Eva garcía sáenz de urturi hijos
the silence of the white city
I don’t think she will be upset if I say that she is a professional writer of long-distance best-sellers. And I don’t think she will be upset because that’s what she herself has been repeating like karma throughout this interview that we have applied to her at the crossroads that is Atocha, busy lobby of the Only You hotel, Madrid, where she arrived last night after traveling to Barcelona to undertake 12 hours of signings for Sant Jordi, and from where she will leave this afternoon to return to her home and family (Alicante), after lunch with the King and Queen at the Royal Palace.
The director Daniel Calparsoro talks with the actors Javier Rey and Belén Rueda, the inspector Unai López de Ayala “Kraken” and the deputy commissioner Alba Díaz de Salvatierra in the adaptation of “El silencio de la ciudad blanca”. The film will be released in October.
None, it has been said, but I deny it. The story was not like that: I had taken a position at the University of Alicante, in the Sibyd (Bibliographic and Documentary Information Service), and I had no intention of changing jobs again.
When you write a novel, you set out characters, their arc of transformation and a whole story that begins and ends. There are stories in which the characters come out very big and have a longer way to go in order to set out new dramatic premises and you get a second, third and seventh… The long-lived ones, for example, by their very nature of never dying and never getting old are very episodic and you can write 20 or 50 books.
It’s also very episodic because in each novel you solve a case. I’ve also gone both in the first part and in the second part to a historical flash. The crime novel is very good for you to do continuations. It all depends on how much you make the characters age and how much you temporarily advance the thread of the present.
Unai had his personality from the very beginning. I imagine that it’s because of the aftertaste of five novels. I estimate that I will have created about 1,000 characters and my resources. I don’t need to go with the character’s file, with his transformation arc. This has happened to him.
Eva García Sáenz was born in 1972 in Vitoria, Álava. She has a degree in optics and optometry, graduated from the University of Alicante, a profession she practiced before devoting herself more fully to literature. The original publication of La saga de los longevos: la vieja familia (2012) took place through the web portal Amazon.com, after failing to get publishers interested in her work.
She is a writer capable of developing her own style of crime novel, where she explores the limits between the feasible and fiction in a quite entertaining way. In addition, García Sáenz has demonstrated a great investigative capacity and preparation at the time of elaborating each of her stories, therefore, she has managed to immerse herself in the world of archeology or in the police chronicles in a credible and thorough way.
This book presents the presence of a family of people who do not age beyond three decades thanks to an unknown genetic mutation. These are not mythological figures or immortal beings. In fact, the origin of this condition is hereditary. However, the reason why it has been transmitted so few times in history remains hidden.
the silence of the white city 2
The result is a text rich in historical details, illustrating the domestic customs of the time, the political intrigues, the traditional use of poisons and encrypted messages, as well as the fine psychology of the characters, their fears, longings and struggles. We talked to the author about the book.
Many of the events and characters that appear in the story are real, but there are also poetic licenses to make it more attractive. Where is the border between pure historical fact and fabulation? Was it difficult to move in such a subtle border?
I didn’t have many doubts about it. After researching, I knew well the historical characters and their biographies, as well as the events that appear in history books. The whole plot of the thriller is fictionalized and comes from my imagination. It was such a fascinating era that it was not difficult to fabricate with it.
In all my novels I have alternated different narrative voices; from The Longevity Saga to The White City Trilogy, my readers are used to my style and as a narrator I think it degreases the timeline a lot.