Spy fiction is a genre of titans: Rudyard Kipling, W Somerset Maugham, John Buchan, Ian Fleming, Graham Greene, Len Deighton, John le Carré. That list will structure most histories of the genre. However, it is only half the picture, reflecting neither the true history of spy fiction nor espionage itself. These authors and their most famous heroes are all male. But for as long as there have been spies, there have been female spies. In the growing espionage machine of the 20th century, we see women in every area, from surveillance and propaganda, to code breaking and cryptography, and agent and double agent. Today’s spy world considers diversity a strategic asset.
As a child, I bought Fleming’s From Russia With Love in Pan paperback because I wanted to try writing spy fiction. I read Fleming on repeat, falling in love with his characterisation and vivid style. I would make notes on my neighbours – luckily very tolerant people – and turn their movements into mystery stories. In my imaginary games, I wasn’t a “Bond girl” – I was James Bond. I wanted to be the hero, not a supporting character.
