100 books like Johnathan

I wrote A Crisis Wasted precisely with the goal of changing the way government makes decisions at inflection points in history, when change is happening at a 10x scale. That was the situation between the collapse of Lehman Brothers in September 2008 and the inauguration of the new president in January 2009. I felt at the time and later that the way problems were analyzed, options created and decisions made were tragically disappointing, not because the people involved were badly motivated but because of the assumptions and convictions to which they were firmly bound before they approached the problems. I had no idea in 2019 that the next crisis would be the pandemic and only had only hope that the next Administration would include many of the same people involved in 2008-9. But as history unfolded the lessons of 2008-9, as I decoded them, applied with uncanny accuracy to the decisions made by the Biden team in 2020-21. So far at least, their ability to learn from history has served the country well.

 I’ve always loved history, and especially those small stories, so often about women, that never made the history books. No big surprise then that as an author I eventually gravitated to historical fiction, and that all of my novels have featured strong, independent women. Women were wonderful sources for the kinds of stories I wished to tell – they kept journals and diaries; they wrote voluminous letters; they were excellent chroniclers of their time; they were clever and witty and brave, and they bared their souls. To be able to bring some of these women to life has been a most rewarding experience for me. I hope reading my books proves as rewarding for you.

At one time, it was commonplace for male mystery writers to devote a substantial amount of plot to romance; for example, Wilkie Collins, The Woman in White or Dashiell Hammett, The Maltese Falcon. In recent years, this tradition has eroded to the point where romantic mysteries are primarily written by women. I think romance spices up mysteries. In Death is Potential, Kate Swift is more invested in solving the murder mystery because she is protecting her lover.

My first animal story, Lost in the Snow, was based on stories that my mum and I invented together when I was very small, about our stray cat Rosie. She walked into my dad’s office and sat down in his chair when he was out at lunch! I loved imagining her adventures as a stray kitten, and those stories could be scary, sad, emotional as anything – because we knew she came home to live safe and happy with us. I’ve been creating stories about animals ever since. 

I lived in London for eighteen years and acquired an abiding affection for my nation’s capital. I wanted to write a sequel to Bluebirds and jumped at the chance of giving Bryan Hale an adventure where he could walk the streets that I knew and loved. The scars caused on the fair face of London by sticks of Nazi bombs landing in ragged lines across the streets and terraces may still be discerned from the incongruity of the buildings that have since risen to fill the gaps. London heals and thrives. Ultimately, I believe every English writer harbours an ambition to write a London novel. I did, and I did.

When I was given a First World War soldier’s wallet containing family souvenirs—a handwritten letter, a wedding photograph—I realised that it represented the story of my grandmother’s first marriage to a young man who died in the battle of the Somme in 1916. Brought up with my mother’s version of the story, I set out to find what truths I could. What I discovered is that there's no such thing as truth, only versions of what happened, and I wove these into a fictional narrative that tries to capture the experiences of families traumatized by war and explores how they made their peace despite the conflicts and tragedies they experienced.

I have been fascinated by the Second World War since I was a child. I grew up with tales of London and Coventry in wartime, stories of family separation, rationing, and air raids. The stories that really gripped me included the streams of refugees passing my grandmother’s house in the suburbs of Coventry after that city was bombed, and the night my aunts and (infant) father spent waiting to be rescued from a bombed house in south London. As a historian I wanted to know more about stories like this, and about the ways that wars shape lives, and my books have returned again and again to the civilian experience of war.

I lived in London for eighteen years and acquired an abiding affection for my nation’s capital. I wanted to write a sequel to Bluebirds and jumped at the chance of giving Bryan Hale an adventure where he could walk the streets that I knew and loved. The scars caused on the fair face of London by sticks of Nazi bombs landing in ragged lines across the streets and terraces may still be discerned from the incongruity of the buildings that have since risen to fill the gaps. London heals and thrives. Ultimately, I believe every English writer harbours an ambition to write a London novel. I did, and I did.

I fell in love with English history around age 10 when I began reading historical fiction and non-fiction. I have maintained a history blog, The Lazy Historian, since 2015 and I published a casually written non-fiction book, The Lazy Historian’s Guide to the Wives of Henry VIII, in 2018. When I began writing my Homefront Hearts WWII romance trilogy, I threw myself into researching the well-documented daily lives of the English and the various challenges that came from “keeping calm and carrying on.”

I’m a Virginia-based science fiction and fantasy writer who’s lived variously-enriching lives as a coroner’s assistant, customer service manager, university lecturer, secretary, factory technician, and clerk. I’ve bounced all around the Midwest, from Minnesota to Ohio to Colorado to Missouri and now out on the East Coast.