Interview with Ann Turner

Today I’m living the dream: red sports car, the Amalfi coast, and a chance to chat with talented screenwriter and author of the suspense-filled debut The Lost Swimmer, a novel as thrilling as this drive along the famous coastal road high above the Tyrrhenian Sea. I’m hoping our conversation will distract us from the sheer drop just metres beyond the passenger door. Cross your fingers a tourist bus doesn’t cut one of those blind bends ahead, and join me in welcoming Ann Turner.

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RH: Ann Turner welcome to Writer’s Block! I hope you like my choice of this serpentine stretch of road, a pivotal and chilling scene in your fabulous novel. I’d normally offer you food and beverages but I think I’ll keep my hands firmly on the wheel today. Are you game?

AT: There’s no other way to Amalfi is there? It’s so lovely to be with you Rowena, but this road feels like it’s going to fall off the cliff. I’ll guess I’ll just have to sit back, grip the seat and try not to look down to that hideous drop to the sea.

RH: Okay, let’s take a deep breath…*Sets off full of motoring bravado…*

RH: Congratulations on The Lost Swimmer! Early reviews are glowing, describing The Lost Swimmer as “atmospheric”, “well crafted, a real page turner”, and “a compulsive read”. It certainly is. I couldn’t put it down. Tell us a little about the story and how it feels to have your first novel out in the world.

AT: Thanks so much Rowena, I really appreciate your feedback and I’m truly thrilled to hear that you couldn’t put it down. The Lost Swimmer centres around Rebecca Wilding, an archaeology professor, who should be leading an idyllic life with her husband Stephen. But Rebecca fears that Stephen is having an affair, and then she’s accused of serious fraud at work. She’s desperate to find answers, and heads off with Stephen to Greece, Italy and Paris, where she hopes she can uncover the conspiracy against her, and also reignite Stephen’s passion. But Stephen disappears on this very stretch of Amalfi coast where we’re driving, and Rebecca falls under suspicion. She has to draw on her archaeologist’s instincts to try to unravel what’s happening. And with time running out, if she can’t work out who is setting her up for fraud, and if Stephen’s disappearance and the fraud are somehow connected, she could lose everything. Her husband, her family, and her freedom. The story explores the consequences of love and trust.

Having the book out in the world is amazing. I had my first published piece in the school magazine when I was seven years old, and it’s been a lifelong dream to write a novel – so let’s hope we don’t die on this awful road!

RH: I’d cross my fingers if I dared take them off the wheel! *Slows in surprise at the oncoming traffic hogging the middle of the road. A line of scooters growl past. Horns toot. RH sends up a prayer*

RH: Let’s talk a little about Rebecca Wilding. She has spent twenty years in the archaeological field, in such places as Greece and Italy. Bec clearly loved that life and is looking forward to sharing her former dig sites with Stephen. Their journey becomes important to both the storyline of the missing money and her obsession with Stephen’s ‘other woman’. As a self-confessed history lover did your passion for the past influence your choice of career for Bec, or was it more about being a suitable vehicle for the story you wanted to write? Tell us a little about the research necessary to paint such a believable picture of Bec as an archaeologist.

AT: I’m fascinated by the way history can change depending on who is writing it. Even though there are facts and dates, there’s also a shifting that takes place, depending on the perspective of the historian. There’s an inherent unreliability to aspects of history, and that was perfect for the tale I wanted to tell where truth is elusive. Archaeology has the scientific part, where artifacts dug from the ground are analysed, but it also has the cultural element, where archaeologists piece together fragments and interpret these to form a picture of daily lives in past civilisations. I read a lot of books by archaeologists and on archaeology. My favourite is Mary Beard’s Pompeii, The Life of a Roman Town. I also love visiting ancient sites around the world and museums where pottery and jewellery and art from these times is displayed. I thought these locations would lend a sense of mystery, and beauty. And because Rebecca is accused of fraud, I did a lot of research into what would happen in that instance. It’s intriguing because the universities I looked at do carry out the initial investigation of these sorts of occurrences in-house, and they use senior professors to draw conclusions based on the balance of probabilities. And the staff member usually keeps working throughout the investigation until serious misconduct has been disproved – or proved. Only then is it turned over to higher authorities if there is a criminal case to pursue.

*A speeding fiat misses our side mirror by a miracle. Maybe this prayer thing works after all…*

AT: Events and places were important in forming the structure. There’s the sea, the beach, and home, where life should be safe but isn’t – and for Rebecca, hasn’t been, given her personal history. There is the workplace, where Rebecca has had success but where budget cuts are wreaking havoc and creating horrible uncertainty. And then I wanted each overseas destination to play a part in Rebecca’s journey, both plot-wise and emotionally. And there was the sense of Rebecca unravelling, so I plotted that out. With feature film scripts, I’ve always written treatments first, where the bare bones of the story are told in prose in about 10-14 pages, and then you write the script from that. Things change of course, but you have a strong backbone. I found when writing a book, because there is so much more detail and subtle layers, I discarded the idea of writing a treatment fairly early on. I drew up main plot points, thought a lot about the themes, and I structured around locations. And then after I’d written a block – say every 100 pages – I’d go back and write a short summary of each chapter that covered character development, plot and themes. That would help me see if I was on the right track. And then at the end of each draft I’d do that again. But what happened in the actual writing process was that the characters started to really drive the narrative, and because it’s from Rebecca’s perspective, her view started to take over. Interestingly, I started writing The Lost Swimmer in third person. At the end of the first draft a friend, Carmel Reilly, who is also a writer, suggested that I think about writing in the first person. And that’s when the book really took off for me. I found I was able to become absorbed in seeing the world from Rebecca’s point of view.

RH: *Drives at snail’s pace, confidence in tatters. Loud honking behind. Grips steering wheel and dares to accelerate.*

RH: Her first person narrative works beautifully to keep us guessing as to Bec’s reliability as a narrator. Themes of trust and the subjective nature of truth are at play in The Lost Swimmer. As her career comes under threat Bec becomes quite paranoid about her husband’s behaviour. There were times when I doubted her reliability as a narrator, particularly her certainty about Stephen’s infidelity. I began to suspect everyone in her life, just as Bec does. How conscious were you of theme when you wrote the novel? Does it develop as you write or do you create situations around the themes you want to explore? How important is theme to your writing?

AT: I find theme very important: it informs not only the narrative but the choice of words I use. For example in exploring the theme of trust, in the first chapter, the kangaroo’s gaze is one ‘of trust’; in chapter two Rebecca’s ‘most trusted’ colleagues visit her ¬ to let her know that their Dean, Priscilla, is white-anting her to senior people within the university, ie that Priscilla’s untrustworthy. And then as the story moves on, she starts to wonder can she trust her husband? Can she trust her friends? On the Amalfi Coast, she certainly can’t trust the police. So I really have to work out the themes and then keep refining them, and the prose, through the drafts. I always knew from the start that I wanted the novel to be about love and trust, and in terms of the love element, I wanted to look at love in the context of a long-term relationship, as well as the love you have for friends. I think love can be incredibly resilient, and I was keen to explore how people behave when the love and trust in a marriage is changing. Rebecca is a truly loyal person, and so even when she suspects Stephen of being unfaithful, she could never easily leave him if her suspicions are true. And to me that plays out with a lot of people in real life. It can be very hard to leave a marriage – and sometimes impossible, no matter what, to stop loving. It was that sort of love that I wanted to explore. And I also wanted a pervading atmosphere of unease – that things aren’t quite what they seem, that Rebecca’s world is tipping out of kilter. A layer of suspense that gives you the feeling that things are going to get worse for Rebecca. And as Rebecca’s character developed and her voice took over, she became increasingly unreliable as a narrator. Rebecca believes things passionately but she’s not always right. As an archaeologist if she has drawn the wrong conclusions about past civilisations, as long as her research methodology is sound, who would necessarily know? But in real life she has to face the emotional consequences of what she gets right and wrong. And being absorbed in her work, she’s not always as observant of the current world as she is of the past. And even in her own personal past there’s the unreliability of memory and interpretation that I think we all have.

RH: Your settings for The Lost Swimmer are beautiful—a stretch of Australian beach, Athens and Crete, the Amalfi coast—and your vivid descriptions do them justice. As a filmmaker I imagine it’s natural to pick up the scenic elements of a story. Why these particular settings—what is it that made them right for The Lost Swimmer? Do you believe it is necessary for a writer to visit a setting to be able to write so vividly about place?

AT: I took that timeless and wise piece of advice: write about what you know. So I put in locations that I loved, and that I knew well. I also chose them because I work visually – I really see the settings as I write – and I think they’re all very seductive places, they draw you in. And there’s a sense of mystery and wonder in all of them. I love the writing of Patricia Highsmith and in retrospect, I think that influenced me too. The sense of the exotic, the use of overseas locations to develop intrigue and suspense. And the whole idea for The Lost Swimmer started on the Amalfi Coast – this terrifying road that we’re travelling on at the moment – and a ‘private beach’ at a hotel I’d booked that I thought was in Amalfi and ended up being in the middle of nowhere, hanging off the cliff. I was looking forward to its beach, and when I asked the cheerful hotelier where it was, she handed over the key for the path with the words, ‘You Australians are good swimmers, aren’t you?’ When we arrived at the beach it was nothing more than a rocky ledge, and waves swept in and exploded metres high against it. It wasn’t a beach, it was a blowhole. It was terrifying and beautiful, and that’s where the story began.

But do I believe it’s necessary for a writer to visit a setting to be able to write vividly about a place? Absolutely not. That’s the brilliant part about novels. Imagination leads a writer into all sorts of territories. I think passion is essential for any story that’s being told. But actually having been there? No. Research can play a huge role – and in this day of the internet, the extent and depth of research you can do is amazing. You can also source so many books now that you may not otherwise have been able to find. If a writer can see a place in their mind, feel it in their heart, and create a strong sense of that place for the reader, to me that’s what is crucial; not whether they’ve been there physically. In any event, even when you have been to places, memory isn’t always reliable, is it?

RH: I guess, like history, memory is filtered through experience—and I love that story of the ‘private beach’. No wonder that inspired you! You’ve been writing for several years and have a stellar career as a screenwriter. I remember being captivated by Irresistible, which you wrote and directed. There are layers of revelation in that movie, just like in your novel. It’s the intricacy of those layers I love. With the release of The Lost Swimmer you’ve launched your career as a novelist. Do you see yourself continuing with both forms of writing? Has your experience as a screenwriter and director influenced your approach to novel writing?

AT: I think there’s a fluidity these days and you can move between careers. At the moment what I’m loving – really loving – is being able to write without having to worry about budget and casting, and getting access to the locations. There’s such an enormous freedom, and I relish it.
I also think that The Lost Swimmer would make a great film. Visual and haunting. Great roles for stars. So who knows what tomorrow may bring!

Screenwriting and directing has definitely influenced the way I write novels – in terms of theme, plot, and most importantly, character motivation. When I write, and reread, each draft, I think all the time of what an actor might say to me about their character. Does what they’re doing make sense to them? Why are they doing that? It makes me think about everything behind each action. And it’s a pleasure describing wardrobe and elements of what would be—in film, production design, décor, props, cars–without having to source them physically. So much cheaper!

And is there such a difference between being an author and being an ‘auteur’ – a writer-director who is the author of a film? In many ways, not such a difference. Just a lot more words, and you can describe all five senses in prose. I do love the rhythm of words, and apart from dialogue, which needs to sound naturalistic, you don’t get that in film. You have the rhythm of the image, sound and music instead.

RH: *Hears yelling and honking. Rear view mirror shows car behind packed with teens and gaining fast* Before these idiots catch up, Ann, let’s get to your…

RH: What is your all-time favourite book/movie?

AT: To Kill A Mockingbird by Harper Lee.

RH: What are you reading now?

AT: An ARC of Tom Houghton by Todd Alexander, which I’m absolutely loving.

I’m very much looking forward to reading your novel, All That’s Left Unsaid. I’m fascinated to see the Positano area through your eyes.

I’ll be reading three crime novels by Ilsa Evans, and I’ll be with Ilsa at a Sisters in Crime event on June 18th in Melbourne; and I’ve just bought All The Light We Cannot See and Jenn J McLeod’s new novel, Season of Shadow and Light, which I can’t wait to start reading.

RH: What is your favourite word?

AT: Mystery – it’s full of mist and obfuscation – and that’s another great word. Expansive is another favourite. I love words that give you an image of what they’re describing.

RH: What is your worst writing habit?

AT: Perhaps sometimes I don’t start writing early enough in the day… And then I have to write into the night and miss my exercise. A thoroughly unhealthy, and potentially deadly, habit!

RH: What is the best bit of advice you ever got (about writing or life in general)?

AT: ‘Cover the page’. Although Karin Altmann, a screenwriter, documentary-maker and script consultant, has just pointed out to me that it was ‘Cover the white’, and it came from her then-husband, who is a painter. ‘Cover the page’ has helped not only myself but many film students I’ve taught when they’ve had writer’s block. It’s about putting something down, and not judging yourself too harshly. Then you can go back and rewrite – and get harsher with your judgement.

RH: Great advice! And thanks for mentioning my novel *tries to hide blush with a wink while watching rear view mirror. The carload of boys have backed off—for now*

RH: Assuming we survive this journey, what’s next for Ann Turner?

AT: Out of the Ice, a mystery thriller set in Antarctica, that will be published by Simon and Schuster in 2016. I was lucky to get a two-book deal and it’s been a rigorous process. No time for procrastination when you have a deadline!

RH: Well, I’d better make sure you get home safely! Thanks for braving the coastal road with me today, Ann. It’s been a hair-raising pleasure to chat with you.

AT: Thanks so much Rowena, you’re an exceptional driver, and your conversation has distracted me wonderfully. Oooh! I just looked down at the sea. It’s a long drop. But the water’s beautiful. Would you like to come for a swim?

RH: As long as we don’t have to dive in from here…

RH: You can find Ann’s excellent debut thriller in all good bookstores, including

Booktopia

Dymocks

Amazon

Simon & Schuster Australia

RH: *An engines guns behind* Uh oh, here they come again…

Connect with Ann

Website: www.annturnerauthor.com

Facebook:  AnnTurnerAuthor

View the inspiration behind Ann’s wonderful settings

Hear Ann share more about The Lost Swimmer—she even reads an excerpt!

About the Author

Ann Turner is an award-winning screenwriter and director, avid reader, and history lover. She is drawn to salt-sprayed coasts, luminous landscapes, and the people who inhabit them all over the world. She is a passionate gardener. Her films include the historical feature Celia starring Rebecca Smart — which Time Out listed as one of the fifty greatest directorial debuts of all time, Hammers Over The Anvil starring Russell Crowe and Charlotte Rampling, and the psychological thriller Irresistible starring Susan Sarandon, Sam Neill, and Emily Blunt. Ann has lectured in film at the Victorian College of the Arts. Returning to her first love, the written word, in her debut novel The Lost Swimmer Ann explores themes of love, trust and the dark side of relationships. She is currently working on her second novel, Out of the Ice, a mystery thriller set in Antarctica.
Ann was born in Adelaide and lives in Victoria.