The Walking Wounded traces the lives of two boys whose childhood bond follows them into adulthood, where—now police officers—they find themselves working a murder investigation tied to the haunting disappearance of two missing children. What first drew you to this story—was it the investigation, the characters, or the themes of trauma?

This book started life as a stage musical way back in 1992/93. I stopped writing for a very long time. The basic story of trauma and its effects has always been there. The romance of our leading men was added in recent years, after consultation with a movie producer.

Phil and Li’s relationship unfolds slowly and carries a lot of history. Why did you choose that long-burn dynamic?

I was trying to drive home the concept of toxic masculinity and the fear that goes along with self-acceptance for LGBTIQ+ people. ‘I’m gay’ can still be very costly words.

The novel questions whether justice is ever “enough.” How do you define justice in this story, and how do institutional failures shape the narrative?

It was always about system failure. People need to take responsibility for their abusive actions. Current conditions prove that justice remains beyond reach.

Despite its darkness, the book leaves room for connection and care. Why was that important?

Many of the characters live with abuse. It affects them all in different ways. Phil hides it under a cover of denial, and Davina uses it to remain strong while she helps Levi and Noah through it. Ian/Iceman has been destroyed by his past and believes the world owes him a favour. His dark anger boils below the surface.

Four stories, four outcomes.

The fact that there can be healing is an important concept for any abuse survivor who may pick up my book. The fact that Noah makes it through the darkness to adulthood and fatherhood, despite the losses along the way, is important.

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