In 1965, time travel ignites Barbara’s manic depression, and the other pioneers—ambitious Margaret, compassionate Lillian, and social butterfly Grace—leave her behind to form The Conclave, an autonomous organization commercializing time travel. Multiple storylines converge to determine the identity of the woman found dead of four bullet wounds in a locked room. The investigation for this unique whodunit plays out in various timelines with characters’ ages often not corresponding chronologically. There’s manipulation, subterfuge, and espionage afoot throughout the nation and throughout time. The time travel details are concrete, with the fuel posing a danger if not handled appropriately. There’s even a time travel glossary included at the end, which makes one try that much harder to buy into the concept. Macarenhas gives the reader glimpses into the thoughts of characters, providing more depth to a story that might easily go astray with so much time-hopping chapters. Readers who like speculative fiction with compelling characters and complex relationships will appreciate this story that readily lends oneself to suspend belief, a realistic time travel story, if you will. It’s definitely worth the time! Ha! I was fortunate to receive a copy from the publisher through Net Galley.
Be Quiet…Don’t Breathe
Suhatra can move only her eyes. In her peripheral vision, she watches him flip switches like a mad scientist. Frankenstein images come to her, unbidden, terribly unwanted. The tingling begins in her fingers, moving up. This is so nerve-wracking, she’s afraid of farting right out loud. This thought causes her to make the tiniest little hiccough. He spins and leans into her face. “Be quiet. Don’t breathe. We’re very nearly ready to begin.”
He explains the anesthetic effect of the ionization process. The tingling continues, spreading throughout her body, then down to her toes. When it reaches her face, she absolutely, positively wants to scream, “Stop!” She lies completely still, keeping her eyes open, waiting for the cue to focus on that dot on the ceiling. This is supposed to hold her eyes in place long enough for the molecular rearranging to settle her new features without error.
The horror stories she’s heard. Wandering eyes causing a living nightmare of a cubist face make her want to focus now. Yet she’s been told that everything must be still at once, no breathing even. The eyes must focus on the dot at the proper time, as concentration may wane if held too long. She wants no cubist look, just to walk free again as an unrecognized individual. He whispers, so as not to disturb her stillness, “it’s time now to focus on the dot. In 7 seconds, your molecules will rearrange to create a new you. You won’t recognize yourself. Ready . . . 7 . . . 6 . . . 5 . . . 4 . . . 3 . . . 2 . . . 1 . . . Voila! You are no longer gorgeous. You are normal. Normal, I say. Sit up, dear. Look. Look.”
I met Diane in person at a book signing in Topsail Beach at Quarter Moon Books. In my overzealous fangirling, I crashed a book club photo and had to be gently shooed away. I’ve been her most awkward fan since, and she’s been the most gracious literary star. I show up for each new book’s signing / reading like a middle-aged stalker who looks so innocent (muahaha), and Diane keeps smiling and signing my new books. If only she could write super fast; I know I will love each new story. I was fortunate to receive an early copy of The Dream Daughter—my review—coming out October 2.
Tell me about your writing process—any tricks / nuances to keep you on track, inspirations material or abstract, where you write (Topsail!) and when.
I usually write either in my Raleigh area sunroom or at my condo on Topsail Island. I generally have a year to write a book. The first few months, I think about my idea and start doing research, often visiting the area where the story takes place. I begin picturing scenes and putting them on post it notes that I move around on a big presentation board until I like the arc of the story, thus creating an outline. At the same time, I think about my characters, specifically what type of person will have the hardest time dealing with whatever dilemma I’ve come up with for the story. If there is no personal struggle, there is no story. I think about which characters will have a point of view in the story and will they have a first person or third person point of view and will I write the story in present or past tense. I sometimes look on the internet for pictures of people who make me think of my characters. I find this a huge help in creating characters who feel very real to me and hopefully to my readers. These are all decisions I make before I start writing.
Finally, I start writing about 6 months before my deadline. I usually listen to movie soundtracks as I write because I like the emotional ups and downs of the music. I’m always doing research as I write. Also, I listen to my characters because they frequently go astray from my outline and I’ve learned to pay attention to them. I write three to five drafts. Finally, often a bit late, I turn in the book. That’s where my dynamite editor comes in. She reads the book, looking at the big picture. What works and what doesn’t? She makes many suggestions, sometimes requiring a big change in the book. I’ve learned to listen to her, and I rewrite. And perhaps rewrite yet again.
Lead me through your publishing process, as in who does what when, and your marketing responsibilities (book tours! What else?).
Here’s how it works. First I write a book. Then I have an agent who is responsible for finding the publisher she thinks will do the best job with that book. She is also responsible for negotiating the contract with that publisher. You can see in my answer above some of the work the editor does with regard to my book. The publisher then, of course, publishes the book. If the publisher feels strongly that they can make the book a bestseller, they will give it a lot of advertising and other support before and during publication. My publisher for the last six books, St. Martins Press, does a great deal of promotion for me. I try to hold up my end by keeping up with social media (which I enjoy), giving interviews, touring to speak to groups and do book signings, where I get to meet my readers, the best part of the process!
Before the Storm series
Describe your support system: groups online and IRL (MKA, another favorite author of mine)—your biggest cheerleaders…
My biggest supporter is my significant other, John. He’s a photographer and understands the creative process and doesn’t complain that once a year, as deadline nears, I disappear from real life into my imagination, 24/7. Aside from him, I have many local writer friends who I get together with often. And then I have my “official group.” We call ourselves The Weymouth Seven because we originally met up at the Weymouth mansion in Southern Pines, NC, where authors are invited to work for up to two weeks each year. Now we usually meet up on Topsail Island. You’re right that Mary Kay Andrews is a big part of our group. She’s our ringleader, the one who keeps us on track during the week that we meet. Other members are mystery writer Margaret Maron, historical mystery writer, Sarah Shaber, horror and thriller writer Alexandra Sokoloff, and mystery writers, Brenda Witchger and Katy Munger. We have fun but we work hard at the same time.
Keeper of the Light series
You’ve always had touches of history in your novels. Recently, you’ve opened up to historical fiction, and now sci-fi / fantasy with your latest book about time travel. How did this come about; in what ways do your life and work influence each other, and how did your previous profession prepare you for fiction writing? Also talk about secrets, their importance to you and your work, and what kind of secrets you like best to weave into your stories.
When I heard about the eugenics (forced sterilization) program in North Carolina, I knew I had to write about it. That meant setting the story during the years of the program, so I selected 1960 and thus wrote my first novel (Necessary Lies) with a totally historical setting and I found I really enjoyed it. Two books later, I decided I wanted to write about the 1944 polio outbreak in Hickory, NC during which the town built a functioning polio hospital in 54 hours (The Stolen Marriage). So I would say, if the idea that comes to me is historical, I will happily write it, but I am still perfectly happy writing contemporary books as well.
When it comes to The Dream Daughter, that is a whole different subject! For years, I had the idea that’s central in The Dream Daughter: a woman is told that her unborn baby will die, but she learns that if she’s willing to take a huge risk and travel to the future, her baby could very well live. I put this idea off for years because it is so unlike my other books, but finally, I talked to my editor and she gave me the go-ahead. The book was tremendous fun to write and the early reviews have been amazing. I’m grateful to readers who dislike time travel for giving this book a try because it’s still “vintage Diane Chamberlain” and people seem to be loving it.
I think your question about my previous profession (clinical social work) and secrets actually go together. I worked in hospitals and then in a private psychotherapy practice with adolescents and their families, and one thing I learned is how destructive secrets can be in a family. I was fascinated by that topic, so it often appears in my stories.
What do you love most about your creativity?
I’m very grateful for my imagination. It got me into tons of trouble as a kid, but now pays off. I might be stopped at a traffic light and see a woman pushing a baby carriage across the street and within 30 seconds, I imagine a car hitting them, and the police discover it was on purpose and there was a connection between the woman and the driver, or maybe even between the baby and the driver . . . it’s exhausting having a brain like this, but it often pays off in the end if it means I can entertain my readers.
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