Mary Anne: A huge congratulations on your new release, Out of the Desert (Wings of Victory Book 1). Could you tell us a little about your series and how you came to write it?
Tom Walker: Thank you for welcoming me and taking interest in the book. I’ve always been an avid reader and love the vibrant characters and gripping stories created by authors like C.S. Forester, Patrick O’Brian and Bernard Cornwell. It drove a lifelong passion for the genre and I always said that everyone has a good book in them. However, I wasn’t brave enough to attempt to prove that hypothesis. Then, in January 2021, the third national lockdown happened, and I started to climb the walls. I knew I needed something to focus my energy on and decided that I’d start that book.
I was inspired to focus on the Royal Air Force and a Second World War setting because of my career in the Service and also because I was fascinated by Roald Dahl’s experience of fighting in Greece in 1941. I read ‘Going Solo’ in my teens and I was captivated by it - it’s such an easy read too. Nobody talks about Greece really and, when you look at the history, it’s packed with desperate dog-fights, incredible characters, graphic heroism and vicious cruelty. I just knew I needed to take advantage of the setting before someone else got there.
The series follows a junior pilot, Peter Denhay, and his navigator, Charlie Kendrick, through their experiences of flying missions during WW2. Whilst there are some frenetic aerial sequences, I think what defines the novel is a set of strong, relatable male and female characters trying to find their own way through this epic global clash. So, as well as action and adventure, the reader will come across all kinds of comedy, romance, pathos, and hubris throughout the series.
Mary Anne: When researching this novel did you come upon any unexpected historical discoveries?
Tom Walker: There were loads of amazing details that I uncovered during the research. For example, I learned about one squadron that launched an attack on the Germans on Easter Sunday in 1941 to try to slow their invasion of Greece. All six aircraft that took part in the raid were shot down within minutes of each other. You can find a map of the crash sites and they’re only about 12 miles apart. The air battle must have been horrendous for the crews involved. It made me wonder what effect that has on a squadron – to be effectively wiped out in an afternoon – and how you come back from that as a team; as a survivor even. There was also a great story I uncovered about a deception operation before the Battle of Matapan that involved Admiral Andrew Cunningham, a Golf Club, and the Japanese Ambassador. It sounds like the start of a funny joke, but I couldn’t use it in the end, it would have meant stretching the plot beyond what was feasible.
I think most people are familiar with the Battle of Britain story, and the mythology that surrounds it, but the Mediterranean and the Balkans are much less well understood. The poor old Bristol Blenheim is also little known (and is one of the stars of the book). It was an aircraft that was probably outclassed as a day bomber by the time it operated in North Africa in 1940. It was an eclectic aircraft that made little concession to operator workload – the propeller trim controls were the same shape as the engine cut-outs and were located next to each other (behind the pilot). That meant it was possible to accidentally turn an engine off in mid-air - an error that must be as frightening as it is deadly.
Mary Anne: Do you think historical fiction authors have a responsibility to depict the past as accurately as they can?
Tom Walker: I think there’s an obligation to be true to it. Although I recognise that history is both a contested environment and constantly evolving as new information comes to light and perspectives change. But you can’t sacrifice good storytelling for the sake of it. The rules I try to stick to are that you can cherry-pick incidents for your inspiration and create dialogue for real-life characters so long as you stick to views and traits they held in reality, but you mustn’t mess about with established facts. You also have to avoid anachronisms creeping in, especially where dialogue is concerned. It’s probably more of an issue for authors writing in pre-20th Century timelines, but even so it’s a balancing act to ensure your dialogue is honest, as well as being crisp and readable.
I think the best authors are the ones that can keep the history running in the background, so that it complements and heightens the sense of drama and adventure in the story. If you take Patrick O’Brian as an example, his plots are all loosely based on the experiences of real-life people (I believe Thomas Cochrane was a major influence) but the characters and scenes were all invented. He managed to make one year of the Napoleonic Wars stretch over about 2-3 book years and barely anyone noticed because they were gripped by the plot, which is just about the best compliment you can receive. As an author of historical fiction, I think you have a responsibility to offer a bridge to the non-fiction subject matter. So, at the end of the book I like to add a few words about what really happened and whether I’ve chosen to depart from the history. It also helps avoid angry letters from readers too.
Mary Anne: What do you think makes for a successful novel?
Tom Walker: As a debut author, I’ve got to be a bit careful here – before you can talk about success you’ve got to first be successful. But I think I can answer that just effectively from the point of view of a reader. I think there are three key ingredients to a successful novel. The first is that you must create some compelling characters that a reader will want to follow through to the end and who are ultimately flawed, but likeable (or immensely dislikeable for a villain). Then you need a plot that sucks you in by virtue of mounting tension or because it keeps offering interesting new scenes that alternately delight, frighten, sicken or tantalise you. Third and finally, it needs to be readable. In simple terms that means you need to be kind to the general reader, use sensitive mental shortcuts and strike a good balance between showing and telling.
I would also say that sales are only one metric for judging the success of a novel. In some respects, the market is out to promote books in popular genres. The consequence of this could be an echo chamber effect whereby the moment someone reads ‘historical fiction’ in a query letter it drops off the list of considered submissions. I hope that isn’t the case, but it certainly felt like that to me when I was querying. The best gauge of whether a novel is a success has to be its effect on the reader. Ultimately, if the reader gets that feeling when they finish your book – you know the one, it’s like your best friend just moved to another town – and they want to read the sequel; you’ve nailed it.
Mary Anne: What advice do you have for aspiring Historical Fiction authors?
Tom Walker: It’s a hardy perennial, but I’d advise aspiring authors to write as much as you can, as often as you can, and work to develop your voice. Creative writing courses are really useful ways to learn the craft. Also - don’t stop reading books, because it’s a great way to see what works. When you get that final version of the manuscript, the battle is only half over because then you’re querying. Querying is a bit like sparring with a larger and heavier opponent: it’s exhausting, painful, and dispiriting. You might get a response if you’re lucky, but quite often that response will be a, ‘No, thank you’. Don’t be put off, use each rejection as a sign you need to re-work the material or adjust your pitch. Keep writing, keep querying, and never give up. Everyone has a good book in them.
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As a child, Tom Walker wrote stories about aeroplanes in his head, but it took a global pandemic and national lockdown before he started to write them down. An avid reader with a lifelong passion for history, Tom saw service in Iraq, Afghanistan and West Africa as a Royal Air Force officer. This provided a rich collection of experiences that he draws upon in his writing. His debut novel, 'Out of the Desert', was published by Sharpe Books in 2021 and follows junior RAF aircrew Peter Denhay and Charlie Kendrick through the battles, loves, and losses of the early Second World War. Originally from Plymouth in Devon, when not on active service, Tom divides his time between Oxfordshire and rural Wiltshire.
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See you on your next coffee break!
Take Care,
Mary Anne xxx