Voyager, my second novel, was an anomaly, much like the central premise of its story. I’d just written Irex, an intense, brooding and claustrophobic historical mystery; I expected to continue in a similar vein.
Instead, I had a very vivid dream in the summer of 2016 in which I saw the central motif of Voyager’s story – a human hand against a bright light source. This would be the central, arresting image in a series taken by the Voyager spacecraft more than 12 billion miles from Earth.
I found this so compelling, I couldn’t stop thinking about it and began to write a story around it.
Unusually for me, Voyager had a very troubled gestation. I usually have a very strong story idea that carries the writing without losing my thread. This time, I ran into some problems (which you might expect, considering I was writing an entire…
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Carl Rackman 