In Delphi, a woman struggling to find balance between the past and present embarks on a journey of self-discovery, seeking the wisdom of an oracle. What was the inspiration for the setup of your story?

The seed was planted in the first novel Dancing the Labyrinth when one of the Minoan characters was bitten by serpents and saw her future as establishing the Oracle for Gaea at Delphi (500 years before Apollo). This is interwoven with a contemporary narrative. I wanted to use the main character Cressida as a sounding board for society’s expectations of women to fit patriarchal culture, especially in the entrenched institutions of marriage and finance. I didn’t anticipate deep diving into Cressida’s backstory and work through generational trauma. That evolved through the writing process. It makes sense though, that in making major decisions, we need to know ourselves – what is right for us. Cressida comes from a dysfunctional family and has no confidence in her choices, so she sets off to Delphi to seek the Oracle’s advice because of what is written on the temple of Apollo ‘Know thyself.’ She is unaware she is an integral part of a major plot being played out within a mythological timeframe. Inspiration for this component came from writing in situ. I have a felt-sense of place and when added to my research, compelling stories find their way to my page.

What is it that draws you to mythology?

When I was young, I was drawn to Greek mythology rather than fairy tales. I once read that there are only seven original stories and in all my creative work I have sought the corresponding Greek myth – whether or not I have incorporated it into the narrative. As an adult, I am interested in the psychological layers they offer, but I am also learning other versions of the same myths from archaeological research that do not necessarily confer with the known version, i.e. the voice of the occupier/conqueror. For example, the story of the Minotaur comes from Minoan history, not Greek/Mycenean. There is a stark difference between their accounts.

What was your writing process to ensure you captured the essence of the characters, specifically Cressida?

Because Delphi is a sequel, and Cressida was already my protagonist, she has a definitive voice. Four years on she is older and more confident with life, but she still responds to triggers – her fight/flight tendencies. She is in a process of healing and so to authenticate her life experiences I researched and read about healing from childhood wounds and trauma. I enjoy writing her and getting caught up with her impatience and frustrations. She is deeply flawed but (I think) likable.

I believe everything we create contains personal elements. My characters have specific attributes I recognise that can be explored in the context of plot to express their own nuances and idiosyncrasies, whether subtly or exaggerated. Many of the places, and some of the experiences mirror my own, but from another perspective that enhance my understanding but also adds an honesty to the work.

What is the next book you are working on, and when will it be available?

I am currently working on a travel memoir of when I lived in Crete for a year and wrote Dancing the Labyrinth. As I’d like to get Delphi translated into Greek and do a book tour through Greece next year, I’m planning for the memoir to be ready for release in 2026.

Recently, I released a quirky humorous nonfiction collation of illustrated memes and quotes called The Little Book of Red Flags. I’m planning to follow this up with The Little Book of Apologies (for those who find it so hard to say sorry).

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