Amy Taylor didn’t set out to write a novel destined for the screen, but sometimes, stories carry their own momentum. Before Ruins reached the shelves, it was optioned for film, with Vanessa Kirby and Sebastian Stan already attached to bring its intensity to life. For the Melbourne-based author and screenwriter, this next chapter feels both surreal and strangely inevitable.
Written mostly from her desk at home, Ruins expands on the emotional precision of Taylor’s debut, Search History, but it does so with a slower, more cinematic gaze. Set in idyllic Athens, the novel traces the lives of Emma, Julian, and Lena — three characters brought together by proximity, and pulled apart by things unsaid. It’s a triangle of sorts, but not in the traditional sense.
Taylor describes writing the book as a process of looking outward and inward at once. Moving to third person, compared to using first in her debut novel, gave her a new space to breathe, and to shape perspective at arm’s length. The result is a novel that moves with restraint, carrying its heartbreak not in big gestures, but in the small, shifts of human connection.
Cinematic in tone and tightly rendered in structure, Ruins was shaped as much by film as by fiction. Taylor drew inspiration from works like Aftersun and The Lost Daughter, resonating with their slow ache and attention to memory.
Here, we speak with Amy Taylor on her inspiration for her latest novel, writing rituals, and scenes she’s excited to see play out on screen.
1. Ruins follows a tangled triangle between Emma, Julian and Lena. What first sparked the idea for this story?
I first set out to explore the idea of a couple who learn they have entirely opposing visions for their future together. Should they compromise on the things they desire? What if a compromise isn’t possible? Can they still find a way to fight their doomed fate? It then followed organically that some form of love triangle complication would drive the story forward and force the characters to face these questions head-on.
2. How did the process of writing Ruins compare to your debut, Search History? Did your writing approach change?
Absolutely. Ruins unfolds on a more linear, tighter timeline, and I planned the beats of the story out before I started writing, both of which made the process more straightforward. Writing from a third-person perspective, instead of first—like I did with Search History—also allowed the scenes to flow more easily. First-person perspective is very intimate, but also quite limiting. I definitely appreciated the freedom of narrating from the outside this time around.
3. When it comes to writing, do you have a sacred space or ritual that grounds you in the process?
It’s less of a ritual and more of a pragmatic chore, but I try to make sure my desk is clean and ready for the next day of writing. Having to tidy it in the morning before I write is an obstacle to getting started. Pre-emptively removing the obstacles is a little gift I can give my future self. (Caffeine helps too.)
4. Ruins feels very atmospheric — did you have any visuals, films, or music in mind while writing?
I wanted to capture a creeping feeling of tension—a presentiment that something bad is going to happen—but anchor it to a very real place, so that the setting seems to be apathetic to the drama unfolding in the story. Throughout the process, I thought a lot about the way the films Aftersun and The Lost Daughter adaptation encapsulate that tone perfectly.
5. Do you have an author that you look up to or admire the most?
The first name that comes to mind is Lorrie Moore. I’ll always be enamoured with her skill for combining humour and pathos. No one does it quite like her. I treasure her books.
6. Congratulations on Ruins now being optioned, with Oscar nominees Vanessa Kirby and Sebastian Stan set to star and produce – what was your reaction to this news?
Pure excitement! Vanessa and Sebastian are wildly talented. In conversation with them, I was really able to feel the personal connection they had to the characters and the story. I knew immediately that they’d do an incredible job of bringing Emma and Julian to life. I’m so thrilled to be working with them and the rest of the passionate team at Miramax, Scott Free Productions and Linden Entertainment.
7. Did you ever think about how the book might be adapted for the screen while you were writing it? Are there any scenes you’re especially curious to see play out on screen?
Although the novel is set in Athens, I wrote the vast majority of it from my desk in Melbourne. On reflection, I think this really forced me to use my imagination and visualise the scenes unfolding like they would in a film. There are a fair few scenes that I would love to see play out on screen, but to avoid any spoilers, I’ll just say this: The balcony scene is probably the top of my list…
8. Looking forward, you have already achieved incredible success with your two books, are you already thinking about writing a third?
I do have an idea for another novel, although my son, Teddy—who’s currently 6 weeks old—has a pretty big say in my schedule at the moment. I’ll be writing at a slower pace this time around. I also feel quite pulled towards screenwriting at the moment. I have a couple of projects I’m considering leaping into—I’d love to try my hand at writing an original screenplay (even if it’s just for fun!)
