Joseph Knox: On the Public Explosion of Grifters
Joseph Knox has lived in Stoke on Trent, Manchester, and London. In 2020, he became an Irish citizen. His debut novel, Sirens, was a bestseller and has been translated into eighteen languages. The Smiling Man and The Sleepwalker are the second and third books in the Waits trilogy. His first standalone novel, True Crime Story, was a Times number one bestseller.
Photo by Jay Brooks
In this interview, Joseph discusses how his fascination with grifters helped lead to his new thriller novel, Imposter Syndrome, his advice for other writers, and more.
Name: Joseph Knox
Literary agent: Greene & Heaton Literary and Media Agency
Book title: Imposter Syndrome
Publisher: Sourcebooks Landmark
Release date: December 10, 2024
Genre/category: Suspense/Thriller
Previous titles: True Crime Story; Sirens; The Smiling Man; Kill Time
Elevator pitch: For fans of true crime documentaries and “Only Murders in the Building” comes the chilling story of a university student’s sudden disappearance, the woman who became obsessed with her case, and the crime writer who uncovered the truth about what happened.
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What prompted you to write this book?
I was fascinated by the public explosion of grifters—from Insta fitness gurus to pundits, to the men behind the men who gave us Trump and Brexit. When Russia invaded Ukraine I found even more of them, reading up on London’s complicity. The billions in black cash that have been laundered through the city. The 13 related assassinations that have taken place on British soil since 2000. And just how many of the investigations into those killings were quietly shelved (cough, it’s all of them), so as not to disrupt the flow of money.
The authorities were too busy rolling around in bed with these guys to do anything. So, if you wanted to tackle that kind of crime on the page—power brokers who believe in nothing—then you needed someone independent…
It’s funny that the originators of private eye novels were often returning from military service (or just living though world wars) yet chose to write about loners and non-agency affiliated characters. There’s a distrust of institutions there that only close proximity to them can give. A desire to stand solely for your own actions, rather than those of some police force or bureaucracy. The problem I had was that most private eyes worked for conglomerates now.
Which is how I arrived at a con artist as my lead. Someone who’d have all the attributes of a private detective (loner, observer, used to tight corners, likely working class). And although he could move easily through this world, I didn’t want him to be awed or tempted by it. So, when we meet Lynch, he’s arriving in London broke, coming from some kind of break-up, and determined to change. He’s got the skillset of a con artist. An outsider who can make himself blend in. The perfect person to go up against the city.
How long did it take to go from idea to publication? And did the idea change during the process?
My partner was pregnant when I started the book, and I was hellbent on delivering before my daughter was born. By the time I finished, she was 3…
In terms of the idea changing, it’s an interesting question. I’d swear blind I had something close to a vision of the full book in my mind all those years ago. But I talked myself out of it. Sometimes fear can make you try every other idea first—you don’t want to prove that your idea’s bad by writing it—so you resist the book by going in other directions, tamping it down. You’re often not aware of this while it’s happening, but sometimes it seems preferable to deliver something average, or even bad, than to sincerely commit to an idea you love.
There was a completely different version of Imposter Syndrome slated for publication over a year ago, but I withdrew it at the last second. Rereading it, all I could see was fear—parts where I’d wound my neck in or wimped out from a confrontation, either with the bad guys or myself.
So, I threw it away and started again and just trusted the book.
I wonder if I had to see that fear version to realise what was missing?
Were there any surprises or learning moments in the publishing process for this title?
I had a pregnant partner for nine months of it, and a baby girl for the rest. I was learning new stuff and being surprised every day!
Usually, whatever journey you’re on in real life finds its way into the book somehow, so Imposter Syndrome dutifully kept pace with new fatherhood and kept shocking me.
A learning moment that ran right though was with voice. In the earliest drafts, Lynch had an angry voice, then a cynical one, then a flat one, etc. When I took the book back and had one last crack at it, I saw what he needed was some warmth.
Were there any surprises in the writing process for this book?
I attempted a lot of different novels on the way to this one, and even completed a couple of them before deciding they didn’t hit the mark.
I think the main surprise was that after I withdrew the first version and just wrote it the way I felt it, the book flowed out so much more easily.
When you get to that place, the surprises come thick and fast—weird synchronicities, shooting stars right when you need them, out and out miracles.
What do you hope readers will get out of your book?
Lynch is a con artist who’s pretended to be so many different people, he’s not sure who he is anymore. On some level, he’s a con artist who’s lost his confidence. So, when he decides to try and go straight, it’s almost like he’s meeting himself again for the first time in years. Of course, writers or artists who occupy lots of different characters might see something in that, but I think anyone who’s felt themselves change or code switch from one group to another might see where I’m coming from. It’s a crazy thriller—there’s a fair bit of bloodshed between you and the end—but for me, through all the corruption and mind games, it’s a story about Lynch becoming the person he’s supposed to be.
I just hope it gives readers a jolt of the good stuff.
If you could share one piece of advice with other writers, what would it be?
Take it easy on yourself and read widely. Once you’re in it, writing can mean so many things. An interview, or an event, or a Zoom, or social media, etc. While all of that stuff’s important at a certain point, none of it will help you to write a novel. I’ve found that the more I can keep “writing” to just me and a notebook, the happier I am.
