First published at Jason Nahrung’s blog.
STEPHEN M IRWIN is a screenwriter and novelist. His career began with broadcast television documentaries, and broadened to include award-winning short drama films and short stories. Stephen’s debut novel, supernatural thriller The Dead Path, was published in Australia by Hachette and subsequently around the world, being named Top Horror Novel 2011 in the American Library Association’s RUSA Reading List. Stephen’s second novel, The Broken Ones, was released by Hachette and DoubleDay to exceptional reviews, including being named among the 100 Best Fiction of 2012 by Kirkus Reviews. Stephen was writer and creator of a six-part crime drama Secrets & Lies (2014) produced by Hoodlum Active, which has screened around the world and is being remade for American audiences by Kapital Entertainment for ABC (USA). He is currently developing several feature film and television projects for Australian and international audiences, and is writing his third novel. Find out more at www.stephenmirwin.com
1. Since the last Snapshot two years ago, you’ve added to your oeuvre of supernatural horror with a story, ’24/7′, in last year’s A Killer Among Demons anthology. What is it about folklore and legends such as the Green Man, ghost and demons that draws you to write about them?
Writers write for different reasons. For some, it’s catharsis; for others it’s simply a job; for yet others it’s a compulsion to express. For me, writing for pleasure presents a chance to go exploring, to go play. And my favourite sandpit is not necessarily this world, or this world as I’ve experienced it in the day-to-day, but a world like ours where fantastical things are possible. The fact that I enjoy my stories to be both well grounded in reality yet to have otherworldly shadows lends me to write about ghosts, spirits, unseen or barely seen forces … so, those stories begin in the ordinary and take that weird side-step into the extraordinary.
One of the things I like about these stories is that they come with a suggestion that the protagonist doubts his or her own perception of reality – wonders, even, if they are mad or heading that way. In this era of social media and instant news, when everything is laid bare, it’s nice to think that some people (even if they are just fictional characters) are forced to keep secrets for fear of condemnation … and try to soldier on in silence … although this usually sows the seeds of peril. Great fun.
2. Secrets & Lies is, possibly, your biggest screen project to date, enjoying a US rendition. How have you enjoyed the translation of your Australian story to the United States? In fact most of your written stories have been set here – have you ever felt any pressure to perhaps set them overseas or keep the ocker quotient low to enhance foreign market appeal?
I didn’t have a lot of time to writing the six hours of television that wasSecrets & Lies – the preproduction was so charged with urgency that I didn’t really get time to enjoy the process. Now the series is done, and it’s screened here and in the UK, Canada, Scandinavia … I’ve had the chance to look back more fondly on the experience of writing the show. I don’t have any real input in the US version, but on a recent trip to Los Angeles I did get to meet some of the cast, and that was enormously fun – they’ve attracted some great talent, and I can’t wait to see how it all turns out.
Right now, I’m working on an Australian telemovie for a national TV broadcaster, and a supernatural crime show for an American network. The former is set firmly in Australia, the latter firmly in the USA. I’m a big believer in universality of story, but specificity of setting. We humans are territorial creatures – we like to know well our little nests and hunting grounds, our comfort zones. So, I think it’s important to write with respect for that – because people act differently when they are in their own territory, or taken from it, or threatened with removal from it, or discover it is not as safe and comfy as they thought it was. To that extent, character and place are inseparable.
But I haven’t felt any pressure ever to heighten or lower the local tone of stories, either in books or in television – I think if it feels real, it works. The only changes that I’ve needed to be make are in terms of accessibility, so that readers or viewers aren’t jolted from the story because they don’t simply understand what a word means.
3. There’s mention on your blog of adapting The Broken Ones for the screen, and a possible novel on the way. How are those projects coming? What’s next for you?
I was fortunate enough to see The Broken Ones receive the Chauvel Award (Screen Queensland), and I was asked by the producers who optioned the work to also write the screenplay adaptation. That was a strange experience – interrogating my own work, ripping it to component parts, and putting it back together in a different media (a screenplay). But it seems to have worked out well, and the producers are now shopping The Broken Ones around to potential directors. I hope it gets made; it would be fun to meet Oscar Mariani in the flesh!
My third novel is progressing at, sadly, a much slower pace than I wish – my television commitments seem to always be grabbing at my heels like cattle dogs. I am hoping (perhaps foolishly!) to finish the draft by the end of the year.
4. What Australian works have you loved recently?
I adore Sonya Hartnett’s writing, and enjoyed her Children of the King (yes, it’s for younger readers, but that is no impediment to either great writing or enjoyable reading). I was captivated by Kári Gíslason’s The Promise of Iceland – and knowing the lovely Kári personally made the journey through the book so much richer. And being a contributor to A Killer Among Demons gave me the perfect excuse to read the other authors’ works – and there were some crackers. I’m a fan of Angela Slatter’s and Alan Baxter’s work, and enjoyed enormously reading their stories and the others, too.
5. Have recent changes in the publishing industry influenced the way you work? What do you think you will be publishing/writing/reading in five years from now?
I think my forays into feature and television writing have come at a good time for me. Since The Broken Ones was published, I’ve got a strong sense that publishers are being increasingly discerning about where (and in what kind of writers) they invest their money. Since I have no other appreciable skills beyond writing, I am grateful that I can derive an income from film and television as well as book writing to help pay the mortgage. But the moving picture media are every bit as volatile as publishing; more and more viewers are consuming content at home and on demand, rather than going to a cinema or waiting for a show to screen on a free-to-air broadcaster.
And I’m as guilty as anyone of this: I consume books, television shows, and movies on my iPad Mini, and I’m the first to grow irritated if I can’t get what I want RIGHT NOW! That’s unhealthy, and light-years from the person I used to be, who could order a book from suburban bookseller and patiently wait weeks for the phonecall announcing that it had arrived.
I think in five years’ time, things will have shifted subtly (but scarily) to a place where there is even more choice of things to consume, but with an ever-widening gap between the ‘big’ studio and publishing house projects, and the indie publications and productions. I hope that I’ll be able to do the splits enough to make a satisfying income from commercial works while still indulging in the free flights of fancy that smaller publishers allow and encourage. As long as I’m writing, I’ll be happy.