Symphony of Lies follows an investigative journalist who is unexpectedly named in the will of a wealthy Monaco socialite tied to her past, pulling her into a glittering world of elite corruption, buried deaths, and dangerous truths. What was the inspiration for the setup of your story?

The idea began with a question: what if an inheritance was not a gift, but an invitation into danger?

I was interested in the kind of power that does not announce itself loudly. Monaco, Switzerland, and the closed world of international wealth offered the right atmosphere for that: polished surfaces, beautiful rooms, discreet conversations, and secrets protected by money, loyalty, and fear. An investigative journalist seemed like the ideal character to enter that world because she understands how corruption works, but she is not outside it.

Emma Bally is drawn into the mystery because the past has selected her. The will becomes less a reward than a trap. That setup allowed me to explore how old debts, hidden deaths, and carefully managed reputations can shape lives long after the original events have been buried.

Emma is compelling because she isn’t morally pure. She’s exposed corruption, but she’s also benefited from the systems she critiques. Why was it important to make her ethically complicated?

Because a morally pure investigator would have made the story less honest.

Emma has exposed corruption, but she has also accepted the price of silence. That contradiction is central to who she is. She understands guilt not as an abstract idea, but as something practical and personal. She knows what it means to look away, to rationalize, and to survive within systems that reward discretion.

I wanted Emma to be capable, intelligent, and courageous, but also compromised. Her flaws make her more vulnerable to the truth because she cannot investigate others without confronting herself. In a world where almost everyone has something to hide, Emma’s own moral ambiguity makes the investigation more dangerous — and more intimate.

The novel repeatedly questions whether truth can remain pure once money and power begin shaping it. What drew you to that tension?

Truth is often treated as something simple: either hidden or revealed. But in powerful circles, truth is managed. It is delayed, softened, bought, reframed, or buried under more acceptable stories.

That tension interested me because money does not always need to destroy the truth openly. Sometimes it changes the conditions under which truth can survive. It decides who is believed, who is protected, who is dismissed, and what price must be paid for speaking.

In Symphony of Lies, truth is not only a moral question. It is also a currency, a weapon, and sometimes a liability. I wanted to explore what happens when a person who once compromised with silence is forced to decide whether the truth is still worth the cost.

What is the next book that you are working on, and when can your fans expect it to be out?

I am currently working on the next Emma Bally novel, which continues the world introduced in Symphony of Lies. This time, Angela’s life is under threat, and Emma is forced to confront not only the danger surrounding her friend but also Nicole’s increasingly destructive influence on her own life.

The new book deepens the psychological and emotional stakes of the series while staying close to the atmosphere readers will recognize from Symphony of Lies: wealth, secrecy, moral compromise, and danger moving quietly beneath polished surfaces.

The book is planned for release by the end of the year.

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