• Paperback: 448 pages
• Publisher: HarperCollins (25 Jan. 2018)
• Language: English
• ISBN-10: 0008234167
• ISBN-13: 978-0008234164

| Synopsis |

What did she see?

It’s been ten long months since Anna Fox last left her home. Ten months during which she has haunted the rooms of her old New York house like a ghost, lost in her memories, too terrified to step outside.

Anna’s lifeline to the real world is her window, where she sits day after day, watching her neighbours. When the Russells move in, Anna is instantly drawn to them. A picture-perfect family of three, they are an echo of the life that was once hers.

But one evening, a frenzied scream rips across the silence, and Anna witnesses something no one was supposed to see. Now she must do everything she can to uncover the truth about what really happened. But even if she does, will anyone believe her? And can she even trust herself?

‘Astounding. Thrilling. Amazing’ Gillian Flynn

‘One of those rare books that really is unputdownable’ Stephen King

‘Twisted to the power of max’ Val McDermid

‘A dark, twisty confection’ Ruth Ware

| Interview |

A.J. Finn is the pen name of Dan Mallory, vice president and executive editor at William Morrow. Dan has written for numerous publications, including the Los Angeles Times, the Washington Post, and the Times Literary Supplement. A native of New York, he lived in England for ten years before returning to New York City. He is an Oxford graduate, with a life-long love of the thriller noir genre, and a particular appreciation of Hitchcockian cinema.

When did you first start thinking about writing a book? And what made you gravitate to the psychological thriller genre?

I grew up gorging myself on detective stories, from Sherlock Holmes to Agatha Christie to Ellen Raskin’s The Westing Game. Later, as a teenager, I dove headfirst into Patricia Highsmith and Ruth Rendell, two pioneers of what we now term psychological suspense. And during my grad-student years at Oxford, I studied crime fiction, particularly the Highsmith novels. Like many (most?) English majors, I thought I might write one day… but for years – decades, even; ever since The Silence of the Lambsin 1988, and until Gone Girl changed the game in 2012 – the market was dominated by serial-killer spectaculars. Much as I enjoy a good serial thriller, I didn’t have one in me. Then Gillian Flynn ushered in a new era of suspense – the sort of suspense I’d read and studied for years, and the sort of suspense I felt I could write, or try to write. After Gone Girl, a long comet-tail of bestsellers confirmed the appeal, durability, and potential of the genre. It was the moment I’d waited for, however subconsciously. And around the same time, totally uninvited, a character strode into my brain.

In The Woman in the Window there are a lot of links to the old classic films.  Are you a big fan of old films?

As a teenager, I lived down the road from an art-house cinema, where I camped out every weekend. The managers hosted classic-movie nights, film noir retrospectives, Hitchcock marathons… and I feasted on all of it! I love the look, tone, and pace of older films: they’re stylish; they‘re sophisticated; they take their time establishing their characters and building suspense. By contrast, many modern films rocket forward at a breathless pace, and look as though they’ve been shot and edited without much care or craft.

How would you describe your novel in one sentence?

The Woman in the Window is a 21^st-century Rear Window, in which an agoraphobic woman believes she’s witnessed a crime, but can’t set foot outside to investigate—nor can she persuade anyone to believe her.

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