Loreth Anne is an internationally bestselling author of thrillers, mysteries, and romantic suspense. A three-time RITA finalist, she is also the Overall 2017 Daphne du Maurier Award winner, and she has won the Romantic Times Reviewers’ Choice Award, the National Readers’ Choice Award, and the Romantic Crown for Best Romantic Suspense and Best Book Overall, in addition to being a Booksellers’ Best finalist, and a multiple CataRomance Reviewers’ Choice Award winner.
This interview took place in 2018.
A recovering journalist who has worked in both South Africa and Canada, she now resides in the haunting mountains of the Pacific Northwest with her family where she tries to avoid the bears, albeit not always unsuccessfully. When she’s not writing, you will find her skiing, biking, hiking the trails with her dog (aka the Black Beast), or open water swimming. She calls this work, because that’s when the best ideas come.
SinC-CW: Tell us a little about your most recent story, The Girl in the Moss.
Loreth Anne White: The Girl in the Moss is a cold case mystery/thriller that kicks off when a shallow grave in a mossy forest exposes the bones of a decades-old secret. Early reviews have described the story as dark, atmospheric, and twisty with a shocking conclusion. While it can be read alone, The Girl in the Moss is book 3 in the Angie Pallorino series which also has a romantic thread playing out over the arc of the three books.
A larger philosophical question around cold case detecting also plays throughout this book. As one Goodreads reviewer wrote: “If history allows those in grief to move forward with their lives, trying to breathe new life into a cold case threatens to upend everything for survivors. On the other hand, those who have gotten away with murder are eluding justice. Angie clearly represents Justice in this book, even at times when nearly everyone is against her and when some of the opposition’s arguments make some sense.”
So yes, Angie is dogged, but hopefully for good reason—the mystery of her own tragic childhood is another cold case that is solved over the course of the three books, which includes The Drowned Girls, book 1, and The Lullaby Girl, book 2, and that past informs her character.
Where is the series set? What is it about that location that made you want to set your latest book there?
Victoria, Vancouver, and other (augmented) parts of Vancouver Island are the prime locales for this series. (I have a passion for setting my work in Canada!) I particularly love the moodiness and atmospheric mystery of the Pacific Northwest. The weather here, and the terrain, shapes the people, and I think it all lends itself so beautifully to the Scandinavian noir atmosphere of crime fiction that I love. I wanted to try and tap into that tone with my Angie series.
Imagine you’ve been kidnapped or trapped by a natural disaster. Which of your own characters (from any work) would you want to rescue you? Why?
Angie Pallorino! This one is a no-brainer… did I mention Angie is stubborn, dogged. She will not give up on a mission she has set her heart on. She’s also empathetic and resourceful, and when her friends have her back, she by heaven has theirs. And she did a pretty darn awesome job of saving homicide detective James Maddocks and his daughter at the end of Book 1, and some other characters in the following books who I won’t name for fear of spoilers. J
Describe your current writing workspace(s).
I am blessed to have a place I can call an office these days—a long way from the half-closet in our tiny bedroom where I started my fiction writing journey after coming home from a full day’s work on the local newspaper. My desk faces a large window that looks over trees toward the slopes of Whistler Mountain. And I always have orchids on my desk now. For various reasons the flowers remind of who I am and where I came from, and of people I love who are both present in my life and gone. Kind of a totem, I suppose. J
What’s your current writing project? How do you feel about it right this minute?
Right this moment I am in love with my work in progress. But speak to me in two more minutes and it shall once again be the largest pile of dreck you ever did see! Ah, those teeter-totter mood swings of a novelist. The Dark Bones is the tentative title for this work. It’s an atmospheric mystery/suspense/romance set in Cariboo country in the B.C. interior, and while it is a standalone, it links to A Dark Lure, which was an Amazon #1 bestseller and is still currently ranking in the top 100 in Germany (in its German guise as Winterjagd). If all goes to plan—and things do yet all have to slot into place—the book will see the shelves early next summer.
Do you belong to any writer’s groups or communities? Do you think these types of social interactions are important for writers?
I belong to several. Romance Writers of America, Kiss of Death (which is the mystery and suspense chapter of the RWA), Novelists Inc (Ninc), Sisters in Crime and the local chapter Sisters in Crime-Canada West, Crime Writers Canada, and many online groups, loops, and communities. These connections and conferences like the RWA annual convention, Bouchercon, Left Coast Crime, the Surrey International Writers Conference, Writers Police Academy, and the Ninc cons have been key for me. I’ve learned to write commercial fiction through them. And if one wants to be a working writer, a selling writer, a commercial writer—it helps to keep a finger on the pulse of the industry: what’s selling, what isn’t, who’s buying, what agents want, how to work with or without an agent, what editors are buying and seeking, various publishing choices, marketing, Facebook ads, Book Bub, newsletters, networking, contract negotiations, what kind of money is being earned and where… it’s ever-evolving.
Have you had to deal with bad reviews? How do you manage them?
Many! What published author hasn’t? And they do hurt. I do read my reviews when I happen across them because if I see a common refrain—well, that’s something I can either use, or lose, in future work, depending on the refrain. I can learn from reviews. Then there are those negative slams that are just out there. Those I try to just look away from and keep on going.
Are there certain themes that keep coming up in your work? If so, is it intentional, or something that just happens.
Good question! I realized just recently that I tend to write primarily about survival in one way or another, and about finding one’s tribe.
Do you think there were early influences as a reader that have guided the stories you create as a writer? What were they?
Definitely! I grew up on Enid Blyton stories about intrepid kids who solved mysteries on dark and stormy moors and who stalked wicked smugglers in rugged coves with dangerous seas and blinking lanterns in the dark. And I went on to Nancy Drew and the Hardy Boys, and Willard Price’s tales of adventure with dangerous animals in wild places. I think all those elements I adored in those early tales still fire me now.
You are well published, with a number of romantic suspense titles from Harlequin as well as four single title romantic suspense books. What’s the most challenging thing about being a writer in 2018? What’s the best thing?
I have published 26 works of fiction now, and the last decade in the publishing industry has been one helluva ride. We’ve watched traditional publishing nosedive through the gold rush of the self-publishing/digital revolution. We’ve seen brick and mortar bookstores closing in the face of the Kindle evolution and Amazon dominance. We’ve seen traditional markets and shelf space shrinking. At the same time I have never met so many writers whose names you don’t know who make more than an incredible living (millionaires, many). This was not that case prior to the digital revolution. The big challenge now, however, is how to navigate the end of the indie gold rush, and how to crack the ‘discoverability’ conundrum that is the Great Wall of Content that keeps on growing and growing, minute by minute… both in backlist and frontlist. What was working last month is just not working now, and so on. Another challenge we’re seeing a lot of in my writing communities is burnout. Pedaling that indie hamster wheel is taking its toll. I’m seeing writers of many years flat out quit.
What advice do you have for writers of fiction starting out now?
Write what you love to read! Hands down, number one. Chasing the market year after year after year will exhaust the muse and can cause bitterness and frustration down the road. And you’re going to spend an awful lot of time reading and re-reading and proofing and editing and rewriting your own work along the way so having passion for the genre will help keep the energy there.
And define what success means to you early on. Is it to make lists, hold a hardcover in your hands, see your book in an airport bookstore, win some award, secure literary accolades, speak on panels, do book tours, be your own boss, make a fat living selling millions of mostly-digital copies, be available on all platforms… because your definition of success will help decide what publishing route to pursue in this shape-shifting, often demoralizing, but also very exciting business filled with tons of truly awesome people.