Unveiling The Stories Behind The Stories
Karla Jay discusses her inspirations, writing process, and the delicate balance between historical accuracy and fiction, offering profound insights into her award-winning works that explore injustice, resilience, and humanity.
Karla Jay is a literary force whose works transcend genres and touch the deepest corners of the human experience. With a career that spans decades as a speech therapist and a passion for storytelling that knows no bounds, Karla has crafted a body of work that is as diverse as it is impactful. From her humorous cozy mystery series Speaking in Tungs to the neo-noir A Shot at Justice, and her award-winning historical fiction like When We Were Brave and The Puppet Maker’s Daughter, Karla’s stories are imbued with empathy, meticulous research, and a profound understanding of the human condition. Her accolades, including recognition from prestigious organizations like The Independent Press and the NYC Big Book Awards, are a testament to her ability to weave narratives that resonate deeply with readers.
In this exclusive interview for Reader’s House Magazine, Karla opens up about the inspirations behind her stories, her approach to tackling sensitive topics, and the meticulous balance she strikes between historical accuracy and fictional storytelling. From exploring themes of injustice to creating complex, conflicted characters like Wilhelm Falk, Karla’s insights reveal the heart and soul of a writer dedicated to illuminating the past while challenging us to reflect on our own humanity. Join us as we delve into the mind of this remarkable author and uncover the stories behind the stories that have captivated readers worldwide.
What inspired you to focus on stories of injustice in your writing, and how do you choose the specific themes you explore in your books?
I believe stories of injustice resonate with everyone and make us question our true nature. What would we do in this situation? Would we stand by or put ourselves in danger to protect another? I search for a story idea I’ve never read and throw myself into the research to see if there is enough grievance, fear, or wrongdoing to make a compelling story that transports a reader to that era, and forces them to experience what others went through.
How have your personal experiences and background influenced the diverse range of genres you write in, from humour to noir?
In my decades as a speech therapist, I’ve worked in many situations that were not only humorous but also dangerous. My home-health years sparked the humorous cozy mystery series, Speaking in Tungs. (Tungs is short for the rural town Tungston the therapist finds herself working in)
Noir? It was really a one-off idea I felt compelled to write to avenge child and pet abusers. An incident with a puppy happened in our neighborhood and the abuser got off but in asking myself, What if? I wrote A Shot at Justice, a vigilante novel that I playfully call Dexter for Dogs, where the abuser gets pay back.
How do you approach writing about sensitive topics such as abuse and justice, and what message do you hope readers take away from Wyatt’s journey in the story?
A Shot at Justice was a challenge for me in I knew I couldn’t put blatant abuse on the page because even I can’t read a book like that. I wrote the abuse “off screen” and added a mystery to the plot with the hope that the reader wants to find out how Wyatt will deal with the cyclone of emotional issues, from his abusive past to the current legal issues he set in motion. I’m not encouraging readers to become vigilantes, but the book is cathartic for those of us who love children and pets and have no recourse when they are hurt.
What inspired you to create the character of Wilhelm Falk, a conflicted SS officer, and how did you approach writing his complex journey during World War II?
Conflict and tragedy can be viewed from many angles, and I believed not all SS soldiers where on board with the extermination orders. I read a biography of Kurt Gerstein who was a conflicted officer and worked hard to get the word out about the extermination camps. Ultimately, he was killed in prison, probably by other Nazis, before any other country took notice of the Final Solution. During that research, the character of Falk came to life. His had a complicated journey but I used historical events to move him through the plot that ultimately brought all the characters together in the end.
How did you balance the historical accuracy and fictional elements in “When We Were Brave” to create a gripping and emotionally resonant story?
In a way, history gives me the framework to add the emotions and character depth onto. Since the events in history cannot be changed, they need to be brought to life beyond just facts on a page. As I write a scene, I stand in each characters’ shoes, go through their tragedies with them, and view the scenes unfolding in my mind, so I can report the fear, the loss, and the hopes they have.
Do you travel to the places you write about and is that where you have gotten some of your ideas?
Yes. In Budapest we visited the main synagogue and traveled to Terezin, and those created The Puppet Maker’s Daughter. I learned the war coming late to Hungary, and that the propaganda camp at Terezin fooled the Red Cross, and the Arrow Cross citizens in Budapest were almost worse that the Nazis.
In Amsterdam, I toured the Jewish sector and hired a WWII guide, which I try to do in every city. Interestingly, my mother-in-law kicked off my story for When We Were Brave. She told how she travelled by train across the US, full of captured German soldiers. In learning more, my father admitted as a teen, he picked apples with POWs in upstate New York where I was born.
The book I’m working on now is set in Malta after a visit there earlier this year.
