You have probably encountered Sarah Lotz under more names than you realise. Lotz has published Tooth and Nailed, Exhibit A and Pompidou Posse, as well as The Mall and The Ward, under the name SL Grey with Louis Greenberg. She has also co-authored the horror novels Deadlands and Death of a Saint under the name Lily Herne, with her daughter Savannah Lotz, now 23. The pair began writing together when Savannah was a teenager.

Lastly, just in case you’re not confused yet, Lotz senior is also one third of Helena S Paige, author of the erotica series A Girl Walks into a Bar and Girl Walks into a Wedding.

The Three is based on a long period of research, and its infamous opening scene is modelled on what is arguably history’s worst plane crash, Japan Airlines’ Flight 123, which killed 520 people in 1985. In the novel, three – maybe four – children survive four simultaneous plane crashes in different parts of the world, which leads to a number of bizarre theories from assorted fringe groups: some religious, some supernatural, some conspiracy. And the course of history is irrevocably altered.

It’s one of those peculiar books that straddle the line between meticulous attention to detail and a carefree embrace of imagination. On one hand, Lotz was careful to research every possible detail that she could, historically and geographically, making sure that she got dialects and descriptions correct, for maximum authenticity. At the same time, other aspects of the book are pure flights of fancy and Lotz gives free reign to the mind – what one reviewer described as “(blurring) the lines between the real and imagined in order to inhabit a more tenuous space.” (When, at a reading, a guest pointed out that some detail of the book “couldn’t happen”, Lotz casually replied: “Why not?”)

The Guardian described The Three as “a blast” and it was bought for no small sum in 2012, so it’s grand to see that it has delivered. Lotz writes the book reportage-style, a book-within-a-book, chronicling the rising paranoia surrounding the plane crashes (and their mysterious survivors) through imagined interviews, clippings and with a wry view on contemporary media. It’s a subtle combination of screamfest and satire in an original format – so if you didn’t read it when it first came out, you probably should now.

Here’s what Lotz had to say about it after hearing of her award nomination.

Daily Maverick: You chose an unusual narrative format for The Three. Was this more challenging? Or would you say it opened you up creatively?

It was way more challenging – I have no idea what I was thinking! Writing in the voices of so many diverse characters meant months of research, and really pushed me to the limit creatively. No regrets though – there’s no point doing anything unless you’re going to go at it full throttle. Life’s too short.

DM: What draws you to horror, thrillers, or to use your own term – the macabre? I don’t want to put words in your mouth.

I’ve thought about this a lot, and I suppose it basically boils down to an obsession with death and a fascination with what might happen after we die (both physically and spiritually). Morbid, I know.

DM: What made you start working with your daughter, Savannah? And what are the most challenging and most educational aspects of working with her?

We’ve been making up stories together since she was little, so writing together was a natural progression. She’s more naturally talented than I am, with a more authentic narrative voice, so it was a learning curve for both of us.

We’re both pretty laid-back, so spats were rare, but writing a sex scene together was incredibly awkward! We gave up in the end and asked Helen Moffett to write it for us. [Ed: Moffett is also one-third of Helena S Paige.]

DM: I recall reading in an interview that you said once you felt guilty if you did not write about South Africa. Why do you think this is?

I think it’s because there are still so many stories that haven’t been told that need to be told. I’m just not sure I should be the person to tell them, or maybe I don’t yet have the skills to do them justice.

DM: What have you enjoyed writing most and why?

Every novel I’ve written starts off being fun and exciting, and then tends to become work when the self-doubt trickles in.

I love collaborating, especially as it gives me the opportunity to poke around inside other authors’ minds.

It helps that all of the authors I work with, Louis Greenberg, Paige Nick, Helen Moffett and my daughter Savannah, have great senses of humour and strong work ethics and aren’t raging ego monsters. They’re all a blast to work, with which keeps the writing fresh.

DM: I know this is a terrible question to ask of a writer, or even of a reader – but what do you love reading most and why?

Oh dear – this is an impossible question! I suppose a good story that is well told is the minimum I ask for. I read across genres, but I also like to be surprised.

I’m judging the Kitschies Awards this year, and there are some spectacular novels on the list. 

DM: What would you still like to learn or develop as a writer?

I still find myself using clichés (see the ‘life’s too short’ statement above as proof of this!) and over-choreographing action. My inner editor definitely needs to go on a refresher course.

DM: What’s next for you?

Louis and I have just released our latest SL Grey novel, Under Ground, so we’re doing some publicity work around that, and Hodder & Stoughton are re-releasing my first novel, Pompidou Posse, in September. It was first published years ago in South Africa, and I’m just as nervous about it coming out as I was the first time around. DM

Read more:

• Sarah Lotz Nominated for a 2015 British Fantasy Award for The Three, on BooksLIVE.