What sparked your interest in writing a murder mystery? – Q&A with author Holly Jackson
I’ve always been drawn to murder mysteries and crime thrillers, enjoying them immensely in both books and on screen. However, the true inspiration behind “A.good.girls.guide.to.murder” was the captivating world of true crime, specifically podcasts and documentaries. I became completely engrossed in true crime content and wanted to create a book that mirrored the engaging perspective of an amateur detective in a real-world setting.
What challenges did you encounter, if any, by choosing a teenage girl as your detective in “a.good.girls.guide.to.murder”? How did you navigate these?
I never viewed having a teenage girl as the detective as a hurdle. In fact, I saw it as a significant advantage, brimming with opportunities to explore. One of the aspects I enjoyed most during the writing process was devising creative ways for Pip to utilize everyday technology as crime-solving tools. Being a teenager, she lacks the extensive resources available to law enforcement, which made for interesting problem-solving. Furthermore, the fact that other characters often underestimate her becomes a strength. Pip skillfully uses this underestimation as a weapon against the adults involved in the case, turning their complacency to her advantage.
What did you appreciate most about collaborating with Lindsey Heaven on “a.good.girls.guide.to.murder”?
Considering the true crime inspiration for “a.good.girls.guide.to.murder”, I really wanted to infuse the book with that authentic feel. This meant incorporating multimedia elements and found-footage style items to create a truly immersive reading experience for the audience. Lindsey embraced this vision wholeheartedly from the very beginning. While these multimedia aspects sometimes presented formatting challenges during editing, I believe they ultimately enriched the final book. I am incredibly grateful for Lindsey’s unwavering support for this dual format right from the outset; she was a true champion for this book.
What was the most demanding aspect of writing “a.good.girls.guide.to.murder”? And what element are you most proud of?
I think with any crime thriller, there’s a significant weight placed on delivering “THE BIG TWIST.” It’s an almost mandatory element within the genre. You aim to strike that delicate balance – shocking the reader while also making the twist feel somewhat inevitable in retrospect, like they could have guessed it all along. For me, devising an original and surprising reveal for readers who are likely well-versed in crime thrillers and their conventions was the most challenging part. Books in this genre often seem to hinge on their final reveal. From the reviews I’ve read, it seems I largely succeeded in this, which is a huge relief!
What advice would you offer to authors who are just starting out, especially those writing their debut novel similar to “a.good.girls.guide.to.murder”?
My piece of advice, which I often struggled to follow myself, is to always try to remember the core joy of this career: storytelling. During the publishing process, especially when working on a book like “a.good.girls.guide.to.murder”, it’s easy to lose sight of this when you’re meticulously searching for misplaced semi-colons at 3 a.m., panicking about word count, or stressing over countless other details related to the business side of book-making. The process will be stressful. But at the end of the day, try to reconnect with why you started writing in the first place. Remember that your primary goal is to tell a story that you yourself would love to read. That is, after all, the most rewarding job in the world.
What initially excited you about Holly Jackson’s manuscript for “a.good.girls.guide.to.murder” when you first read it? – Q&A with editor Lindsey Heaven
It was simply the most compelling manuscript I had ever encountered. From the very first page of “a.good.girls.guide.to.murder”, we, the editors, were completely hooked on Pip’s investigation. We were messaging each other late into the night, on WhatsApp, eager to know how far each of us had progressed in the story. The addictive nature of the narrative was undeniable.
What qualities in Holly’s writing style, evident in “a.good.girls.guide.to.murder”, make her stand out as an author to watch?
Holly’s profound sense of social justice resonates powerfully throughout “a.good.girls.guide.to.murder”. This is balanced perfectly with a believable young adult voice and the most captivating mystery narrative I’ve ever read. However, her writing style transcends the YA category, and Holly is gaining an ever-growing fanbase of adult readers as well. She possesses a commercially appealing yet distinctive voice, she’s unafraid to tackle complex themes, and I’ve never met an author who is as deeply invested in every single detail – from the subtle nuances of a character’s dialogue to the placement of every last full stop.
How did you collaborate with Holly on her manuscript for “a.good.girls.guide.to.murder”? Were there any aspects you asked her to revise or change?
In a crime novel, particularly one like “a.good.girls.guide.to.murder”, there’s often an element of the unbelievable. A one-in-a-million chance event occurs – the absolute worst thing you can imagine happening actually happens. As an author, you are asking the reader to suspend disbelief and take a leap of faith with you. Holly and I had many discussions about how far you can push that leap. However, one of her exceptional skills as a writer is her ability to guide the reader on an almost unbelievable journey while maintaining their complete trust and engagement in where the story is going. She pushes the boundaries, and I believe readers love “a.good.girls.guide.to.murder” and her other books even more because of it!
What motivated you to become an editor, and what aspects of editing do you find most rewarding when working on books like “a.good.girls.guide.to.murder”?
My initial experience in publishing was through a work experience placement at Barrington Stoke. At that time, it was still run from the owner’s home. Barrington Stoke specializes in publishing books for children with reading difficulties like dyslexia, but they also invite mainstream authors to write for them. This ensures that these children aren’t reading books that are visibly different or purely educational. Realizing that children’s books could entertain, transform lives, and unite children through a shared love for a writer, regardless of their reading abilities, was a pivotal moment for me. It was then I knew what I wanted to do.
What advice would you give to debut authors hoping to work with an editor on their first book, perhaps aspiring to write something like “a.good.girls.guide.to.murder”?
Know your story inside and out, and be confident in your unique voice, but also be open to being challenged. Through constructive criticism and editorial input, you’ll discover what is truly essential to your story and identify areas where you can elevate something that is already good and make it truly incredible.
