Page 33 - Reader's House magazine

resilience, neurodivergent experiences, or the human condition—that sets him apart from his contemporaries. In this exclusive interview, Dr Hollows of- fers a glimpse into the processes that shape his celebrated works, from the meticulous histori- cal research behind his novels to his seamless genre-switching prowess. Whether discussing his inspirations, his approach to character creation, or his advice for writers looking to step into multifaceted literary worlds, Mike’s thoughtful reflections are a gift to readers and aspiring authors alike. It is with immense pride and admiration that we shine a spotlight on this award-winning storyteller, whose pen contin- ues to illuminate and inspire. and, secondly, that I can structure them around a real timeline. This gives a sense of historical accuracy, that the narrative events happen against a backdrop of real events. I also make sure I read as many accounts from the time as possible and see what sorts of things may happen in my own story. But I have had some truth is stranger than fiction moments. The key, I think, is to ask yourself what theme you are trying to explore in this section and then make sure that the scene is something that could plausibly have happened at the time. Can you share your process for developing characters like Charlotte Weber and ensuring they resonate with readers? What inspired you to explore World War II themes in “The Violinist’s Secret” and “The German Messenger”? The main reason I chose to explore World War II was because we still have a lot to learn from the past. Sadly, we have come only so far from these lessons, and with the apparent rise of populism and xenophobia in our world it’s important to revisit the past and explore what has happened before. The Violinist’s Secret is a bit of a departure from my World War II novels set in British territories, but I wanted to explore a woman’s role in Nazi Germany. When the Nazis came to power many German institutions were at I spend a lot of time researching character names and this is important because they not only have to sound right, but names also form a sort of archetype. When I am writing point of view characters I almost close my eyes and imagine what it would have been like to live in their world. That way I can describe everything as if they were living it. Making sure characters resonate with readers isn’t about making them likeable, but it’s about giving readers something to empathise with. If the character is feeling the world around them then the reader will too. What challenges do you face when switching between genres like historical fiction, science fiction, and fantasy? MJ Hollows is a literary I think there is a lot of similarity. The main powerhouse whose captivating challenge of writing any genre fiction is storytelling, intellectual depth, and genre-spanning talent continue to mesmerise readers worldwide. the forefront of various areas of research, and there were a number of women included in this research. The Nazis, however, wanted women to be wives and mothers, and so I asked myself, ‘how did this play out?’ I was almost certain that not every woman would be D R A F T A gripping World War II spy novel, The Violinist’s Secret masterfully blends suspense, historical detail, and moral complexity. Charlotte’s compelling journey, atmospheric writing, and engaging twists shine, despite occasional pacing issues. M.J. Hollows delivers an authentic, making sure that it feels it is of a time. So, in thought-provoking tale perfect historical fiction, something as simple as a hat for fans of historical fiction and stand, which we don’t tend to see any more, gives the reader a sense of time. In fantasy it espionage. A solid 4-star read! could be an arming rack, in science fiction a space suit. The challenge is in making them feel like real worlds. That’s the colour. Then the stories told within these worlds is what gives the nuance and individuality. And each story is different. happy with these twin roles and sought to tell that story. The German Messenger came about a different way. Liverpool was the second most bombed city in England during World War II, but this is never talked about. It was also a study of human nature that resonated with the Covid pandemic. During the Blitz, not everyone followed the rules, and I wanted to explore this. It was amazing during my research how similar it felt. Everyone was scared and that played out in odd ways. How do you balance historical accuracy with the creative demands of storytelling in your novels? I’m fortunate in my historical novels that, firstly, they are set in the relatively recent past, so there is a lot of research on which to draw What is your most valuable piece of advice for other authors aspiring to write across multiple genres successfully? I would say ask yourself why you are writ- ing in this genre. Each of them has a role to play in narrative and exploration. They’re not just window dressing. So, for historical fiction it might be a case of exploring why something may have happened in our past or, as I’ve mentioned, what we’ve failed to learn. For science fiction it could be a way of exploring our own world but using a different lens that allows us objective distance from the issue at hand. And fantasy, although I treat fantasy and science fiction as two styles of the same genre, it could be a way of exploring how people might be different if they lived in a different world. Don’t just write it because you like reading it, but understand what is at the core of that genre. Then you will be able to write across genres as you know which will best fit the story you are trying to tell. Reader’s House II 33