For the folks who haven’t met her
yet, give us a brief description of Calli Barnow, and since the bio on your
website mentions that your birthday falls on the cusp of Sagittarius and
Capricorn, you’ve got to tell us Calli’s sign too! How much of you is in Calli?
Calli Barnow is a middle-aged, private investigator who
lives and works from her office in the
Kensington Market area of Toronto. Due
to her homophobic father, she left home while still a teenager, thus relinquishing
the silver spoon with which she was born for the school of hard knocks. Because of that, Calli has developed
psychological scars and personality quirks she might not otherwise have
possessed. Although she does have close
friends and a steady love relationship, her emotional challenges still often
get in the way of not only her personal life, but also her professional
endeavours. Nevertheless, Calli is not a dark character; in fact, she often
sees the world in a rather humorous light.
Regarding astrological signs, Calli would be an early
Sagittarian. (By the way, although such things can be fun, I take them with a
grain of salt.) She’s independent, doesn’t like to be tied down, and she can
come across as rather unemotional.
I’m often asked if Calli is based on me. No. She is a
fictitious character, and almost every aspect of our lives, both past and
present, are different. We do, however,
share the same attitudes toward many things.
The Calli Barnow mysteries are all
set in Toronto. With all else remaining
unchanged (plot, characters, themes, suspects, red-herrings and so on...) do
you think you could have or would have been able to write this series if it
were set in, let’s say, your hometown of Regina, SASK? Or would Calli have ended up being a
different character all together? In
other words, how much influence does setting have on the story and to what
extent does setting impact the character?
Setting has a tremendous effect on the story. The size and
multicultural nature of Toronto make it ideal for providing textured and
changing backdrops for both individual scenes and ongoing story lines. I
consciously use locations to create mood and atmosphere, as well as to provide
interesting venues for crimes. My books would be very different, if they were
set somewhere else.
Toronto has also had a considerable effect on the character
of Calli. As a young lesbian who was trying to make a life for herself, she was
able to find community support that might not have been as readily available in
a place with a smaller population. The size of the city also gives her a
certain amount of anonymity, which is sometimes necessary in order for her to
perform investigations. On the most basic level, Calli is a big city Ontarian.
She is the product of Toronto, and it’s where she belongs.
Interestingly, your bio mentions
that it really wasn’t until somewhat later in life that you began reading
mysteries, and yet here you are a thrice published mystery novelist! Do you think that your writing is influenced
much – if at all – by all the non-mystery books you’ve read?
Absolutely. Two of my favourite writers are Virginia Woolf
and Thomas Hardy. I have always admired Woolf’s stream of consciousness
techniques and Hardy’s ability to create a cinematographic feel through his
narrative. The most profound influence on my writing, however, is my background
in theatre. Having studied dramatic literature extensively, and having trained
and worked as an actor, my writing is character-driven to the core.
What is the one thing that a writer in any genre can do to turn you off as a
reader? Are there any books you’ve begun
reading but never finished?
Yes, there are some books I have begun reading, but never
finished. I’m not, however, going to name them. In general terms there are a
few things that will turn me off reading a book. Perhaps the most important and
the most quickly recognizable aspect would be poor or simplistic use of
language. I also need to feel that there is an underlying truth within the
characters and story line. I appreciate humour, but I’m not big on things that
are trivial. I’m also a happier reader if there is at least one character who
really grabs me in some way. I recently read an acclaimed novel in which all
the main characters were unlikeable. Although that was appropriate and in fact
necessary for the plot, I found it did not satisfy what I look for as a reader.
Sorry, I seem to have more than one turn off point.
How do you come up with bad
guys? How do you create a killer? Is it ever difficult to write about nasty
characters with vicious tendencies? How
do you balance the writing of a bad guy and keeping readers with you?
My bad guys appear as the story evolves. I never plan them
ahead of time. In fact, I plan very little
ahead of time. In creating a killer,
I look at the motivation to kill that is presented from the circumstances in
the story, and I tie that to the psychological aspects of the character that
would enable him/her to do the deed. I personally find it easier to write a
nasty character than a pleasant one. I do, however, research the psychology
behind all my villains. I don’t believe in generic bad guys. I think that’s the
key to keeping the readers with you. The characters who commit the crimes need
to be as real, as individual and as complex as your main characters. You should
be able to believe that the bad guy could be your neighbour, at least until the
layers of civility start to be stripped away. One of the most important things
I learned as an actor was the necessity for one character (and/or reader) to
constantly be discovering something new about another character, even if it’s
an old friend. That element of surprise will keep the relationship alive and it
will keep the audience/reader engaged. This applies to the bad guys too.
Once upon a time, the mystery genre
was dominated by male writers whose protagonists were all white tough
guys. In the last 25 to 30 years or so, the
mystery genre has opened its arms quite widely to protagonists from all sorts
of backgrounds and from various walks of life, which is a great thing! How is this trend reflected in your novels?
Yes, mystery novels are certainly not as narrowly-defined,
or as predictable as they once were. Had things not moved past white tough guy
protagonists, I would never have attempted to write a mystery. My protagonist
embodies some aspects of the diversity that is now being seen in the genre. I
made my main character a white female. That’s not a big leap, but I chose not to
appropriate voice in this instance.
Calli is a lesbian. That’s a little less mainstream, but once again, I
know what I’m talking about. Calli does not have a background in law enforcement,
but rather a varied list of past jobs, including construction worker. She often finds her cases a huge challenge,
and she sometimes makes mistakes. In other words, she isn’t what you might
expect from a private investigator. In fact, she often falls into the category
of reluctant hero.
Since a writer can only go so far with a protagonist, I
consciously try to address the issue of diversity through other characters,
both ongoing and within individual novels. Calli’s sidekick is a
Jamaican-Canadian drag queen. Calli’s love interest is Asian. One of the
characters in Oranges and Lemons is
in a wheelchair, and in Yellow Vengeance many
of the characters, including the woman who hires Calli, are South Asian. As I
said earlier, Toronto is an ideal setting for this kind of mosaic. In striving
for an accurate cross section, I also make an effort to include characters from
a wide range of socio-economic situations. I hope that the end result is an
interesting and unpredictable slice of life.
You’ve done a lot of book events and
you’re also quite active in social media.
What is one of the strangest or funniest interactions you’ve had with a
reader (whether in person or online)?
I actually don’t have any strange or funny interactions to
relate. That pleasure is yet to come. I have met some wonderful people, both in
person and through social media, and it’s those people who keep me writing.
What is the worst bit of writing
advice you’ve ever heard? What is the
best piece?
I need to preface my first statement by explaining that this
probably doesn’t apply to everyone. The worst piece of writing advice I’ve
heard is that you have to be disciplined and write every day. That doesn’t work
for me. The best piece of advice is that
everything you write, including fiction, should be true - not factual, but
authentic. It must contain some element
of a basic, human truth. This can be achieved by being specific. Only then will
your writing near the ultimate goal of being universal.
I know book three, Yellow Vengeance,
has just come out of the oven, so to speak, but what can you tell us about your
current work in progress? I assume
there’s another Calli Barnow caper on the way?
I’m taking a bit of a break from writing fiction. Although I
have a vague idea about how the next
Calli Barnow novel would begin, I have no
definite plans at the moment for when I would write it. I may try a standalone
book next, and I’m not sure if it would be a mystery or not. I’ve also started
work on the life story of visual artist, Joelle Circe, and I’m ten thousand
words into a creative non-fiction book based on the life of my grandmother.
What I need right now is time to recharge my batteries, and decide what
direction I want to take my writing life.
Clues, clues, clues! For a mystery novelist, playing fair with the
reader is tricky business! How do you
pepper in enough clues to give the reader a chance, without making it obvious,
but not so few that it becomes unfair?
I don’t have any sort of a formula for handling this issue.
It is at the back of my mind, as I’m writing, but as with the story line, I tend
to let the clues present themselves to me. Sometimes a thought will appear, and
I’ll say to myself, “Yes, that’s a decent clue to include.” At other times, I
will become aware as I’m revising that I need a hint here or there, and then
I’ll figure out what and how to work them in.
Let’s have some fun with quotations
about mystery fiction! Take a look at
the lines below. Do you think crime
fiction in particular and genre fiction in general are yet taken as serious
literature? Will they ever be taken as
serious literature? And does that even
matter?
"Detective stories have nothing to do with works of art."
-W.H. Auden
"I've been as bad
an influence on American literature as anyone I can think of."
-Dashiell Hammett
"[Dashiell Hammett’s] The Glass Key is better than
anything Hemingway ever wrote." -Rex Stout
Those
are great quotes, and certainly food for thought. Varying opinions on the subject abound. There will always be literary elitists who
turn up their noses at genre fiction in general and crime/mystery/detective
fiction in particular. I don’t fall into that camp (obviously). Sure, there’s
no shortage of mediocre and even bad genre fiction out there, perhaps due in
part to the formulaic nature of the beast. P.D. James says, “One
of the criticisms of the detective story is that this imposed pattern is mere
formula writing, that it binds the novelist in a straitjacket which is inimical
to the artistic freedom which is essential to creativity, and that subtlety of
characterisation, a setting which comes alive for the reader and even
credibility are sacrificed to the dominance of structure and plot.” She also
goes on to say that she is always amazed at how good writers manage to go
beyond the restrictions. I agree with her. I think that nowadays, more than
ever, writers are not afraid to play with form and structure in genre fiction,
even to the extent of sublimating traditional aspects of it in order to more
fully develop things like character or relationships. I know that when I’m writing, I make conscious
decisions about what parts of “the formula” I will use, and when I will totally
go against convention to achieve my goals. In the scheme of things, I don’t
know that it really matters if genre fiction is ever taken seriously, but I do
think it’s moving in that direction. That having been said, I would be
delighted if my novels were considered in a serious, literary light.
The last question is a bit of a
freebie. What is the one question you
wish I had asked you but didn’t? Now go
ahead and ask and answer that question.
How
do you decide what to write about, when you begin a new novel? Where does the
plot come from?
As I said
previously, I plan very little in advance. It would be nice to have the
security of a detailed outline, but that doesn’t work for me. My plots evolve
bit by bit, as Calli goes through her days, meeting a client, pursuing leads
and so on. What I usually do have in my head either before I begin writing, or
shortly thereafter, is a social issue I want to investigate. Red Rover looks at parental homophobia, Oranges and Lemons centres around
Internet gambling, and Yellow Vengeance
examines international adoption. Once I have my core issue,
everything else seems to fall into place. Underpinning the issues and the
mysteries is the ongoing saga of Calli’s personal life. It is woven both
structurally and thematically through the other elements in the novels.
Follow Liz on Twitter @MysteryBugg
Have a look at Liz's website HERE
But, given all that, it doesn’t mean they come to me as
completely formed and complex as they need to be to interest a reader for a
whole story or a whole novel. Sometimes they have blind spots. Sometimes
they’re too nice. Others are too angry. And heaven forbid, some are too much
like me!
The idea is not to come up with formulas for your
characters, but to give you a tool to explore the complexity that is
personality, so your characters will come to life on the page but also be
consistent enough that your readers will relate to them as real people. 
