Poverty, Prejudice, Her Mother’s Addiction…
- 6 hours ago
- 4 min read
1) Hi! Let’s start off with introductions. Can you let me know your name? You can use a pen name if you have one.
Genevieve Morrissey
2) What genre(s) do you write?
YA Historical Fiction, Coming of Age
3) Who is your audiobook’s narrator?
Nicole Fikes
4) Can you pitch your book in a sentence or two?
Poverty, prejudice, her mother’s addiction…in her quest for an education, 15-year-old Thea tries to navigate them all. But will a secret ultimately undermine her efforts?
5) Can you tell me a little bit about yourself?
First—I’m not young. Luckily for me, writing isn’t something that requires youth, quick wits, or agility.
I always wanted to be a writer, and I always wrote, but for many years I wrote only for myself. I was sure any criticism of my work would absolutely crush me. I hardened up a little in my middle years and started letting a few people close to me read my books, but even then, I wasn’t brave enough to submit any work to the judgment of the public until the pandemic came along. Then, quarantined and bored out of my mind, I finally took the leap with Antlands and discovered the public I’d been afraid of was actually almost universally kind.
Beyond that, I was born in the usual way, raised in a conventional nineteen-sixties household in southern California, and educated in public schools. I majored in Classical Studies at the University of California, San Diego, but afterwards forgot all the Latin and Greek I’d learned so quickly I was forced to conclude I’d never really learned them at all. After graduation my interest turned from ancient to more recent history, and particularly to American and (to a lesser extent) British social history. I’ve been immersed in that subject for more than forty years now, which has resulted in my accumulating hundreds and hundreds of books with faded bindings and a strong odor of mildew. At this point I’m pretty mildewed myself, not to mention something of a museum-piece for having been married to the same man for more than half a century. He's a biochemist, which means you may trust that any science in my books has been thoroughly vetted.
6) Are Your Characters Based on Real People?
All my characters are real people I know, or composites of several real people. I don’t have a good enough imagination to create a totally original personality.
In the case of THEA, for example, Thea’s mother, Grace, is based largely on my own mother, except that my mother suffered from mental illness rather than alcohol addiction. Like Thea, my mother was a high school student during the 1920s, graduating on the eve of the Depression, and I based Thea’s high school experiences on Mom’s.
Unlike Thea Carter, my mother’s life unfortunately had no Dr. Hallam in it. I was luckier, and THEA was partly written as a tribute to him. Thea herself was based on a contemporary of mine who I admired, and as with all my books (THEA is the sixth I’ve published) minor characters are all amalgams of friends and acquaintances, some of whom recognize themselves and some of whom don’t. My books’ villains are always old enemies of mine, and in the first five drafts, at least, I make them suffer.
7) What Did You Edit Out?
As a child, I read all of Charles Dickens’ works.
What I mean by that is that my mother had a lavishly illustrated boxed set of the works of Charles Dickens and in childhood I pored over the pictures, devoured the dialogue, read most paragraphs of six lines or less—and shamelessly skipped all the rest. Later in school, when I was forced to read every word of David Copperfield, I concluded that my earlier choice had been the correct one.
Bad examples can be as useful as good ones. Based on this early research, I try to edit out anything in my books that doesn’t keep the plot marching smartly along, avoid long descriptive passages, and cap the number of characters at fewer than twenty. Deaths and scenes of death-beds are usually limited to one per book (and I try not to make them pathetic).
In early drafts of THEA, Grace Carter had a backstory; Dr. Hallam had a backstory (a long one); Thea herself had more backstory; and in general, all the characters got up to a whole lot more stuff than made it into the final version of the book. In fact, I probably excised an amount equivalent to double what ultimately remained. This is about usual with me, and I believe every cut made the final story better.
8) Can you tell me a bit more about your book?
Thea
Oklahoma City, 1925Fifteen-year-old Thea Carter lives in a small garage apartment—Thea’s seventh “home” in four years—provided by her alcoholic mother’s employer, the morose and enigmatic Dr. Hallam.School is Thea’s refuge and she’s an excellent student, but the parasitic Mrs. Carter’s instability continually threatens her dream of getting a high school diploma. In an effort to keep her mother employed and the two of them housed, Thea secretly takes on much of her mother’s work while at the same time navigating adolescence, friendships, and first love.Dr. Hallam, impressed by her drive and intelligence, becomes Thea’s unexpected ally, but in addition to wealth and position, the doctor also has a secret that could ruin him, and shatter his bond with Thea.
9) Do you have a sample of your audiobook that people can listen to?
10) Has your book won any awards?
2025 Page Turner Book Award winner for Best Historical Fiction & Character Architect Award
11) Is there anything else about yourself you want to share?
Thea is the new historical novel by Genevieve Morrissey, author of the award-winning Marriage & Hanging and the popular Antlands science fiction series. She is an avid student of British and American social history who, through one of those strange little quirks of fate, spends most of her days talking with scientists. In addition to writing, Genevieve enjoys reading obscure books, travel, and solitude.
12) Do you have a website? If so, what is it?
13) Where else can people find and follow you?
Facebook: https://www.facebook.com/Antlands.novels
Instagram: https://www.instagram.com/glmorrissey/
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