In our discussion about your latest thriller, “Someone in the Attic”, published by Bantam, we delve into the frightening journey of Julia, who was born in Dublin, but swiftly moves back to Ireland from the US. Accompanied by her kids, they inhabit a posh gated community. The trouble starts when Isla, Julia’s teenage daughter, stumbles upon a TikTok video suggesting a potential intruder inhabiting their attic and sneaking around during their absence. Julia first attributes this to a TikTok viral gimmick promoting a reality TV show, using editing tricks. Yet, her son Luca is petrified by the eerie noises and footfalls, suspecting nocturnal visits to his room. Simultaneously, a past friend dies under odd circumstances, leaving Julia in a dilemma, questioning whether they are being tricked or somebody from their history is threatening them – could there be someone in the attic?
The narrative is seen as a tribute to the fears associated with childhood and unexpected sounds in the darkness, and additionally, it navigates the anxieties brought by our digital age like the hazards of social media. How do you maintain this balance?
Penning the frightening parts was enjoyable, yet there’s an earnest aspect to the narrative. To me, it’s not solely about the dangers posed by social media, but also its potential benefits. The person who leaks the video could possibly have tampered with clips the family had uploaded, but it’s also a stark reminder of the permanent nature of the internet and social media. So, for parents, understanding and accepting social media seems a better option than hoping their teenage kids will join the minuscule percentage that avoids it. Isla, the teenager, has been displaced from her life in San Diego, and predominantly relies on her mobile phone to maintain ties with her friends. I can relate to that. When I was her age, I moved (though a comparatively smaller distance, from Cork to Dublin) and would have eagerly welcomed the opportunity to regularly communicate with my friends, especially during this critical developmental period.
Andrea Mara says, ‘Dark tales were always reverberating in my mind.’
Why is friendship, as the core subject of your book, so compelling?
The concept of friendship is a universal experience; we have all experienced the loss and gain of friends, revived old bonds, or made the conscious decision to sever a relationship. I am fascinated by those we’ve known over the years and the transformations we undergo, triggering the question of whether our friendship would exist if we met for the first time in the present day. I delved into this theme in my books No One Saw a Thing and Someone in the Attic. Julia, despite being estranged from her friends for two decades, is confident about her understanding of them. As the tale progresses, she realises her comprehension of them is not as deep as she previously believed, for better or worse.
Depicting the affluent lifestyle in south Dublin is what I enjoy the most. I paint a picture of characters languishing in opulent residences. The depiction is somewhat amplified. A valid representation of the lives of average people conducting ordinary activities such as fixing meals and braving cold weather to watch their children’s games wouldn’t be as entertaining. It’s much more enjoyable to describe them sipping Champagne in their luxurious kitchens, driving shiny cars, and escaping to holiday escapes in Sicily.
My narratives are drawn from real-life events, but I like to add a twist to them. Reality usually offers quick and logical conclusions; it’s improbable to find a stranger living in my attic. However, in my stories, I explore the “what if” possibilities – what if my kid was abducted on a play date, or disappeared on the Tube, or there truly was a stranger inhabiting my attic?
My book, All Her Fault, has been approved for a TV series by the US streaming service, Peacock. What’s new? Recruitment of actors is currently taking place and filming is scheduled to commence later this year. The recent casting of Sarah Snook, known for her role as Shiv Roy in Succession, as Marissa, the lead character, is a thrilling development!
Beginning my writing career at 42 is considered a late start. How has this worked in my favour?
There’s an unexpected advantage that came to light when I took to writing: the liberty to assign to my fictional personalities, my very own past professions! You may recognise familial narratives woven into many of my books, along with those gnawing concerns we have for potential mishaps. These were essentially drawn from personal fears concerning my trio of children, which proved rather beneficial for crafting stories. Upcoming in my writing queue are eight novels inspired by teen years … cupfuls of drama assured.
Fascinatingly, I have synaesthesia, a condition whereby I perceive numbers, letters and days of the week in distinct colours. This peculiarity significantly brightens my cognition and aids in visually conceptualising abstract ideas, enormously assisting my writing endeavours and thought simulations. Another type of synaesthesia that I possess is ‘number form’ – perceiving time as a tactile route – which is a boon for the meticulous timeline structuring that is imperative in crafting thrillers.
Speaking of thrillers, would I qualify as an efficient detective? Crafting intriguing plots is my forte, resolving them, not so much. But interesting to note, My mother-in-law carved history by becoming Ireland’s first woman private eye, with my spouse assisting her occasionally in solving cases. Perhaps I’ll gain inspiration from their experiences!
The most valuable counsel that I have received about writing? Author swiftly. Repress the urge of self-review while composing – the key is to keep progressing to reach the narrative’s conclusion. Once the initial iteration is crafted, even if it’s not perfect, it can be revised, refined, and enriched. Crucially, until something tangible is written down, there’s nothing to rectify or improve.
Andrea Mara’s latest novel, Someone in the Attic, is now available through Bantam.