Peter Swanson has solidified his place in the literary world as a master of suspense and psychological thrillers. A Sunday Times and New York Times best-selling author, Peter Swanson is the name behind eight gripping novels, including the award-winning The Kind Worth Killing and the chilling Nine Lives. But who is the man behind these intricate and captivating stories? Delving into a conversation with Peter Swanson offers a unique glimpse into the mind of a writer deeply rooted in the tradition of mystery novels, yet refreshingly modern in his approach to storytelling.
Peter Swanson embodies the essence of a classic mystery novelist. From his quiet workspace in Maine to the ever-present companionship of his well-mannered cat, he seems to have stepped straight out of the golden age of the genre. However, beyond the charming facade lies a sharp intellect and a pragmatic approach to writing, particularly when it comes to outlining – a practice Peter Swanson famously eschews, and for reasons that are both insightful and surprisingly effective.
To understand Peter Swanson the author, it’s essential to explore his journey to becoming a published novelist. With eight books to his name, it’s natural to wonder how the experience of releasing his first novel compares to the pressures and expectations he faces today. This exploration into Peter Swanson’s past reveals not only his evolution as a writer but also the enduring passion that fuels his craft.
From Debut Novel to Seasoned Author: Peter Swanson’s Evolving Perspective
Reflecting on the launch of his debut novel, Peter Swanson candidly admits his initial lack of nervousness. At forty-four, achieving publication was a victory in itself. “I was just happy to be published, I didn’t give a shit about anything else,” Peter Swanson recalls. There was a sense of accomplishment, a feeling that this achievement was permanent.
However, the landscape of publishing and Peter Swanson’s own career have shifted significantly since then. Now, with a thriving career as a novelist, the stakes feel higher. “It’s a little more nerve racking now that I’m on book eight,” he explains. “I’ve managed to build a career. I get to do this for a living. So I’m more aware in regard to the ins and outs of book sales and keeping my publisher happy. In a weird way, I guess I’m more nervous now.” This vulnerability reveals a relatable aspect of Peter Swanson, even amidst his success. The pressure to maintain momentum and satisfy both readers and publishers is a reality for any established author, and Peter Swanson acknowledges this with refreshing honesty.
He touches upon the common industry wisdom regarding debut novels and subsequent books. While debuts often generate initial buzz, maintaining that attention requires consistent effort. Peter Swanson’s advice to aspiring writers is to focus on the craft itself: “Just worry about the writing. That’s all you can control.” This emphasis on the writing process underscores his dedication to the art of storytelling, rather than getting caught up in external pressures.
Once a book is released, Peter Swanson describes a sense of detachment. “Honestly, I always feel weird talking about a book when it comes out. It’s already out of my hands,” he states. He acknowledges the limited influence an author has once the work is published, emphasizing the importance of focusing on the next project. This forward-looking perspective is crucial for a prolific writer like Peter Swanson, who consistently delivers new and engaging narratives.
The writing process, Peter Swanson reveals, doesn’t become easier with experience. While the initial hurdle of proving one can write a novel is overcome, new challenges emerge. “Honestly, I think it gets harder, especially when you get into book six or seven,” he admits. The need to find fresh material and avoid repetition becomes increasingly demanding. Peter Swanson dispels the notion of writing tricks or formulas, emphasizing that each book presents unique creative obstacles. This ongoing challenge is what keeps the process engaging and ensures that Peter Swanson’s novels remain innovative and compelling.
The Path to Publication: Peter Swanson’s Literary Origins
Before becoming a celebrated novelist, Peter Swanson’s literary journey began with a deep appreciation for reading and a passion for poetry. As an English Literature major in college, he initially dedicated his creative energy to poetry in his twenties. “I was always writing,” Peter Swanson explains, “In college, I was an English Lit major and spent most of my twenties writing poetry. It’s what I had time for.”
The transition to novel writing came in his mid-thirties, driven by a desire to explore a different form of storytelling. “I didn’t try writing a novel until my mid-thirties. I did it just to see if I could do it,” Peter Swanson recounts. His lifelong love for mystery novels, dating back to childhood favorites like Hardy Boys and Nancy Drew, guided his initial foray into longer fiction. Despite exploring various genres as a reader, Peter Swanson consistently returns to the mystery genre, drawn to its intricate plots and suspenseful narratives.
His first attempts at novel writing involved a poet protagonist, blending his poetic background with his burgeoning interest in mysteries. “I wanted to see if I could write a whodunit. My main character was a poet, which tied in both of those worlds,” Peter Swanson describes. Although these early novels weren’t published, they served as invaluable learning experiences. Crucially, they proved to Peter Swanson that he could complete a novel-length work, a significant milestone in any writer’s journey. He also discovered a surprising preference for novel writing over poetry. “The other thing I learned—which was surprising to me because I loved writing poetry—was that I loved writing novels even more. I love being in the middle of novel and knowing where I’m going next. Taking that long path.” This enjoyment of the extended narrative arc is a key element of Peter Swanson’s approach to crafting his complex and layered thrillers.
Navigating Rejection and Finding a Break: Peter Swanson’s Perseverance
The path to publication is rarely smooth, and Peter Swanson’s experience is no exception. His initial attempts to find an agent for his poet mysteries resulted in widespread rejection. “I sent the two poet mysteries out to a hundred agents and got a hundred rejections,” Peter Swanson recalls, a common experience for many aspiring authors. However, persistence is key in the publishing world. He did receive interest from an agent and an editor for his first book, offering a glimmer of hope that quickly turned into disappointment when both the editor and agent left their positions. “I couldn’t believe it. And then, within one week, that editor quit to go do children’s publishing and my agent quit the agency,” Peter Swanson recounts, highlighting the unpredictable nature of the industry.
Undeterred, Peter Swanson experimented with writing a thriller, consciously attempting to create something commercially viable. “After that, I wrote a thriller, which was the only time I’ve ever tried to write something I thought was “publishable.” This high-concept thriller thing that took place in twenty-four hours. I honestly thought it would be such a great concept that everybody would at least want to take a look at it,” he explains. Despite his efforts to cater to market trends, this thriller also faced rejection, reinforcing the idea that authentic storytelling trumps chasing trends. “I got zero responses,” Peter Swanson states, a humbling experience that ultimately led him back to his creative instincts.
Following this setback, Peter Swanson wrote a novella, The Girl With A Clock For A Heart, a project driven by creative passion rather than commercial considerations. “After I finished that book—and I do think that was probably the worst book I’ve ever written—I sat down and wrote a novella called The Girl With A Clock For A Heart. I basically wanted to do a hardboiled type of thing but set it with college students. It struck me as odd, but I wrote it, and really enjoyed it,” he describes. This novella proved to be his breakthrough. It was published in an online magazine and caught the attention of his future agent, who recognized Peter Swanson’s talent and potential. His agent proposed expanding the novella into a novel, a pivotal moment that launched his career. “Turns out, my future agent found that novella and contacted me, asking if I thought I could turn it into a novel. And that’s what I did. That’s what sold,” Peter Swanson concludes. This story of perseverance and creative redirection is an inspiring testament to the often-circuitous journey to literary success.
The Organic Approach to Storytelling: Peter Swanson’s Writing Process
Peter Swanson’s writing process is characterized by its organic and intuitive nature, particularly his rejection of outlining. When a new idea sparks, his initial approach is to let it simmer. “I don’t worry about it too much. That’s the first thing I do. If it feels like a good idea, I won’t write it down. I just see if I’m still thinking about it the next day,” Peter Swanson explains. This incubation period allows ideas to develop and prove their staying power. He describes it as a “testing process,” where only the strongest ideas survive. “I want to see if I’m still thinking about it, still adding to it. At some point I either stop thinking about it or it grows to the point that I actually want to start writing the book. What I hope I’m doing is eliminating book ideas that aren’t strong enough.” This method ensures that Peter Swanson commits his time and energy only to ideas that genuinely resonate with him.
Once an idea passes this initial test, Peter Swanson dives directly into writing, beginning with the first chapter without a detailed plan. “I just start it. I don’t outline. I generally open a document and write the first chapter,” he states. This approach allows for spontaneity and discovery in the writing process. Key decisions, such as setting, time frame, and narrative perspective, are made organically as he writes. The choice of narrator, Peter Swanson emphasizes, is particularly crucial and should be carefully considered. “Where does it start? What’s the location, the time frame? Who’s going to tell the story? That one is really important.”
Peter Swanson advocates for authors to justify their narrative choices, particularly first-person narration. “Well, if it’s going to be in first person, you need to justify that choice. Authors should do that more often. Why is this particular person telling this particular story? Literally,” he argues. He points to Victorian-era novels, like Sherlock Holmes stories narrated by Watson, as examples of justified first-person narratives. This meta-awareness of storytelling conventions adds depth and intentionality to Peter Swanson’s own narrative choices.
While Peter Swanson doesn’t outline in the traditional sense, he isn’t entirely without direction. He may jot down notes and have a general sense of the ending, but he prefers to let the story unfold naturally as he writes. “I’m not necessarily thinking about the full story. I’ll jot down notes sometimes. Stuff that could happen. I might have a sense of where I think it’s going to end, but other than that, there’s no outline,” he explains. This balance between intuition and a loose sense of direction is central to his creative process.
Peter Swanson acknowledges the risks associated with his no-outline approach, particularly the possibility of a story stalling midway through. “But listen, there’s a huge risk involved doing it like this, and the risk is you’re halfway through a book and it stalls. That’s happened to me. I have a couple half-books,” he admits. However, he believes the benefits outweigh the risks, as it allows for unexpected twists and organic character development. “I think it keeps you open to potentially putting stuff in your book that’s genuinely surprising. Twists that arise naturally are often better. What you don’t want to do is make decisions for your characters before they come alive.” This emphasis on character-driven narratives and the element of surprise is a hallmark of Peter Swanson’s compelling thrillers. He values the “weird choices” that emerge organically during the writing process, echoing Megan Abbott’s sentiment about embracing the unexpected in storytelling. This approach allows for a sense of discovery and authenticity in his writing, resulting in narratives that feel both intricate and genuinely surprising.
Daily Rituals and Revision: Inside Peter Swanson’s Writing Routine
Peter Swanson’s daily writing routine is structured yet flexible, reflecting a balance between discipline and allowing for creative flow. He maintains a consistent schedule, arriving at his office around nine each morning. “I basically do the same thing every day. I’m not an early person. I hit my office at nine. I make my coffee, and I write in the mornings,” Peter Swanson describes. His primary daily goal is to write a thousand words on his current project. “My basic rule is a thousand words every day on the thing I’m working on. That can change a little if I’m in the middle of a heavy edit. But if I’m working on a book, it’s a thousand words, no matter what.” This word count target provides a tangible measure of progress and ensures consistent momentum. Even on days when writing feels challenging, Peter Swanson adheres to this daily quota, emphasizing the importance of perseverance. “If it’s a day where I’m just not feeling it, or the words are coming too hard, I still make myself give a thousand words. I try to move forward seven days a week.”
Despite this disciplined approach, Peter Swanson acknowledges the inevitable distractions and procrastination that are part of the writing process. “It makes it sound like I’m super industrious, but really, when I get to my office in the morning I waste a significant amount of time,” he admits. He humorously describes the common time-wasting activities of checking news and sports online, and the repeated coffee breaks. However, these moments of procrastination are often followed by a focused burst of writing. “Then there’s finally a panic moment, where I’m like, I have to start. So I start, and I get into it, and I get my thousand words and I’m done.” Interestingly, he rarely exceeds his daily word count goal, preferring to return to the work fresh the next day. “It’s pretty rare that I hit a thousand words and want to keep going. I know I’ll come back to it tomorrow.”
Peter Swanson’s afternoons are intentionally kept open, providing space for reflection and rejuvenation. “I mostly have my afternoons free. I like to take a long walk. Sometimes I think about what I’m working on. Sometimes I think about other stuff. Either way, it’s an opportunity to think.” These walks serve as a valuable time for subconscious processing and idea generation. He also dedicates time to reading and managing emails in the afternoons, maintaining a balanced routine.
When it comes to revision, Peter Swanson emphasizes the importance of distance and fresh perspective. He prefers to take a break from the manuscript before returning to edit. “It’s good if you can give it a few weeks. Sometimes you can’t because of a deadline, but if you can wait it’s good to do that.” His revision process involves a detailed read-through of the printed manuscript with a red pen, making notes and corrections. “When the time comes, I print the manuscript and read it with a red pen. I read it like I’m reading a novel, but I’m scratching down notes as I go. Then I take that heavily inked-on draft and bring it back and do a second draft.” This hands-on approach to editing allows him to engage with the text in a different way than reading on screen. He typically completes at least one revision independently before sharing the manuscript with his agent and sometimes his wife for feedback. This meticulous revision process ensures that Peter Swanson’s novels are polished and gripping from beginning to end.
The Why Behind the Words: Peter Swanson’s Motivation for Writing
When asked about his motivation for writing, Peter Swanson connects it to his lifelong love of reading and a desire to create immersive stories for readers. “For me, writing comes from my love of reading. More specifically, I want to tell a specific type of story. A mystery,” Peter Swanson explains. He envisions a reader becoming engrossed in his books, finding escape and entertainment within the pages. “While I’m writing, I picture a certain type of reader. Maybe it’s some little old lady halfway around the world, curled up with my book, completely lost in this thing I’ve created.” This reader-centric perspective underscores his commitment to crafting engaging and absorbing narratives.
Peter Swanson highlights the unique escapism offered by books, contrasting it with other forms of entertainment like movies. “The act of reading a book that’s absorbing is still the most effective way to get away from yourself. As much as I love movies—which I do—there’s a quality to a book’s escapism that movies can’t touch.” He sees himself as part of a conversation between writers and readers, valuing the opportunity to contribute to this ongoing dialogue. “I just want to be part of this process, the dialogue between writers and readers. I feel very fortunate to get to be on both sides of that conversation,” Peter Swanson concludes. This passion for both reading and writing, combined with a desire to connect with readers through compelling stories, is the driving force behind Peter Swanson’s successful career as a mystery and thriller author. His dedication to the craft, his organic writing process, and his focus on delivering engaging narratives have cemented Peter Swanson’s place as a prominent figure in contemporary mystery fiction, captivating readers worldwide with his intricate and suspenseful novels.
