Q: We share a story, it seems. I went to Columbia graduate school in History but then chose to become a novelist. You went to the Columbia School of Journalism. In your case, what happened??
I worked as a journalist for about 15 years and enjoyed it – I mainly wrote about heath, fitness, and the arts. But I stumbled upon a story idea based around the Barbizon Hotel for Women that I thought would make a good article. I planned to interview some of the long-time residents for it, but they’re very private and I couldn’t reach them. Instead, I decided to try to write a novel using the idea, and before I knew it I was off on a completely different career trajectory.
Q: You obviously have a passion for urban landscapes, particularly New York City. As a born and bred New Yorker, I get it! But what is it about historical urban landscapes that continue to inspire you? Have you ever been tempted to write something set in a rural area?
I’d love to write something set in an English manor house – those are some of my favorite books to read. But there’s something about the vitality of New York City that really appeals to me. There are so many gorgeous buildings – you can find one on every block – and I’m always curious about the people who lived inside, all of the stories that have gone on in those walls. I’m interested in how the building and its residents have changed over time. It’s also an excuse to get to snoop around, which I do enjoy.
Q: For our readers who are interested in writing historical fiction, can you give us insight into your writing process?
I’m a serious outliner – especially with two timelines, there has to be order or I’ll be completely lost. I do around ten drafts, including a really bad, skeletal first draft, and I use a pencil and notebook to first sketch out each scene, then turn to Scrivener to write the novel and keep all my research in one place. I wrote my first book while I was still a freelance journalist, but now I write historical fiction full time, and love every minute of it.
Q: What made you choose a dual timeline for The Magnolia Palace? What extra challenges do you find the dual timeline posses?
They can be a beast, but it’s so gratifying when they finally come together. I wanted to show how the Frick mansion had changed through the decades, from a residence to a museum, and a dual timeline was the best way to accomplish that. I challenged myself even more in writing the 1960s timeline, where I gave myself a limited number of characters, a limited location, and a limited timeline. I love the way it ended up, but it kept me on my toes.
Q: Was there one discovery about the Frick mansion or family that made you shiver with delight and inspiration?
When I was shown the circa 1914 bowling alley in the basement, I couldn’t believe it. It still works, made of gleaming maple and pine, and even has an automatic ball return. Quite a shock – and of course I had to set a scene or two down there.
Q: What has been your greatest challenge as a writer? How have you been able to overcome that (if indeed you have!)?
The greatest challenge is always hitting the daily word count on a first draft. I try to do around 1400 words a day, four to five times a week. Some days it flies by, but others are a total slog. I realize now, by the sixth book, that that’s just the way it is, and there’s no use in moaning about it. Once I get that done, it’s always a relief.
Q: What are some things we wouldn’t know about you just by reading your work? I.e., are you a Leeds United fan, art collector, or Salsa dancer?
I collect things with dragonflies on them – plates, art, jewelry. And apparently one of my ancestors was the butler to Henry VIII.
Q: What books are currently on your nightstand?
The Ballerinas by Rachel Kapelke-Dale, a group of short stories by Alice Adams, and Oh William! by Elizabeth Strout.
Q: What’s next for you?
I’m working on a book set at Radio City Music Hall in the 1950s, from the point of view of a Rockette. It’s great fun!