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Writing and Reading: A personal message and book recommendations from Simone Buchholz

Dear Orenda community, dear readers!

Sharks is out today, and I hope you will enjoy it as much as I enjoyed writing it – STOP, that’s a lie. You can’t really say that writing novels is only fun; it’s also a pain in the neck, at least from page twenty onwards. And, yet, it’s the best job I can imagine, and I am infinitely grateful that I can do it. But to make sure I don’t lose my train of thought and stay on track, I give my working day a strict structure, which I’d like to tell you about here.

I get up at 6:00am, make coffee for my son and myself, then prepare the same breakfast for him every morning: porridge with yoghurt, honey, apples and bananas. This gets him through the school day, and I don’t have to think early in the morning because I know this breakfast by heart. At 7:30am, I also leave the house and go to the swimming pool. In the small 25-metre pool, I swim two kilometres every morning, back and forth for an hour, eighty laps. After that, my head is clear and I’m ready to write – five hours of writing. If I’m lucky, I can manage seven pages; if not, it’s only three or four, but I have to accept that. Later, around 3pm, I take care of everything else that a single mum has to do: shopping, cooking, cleaning, washing up. The next day, it all starts again. That’s my rather unglamorous life as a working writer.

I hope you’ll enjoy Sharks, my story about property and murder – and about a coughing Riley torn between two men.

If you want to read other books by German authors, here are the best ones from my bookshelf (all translated into English):

Eva Menasse, Darkenbloom, translated by Charlotte Collins (Scribe)

Jackie Thomae, Brothers, translated by Ruth Ahmedzai Kemp (DAS)

Mariana Leky, What You Can See from Here,translated by Tess Lewis (Bloomsbury)

Judith Hermann, We Would Have Told Each Other Everything, translated by Katy Derbyshire (Granta)

Wolfgang Herrndorf, Why We Took the Car, translated by Tim Mohr (Andersen Press)

Cheers and take care,

Simone Buchholz

Hamburg, February 2026

Simone Buchholz is the author Sharks, translated by Rachel Ward, the third book in the Chastity Reloaded series and her eight book about Chastity Riley to be published in English by Orenda Books.

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Why I wrote The Hope by Paul E. Hardisty

My new novel, The Hope is set in 2082 in Tasmania. The world as we know it now has been completely altered by climate change and war. Vast parts of the planet have become uninhabitable to humans. A new feudalism has descended, and the remaining few hundred million people live lives of servitude and ignorance, isolated from rest of the world, ruled by the tyrants responsible for the cataclysm. The book is the third in the series, following three generations of one family as they navigate the result of our self-inflicted folly. 

The Forcing, the first in the series, covers the period 2039 to 2045, and introduces a world in the midst of a slow-motion collapse, where youth has taken power in North America in a desperate attempt to prevent total disaster. The follow up, The Descent, which bookends The Forcing, starts in 2024 and describes just how the world described in The Forcing came about, while following the descendants of The Forcing as they struggle to survive in a maimed world in the late 2060s. 

The idea for the series came to me more or less complete back in 2011 while camping with my wife and two sons on a remote island in the wild and sparsely populated south of Western Australia. At the time I was heavily involved in a huge project that would potentially create significant damage to the ocean environment and add significantly to the world’s greenhouse gas emissions. I was working to convince stakeholders that the project was environmentally unacceptable, and felt that I was losing the battle (fifteen years later, the battle is still being fought). I went for a long swim around the island in very cold water and there it was, the whole story. 

The motivation behind it was clear. Watching my two young boys, nine and eleven at the time, their delight in the beautiful natural surroundings, knowing what the future held for them if we didn’t change direction, I wanted to warn people what the future might very well look like. As one of the characters says in The Hope, what we have is a failure of imagination. We can’t imagine just how bad it can get if we don’t fix the problems we know we have, and we also can’t imagine how good it could be if we did. I wanted to write a series that would do both. It’s a cautionary tale, clearly. The world described in these books is not one that anyone but the most hardened psychopath would want. But it’s also a blueprint for hope, for what we need to do to avert this disaster. There is still time, and we have all the means we need right now to shape the future we want. It’s not impossible, and it’s not hopeless, quite the contrary.  But it is urgent, and it will take our best.

The Hope is a story of courage and sacrifice, about the power of the human spirit, and the belief that we can create a better world for all. The forces of darkness want our acquiescence, our silence. They want us to give up and let them run the world. Hope is what keeps people going, steels them for the fight, what motivates them to say enough, it’s our future, and we claim it back. We only have to imagine that future, and then decide that we are going to do what it takes to get it. And without giving anything away, the answer lies in each of us. In 2026, go forth, and take back your future.

Dr Paul E. Hardisty is author The Hope, the final book in The Forcing Trilogy, which includes The Forcing and The Descent. The Hope is published by Orenda Books.

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Stranger Than Fiction? Jakob Weber’s Arctic Universe

By Ørjan Karlsson

Every scene and setting in the Jakob Weber series is either based on an actual location or deeply inspired by one. As a special treat for my readers in the UK, I would like to take you on a tour of some of the places that may yet feature in an upcoming Jakob Weber mystery.

The Abandoned Village of Mostad (Værøy)

While the first Jakob Weber book, Into Thin Air,  was set on Røst, its neighbouring island, Værøy, is home to the ‘ghost village’ of Mostad. Reachable only by boat or a treacherous mountain path, it was once a thriving community but is now completely abandoned. The empty houses standing against the Atlantic wind create an eerie, ‘frozen in time’ atmosphere – the perfect backdrop for a cold-case mystery.

The Marble Grottoes of Fauske

Just east of Bodø, the earth is honeycombed with deep marble caves and limestone grottoes. Places like Svarthammarhola (one of Scandinavia’s largest natural caves) are pitch black and silent, and maintain a bone-chilling temperature year-round. Who knows what dire secrets these labyrinthine passages hold? I suspect that in the not-too-distant future, Jakob and his colleagues may have to find out.

The ‘Hidden’ U-Boat Bunkers (Kilbotn/Narvik area)

The fjords of Nordland hide dark military secrets from the Second World War. In several spots, Nazi bunkers and sunken wrecks remain partially visible or tucked away in the dense forest. These concrete giants, now overgrown with moss and ferns, feel like scars on the landscape. They provide a heavy, oppressive sense of history and – if you are unfortunate – a hint of some lingering, hidden evil.

The Saltstraumen Whirlpools (Near Bodø)

While it is a famous tourist spot, there is something deeply unsettling about the world’s strongest maelstrom. The way the water boils, creating massive, silent vortices that can swallow small craft, is haunting. Local legends often speak of what the current ‘brings back up’ – a phenomenon Jakob Weber and his colleagues are all too aware of.

The Stetind ‘Altar’

Stetind is Norway’s national mountain – a massive, smooth granite obelisk that looks like it was carved by giants. Because of its sheer vertical walls and the way clouds often snag on its peak, it has a mystical, almost religious presence. The isolation of the surrounding Tysfjord area, with its deep shadows and ancient Sami sites, creates a powerful sense of being watched by the landscape itself – as Jakob, Noora, and Arman are about to experience in Into the Dark.

The Ash-White Beaches of Bleik (Andøya)

Bleik is home to one of Norway’s longest and most striking beaches. In the summer, it looks like the Caribbean, but during the autumn ‘Blue Hour’, it turns spectral. The sand is a pale, bone-white, flanked by dark, jagged peaks and swampy marshland. Local folklore is rife with tales of the Draugen (the sea-wraith of drowned fishermen) and wights. The contrast between the beautiful white landscape and the dark folklore makes it a haunting location. Unbeknownst to Weber, there will come a day when the legend of the Draugen feels far more real than he would like.

Where the Map Ends, the Mystery Begins

Northern Norway is a land of contradictions, where the beauty of the Midnight Sun hides shadows that never truly disappear. For a writer, these locations aren’t just scenery, they are characters in their own right, whispering secrets of forgotten crimes and restless spirits. Whether it’s the crushing pressure of a marble cave or the salt-heavy air of a ghost village, the Arctic landscape demands a certain kind of resilience – the kind Jakob Weber is forced to find within himself every time a new case lands on his desk.

I hope you enjoy exploring these rugged corners of the world through the pages of Into Thin Air and Into the Dark. The North has many more stories to tell, and I invite you to pull on your coat, brace against the wind, and join Jakob and me as we venture further into the frost. The trail is just getting started.

Dear reader, I hope you enjoy the journey ahead!

Into the Dark, by Ørjan Karlsson and translated by Ian Giles, is published by Orenda Books. The Arctic Mysteries (Jakob Weber) series begins with Into Thin Air and will continue after Into the Dark, in 2027.

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Orenda Books signs Stephanie Bramwell Lawe’s intoxicating gothic debut mystery

Karen Sullivan, publisher of Orenda Books, is delighted to announce the acquisition of World English Language rights for Stephanie Bramwell-Lawe’s staggeringly accomplished, atmospheric debut historical mystery Thornby Hall, in a two-book deal negotiated with Anna Dixon at YMU.

Set in Warwickshire, 1891, we meet recently orphaned and destitute Briar Monroe, who has accepted the protection of Lord Danville and the shadowed sanctuary of Thornby Manor, while she awaits the arrival of a relative. The great house looms above a mist-shrouded lake, its corridors heavy with secrets – not least the mysterious death of Lady Elizabeth Danville, and the unspoken tensions between her formidable widower and his magnetic son, Gabriel.

As Briar navigates the undercurrents of a household ruled by watchful servants and locked doors, she is drawn ever deeper into a web of suspicion, desire and fear. And whispers in the night, figures at windows, and a constant sense of being watched leave her questioning not only the truth about Thornby, but her own safety within its walls.

Karen says, ‘This is an exceptional, vivid historical mystery, laced with peril and full of glorious gothic tropes that are both cannily acknowledged and perfectly employed. With a dead wife, an estranged son, locked rooms, an asylum just beyond the gates, whispers in the nearby town, strange servants and a constant sense that nothing in this house is quite as it should be, this feeds straight into the current resurgence of interest in – indeed. obsession with – the gothic. A dark romance also simmers at the heart of this suspenseful novel, which brims with obsession, betrayal and so many secrets.

‘Steph writes with striking assurance and narrative control, and Thornby Manor is right up there with the very best gothic tales – creepy, lush and deliciously unsettling. I was held completely spellbound, from the opening pages. We’ve had superb success with our historical fiction of late, and we’re proud and honoured to add Steph’s dazzling debut – and her second novel, Oceania, to our list. With her background in publishing at Bonnier, Steph brings a rare understanding of the industry, and working with her – on the edits and on the marketing campaign – has been an absolute joy. Thornby Manor will be an exquisite package, with sprayed edges, foil and embossing, and we have an ambitious Gothic Spring marketing campaign lined up, which will also see Steph take to the road with Essie Fox.’

Steph says, ‘I have always loved Gothic novels. Stories that simmer with psychological dread, protagonists forced to confront impossible odds – where the setting is a main character in itself! Thornby Manor is my Manderley, my Wuthering Heights, and I could not be more thrilled that it has found such a wonderful home with Orenda Books. It really is a dream come true.’

Anna Dixon says, ‘On page one of Thornby Manor, the reader instantly knows they are in the hands of a brilliant debut novelist and about to read something extremely special. It is so gratifying to place it with a publisher as dynamic as Orenda whose ambitions for this book and for Steph as an author match my own. This book is a true treat, and I’m so excited to watch it soar and find its readers.’

Thornby Manor, by Stephanie Bramwell-Lawes, will be published in high-spec hardback by Orenda Books on 23rd April 2026. For more information, please contact Karen Sullivan: Karen@orendabooks.co.uk.

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Five of the BEST Ticking-Clock Thrillers by Sarah Sultoon

American Dirt by Jeanine Cummins.

Not exactly a thriller but a tale so breathless I was practically hyperventilating as I read it. The story of a Mexican mother and son forced to flee to the United States over threats of violence from a local drug kingpin, it takes the reader on a journey atop La Bestia – the Beast –- a real-life train route used by Central American migrants to travel through Mexico. This book courted a lot of controversy when it was published, accusing Cummins of cultural appropriation and exploitation as she is of Irish-American descent. I can see that line of argument, but I think it is reductive to diminish the book itself and wholeheartedly recommend it as a transportive piece of fiction. 

The Beach by Alex Garland.

Again, not exactly a thriller, but I read it from cover to cover on a very long train journey in India in my twenties and it has stayed with me ever since. A group of young backpackers that meet in varying circumstances on Bangkok’s famous Khao San Road set off in search of a legendary, idyllic and self-isolated community known as The Beach. After overcoming myriad obstacles – precipitous cliffs, waterlogged caves, and the small matter of criminal gangs guarding large marijuana plantations – they eventually find it and spend a paradisiacal few months before a descent into chaos. Set at a time before smartphones and email had revolutionised global travel, it captures a sense of adventure that is almost impossible to find in the modern age. A riot.

Exit by Belinda Bauer.

A better version of The Thursday Murder Club in my opinion. The most entertaining whodunnit I’ve ever read. Felix Pink – the most unlikely murderer you’ll ever have the good fortune to spend time with, says the blurb – starts out by keeping dying people company as they take their final breaths. But it turns out not to be as simple as that. And Felix spends the rest of the book on a wildly hilarious quest to find out if he’s more culpable than he realised – all the while staying ahead of police. It’s so original, I’m still amazed just writing about it.

The Goldfinch by Donna Tartt.

A gripping tale with plenty of adrenaline. Thirteen-year-old Theo Decker survives a terrorist attack on the Metropolitan Museum of Art in New York that kills his mother but leaves him in possession of a valuable painting of a goldfinch. I was additionally enchanted by this book after learning Donna Tartt’s inspiration was the Taliban’s destruction of the famous Buddhas of Bamiyan in 2001. Afghanistan is a country that I love, having spent a lot of time there as a journalist many years ago.

The Disappearance of Emily Marr by Louise Candlish.

This reminds me of that B-side track you find in a back catalogue. which is better than almost all the lead tracks. A scandalous tale of adultery woven with the lives of two very different women – plotted with such expertise that the consequences keep the reader guessing right until the last page. Everyone has a favourite Louise Candlish novel and in my view it should always be this one. 

Sarah Sultoon’s heart-pounding Y2K thriller, Blackwater, is published by Orenda Books on 4th December 2025.

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Orenda Books signs Essie Fox’s dark, seductive gothic masterpiece, Catherine: A Retelling of Wuthering Heights

Karen Sullivan, publisher of Orenda Books, is delighted to announce the acquisition of World English Language rights for Essie Fox’s breathtaking Catherine: A Retelling of Wuthering Heights, in a deal negotiated with David Headley at DHH Literary Agency.

Essie Fox – Sunday Times bestselling author, queen of the gothic, and master of atmospheric, dazzling historical fiction – has reimagined Wuthering Heights from a new angle, in Catherine Earnshaw’s own voice. Revealing scenes, moments and emotions Nelly Dean was not privy to, Essie breathes new life into the greatest tragic love story ever told, transforming a gothic masterpiece into a haunting confession of madness, grief, obsession, and a love that even death cannot end. 

With a nature as wild as the moors she loves to roam, Catherine Earnshaw grows up alongside Heathcliff, a foundling her father rescued from the streets of Liverpool. Their fierce, untamed bond deepens as they grow – until Mr Earnshaw’s death leaves Hindley, Catherine’s brutal brother, in control and Heathcliff reduced to servitude. 

Desperate to protect him, Catherine turns to Edgar Linton, the handsome heir to Thrushcross Grange. She believes his wealth might free Heathcliff from cruelty – but her choice is fatally misunderstood, and their lives spiral into a storm of passion, jealousy and revenge … and ultimately ruin.

Now, eighteen years later, Catherine rises from her grave to tell her story – and to seek redemption.

Essie Fox’s Catherine reimagines Wuthering Heights with beauty and intensity – a haunting, atmospheric retelling that tells the other half of a timeless classic and lays bare the dark heart of an immortal love.

Karen says, ‘Essie’s Catherine isn’t just a retelling – it’s a resurrection, a revelation. Nelly Dean told only half the story … there’s more. What if Heathcliff raised the spirit of the woman who has obsessed him since childhood, when he desecrates her grave to hold her in his arms once again? What would the ghost of Cathy recall from her life, from the moments that Nelly Dean was not present to describe? What would she see and feel when she observes the cruelty and wickedness of the man she once loved – with Heathcliff now intent on destroying the innocent daughter who was born when Cathy died? Bringing gothic richness, profound emotional depth and a modern clarity to this story, Essie has created an extraordinary novel with all the atmosphere, darkness and passion of the original, and from a convincing, devastating new perspective.

‘This is the defining Essie Fox novel – the story she was meant to write, to tell – and we’ll be publishing it as a significant literary event, with the highest-spec hardback imaginable and our biggest marketing campaign ever, two days before Valentine’s Day and the new Wuthering Heights film.’

Essie says, ‘I’ve been obsessed with this story since I was five years old, when I first saw the old film of Wuthering Heights starring Laurence Oliver and Merle Oberon. Since then, I’ve read the book more times than I can say, and it’s long been my passion to try and write about events that Nelly Dean had never seen, to relate in her account.  This is the story of Catherine. But Catherine as a ghost, looking back into her past and her enduring love and passion for the abused and orphaned boy who shared her home at the Heights … then moving forwards as she follows her own daughter through the nightmare of the hell he creates from grief and revenge.’

David Headley says, ‘I’ve loved Wuthering Heights since I first read it as a teenager, but Essie Fox’s retelling genuinely astonished me. She brings new depth, urgency and emotional power to Cathy’s story while honouring the soul of the original. It’s both a love letter and a revelation.’

Catherine: A Retelling of Wuthering Heights, by Essie Fox, will be published in glorious hardback by Orenda Books on 12th February 2026. For more information, please contact Karen Sullivan: Karen@orendabooks.co.uk.

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Countdown: Seven Young Protagonists in Crime Fiction Who’ve Seen Too Much by R.W.R McDonald

We’re not in YA anymore, Toto. Sometimes the sharpest detectives, witnesses, and survivors are still growing up. From quiet unease to unthinkable horror, these stories show innocence in crime fiction is rarely simple, and never safe.

Children and teenagers see the world differently: curious, impulsive, and often brutally honest in ways adults can’t afford to be. Writing from a young perspective reveals the world without filters – the good, the bad, and the things adults pretend not to notice.

Though writing from a child’s perspective comes with word-choice limits, it also brings a creative freedom unburdened by the self-censorship and social expectations that shape adult protagonists. And sometimes, that’s what makes them the best detectives.

From small towns to spectral realms, let’s count down seven young protagonists who’ve seen too much, and sometimes, seen the truth more clearly than any adult ever could.

7. Dirt Town by Hayley Scrivenor (2022)

Protagonists: Ronnie, Lewis, and a chorus of local Durton children (around 12yo).
Seen: Death, fear, and the silence of small towns.

When twelve-year-old Esther Bianchi disappears from her Australian hometown, Durton, the story unfolds through her classmates Ronnie and Lewis, and the unique omniscient voice of a chorus of local Durton children.

Scrivenor captures how kids sense danger long before adults admit it’s there. Dirt Town is tender, haunting, and unforgettable: the first tremor in our countdown of those who’ve seen too much.

6. The List of Suspicious Things by Jennie Godfrey (2024)

Protagonist: Miv (12yo).
Seen: Secrets, suspicion, and the cracks in a so-called perfect community.

It’s 1979 in a small Yorkshire town, and twelve-year-old Miv is determined to solve the case of the disappearing women, or at least the mysteries in her own street. Together with her best friend Sharon, she begins a list of “suspicious things” that might lead them to the truth.

Funny, heartfelt, and quietly devastating, Godfrey’s debut captures the tension between childhood certainty and adult fear. Miv’s innocence becomes a mirror for the paranoia of a community on edge. Proof that sometimes, the biggest mysteries hide behind net curtains.

Part of the power of young narrators is how they balance innocence with intelligence, they see the truth but don’t yet have the armour to ignore it.

5. The Nancys and the Case of the Missing Necklace by R.W.R. McDonald (2025)

Protagonist: Tippy Chan (11yo).
Seen: A small town’s darkest secrets and the adults trying to hide them.

Set in small-town New Zealand, eleven-year-old Tippy forms The Nancys with her babysitting uncle and his boyfriend while her mum’s away on a cruise — a detective club fuelled by Nancy Drew, glitter, and a mission to investigate her school teacher’s murder. Like her role model, Tippy is clever, curious, and unafraid to take charge when the adults falter in their search for the truth.

Through Tippy’s eyes, murder meets mischief and grief meets gallows wit, a reminder that kids can hold horror and humour in the same breath. And sometimes, the only way to face the dark is to laugh at it.

I loved writing that wildness, that blurring of boundaries, the way kids throw themselves into chaos, convinced they can put the world right again. All perfect qualities for amateur detectives.

4. Pet by Catherine Chidgey (2023)

Protagonist: Justine (12yo).
Seen: The danger of devotion, and the betrayal that follows.

Like every other girl in her class, twelve-year-old Justine is drawn to her glamorous new teacher and longs to be her “pet.” But when a thief begins to target the school, her unease grows. With each twist, this story of deception and guilt takes a darker turn, leaving Justine to decide where her loyalties truly lie.

Set in 1980s Christchurch, New Zealand, Pet explores racism, misogyny, and the oppressive reaches of Catholicism with eerie precision, a chilling addition to the canon of childhood betrayal.

We’re deep in the countdown shadows now, and there’s no turning back…

3. The Vanishing Place by Zoë Rankin (2024)

Protagonist: Margaret (teen).
Seen: The echoes of trauma and the shadows of memory.

Rankin’s taut debut explores how childhood trauma reshapes memory itself. Told with psychological precision, The Vanishing blurs the line between memory and mystery. A haunting reminder that the crimes we survive can be the hardest to solve.

As Zoë Rankin wrote in her Criminal Element feature on young protagonist narrators, “there is something deliciously raw and exposed about showcasing the voice of a child in a thriller novel.” And The Vanishing proves it.

Only two left in our countdown, and both novels’ kids have seen more than anyone should.

Honourable Mentions: Not Strictly Crime Fiction, But They’ve Seen Way Too Much

These last two may sit outside the strict boundaries of crime fiction, but the horrors their young protagonists witness, and survive, or don’t, earn them their places here.

2. Flowers in the Attic by V.C. Andrews (1979)

Protagonists: The Dollanganger children (ages 5–14).
Seen: Everything, except sunlight.

I mean… the seventies were a different time… Locked away in the name of family honour, the Dollanganger children learn that love and cruelty can share a roof. A gothic nightmare masquerading as domestic bliss — and proof that the most chilling crimes don’t always leave the house.

It may not be filed under crime fiction, but it’s hard to think of a greater domestic crime than what these children endure.

1. The Lovely Bones by Alice Sebold (2002)

Protagonist: Susie Salmon (14yo).
Seen: Everything, even her own death.

Susie Salmon narrates her murder from the afterlife. It’s devastating and transcendent: the voice of a teenager who refuses to stay silent, reminding us that innocence doesn’t end where life does.

Not strictly a crime novel, The Lovely Bones begins with a murder and never stops tracing its aftermath. A haunting inversion of the genre, where the victim, not the detective, leads us to the truth.

*

We began with a warning, and let’s be honest, Dorothy Gale saw some messed-up stuff. 

From the haunting chorus of Durton’s children to Susie Salmon’s spectral watch, these young narrators remind us that courage isn’t about age, but about seeing clearly when others look away. They laugh, grieve, investigate, and in doing so, they reveal the truth adults can’t.

And maybe that’s the countdown’s lesson: sometimes the most dangerous thing a kid can do in crime fiction is notice.

R.W.R. (Rob) McDonald’s The Nancys and the Case of the Missing Necklace is published by Orenda Books on 20th November 2025.

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Goodbye Áróra

by Lilja Sigurðardóttir

A five-book series done. Five storms lived through Áróra’s eyes. And now, her story ends.

She was never meant to stay forever. Áróra arrived like a knock on the door in the middle of the night – sudden, urgent, impossible to ignore. She carved her way into my imagination with her intelligence, her strength and her dangerous independence. For years she was a voice I could not silence, a presence that pulled me back to the keyboard, again and again.

Writing a long-running series is a different kind of commitment from writing a standalone. With a standalone, you tell the story, let it echo, and move on. But with a series, the character follows you from book to book, from year to year. Áróra grew alongside me – her scars deepening, her voice sharpening. Writing her story was less like invention and more like living alongside someone who refuses to leave your side.

Now, with her tale complete, I stand in the quiet aftermath. I will miss her and her fellow characters, of course. But there is also a release. The kind of freedom that comes when a case is closed, when the past is finally put to rest.

I want to thank the readers who followed me and Áróra through all the books, through the trouble, the adventures, the danger, the grief. Thank you for reading, reviewing, commenting, and giving me feedback. You gave Áróra life beyond the pages, carried her with you, and made the ride worth every twist and turn.

Áróra is gone, but my creative wells are far from empty. New stories stir within me, waiting. And I am ready to chase them.

Black as Death, by Lilja Sigurðardóttir, translated by Lorenza Garcia, is published by Orenda Books on 23rd October 2025.

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Standalones or Series: That Is the Question

by Antti Tuomainen

When I started writing The Winter Job – out today in the UK – I knew it was going to be a standalone. But how did I know that? I think there are at least two bigger reasons. First, it was my second standalone after The Rabbit Factor trilogy, and I think I still felt that it was too early to start another trilogy or series. Second, and probably more important, I felt that the story itself required that it be completed in one book. Thus, in hindsight, I think I can say that it was an instinctive decision based on the nature of the original idea.

After fifteen novels, anyone would think that I would have developed a better, perhaps more scientific method than instinct – and the abstract nature of an idea – to decide whether to write a standalone or to embark on a series, but I must admit that I haven’t. I realise there are potential commercial advantages to series – they are often easier to market, and readers tend to find them easier to approach, especially in genre writing, like crime fiction. But I have also come to learn that writing a book demands so much work for such a long period of time that I really need to take the only possible short-cut available: write what I want.

Case in point: when I was writing The Rabbit Factor (the first book in the trilogy of same name) I hadn’t planned a trilogy. I was near the end of the first draft when I suddenly – and yes, instinctively and based on the nature of the original idea – knew that this story isn’t over yet, that there is more to this character and his journey. So, I suggested to my agent that I write a sequel, and he asked could it be a trilogy. I answered immediately because I already knew the answer: Yes, it could be, and happily. I was indeed thrilled to continue writing from this character’s (a highly rational actuary) perspective and to see him achieve his goal: love and happiness and the end of solitude. It was a longer journey because it, well, needed to be.

The Winter Job, then, was a natural standalone. As I said, I knew this from the beginning, and I think I knew it when I had the first inkling of the idea some years ago. The biggest reason for that seems, at least to me, to lie in the very nature of the story. It is a road-trip movie in the form of a book, and once a journey is completed – no spoilers here, I’m not telling how it is completed – and the story of a friendship is told, the most important goals were achieved. I loved the characters and saw potential in their subsequent adventures and could have gone on with them, but something just told me that they would be alright without me and that I should continue to the next story.

And that’s what I am doing, following my instinct and listening what the story is trying to tell me. Standalone or a series – that is the question, again.

The Winter Job, by Antti Tuomainen, translated by David Hackston, is published by Orenda Books on 23rd October 2025.

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Creating a Hero – DI Ben Kitto

I was ready for a change when I began my Isles of Scilly mysteries. I’d spent eight years writing a series set in the crowded South London streets where I grew up. It had been a labour of love, but my imagination needed a break from the traffic-filled city streets, so I chose a radically different environment. I’d been visiting the Isles of Scilly since childhood, and had fallen for its pristine landscape, full of winding paths and uncluttered beaches, gleaming with mica.

The challenge I faced was how to bring a character to life that typified such an extraordinary landscape. I wanted, above all, to create a hero that the islanders themselves would accept as their own. So, I began my research, during a trip to St Mary’s in the spring of 2015. I spoke to people on all five of the inhabited islands, asking about the traits they observed in themselves and their fellow islanders. Two aspects kept on cropping up: resilience and a strong community spirit. It made perfect sense to me. You need a firm backbone to withstand the toughest of winters, when Atlantic storms pound the islands’ shores. And it’s never wise to isolate yourself in a small community, where almost everyone is connected. 

One story above all was instrumental in helping me shape Ben Kitto’s character. When I spoke to Peter Hicks, the lifeboat coxswain on St Mary’s, he told me about one of the RNLI volunteers. There had been a terrible storm the previous winter, and the lifeboat had sailed out to save a stricken fishing boat, which needed towing back to harbour. One young man volunteered to jump aboard the trawler in a raging sea. He fell between the two vessels and sustained life-changing injuries. He spent months in hospital, learning to walk again, yet his determination to remain a lifeboatman never wavered. By the following autumn, he was back on duty, despite being fitted with an artificial foot.

I knew that my character needed the same kind of unshowy heroism, and be programmed to help others, whatever the risk. He took shape the moment I named him Benesek, which means blessing, or good will, in Cornish. I wanted him to possess a bone-deep desire to support his community, which I witnessed right across the islands. But he needed flaws too, so I made him shy, especially with women, and prone to obsess over issues that bother him.

Ben Kitto’s personal history needed to parallel the islands themselves. Scilly’s fate has always been inextricably tied to the sea, from the days when Irish pilgrims sailed over, to establish religious communities, through centuries of smuggling, to the fishing industry which endures today. So I made his father a trawlerman who had drowned when Ben was fourteen, and his uncle Ray a master boatbuilder, on the island of Bryher.

Socialising matters in Scilly too, with each of the islands having at least one pub, even though some have less than a hundred permanent residents. Much of Ben’s back story has been shaped by the Rock pub on Bryher, which is run by his godmother Maggie Nancarrow. I know from experience that the pub matters in winter, after getting stranded on Bryher for a week, when storms became too fierce to fly back to the mainland. The majority of islanders battled through strong winds and rain to reach the pub’s warmth, to gossip, or play chess by the log fire. I wanted Ben’s childhood memories to have been shaped by spending many evenings crammed shoulder to shoulder with the other islanders, until they became like relatives.

I took a risk in using real places in all the books, so Ben Kitto would find himself dealing with familiar buildings and people, when he investigates crimes. But I wanted to give him a degree of objectivity too. Many people leave Scilly to go to university or work on the mainland, but plenty return to raise their children there. Ben Kitto’s experience of spending ten years in London, is typical, only to find himself longing for the islands when he hit thirty.

I gave myself a significant challenge when I decided to narrate all the books from Ben’s perspective, first person, as if each story is unfolding in present time. Ben is a colossal six feet six inches tall. So, as well as imagining a male perspective, I had to get used to a totally different physique, which turned out to be fun! I made him a typical islander, keen on wild swimming, and outdoor sports. But we share a passion for watching the landscape. I gave him my favourite walk, to the brow of Gweal Hill on Bryher, to watch nesting kittiwakes and the vast Atlantic stretching almost to infinity, studded with charcoal grey islands, thrown down like pebbles.

I suppose the true test of whether or not a community accepts a fictional character is whether or not they read the stories. I was thrilled to get a message from Mumford’s shop on St Mary’s recently, to let me know that each of the books always sells out on the day it hits the shelves, which helped me breathe a sigh of relief. After eight years spent writing about Ben Kitto and a range of characters, most of whom are based on real people, I’m relieved that the islanders have taken him to their hearts.

Kate Rhodes is the bestselling author Deadman’s Pool, book eight in the Isles of Scilly series, featuring DI Ben Kitto, published by Orenda Books.