I’d originally envisioned my new novel, The Persian, to be about a joint CIA-Mossad operation in Iran, but as I tinkered with that it became clear that the more daring and, importantly, kinetic the operation became, the less likely it was that CIA would be involved. For example, when Mossad ran a targeted killing program aimed at Iranian nuclear scientists, the CIA stayed out of the fray. Most often CIA did not even know these operations were underway.
So this just wasn’t a CIA story. In fact, I was beginning to feel the CIA might not have a role in it at all. This was a novel about the secret shadow war playing out between the intelligence services of Israel and Iran. Why complicate it by injecting an inauthentic American presence? So the CIA went by the wayside for this novel, and what emerged was a rich tapestry of Israelis and Iranians, all of whom are in desperate conflict, all of whom think they are doing what’s best for their families and their countries.
My starting point is always to get the setting right, and then let the characters and plotlines grow from there. When I began writing The Persian, I tried to nail the current dynamics of the Israel-Iran relationship and how their intelligence services fight in secret. Where might the plot take me from there? I hope this approach gives the book a dose of authenticity and the ability to speak to something true in the present, wherever the headlines may go.
My principal characters in The Persian – as in my other novels – are intelligence officers and agents, so to depict them authentically I need to deal authentically with their craft, which means getting the tradecraft right, whatever the geopolitical or technological environment. This involves a lot of research. It means drawing on my experience working for the CIA, certainly, including in Stations around the Middle East. It means extensive time spent interviewing former case officers and CIA Chiefs of Station. Discussions with former Mossad officers. A lot of time spent with Iranians. Sessions with former Delta Force operators about special operations and asymmetric warfare. Studying technical drawings and specs for next generation UAVs. Even sitting for a week-long course on what we call the ‘Ubiquitous Technical Surveillance’ environment – how tradecraft can be adapted to operate in a world of phones, cameras, sensors, biometrics, cheap data storage, and AI-powered analytic tools. It’s fun, it’s a lot of work, and it’s all in service of the characters.
In some ways you might think a dentist, Kamran Esfahani, a Persian Jew living out a dreary existence in Stockholm is an unlikely main character for a spy novel. He’s not an intelligence officer, and he’s certainly not a character in the mould of the Hollywood Superhero Spy. But he’s exactly the sort of person who might get a look from an intelligence service such as the Mossad, because he can move in and out of Iran, fly under the radar (he’s a dentist, after all), and, at a deeper level, he’s got cracks in his heart and soul that make him a viable recruitment target. He’s a dentist, but he’s the perfect dentist to turn into a productive support asset. He’s exactly the sort of nondescript but fascinating player who’s rolling the dice in the spy game. Spies can have a loose relationship with the truth, and Kam’s confession is written in the first person for exactly this reason: he’s been keeping a secret. Throughout the novel we wonder if he is being truthful, or if he’s lying, or if he is plying the borderlands between.
I’m often asked how research for my novels and for The Rest is Classified podcast, which I do with Gordon Corera, inform one another? Because I am attempting to write authentic espionage novels, and because the podcast deals with true spy stories, the two streams are complementary. In particular, I’ve found that the podcast provides a great deal of grist for the novels, everything from ideas for characters, to tradecraft, to the spytech. Turns out the real world of espionage contains a host of wild stories a spy novelist might draw from.
And I draw inspiration from other writers. I’m a longtime reader of the espionage genre, so the list is long. Le Carré of course. Charles McCarry (who I consider the American answer to le Carré). Graham Greene. David Ignatius, Jason Matthews, Daniel Silva, Tom Clancy, Martin Cruz Smith (though he’s perhaps more of a mystery / crime writer). Dozens of others. Outside the genre the list is even longer, but one of the writers is Quentin Tarantino. I like stories that accelerate madly toward the end, and that usually go out with a bang.
And finally, for those of you worried about Artemis Aphrodite Procter, CIA case officer, five foot ball of ruthless spy craft and inspired profanity, and feature of my first three novels, do not fear. She will return. Her adventures are far from over though, though she may need to dial down her drinking if she wants to stay healthy enough to keep having them…
The Persian by David McCloskey.(Swift Press)
What happens when a spy is forced to reckon with the consequences of his deception? Kamran Esfahani, a Persian Jewish dentist from Stockholm, dreams of starting afresh in California. To finance his new life, he agrees to spy for Mossad in Iran, working with a clandestine unit tasked with sowing chaos and sabotage inside the country. When he’s captured by Iranian security forces, Kamran is compelled to confess his experiences as a spy, in a testimonial dealing not only with the security of nations, but also with revenge, deceit, and the power of love and forgiveness in a world of lies. Mixing suspense with strikingly cinematic action, David McCloskey takes readers deep into the shadow war between Iran and Israel, delivering propulsive storytelling and riveting tradecraft.
David McCloskey's new novel The Persian is published as a £20 hardback on 29 January by Swift Press.
More information about David McCloskey and his books can be found on his website. He can also be found on Facebook, on X, Instagram and Tik Tok @mccloskeybooks,
David is also co-hosts The Rest is Classified Podcast.
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