, four novels set in Ancient Rome featuring assassin and spy Sebastos Pantera. She is founder and Chair of the Historical Writer’s Association, the Historical Publishers’ Group, Chair of the HWA Debut Crown and of the programming panel for the Harrogate History Festival.
So, to the interview …
Your latest book INTO THE FIRE is out in hardback this month, can you tell us a bit about it?
It’s a dual time line thriller – the contemporary thread is set in 2014 and there’s a historical thread in 1429, when a young girl, who claimed to be a peasant, turned up at Chinon and told the king she had been sent to free France from English rule (I paraphrase, but that was the gist).
In 2014, Inès Picaut is a police chief in Orléans, called to the site of a fire at a hotel, that is clearly arson. It’s the third such fire in as many weeks, but the first in which there is a body – and so she is now leading a murder hunt. The dead man in this case has been burned beyond recognition, but for the fact that he swallowed a USB drive before he died, and it contains three enciphered files which may help Picaut and her team to identify him – a task which becomes ever more pressing as further fires erupt, and more people die.
In 1429, Tod Rustbeard, a man of French and English nationality, fights on the English side as the self-styled Maid of Orléans breaks the siege of Orléans. As the English defences crumble, he is sent behind enemy lines with an explicit task: to find the truth behind this girl who cannot be what she says she is – and then to use that truth to destroy her. As he grows ever closer to his quarry, he has to question not only her identity, but his own.
The two timelines weave together, each informing the other, so that the central question WHO WAS SHE? drives both forward. I am absolutely convinced that she wasn’t an illiterate peasant girl, but we can talk about that more in the next question. Beyond that, any good thriller is driven by a mix of anticipation and uncertainty, and each thread has to have its own threats, rhythms, internal questions that make the two together greater than the sum of their parts.
What was it that sparked your idea for writing INTO THE FIRE?
I’d always had an interest in Joan of Arc’s reputation as a woman warrior – having written about Boudica, it at least made sense to take a look at the next most famous woman warrior – but I always got stuck on the notion that she was a peasant girl who turned up out of nowhere, got on a warhorse and led the troops into battle. Either she was a cipher, a flag-carrier and nothing more… or she had to be trained. If she was the former, I wasn’t interested. If she was the latter, I couldn’t see how it was possible. Then I read an article that pointed me in the direction of who she could have been and the more I read about it, the more sense it made – until in the end, it seemed to me she couldn’t have been anyone else. The question of why she had to spin her own lies in the beginning also makes so much more sense once everything falls into place.
Then I learned that the man who proposed this theory first was thrown out of France and even now, is immensely bitter about it – and it seemed to me that this, the current way of looking at her, was the most important. She has been mis-represented for 600 years, and even now, she’s being held up as an icon of ‘perfect womanhood’ (virginal, godly, republican) by the far right in France. So iI really wanted to explore how the political movements of the twenty first century hijack the myths of the past – and how they’ll kill to keep that myth intact. I believe absolutely in the maxim of ‘show, don’t tell’ in writing, so that meant that if I wanted to do what I thought was possible, it had to be through the vehicle of a dual time line narrative – that I had to *show* who she was in the past, in order for us to understand more deeply the projections and patho-mythologies of the present.. It’s a lot harder to write, but if the author gets it right, it’s immensely satisfying to read.
How would you describe your writing process – do you plot the story out in advance or jump right in and see where it takes you?
I never plot in advance, although if there is a historical thread to the book, then I need to make sure I know the history of who was where, doing what and when – and that I have all the ancillary data correct: the things that bring history alive. But for me to write a book, it needs to live inside me, which means the characters have to have their own freedom and they have to have the power to surprise me. I’d grow bored otherwise, and if I’m bored, then the reader is going to be bored too…
INTO THE FIRE features both an investigation taking place in present day Orleans and a historical timeline featuring Joan of Arc in 1429 – how did you go about researching them?
First, I got on the EuroStar and went to Orléans – that was really key to understanding the dynamics of both past and present. In anything I write, the characters matter most, their identities and inner integrities and the charisma of the situation, but always, the place shapes its people and Orléans was key to both threads. Having been there, I spent a very large amount of time reading everything I could about Joan of Arc (and there’s a lot), particularly the transcripts of the two trials – her trial by the English and the ‘rehabilitation trial’ by the French 30 years later that endeavoured to prove she wasn’t really a heretic after all – eye witness statements at the latter were crucial to understanding what actually happened, although of course we have to remember that human memory is flawed and undoubtedly coloured by time. But still, having got my head around her, the modern day narrative of Picaut and Patrice, her computeroid cyber-brain assistant was fast and furious and most of it just rolled out almost unaided. I’m very wary of people who say that books write themselves, because they never do, but some are less effort than others and this bit flowed particularly sweetly – I revelled in the cyber-crime aspects, and the breaking of ciphers. I’d written a series of spy thrillers just before and the cadences of that were still working their way through.
What was it that first attracted you to writing crime fiction?
I read Val McDermid’s Lyndsey Gordon series back in the 90s and fell in love with the genre. I wrote HEN’S TEETH in the late 90s because I thought I needed the exigencies of plot to help me complete a novel and then I joined the CWA and learned the actual rules of crime writing, as opposed to the ones I had invented for myself, and found that it was a fascinating structure within which to explore the things that matter most to people – I hate the kinds of novels that look at our masks. I am most interested in what happens when we drop those masks and we do so in the presence of death and danger – so crime writing, and thriller writing in particular – is the obvious medium. I consider my historical novels to be thrillers too, they’re just written in a different milieu.
For those writers aspiring to publication, what advice would you give?
I’d say what Fay Weldon said to me on my first writing course, which was ‘Find your own voice’, and then what Terry Pratchett (one of the greats, so sadly missed) said on the second writing course which was, ‘just keep writing.’ And then last, from me: Read. Read everything. Read books you love and books you loathe and books you don’t really care about – and work out what you love and why you love it and how it was done, and what the good bits are and what works and what doesn’t. Reading is the apprenticeship for writing so read and read and read.
And, finally, what does the rest of the year have in store for you?
I’m 3/4 of the way through a sort-of sequel to INTO THE FIRE called ACCIDENTAL GODS so I have to finish that, and then we seem to be about to sell the TV rights to Into the Fire and the company wants me to write the screenplay which is both an enormous honour and an enormous privilege, so I’ll crack on with that. I’ll be at Theakston’s Old Peculiar Crime Writing Festival in July in Harrogate and then back up again for the History Festival in October. I’m Chair of that for the third and final time this year and so it’ll be all-out to make it the best yet. I’m handing over Chair of the Historical Writers’ Association to the brilliant historical crime writer Imogen Robertson also in October and Andrew Taylor, multiple winner of the Historical Dagger will take over Chair of the HWA Debut Crown, so between now and October, I’ll be flat out, but I’ll have a rest in November. Perhaps. I suspect something else will have come up by then.
A massive thank you to Manda Scott for talking to us today on the CTG blog.
To find out more about Manda and her books hop on over to her website at www.mandascott.co.uk and be sure to follow her on Twitter @hare_wood
*** COMPETITION ALERT ***
I’m thrilled that those lovely folks at Bantam Press have given me a copy of INTO THE FIRE to giveaway to one lucky winner! To be in with a chance to win all you need to do is tweet the link to this post (using the Twitter button below) OR retweet one of the CTG tweets about the giveaway – making sure to include the hashtag #IntoTheFireComp. You’ll also need to follow us on Twitter so we can send you a direct message should you win.
Rules: (1) One entry per reader (2) UK residents only – due to postage costs – sorry! (3) We will draw the winner at random (4) No cash alternative (5) The competition closes for entries at 9pm GMT on Monday 29th June 2015 (6) The judge’s decision is final and no correspondence will be entered into.
Also, make sure you check out all the other fabulous stops along the INTO THE FIRE blog tour …