The trilogy charts the rise and fall of Thomas Cromwell, a powerful advisor to King Henry VIII. What made you focus on him, and what did you hope to convey in a larger sense through his story?
The larger purpose is always to tell a story that bridges understanding between different ages and different cultures. Thomas Cromwell’s biography is one that anyone can understand: A man from an obscure background uses his resources to achieve power and wealth. It’s easy to grasp, on an intellectual and emotional level. But what holds readers is the specific: This time, this place, this character, this particular set of circumstances. All the time as an author you are trying to move between the two: The universal, and the very local and particular. You are looking for a character and a narrative curve that will allow you to make that move. Thomas Cromwell seemed to be a richly ambiguous character. Is he just the sum of his actions? Is it possible to understand what drove him? And given that he was a central figure in one of the most charged and fraught decades of English history, why was he so absent from the page, in novels, drama, biography?
You’ve spent over a decade with Thomas Cromwell—are you ready to let go of the character?
No question of letting go—I am now absorbed in creating the stage version.
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