Some excerpts from my interview with Samantha Shannon, which appeared in the August State of the Thing newsletter. Samantha is the author of The Bone Season, the first volume in a seven-part series, released just yesterday by Bloomsbury.

Do you recall which part of The Bone Season came to you first? Was there a particular moment that inspired the novel?

I was doing an internship at a literary agency in Seven Dials—a junction in London where seven streets meet—when I had the idea. I imagined a girl having the exact same day at work that I was, but she happened to be clairvoyant.

The Bone Season is set in 2059, but in an alternate world which diverged from our own in 1859. I’d love to hear how you set about developing the universe in which the novel takes place, and the sorts of things you had to consider as you did so.

I wanted my clairvoyant society to be a cross-section of historical types of divination, so I did quite a lot of reading about classical and Renaissance impressions of augury, soothsaying and so on. Scion evolved in my mind as a response to the criminal underworld (whereas in the story itself it’s vice versa), and I did a lot of thinking about how to create a believable world in which clairvoyance is persecuted, and about what the people of Scion might hear, see, feel and think in their everyday lives.

Much of The Bone Season is set in what was once Oxford (where you have, I should note, recently finished your undergraduate career). What was it about Oxford that made it work well as the setting?

Oxford was perfect for The Bone Season. Although it’s a modern place in many respects, there are still vestiges of archaism and tradition, and its spectrum of old buildings, from various centuries, give it an eerie sense of being frozen in time.

Who are some of the authors you particularly admire or who’ve had some influence on your own writing?

Margaret Atwood’s novel The Handmaid’s Tale was what first got me interested in dystopian and speculative fiction, alongside Orwell and Wyndham. I specialised in Emily Dickinson at university; her poetry inspired many of the themes I want to explore in later Bone Season books.

What books have you read and enjoyed recently?

I just finished The Gamal, the debut of Irish novelist Ciarán Collins, which I thoroughly enjoyed. At the moment I’m reading the second book in the Hunger Games trilogy, Catching Fire.

Samantha also talked to me about working with Imaginarium Studios on the film version of The Bone Season, and told me what she’s liked most about the publishing process. Read the rest of our interview.

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Some excerpts from my interview with Paul Collins, which appeared in the July State of the Thing newsletter. Paul teaches in the MFA program at Portland State University, and is the author of many books, including Sixpence House: Lost in a Town of Books, The Book of William, and more. He’s also NPR’s “literary detective,” and writes for a wide variety of publications. His new book, Duel with the Devil was published in June by Crown.

In Duel with the Devil you tell the story of a gruesome 1799 New York City murder case in which a young woman’s suitor is accused of causing her death. The young man puts together something of a “dream team” of defense lawyers: who were his attorneys, and how did he manage to obtain such impressive counsel?

The defendant, Levi Weeks, managed to get the three best lawyers in NYC: Alexander Hamilton, Aaron Burr, and Brockholst Livingston. Weeks was a construction foreman, but his brother Ezra Weeks happened to be the most successful developers in the city—and Hamilton and Burr were both clients of his! Hamilton in particular was running up an impressive tab (which he couldn’t pay) having Weeks build him a mansion, so he certainly owed a favor.

I might add that while Livingston’s the least known of the trio, he was no slacker himself: the guy was later appointed to the Supreme Court.

This wasn’t the only time Hamilton and Burr found themselves on the same side of a courtroom, right? What others sorts of cases did they cooperate on?

They usually worked on commercial cases—property disputes, insurance cases over lost ships, that sort of thing. They were often on opposite sides, but not always—in fact, right before this case, they’d wrapped up a monster settlement for a client named Louis Le Guen. Since Aaron Burr was even worse with money than Hamilton, he promptly asked Le Guen for a loan!

You’ve got one of the best titles out there, as NPR’s “literary detective.” I’d love to hear a bit about how you seek out the sorts of fascinating historical stories you like to tell: do you go in search of them, or do they tend to be just things you’ve stumbled across in the course of other research and then decide to follow up on?

Often I’ll just grab random old newspapers and magazines (in libraries or online) and start snooping, but a surprising amount of the time it’s weird, random stuff I find while looking up something else. Chance favors the prepared mind and all that.

On this book in particular, though, a lot of the small and odd details came pretty systematically—namely, I read through nearly every available Manhattan newspaper from 1799 and 1800. That’s not quite as insane as it sounds, because newspapers back then were 4 pages long! Still, it was thousands of pages, but that’s always my favorite part of writing—wandering through those lost-dog notices and molasses shipments and yellow fever quack cures. Probably a whole bunch of other stories will now spin off from that experience.

What books have you read and enjoyed recently?

The British Library recently reissued Andrew Forrester’s Victorian pulper The Female Detective (1864), which I’d never read before and was fascinated by. As a writer, I really love the premise of Alexandra Horowitz’s new book On Looking—basically, walking around the same NYC neighborhood eleven times with different kinds of experts observing it each time. And as someone fascinated by disastrously bad movies, I’m excited to see Tom Bissell’s upcoming The Disaster Artist, about the making of “The Room.” I was actually with Tom the first time either of us saw it, and…wow. Just…wow.

Also, I’ve just come off a Wodehouse reading jag. After eight or nine of his books in row I felt like I’d consumed an entire sheet cake, but it’s a testament to him that, well, I’m seriously thinking of reading a tenth.

But wait, there’s more! Find out what Paul’s working on now, and about some surprising tidbits he’s found during his researches. Read the rest of our interview.

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For the July State of the Thing newsletter, I interviewed Travis McDade about his second book, Thieves of Book Row, published in June by Oxford University Press. Travis is curator of rare books at the University of Illinois College of Law, where he teaches a class called “Rare Books, Crime & Punishment.”

Set the scene for us, if you would, by providing a brief description of what Book Row was like during its heyday. Is there anyplace even comparable today?

Book Row was six blocks of Manhattan’s Fourth Avenue packed with bookstores and personalities. Most of these shops were run by men who had learned the trade at the elbow of other booksellers, so there was a well-earned knowledge of the book business, of lower Manhattan and of other booksellers’ aptitudes. These guys were well-read and hard-nosed. There is a tendency now to look back with the sort of nostalgic, moonlight-and-magnolia gloss we often do with the recent past—and some of that is deserved—but Book Row wasn’t Disneyland. It was a labor of love for many of these guys, but it was definitely a labor. And life in Manhattan in the early 20th century was no picnic.

There are places now that have clusters of bookshops—Hay-on-Wye in the west of England springs to mind—but nothing like Book Row. What made it unique was a combination of these personalities, certain historical economic forces, and the nature of New York City at the time. It couldn’t have existed anywhere else, and it can’t exist now.

The theft ring you write about in Thieves of Book Row was no fly-by-night operation: these guys were organized! Give us a sense of how the operation worked, who was involved, and the impact these thefts had on the book and library world of the time.

Like most cottage industries, it developed organically. It started out as just some guys stealing books and selling them to shops—the classic American story!—and it grew from there. A confluence of events made this theft ring, like Book Row itself, possible. By the second half of the 1920s, there was reliable transportation, a decent economy and a rise in the value of a certain type of books. These books, as it happened, were sitting on the open stacks of libraries all over the American northeast, most librarians not even imagining they were worth the effort to steal. Once, at least, they had been right about that. But by the 1920s, it made good business sense to send men from Manhattan to Worcester, Massachusetts, to steal half a dozen books, if the men could then easily move on and hit Lancaster, Leominster, Gardner, etc. The thieves would get paid a standard rate of $2 per book and the bookstores would sell them for anything from $25 to $1,000.

Just to give an indication of how large the theft ring was, by the time it came to an end, the major problem was not getting the books out of libraries but finding places to store the surplus.

One of the key thefts you focus on in the book is the snatching of a copy of Poe’s Al Araaf from the New York Public Library. What made this particular book such a desirable commodity at the time? And how did that theft turn out for the thieves in the end?

Al Aaraaf, Tamerlane and Minor Poems was Poe’s second publication, but the first to use his name. Like much of his early work, because it had not been popular, few copies were saved. This, coupled with the fact that the value of Poe works had been party to an inexorable upward climb for three decades, made it a hot commodity.

I’ve tried to get my head around the “why” of the theft. The question “what were they thinking” is often hard to understand in retrospect, and I confess I can’t be sure what the answer is. The theft from the New York Public Library seems to me a great deal like awaking a slumbering giant. The NYPL employed a man whose sole job was to keep its books safe—a unique position at the time—and had powerful allies in the city. When there were so many other compliant victims out there, why would anyone want to give the NYPL a reason to get involved? Recklessness? Spite? Because it was there? I don’t know, but it spelled doom for the theft ring.

Tell us about the research for this book. What sorts of sources did you find that allowed you to reconstruct this theft ring and its deeds so thoroughly?

This book started out as a small part of a chapter in a larger book, when my only sources were a few newspaper articles and a New York appellate court case. Then I stumbled across a memoir that had a few pages on the theft and, very quickly after that, an article in a book collecting magazine from 1933. Each of these offered their own bits of information, each was written in an entirely different voice and each at different removes from the scene of the crime. Most of my previous research was based on court and law enforcement records—dry, fact-based, close-in-time material. The writing of this book, typified by those first sources, required me to draw on a range of much different sources to create a narrative.

Booksellers’ memoirs—even if they did not mention this crime, or Book Row—were great, adding a certain life to the book. But there were also other types of first-person reporting that was extremely helpful: correspondence, court testimony, depositions, etc. These are more raw than memoir, because they aren’t meant for public consumption, and so offer up little facts that a person would not ordinarily think to include in a more formal record.

I also read a lot of fiction from the time. Most of this was not helpful, except for providing context, but some bits and pieces made it into the story. There is even a little humor in the book, if you look hard enough. For example, I rely on a 1920s article from The New Yorker, at one point, to add levity to a passage; so you can probably guess that what humor exists is bone dry.

For more on Thieves of Book Row, what Travis is reading now, and a bit about what he’s working on next, read the rest of our interview.

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For the May State of the Thing newsletter, I had the chance to interview Julie Wu about her debut novel The Third Son (Algonquin Books). Julie studied literature at Harvard and medicine at Columbia, and received a 2012 fellowship from the Massachusetts Cultural Council. She lives near Boston.

Can you tell us about the origins of The Third Son? Do you recall which part of the story came to you first?

My first inkling of the main character was in 1989. I was sitting in my parents’ suburban Boston kitchen and suddenly had the image of a little boy on the floor of his parents’ house in Taiwan. It was the first time I’d ever visualized a scene so vividly. I rushed to my typewriter to record the musty smell, the dark floorboards, and the boy’s sadness. Thinking back on it now, I believe that boy was Saburo.

How did the story change during the research and writing process?

In 1989 I tried to make that boy the protagonist of a different book entirely—one set in contemporary suburban America in a Taiwanese-American household. That book stalled when I asked my parents questions for background information and I realized how boring my book was in comparison with their actual lives. I was resistant, though, to the idea of basing a book on my parents’ story.

It was 2002 when I finally sat down to interview my parents in earnest. I was pregnant with my first child and maybe had gained some perspective, as well as an understanding that my opportunities to find out my parents’ stories were finite. My first draft was very much based on their lives, but over the following years I learned that in order to make the story a universally appealing, cohesive, suspenseful, and satisfying work, I would have to feel absolutely free to take liberties with the story, the plot, the characters, etc. Now the book is its own self-contained story. Of course, despite that I made every effort to make sure the book is historically accurate.

The early sections of the book are set in Taiwan during a particularly tumultuous period in its history (which I’d venture to guess many of your American readers probably won’t be familiar with). Can you recommend some further reading on the history of Taiwan that interested readers might turn to?

There’s a classic work by George Kerr called Formosa Betrayed. George Kerr was an American diplomat at the time of the February 28 massacres in 1947, and his account of the events on Taiwan and his colleagues’ efforts to get the American government to intervene are both devastating and eye-opening.

Another interesting account is Peng Ming-Min’s autobiography, A Taste of Freedom: Memoirs of a Formosan Independence Leader, in which he describes his arrest for trying to distribute a manifesto for Taiwanese independence. Peng conceals the details of his dramatic escape to Sweden to protect his friends, but more recently, in the book Fireproof Moth, American missionary Milo Thornberry describes exactly how he and others helped mastermind Peng’s escape. There are museums in Taiwan that document the events of 1947 and the subsequent White Terror. These include the Taipei 228 Museum, the National 228 Museum, Jing-Mei Human Rights Memorial Park (a former military court prison) in Taipei, as well as the Green Island Human Rights Memorial Park on Green Island, on the site of the offshore prison where long-term political prisoners were held. The website associated with the Green Island museum is maintained by its designer, Ronald Tsao, and is quite extensive and informative: http://2011greenislanden.wordpress.com.

When and where do you do most of your writing?

I write mostly in my dining room and in the public library. I probably get the most done in the library, because there I’m not distracted by the pantry and the refrigerator, and I’m too embarrassed to sit around just doing Facebook.

Any particular writing tips you’d like to share?

Don’t worry about getting stuff out fast. Make your work the best it can be. Agents and editors are just people like everyone else. If tons of them don’t connect to your work, that means tons of other readers won’t either. If that matters to you, figure out why and fix it.

What’s your library like? What sorts of books would we find on your shelves?

My library is a jumble of all kinds of books—high-falutin’ French literature from college that I can’t understand anymore, Taiwanese history books, parenting books and travel guides, medical textbooks, and, of course stacks, and stacks of wonderful novels of all genres, famous and not-so-famous, many of them authored by friends.

For more about Julie’s next project, some of her favorite libraries, and more, read the rest of our interview.

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Some excerpts from my interview with Jennifer McVeigh, which appeared in the May State of the Thing newsletter. Jennifer studied English literature at Oxford and has worked in the film, television and radio industries. Her debut novel, The Fever Tree, was published by Amy Einhorn Books/Putnam in April.

Give us, if you would, The Fever Tree in a nutshell, for those who haven’t yet had a chance to read it.

The Fever Tree is a novel about a woman who is forced to leave behind everything she has ever known, and emigrate to South Africa to marry a man she barely knows. It’s a novel about a country in the making, about diamonds and disease, love and redemption.

What part of the novel came to you first?

My husband and I were driving across the hot, dusty plains of Namibia in Southern Africa, when we passed a high wire fence cordoning off a diamond mine. I remember thinking—who were the men who first came here to mine for diamonds? What kind of lives did they lead, without running water or sanitation? And who were the women who came with them? When I came back to England I did some research, and became fascinated with the early days of the diamond rush in South Africa, when men travelled hundreds of miles to the diamond fields with little more than the shirts on their backs, and when fortunes could be won and lost on the luck of uncovering a stone.

What were some of the historical sources you found most interesting and useful as you wrote The Fever Tree?

I drew on a huge range of historical sources. The British Library was particularly useful, and it was there that I poured over guide books to South Africa, written in the 1880s, read Victorian newspapers published on the diamond fields, and discovered the diary which told the story of a smallpox epidemic which raged on the diamond mines—the true story which lies at the heart of the book. But there were other sources. It was in Kimberley, the famous diamond mining town, that I came across a book of old photographs taken on the diamond mines, which made real for me the lives of the men, women and children who camped in tents, in the dust and the filth, on the diamond fields, hoping to make their fortune.

How did your own experiences traveling in southern Africa come into play as you wrote the novel?

When I travelled in South Africa, I was fascinated and unsettled by its dark concoction of pioneer spirit and racism, by the brutality of its urban landscapes—with their sprawling townships which spoke of labour migration and forced evictions—and the astounding beauty and wildness of its countryside. These contradictions, I realised, had their roots in my story—in the discovery of diamonds, when men like Cecil Rhodes, driven by greed, used their political influence to create an economy based on lines of race. The more I learned, the more I was able to make sense of what I had seen in South Africa, and the people and attitudes that confronted me.

When and where do you do most of your writing?

Once the research is out of the way, most of the actual writing is done at home. At my desk, in bed, standing by the toaster. Anywhere where I can catch myself off guard and get words down on paper.

But wait, there’s more! Read the rest of our interview.

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