Author Interview with Amy L. Bernstein

1. You’ve said before that you enjoy the writing process and researching your stories. Your recent novel, “Nighthawkers,” involves, forgive the pun, some archeological digging. Was archeology an existing interest or did you have to do heavy research? What advice would you give authors about researching and vetting stories?

I’ve long been fascinated by archaeology, and at one point a long time ago, I thought about making it a career—but I was frightened away by all the hard-core science! That left me to admire the profession at a romantic distance. The archaeological themes of The Nighthawkers enabled me to indulge in a boatload of research, including deep dives into “Antiquities” magazine and other archaeology journals, which I loved doing and still do.

I encourage writers to tap into research as a way to stimulate the imagination and possibly deepen the texture of a story. Research introduces us to concrete nouns, objects, and ideas that help to shape a character’s voice and point of view. The key is to amass as much research as you need—and then use it sparingly in service to your story.

2. Blending fact and fiction is your forte. What is the key to creating a seamless story?

In all my novels, I create what I call “shifted” reality. The worlds I build are grounded in the real world we all recognize, and then I introduce elements that are entirely nonrealistic—or in some cases, speculative, meaning, events unfold in a world that could exist. In The Nighthawkers, Pauline possesses mysterious abilities that are not realistic, but they are believable in part because I surround her with the concrete facts of archaeology—the tools, real relics, and so forth. In Dreams of Song Times, a human mermaid finds purpose raising awareness about endangered species (real ones), while she herself is also endangered.

The seamlessness comes about when the writer manages to create a deeply connected “necklace” of scenes. I think about cause and effect throughout the book. ‘Because this happened, then that happened…’. If the cause-and-effect dynamic is strong, you have the luxury of weaving the real and the unreal together.

3. Fantasy and paranormal writing often requires world building. Can you share what things/objects/events have influenced the creation of your worlds?

This brings me back to the role of research. It’s possible, of course, to create a rich and dense world that springs entirely from the writer’s imagination. Perhaps because I used to be a journalist, I prefer to tap into facts to help build a world that is, as I noted, “shifted.” The Nighthawkers would not be half as convincing or as textured as it is had I not spent many hours studying images and descriptions of archaeological digs and ancient artifacts from around the world. The pictures were enormously inspirational—and helped me to vividly describe many ancient objects. I also researched archaeology higher ed programs, specific tools of the trade, and the nefarious black market that exists for found objects.

For Dreams of Song Times, I read up on ancient mermaid lore in cultures around the world, and did a ton of research on endangered human populations and animal species, much of which make their way into the book.

4. Besides writing in several genres, you’ve also been a playwright. What makes playwriting different from book writing? Which medium is your preference?

Writing for the theater is writing for the voice, since most of what unfolds onstage is shared verbally. That means you have to find ways to pack characters’ motivations, backstories, inciting incidents, and other key elements into spoken language. Sure, plays often include physical actions, but the words are primarily the star. It’s a very different way of storytelling, compared with novels, which offer the luxury of narration to help carry some of the burden.

While I wouldn’t say I prefer one medium over the other, I seem to have gravitated to the freedom that a novel offers. I don’t have to worry about limiting the number of characters or creating a scene that’s impractical to stage. Also, as a novelist I have complete control over the production of the entire story, whereas a play must be brought to life collaboratively, with actors, a director, etc.

5. At the PRG, we’ve met more than one Baltimore girl. What is it about Baltimore that inspires writers? And why do we seem to primarily write paranormal, murder mysteries or self-help books?

Hah! Well, Baltimore is loaded with incredibly talented literary artists, many of whom, I believe, fly under the radar. Baltimore is a wonderful crucible for all kinds of artists, as so many creative people choose to make a life here—and we have a growing number of local arts districts to help foster their vision.

Amy L. Bernstein writes stories, essays, and poems that let readers feel while making them think. Her novels include The Potrero Complex, the award-winning The Nighthawkers, Dreams of Song Times, and Fran, The Second Time Around, voted best young adult novel by the Maryland Writers Association. Amy is an award-winning journalist, speechwriter, playwright, and certified nonfiction book coach. When not glued to a screen, she loves listening to jazz and classical music, drinking wine with friends, and exploring Baltimore’s glorious neighborhoods, which inspire her fiction.