Ask the Author: Chrystyna Lucyk-Berger
Answered Questions (17)
Chrystyna Lucyk-Berger
Usually from travels. The Reschen Valley series is based on the political corruption, prejudice and greed that led to the building of the Reschensee reservoir in northern Italy. When I discovered that story, I felt it needed to be told.
Souvenirs from Kyiv and The Woman at the Gates were born of my interviews with my family about their journeys from Ukraine in WW2 to America.
The Girl from the Mountains was inspired by a friend's anecdote about her husband. When I heard the story, my mouth had fallen to the floor. I had to know who would go to such lengths to avenge themselves and how they were driven to that point. That turned out to be Magda.
And my Kitty Larsson series (this is a fun one; first one out April 14, 2023!) started with a discussion with my publisher about my 13 book ideas. They said, "We like idea number 14." I reminded them I sent only 13 ideas. And they said, "Yes, but if you take idea 5 and 7 and a little bit of that conflict in 12, then put it in nowhere further east than Vienna... or Paris, Paris would be better... then we've got idea 14."
I was so perplexed. I thought the last thing the world needed was another book set in WW2 France. I was also on holiday during that online meeting. I went back out to the beach and went for a hard swim in the sea. Like a lightning bolt, Kitty Larsson popped into my head. Just the name. And I waited. Nothing happened. Then I said, "Who are you Kitty Larsson?" And she replied, "I'm a charismatic American married to an Austrian diplomat. In 1937, Vienna. But I also speak fluent French."
I got out of the water, walked to my husband and said, "I need to talk." By the time dinner was done, we'd hashed out a pitch. Back then it was for one book; my best friend then said, "That's not a book. That's a series. I want to know what happens to her next."
Voila.
Souvenirs from Kyiv and The Woman at the Gates were born of my interviews with my family about their journeys from Ukraine in WW2 to America.
The Girl from the Mountains was inspired by a friend's anecdote about her husband. When I heard the story, my mouth had fallen to the floor. I had to know who would go to such lengths to avenge themselves and how they were driven to that point. That turned out to be Magda.
And my Kitty Larsson series (this is a fun one; first one out April 14, 2023!) started with a discussion with my publisher about my 13 book ideas. They said, "We like idea number 14." I reminded them I sent only 13 ideas. And they said, "Yes, but if you take idea 5 and 7 and a little bit of that conflict in 12, then put it in nowhere further east than Vienna... or Paris, Paris would be better... then we've got idea 14."
I was so perplexed. I thought the last thing the world needed was another book set in WW2 France. I was also on holiday during that online meeting. I went back out to the beach and went for a hard swim in the sea. Like a lightning bolt, Kitty Larsson popped into my head. Just the name. And I waited. Nothing happened. Then I said, "Who are you Kitty Larsson?" And she replied, "I'm a charismatic American married to an Austrian diplomat. In 1937, Vienna. But I also speak fluent French."
I got out of the water, walked to my husband and said, "I need to talk." By the time dinner was done, we'd hashed out a pitch. Back then it was for one book; my best friend then said, "That's not a book. That's a series. I want to know what happens to her next."
Voila.
Chrystyna Lucyk-Berger
Hi Keri, thanks for asking. Essentially, yes. Magda's Mark was the short story that I developed into a novella for a WW2 anthology, and then that was picked up by Bookouture, who had me develop it into a full-length novel. So, whereas Magda's Mark ends with her decision to take action against the Nazis, The Girl from the Mountains expands on how Magda gets to that point and follows Magda's journey after she takes that questionable decision.
Chrystyna Lucyk-Berger
The mystery of how I manage to get things done... ! LOL...
Chrystyna Lucyk-Berger
Conundrum – I wanted a feisty, spirited and strong protagonist when I set out to write Katharina. I know it sounds really esoteric or odd when I say things like, “the characters write themselves”. But both Katharina and Angelo, are strong-willed characters and they tend to fight me about the directions I would like to take things. And sometimes I just have to roll with it.
Katharina’s case in this first book was exactly this: the more I got into her world, the more I realized that her circumstances and her nature—most importantly—were going to be her big internal conflict. She just was not going to forgive herself for what she had done, which is mostly, blowing her chances at becoming a landowner when she gets pregnant out of wedlock. Sure, Florian comes and saves the day, but then she’s got her shame to battle with, and a new conflict within herself: she feels beholden to Florian and it takes her awhile to discern her real feelings for a guy who, let’s be honest, is a pretty darned good catch anyway. These internal conflicts change Katharina. She reigns in her more risk-taking, “I don’t care what people think” side. In fact, she almost wants to blend into the community’s landscape. Their expectations, rituals and traditions.
In other words, she begins losing herself. And who hasn’t experienced that before?
Katharina’s case in this first book was exactly this: the more I got into her world, the more I realized that her circumstances and her nature—most importantly—were going to be her big internal conflict. She just was not going to forgive herself for what she had done, which is mostly, blowing her chances at becoming a landowner when she gets pregnant out of wedlock. Sure, Florian comes and saves the day, but then she’s got her shame to battle with, and a new conflict within herself: she feels beholden to Florian and it takes her awhile to discern her real feelings for a guy who, let’s be honest, is a pretty darned good catch anyway. These internal conflicts change Katharina. She reigns in her more risk-taking, “I don’t care what people think” side. In fact, she almost wants to blend into the community’s landscape. Their expectations, rituals and traditions.
In other words, she begins losing herself. And who hasn’t experienced that before?
Chrystyna Lucyk-Berger
Angelo. Oh, Angelo! He’s my most imperfect character.
His journey of personal self-development is a long one. This is one guy who is being bounced about between two interest groups—mainly his wife’s and her family’s, and his father’s and Angelo’s family. And Angelo tries to do right by them all, which is impossible. On the one hand, he wants to support Chiara’s political causes but not at the cost of winning power for himself in his position at the ministry. And when that requires him to join the Fascist party, well… the only one who approves—indeed forces him into it—is the Colonel. And that’s Angelo’s greatest wish: to just have his father’s recognition and respect. Problem is, Angelo’s dealing with a passionate antagonist.
The Colonel might come across as a con artist, but his ambitions to help Italy win the industrial race is real. It’s what he wants for his country and he gets a kick out of having the power to steer things in that direction. Even if it means trampling on his own son, or manipulating him. Angelo’s antagonist is his father—but only in so far as Angelo’s selfish pursuit for recognition is concerned.
Yes, they are on two different playing fields trying to attain the same thing, but what Angelo’s really up against is the system, and when that system turns into a fascist-ruled one, he’s smaller than David against Goliath, which is why he cannot win. Not yet. Give Angelo some time. He has a lot to learn, but in Part 2, he makes quite some headway. The problem is, he’s easily distracted and diverted by women in power… whether it is his wife, Katharina’s later on, or Gina Conti—who is one of my absolute favourite characters to write now.
His journey of personal self-development is a long one. This is one guy who is being bounced about between two interest groups—mainly his wife’s and her family’s, and his father’s and Angelo’s family. And Angelo tries to do right by them all, which is impossible. On the one hand, he wants to support Chiara’s political causes but not at the cost of winning power for himself in his position at the ministry. And when that requires him to join the Fascist party, well… the only one who approves—indeed forces him into it—is the Colonel. And that’s Angelo’s greatest wish: to just have his father’s recognition and respect. Problem is, Angelo’s dealing with a passionate antagonist.
The Colonel might come across as a con artist, but his ambitions to help Italy win the industrial race is real. It’s what he wants for his country and he gets a kick out of having the power to steer things in that direction. Even if it means trampling on his own son, or manipulating him. Angelo’s antagonist is his father—but only in so far as Angelo’s selfish pursuit for recognition is concerned.
Yes, they are on two different playing fields trying to attain the same thing, but what Angelo’s really up against is the system, and when that system turns into a fascist-ruled one, he’s smaller than David against Goliath, which is why he cannot win. Not yet. Give Angelo some time. He has a lot to learn, but in Part 2, he makes quite some headway. The problem is, he’s easily distracted and diverted by women in power… whether it is his wife, Katharina’s later on, or Gina Conti—who is one of my absolute favourite characters to write now.
Chrystyna Lucyk-Berger
I aimed to write about a tight-knit community that depends on one another for its survival in the harsh environment of the alpine valley.
After the Great War, the Reschen Valley is reeling from its losses and the economic hardships they face with inflation and loss of workers. Anyone familiar with the Treaty of St Germaine is familiar with how the conditions of that treaty affected the losing sides and eventually led to WW2. That’s where we have Katharina. Then comes the annexation by Italy.
And the Italian authorities are beginning a program of systematic oppression on the German-speaking population. The threat of taking away their land is one of the most frightening of all.
This is naturally going to cause resentment, bitterness, and even talk about revolt. Our first peek at this is how Florian—who is also an outsider—gets treated by the locals. It’s really subtle at first, beginning with Toni Ritsch, the Thalers and Steinhauser’s neighbor. He makes fun of Florian, calling him something of a “softie” for not drinking with the boys during Florian and Katharina’s wedding.
Then it becomes less subtle when Dr Hanny comes in drunk, obviously upset about something. Namely, Jutta’s husband, Fritz, has somehow reappeared. Just before she can win the inn for herself, and thus some security.
And then there is Dr Hanny’s knowledge of what is going to happen with the bank and the mortgages, namely that the Italians would put such demands on the locals in debt, that taking their land would be like taking candy from a baby. These are the first fissures and cracks we see in this otherwise supportive community. Slowly, but surely, we also see that some of the neighbors are collaborating with the Italians, are taking advantage of what they have to offer if they submit to Italian rule and law. Whilst, on the other side, we know that people like Jutta Hanny and Toni Ritsch are nursing their resentment, fear and hate of the Italians, and will criticize anyone who shows any sympathies to the “other” side.
After the Great War, the Reschen Valley is reeling from its losses and the economic hardships they face with inflation and loss of workers. Anyone familiar with the Treaty of St Germaine is familiar with how the conditions of that treaty affected the losing sides and eventually led to WW2. That’s where we have Katharina. Then comes the annexation by Italy.
And the Italian authorities are beginning a program of systematic oppression on the German-speaking population. The threat of taking away their land is one of the most frightening of all.
This is naturally going to cause resentment, bitterness, and even talk about revolt. Our first peek at this is how Florian—who is also an outsider—gets treated by the locals. It’s really subtle at first, beginning with Toni Ritsch, the Thalers and Steinhauser’s neighbor. He makes fun of Florian, calling him something of a “softie” for not drinking with the boys during Florian and Katharina’s wedding.
Then it becomes less subtle when Dr Hanny comes in drunk, obviously upset about something. Namely, Jutta’s husband, Fritz, has somehow reappeared. Just before she can win the inn for herself, and thus some security.
And then there is Dr Hanny’s knowledge of what is going to happen with the bank and the mortgages, namely that the Italians would put such demands on the locals in debt, that taking their land would be like taking candy from a baby. These are the first fissures and cracks we see in this otherwise supportive community. Slowly, but surely, we also see that some of the neighbors are collaborating with the Italians, are taking advantage of what they have to offer if they submit to Italian rule and law. Whilst, on the other side, we know that people like Jutta Hanny and Toni Ritsch are nursing their resentment, fear and hate of the Italians, and will criticize anyone who shows any sympathies to the “other” side.
Chrystyna Lucyk-Berger
Shame is crippling and that is what keeps my characters in this first part of the story from really making a lot of headway.
Jutta is crippled by her shame about her deserter husband, her son, whom she loves but hinders her with his disability. She is ashamed of the fact that she is still beholden to a man who has left her high and dry. In the next book, her insecurities really come to the top and it’s going to cause new conflicts for her.
Katharina’s shame solely comes from what she did with Angelo and how she lost her chances at a new kind of life, in a time when women were—though not so much in her valley—looking to emancipate themselves. She could have had a small part in that. Instead, she is punishing herself by going back to the traditional ways and expectations. She has yet a lot to learn from Florian, though, and she will do so quickly. He’s really good for her.
Angelo feels inadequate, thanks to his father’s strong hand in belittling all that he does. Angelo has also set out to live a life more modern and with gender equality when he married the strong-willed, activist Chiara. We get the feeling that they are equals, but slowly, as Angelo wrestles with his feelings of guilt and shame for having lied to Chiara, he also realizes that he not all that unlike his father. Both will do anything to win what they believe in, and both—as has been alluded to the Colonel—have shown tendencies toward infidelity. So, now he’s wrestling with the whole idea that he’s not at all unlike his father as he would like to believe.
Jutta is crippled by her shame about her deserter husband, her son, whom she loves but hinders her with his disability. She is ashamed of the fact that she is still beholden to a man who has left her high and dry. In the next book, her insecurities really come to the top and it’s going to cause new conflicts for her.
Katharina’s shame solely comes from what she did with Angelo and how she lost her chances at a new kind of life, in a time when women were—though not so much in her valley—looking to emancipate themselves. She could have had a small part in that. Instead, she is punishing herself by going back to the traditional ways and expectations. She has yet a lot to learn from Florian, though, and she will do so quickly. He’s really good for her.
Angelo feels inadequate, thanks to his father’s strong hand in belittling all that he does. Angelo has also set out to live a life more modern and with gender equality when he married the strong-willed, activist Chiara. We get the feeling that they are equals, but slowly, as Angelo wrestles with his feelings of guilt and shame for having lied to Chiara, he also realizes that he not all that unlike his father. Both will do anything to win what they believe in, and both—as has been alluded to the Colonel—have shown tendencies toward infidelity. So, now he’s wrestling with the whole idea that he’s not at all unlike his father as he would like to believe.
Chrystyna Lucyk-Berger
Jutta can come across as being pretty confrontational, and therefore, pretty emotional. She puts a lot of value on power and access to information. One of her symbols is the key chain. Having all those keys in her possession, gives her a sense of security and importance. But what would happen if one of those keys were taken away from her? You’d find that out soon enough if you keep reading. Then we see a different kind of Jutta; one who can quickly stick her head in the sand and wait until the danger has passed.
Angelo’s aim is to do the right thing. By everyone. And when that’s not working, his strategy is to lie to himself: he lies about what he has done, he lies about what he really wants, he lies about his abilities to keep up with those changes, he even lies about the motivations for his actions. That does not mean he does not try, but the system is moving much faster than he can react. In the face of failure, he’s quick to lie and/or flee the scene.
Katharina on the other hand is trying terribly hard to juggle everything by urging harmony within the environment around her. She wants to make sure that everyone is okay, and tends to lose sight of her needs and desires in the process. She values a calm, peaceful approach to confrontations and conflicts and does not understand when someone does not want to approach opposing issues in the same manner as she. She is quick to retreat in the face of violence especially outside of her own immediate circle. She’s a nurturer, seeks a way to find resolutions in a peaceful manner.
Angelo’s aim is to do the right thing. By everyone. And when that’s not working, his strategy is to lie to himself: he lies about what he has done, he lies about what he really wants, he lies about his abilities to keep up with those changes, he even lies about the motivations for his actions. That does not mean he does not try, but the system is moving much faster than he can react. In the face of failure, he’s quick to lie and/or flee the scene.
Katharina on the other hand is trying terribly hard to juggle everything by urging harmony within the environment around her. She wants to make sure that everyone is okay, and tends to lose sight of her needs and desires in the process. She values a calm, peaceful approach to confrontations and conflicts and does not understand when someone does not want to approach opposing issues in the same manner as she. She is quick to retreat in the face of violence especially outside of her own immediate circle. She’s a nurturer, seeks a way to find resolutions in a peaceful manner.
Chrystyna Lucyk-Berger
The 200-some titles I've purchased since I got my Kindle two years ago...
Chrystyna Lucyk-Berger
Heidi's Alp. And write... oh, wait... I'm kind of doing that already, except on the other side of the border.
Chrystyna Lucyk-Berger
I dreamt that I was late for an important meeting. I arrived on time and nobody was there.
Chrystyna Lucyk-Berger
Number one, I've stopped believing in writer's block. I treat it as the lamest excuse ever, especially when I've got two series in the works (and separate journals for sketching scenes out).
Now, I write. Anything. 15-minute sprints, asking questions, changing POVs, writing from someone else's perspective. Or I switch to another series, scene, chapter. I change their names... I write about their shoes. I write about a box they open. You'll see some of these examples in my novels! :-)
These blocks usually come from not yet knowing my characters very well or what someone in the book has really done. So, if I really need to make headway and nothing else is coming to fruition--nothing sounds right--I go for a walk and talk to the character in question out loud. Or to my husband, who is really brilliant at coming up with ideas. And then I listen. This is the reason I got the dog. When my husband isn't with me, my neighbors believe I'm talking to Nebbiolo.
Now, I write. Anything. 15-minute sprints, asking questions, changing POVs, writing from someone else's perspective. Or I switch to another series, scene, chapter. I change their names... I write about their shoes. I write about a box they open. You'll see some of these examples in my novels! :-)
These blocks usually come from not yet knowing my characters very well or what someone in the book has really done. So, if I really need to make headway and nothing else is coming to fruition--nothing sounds right--I go for a walk and talk to the character in question out loud. Or to my husband, who is really brilliant at coming up with ideas. And then I listen. This is the reason I got the dog. When my husband isn't with me, my neighbors believe I'm talking to Nebbiolo.
Chrystyna Lucyk-Berger
I don't think I can answer that. I love it all. Right down to deleting huge sections of text because over time I've learned that I know it makes the story better.
I can tell you the worst thing about being a writer: the never-ending need to edit. At some point, seriously folks, it has to stop. Just put it out there. 99% of the time, I am the only one who even realizes that something has been changed.
I can tell you the worst thing about being a writer: the never-ending need to edit. At some point, seriously folks, it has to stop. Just put it out there. 99% of the time, I am the only one who even realizes that something has been changed.
Chrystyna Lucyk-Berger
Treat this as a business. Get interested in all aspects of publishing and writing. If you do not approach this as a professional--the book being your product--you will have troubles being successful.
Learn about all the aspects, even the ones that you think are too daunting or too boring. My decision to strike out as an indie publisher is wholly due to the fact that I already run my own business. When I could not find an agent or a publisher to become my partners, I decided to learn everything I could about the industry and strike out on my own. These days, writers are expected to shoulder the majority of the tasks required to be successful. So, here's the thing: Years ago, I asked myself, "Chrystyna, if you have to work so hard for a boss, why not just work for yourself?" And that's when I started my coaching and training business. The same thing happened with the book: "If I have to work that hard, why not just work for myself?" And it is hard. It took me years to feel confident enough in my craft to say that I was going to strike out and learn the other aspects of being a published author.
The responsibility lies solely with me, but one of the greatest lessons I have learned is to evaluate your strengths and weaknesses and hire or contract the right people who can support you where you are not able to be the expert. The more you invest, the more your returns--if channeled in the right directions. I spent a lot of time researching my genre, the covers, hired a designer who understood me and the vision (read the books!). I found an editor. I have reading groups, beta readers, and network on multiple social platforms. The writing community is tremendously supportive and it must be a give-and-take relationship in this business. Business, again, being the key word.
Learn about all the aspects, even the ones that you think are too daunting or too boring. My decision to strike out as an indie publisher is wholly due to the fact that I already run my own business. When I could not find an agent or a publisher to become my partners, I decided to learn everything I could about the industry and strike out on my own. These days, writers are expected to shoulder the majority of the tasks required to be successful. So, here's the thing: Years ago, I asked myself, "Chrystyna, if you have to work so hard for a boss, why not just work for yourself?" And that's when I started my coaching and training business. The same thing happened with the book: "If I have to work that hard, why not just work for myself?" And it is hard. It took me years to feel confident enough in my craft to say that I was going to strike out and learn the other aspects of being a published author.
The responsibility lies solely with me, but one of the greatest lessons I have learned is to evaluate your strengths and weaknesses and hire or contract the right people who can support you where you are not able to be the expert. The more you invest, the more your returns--if channeled in the right directions. I spent a lot of time researching my genre, the covers, hired a designer who understood me and the vision (read the books!). I found an editor. I have reading groups, beta readers, and network on multiple social platforms. The writing community is tremendously supportive and it must be a give-and-take relationship in this business. Business, again, being the key word.
Chrystyna Lucyk-Berger
I'm working on The Diplomat's Wife series (Kitty Larsson). Book 1 is ready. Book 2 is in copy edit stage, and Book 3 is sitting there in outline mode, burning, begging for my undivided attention so that it can finally be written.
Chrystyna Lucyk-Berger
I read this question in the past tense and prefer to answer that because the simple answer to the present tense is this: I love stories about ordinary people in extraordinary times. I love stories about the underdogs. I love history. I travel. I read. And now this has become such a discipline, that I'm constantly taking down ideas and notes for new pieces. But how DID I get inspired? This is one of my favorite stories.
Mrs Sharon Davis was my second-grade teacher at Cleveland Elementary in North Minneapolis. I was one of the kids that was always teased by the others. I had an accent, I was overweight, I wore glasses and I loved reading.
One day, Mrs Davis gave us the assignment to write a short story. I was into ghost stories at that time. I have to laugh when I admit that the story I wrote was plagiarised from approximately five different books, but I made them my own, taking place in our ancient duplex in Northeast Minneapolis.
The day we were supposed to read our stories aloud, I can remember all of us sitting on the floor. Nobody was paying attention (except maybe me). The kids read in their monotone voices, the paper in front of their faces. Everyone else was giggling and pinching each other, whatever it is 2nd graders do when they're uninterested.
Then it was my turn. I stood up. I remember my story started out gory. As I was reading, I realized something was terribly wrong. When I looked up, every single kid was staring at me. It was quiet. I had them all in the palm of my hand. That feeling of power was so overwhelming, I wanted nothing more than to continue doing that. I determined there and then that I was going to be a writer.
Mrs Sharon Davis was my second-grade teacher at Cleveland Elementary in North Minneapolis. I was one of the kids that was always teased by the others. I had an accent, I was overweight, I wore glasses and I loved reading.
One day, Mrs Davis gave us the assignment to write a short story. I was into ghost stories at that time. I have to laugh when I admit that the story I wrote was plagiarised from approximately five different books, but I made them my own, taking place in our ancient duplex in Northeast Minneapolis.
The day we were supposed to read our stories aloud, I can remember all of us sitting on the floor. Nobody was paying attention (except maybe me). The kids read in their monotone voices, the paper in front of their faces. Everyone else was giggling and pinching each other, whatever it is 2nd graders do when they're uninterested.
Then it was my turn. I stood up. I remember my story started out gory. As I was reading, I realized something was terribly wrong. When I looked up, every single kid was staring at me. It was quiet. I had them all in the palm of my hand. That feeling of power was so overwhelming, I wanted nothing more than to continue doing that. I determined there and then that I was going to be a writer.
Chrystyna Lucyk-Berger
In 2000, I was visiting a friend in Austria with whom I'd traveled in Canada. We took a trip to northern Italy to see Verdi's "Nabucco" on Reschen Lake, just south of the pass. When I saw that church tower sticking up out of the water, I was immediately struck by its eeriness. In 2005, I had just published my first book, DEEP WELLS, BURNING FORESTS, and was taking a break with friends in South Tyrol. As I passed the Reschensee once again, I stopped to take a walk. At that time, there was no story, nothing that could tell me what happened, but as I sat on that shore, thinking about the villages submerged beneath, an entire series rose out of the lake and before me. It took me another five years before my German was good enough to understand the research I was undertaking. From there, it never let me go.
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Jan 29, 2023 11:49AM · flag