The author Javier Castillo bids farewell to the characters Miren Triggs and Jim Schmoer, who accompanied him in the books La chica de nieve and El juego del alma, with the publication of his latest novel.
The Silence’s Crack returns to center on a child’s disappearance. Does fatherhood push a writer to explore these fears?
It makes him examine what terrifies him most about the world. He believes something like that would destroy him. Knowing life becomes a big unanswered question, a disappearance, would wreck him.
There are chapters that sting to read. Has that happened during the writing process?
He suffers while writing. He describes himself as highly empathetic, and when he writes he ends up crying or laughing. He worries, and there are many chapters that move him to tears.
How does one guard against becoming obsessed?
In his case, it cannot be avoided. While writing, his mind stays on the issue. He answers with monosyllables at home. His partner keeps asking when the work will end because they want Javi back in the house.
It is the third installment of La chica de nieve, but it can be understood without reading the prior two.
Yes, the novel is designed so you can read it independently, and above all as another piece of a three-book puzzle. The feeling is that a reader can enter the trilogy through any book and finish the story in the way they prefer.
What has the initial reception to the book been like?
Truthfully, it has been sweet and beautiful because most readers are loving it. It’s a very powerful story that also has something that draws you in and sweeps you along. It’s a novel that people enjoy greatly, and there is hope it will continue to resonate for a long time.
Was it clear from the start that Miren and Jim would meet their end this way?
Yes, that was planned. Since 2019, when the three-book arc was mapped out, it was known that this would be Miren’s final chapter. Letting go is hard because Miren is a character who has taken the author far. There is a lot of affection for her, especially in how she wants to help while also wanting to know more about her.
What was it like saying goodbye to those characters?
It’s very tough. It feels like ending a relationship that works but needs exploration elsewhere. Miren is a perfect character, but there’s another story in the author’s mind that wanted to step away. It feels like the right closure for her arc.
Miren defies the stereotype of a sensitive woman by being strong and reluctant to show emotions.
She is built with many layers and conceals much of what she thinks. As a reader you know her because she speaks in the first person. Readers often want her to open up and speak her truth—it’s a clever game.
What about the journalist’s craft makes it a staple in thrillers?
The author loves journalism. He cherishes the idea of honest reporting, the kind that fights to tell the truth even when it hurts, that raises voices and exposes wounds. That sense of truth-telling feels essential in a world where connections to truth are thinning.
Would he have pursued journalism as a career?
He would have enjoyed it. He imagines a journalist who stays true to the fight for truth, perhaps a bit restless in the newsroom, because journalism embodies the power to transform a country. It remains the most important thing for any advanced society.
Is he a perfectionist when it comes to writing?
Always turning things over. He jokes that every sentence could change up to the last day before printing. Editors endure a lot because the author tinkers until the very last moment.
And once printed, there might still be a stray error.
Errata are his nightmare, yet finding one feels satisfying because it means the version finally has its flaw corrected.
What were his influences as one of Spain’s early thriller authors?
He grew up reading many writers. Agatha Christie, though not a thriller in the strict sense, used thriller tools. Wilkie Collins influenced him as well. He also admires Joël Dicker and many new crime writers like Santiago Díaz. He reads across genres and admires the dialogue of Elísabet Benavent, who writes romance, and Espido Freire’s distinctive style. He aims to learn from all of them, blending multiple genres under the thriller umbrella while experimenting with different voices.
Would he consider writing in another genre?
Yes. He’s tinkering with a children’s book for his kids, a project unlikely to be published, but it’s a joy to write. For him, writing is a game and a form of fun.
Does the darker side remain in this book?
Yes. Some of the best children’s stories carry shadows—Caperucita Roja has a wolf, Harry Potter has Voldemort. The author believes that balance between light and dark is essential.
After so many successes, does it bother him to be labeled commercial?
Not at all. It’s flattering. It’s impressive to reach readers from a 14-year-old girl to an 85-year-old grandmother. Writing for a broad audience is tough but powerful, and it’s about tapping into universal questions that affect everyone rather than aiming at a narrow group.
Does the broad readership show up at signings?
In Spain, signings reveal a mostly female audience, with a small male segment, including some couples. While the books reach everyone, the signing line often includes many women who connect with the emotional depth and authenticity the stories offer. The author notes that women tend to engage more with empathy, which shapes their reading experience, while male readers often gravitate toward more rugged, historical, or essay-driven works. The characters harbor wounds that resonate deeply with empathetic readers.
Does he identify with the character Jim?
He sees himself as Jim in spirit, though in different ways. His signings attract many women, and his stories typically feature a strong, sincere female character who speaks frankly.
Would he ever write an erotic novel like Jim?
He would say no, but admits it could be interesting. He’d worry about the perception by family members, though the idea has its playful side.
What’s next for him?
He’s wrapping up plans for the next book, which will start soon. It will be a thriller but unlike anything he’s written before and should surprise readers, possibly coming out next year.
Will he space out his releases because of the pace of readers?
Readers finish books faster than he writes them, so timing is balanced. Sometimes overlapping projects require more time between releases.
Should a future book be adapted if a deal arises after La chica de nieve?
The book should stand on its own first. Adapting should not overshadow the reader’s personal connection with the text. If an adaptation happens, it will be another experience, but the book must be the primary focus for the author and his readers.