Photo: Louise Mangos, acclaimed author of psychological suspense and historical mysteries, at home in Switzerland where she finds endless inspiration for her novels.
Exploring Swiss-Inspired Settings and Intriguing Characters
Louise Mangos discusses her award-winning psychological suspense and historical mysteries, the influence of Switzerland on her stories, her writing journey, and the craft behind novels like Five Fatal Flaws and Strangers on a Bridge.
L ouise Mangos is a literary force to be reckoned with, weaving gripping tales of psychological suspense and historical mystery that have captivated readers worldwide. With an impressive repertoire of award-winning stories, including BBC-narrated short fiction and five suspense novels, Mangos has firmly established herself as a masterful storyteller. Her knack for blending vivid, atmospheric settings with compelling characters and intricate plots is nothing short of mesmerising. From the shadowy intrigue of Strangers on a Bridge to the medieval adventure of The Secrets of Morgarten and the chilling twists of her personal favourite, Five Fatal Flaws, Mangos demonstrates a talent for crafting narratives that linger long after the final page.
Her Swiss surroundings, where she has lived for over four decades amidst the stunning yet mysterious Alpine landscapes, lend a unique character to her novels, making the settings as vivid and alive as the individuals who inhabit them. Whether diving into the inspired genesis of her novels, discussing the intricacies of her award-winning flash fiction, or exploring the sensitive societal issues that underpin her work, Mangos’ prose resonates with authenticity and depth. It’s no surprise her works engage readers and critics alike with intricate themes, layered suspense, and a pace that keeps you turning the page.
In this engaging interview, Louise Mangos opens up about her creative journey, the growth of her unforgettable characters, and the craft behind her distinctive narratives. Her insights offer not only a fascinating glimpse into her writing process but also inspiration for aspiring authors aiming to explore the endlessly enticing world of psychological suspense. Prepare to be enthralled.
What inspired you to write psychological suspense and historical mystery novels?
The idea for my first novel came to me when I was running one day under the arches of a notorious suicide bridge in central Switzerland where I live. I asked myself what I would do if I saw someone standing on the edge of the bridge looking as though they were about to jump. And then I began to think about the consequences. That thought expanded into plotting Strangers on a Bridge, a psychological thriller examining what might happen when the “victim” becomes obsessed with the person who saved him. Before I was two thirds of the way through that first novel, ideas began forming for subsequent novels. My historical novel The Secrets of Morgarten is set around a fourteenth century event that took place in the valley where I live – The Battle of Morgarten in 1315. I used the setting and documented events leading up to the battle, then added some mythical figures to create a swashbuckling medieval mystery.
How does your Masters in Crime Writing from the University of East Anglia influence your writing style?
The craft of writing comes with years of practise, and authors tend to develop their own individual style early on. I don’t believe any form of institutional tuition can necessarily change that style, but it can certainly act as a catalyst for the actual discipline of writing and to bounce ideas off other writers. A crime novel has to have certain ingredients, a protagonist desperately needing something, the antagonist preventing them from getting it, and a satisfying story arc with resolution. These things can be taught, but style is already ingrained in the writer.
Can you tell us more about your experience with the BBC radio narrating your short fiction?
One of the editing processes I go through when honing my work is reading it out loud to myself. It allows me to hear when the nuance of a sentence isn’t quite right, or perhaps words and phrases are repeated. But when someone else reads out my work, it brings a whole new magic to the words. My short story The Summer of ‘76 was chosen by the BBC a few years ago as the first in a series called Short Story Season, showcasing short fiction. Having the piece narrated by a professional actress was a huge thrill. She brought the piece alive, gave each of my characters individual voices. The producers added some memorable music from 1976 between sections, enhancing the experience for the listener and for me, the author.
How do you find living in Switzerland influences the settings of your novels?
I’ve lived in Switzerland for more than forty years. It has settings that speak for themselves in both uplifting and dark ways. All my novels are set mostly or at least in part here. I have lived in both the French and German speaking parts of the country and know many areas intimately. In highlighting these places in my novels and short fiction, I feel that the settings have become characters themselves.
What is the idea behind your novel Five Fatal Flaws and what drew you to the theme of a missing baby and a dead politician?
You may have heard of the term flash fiction. These are micro stories that can be as short as two hundred words but usually not more than a thousand. Five Fatal Flaws originally came from a series of flash fiction pieces I wrote some years before deciding to plot a full-length novel. The characters, Rachel, Olivia, Daniel and Alain featured in these pieces of writing, one of which won first prize in the Flash500 competition in the UK and another of which was awarded 3rd prize in Trip Fiction’s “Sense of Place” competition. I fell in love with these characters, and couldn’t let them go. I wondered what would happen if they could meet between the pages of a novel. In their original individual stories, they have all experienced trauma in some way, so the logical situation would be to throw them together in a therapy group. At the beginning of the novel, the reader is introduced to each of these characters through short chapters, and those scenes have changed very little since they were written as flash fiction pieces. Add a couple of crimes to the story’s ingredients, and the perfect whodunnit was created.
How do you develop the individual motives of the characters in your post-trauma therapy group in Five Fatal Flaws?
I’m thrilled that I’ve been asked questions about Five Fatal Flaws because it’s still my personal favourite of the five suspense novels I’ve published. It was easy to develop the motives of these characters who had already been living in my head before plotting the full-length novel. I tried to avoid the clichés of post trauma patients in books and films, but I loved slipping red herrings into each of the characters’ chapters. Giving everyone a motive was necessary for the whodunnit aspect of the story. It was more challenging when I introduced a second crime. But by moving back and forth using a dual timeline, I avoided revealing the perpetrator(s) until late in the novel. I didn’t want readers to easily guess who had committed the two crimes. So far, no one has ever guessed who abducted baby Benny from Trudy’s garden that terrifying day.
What do you think about the #MeToo thread in your novel and how it relates to current societal issues?
I started writing Five Fatal Flaws before the #MeToo hashtag began to emphasise the voices of women who’d been affected by sexual predators and abusers, and were brave enough to speak up about it. I knew it was imperative to remain sensitive to the subject. In my story, Rachel is reluctant to bring her experience to light because she’s afraid of what will happen to her if she appears in court as a witness for the prosecution of someone who is in a position of power. Her story seems so prescient with the recent exposure of terrible deeds committed by influential people men, some of whom have so far not been held accountable.
What advice would you give to aspiring authors who are looking to write in the psychological suspense genre and get their work noticed by publishers and readers?
Psychological suspense is still an extremely popular contemporary sub-genre of crime fiction. It has a lot of scope for examining the fictional minds of characters, but it is important for writers to keep their characters realistic or believable, even if they make stupid decisions, or if the reader finds them repulsive. It’s important to avoid clichés and to keep the plotlines different, unexpected and inventive. Shorter chapters and fast pacing seem to be a signature of this genre, especially if there are multiple points of view. And if your psychological suspense takes place in one setting, make sure there are plenty of claustrophobic passages and hair-raising moments. The reader has to feel that suspense.
