On The Table Read Magazine, “the best arts and entertainment magazine UK“, John Woods discusses how his lifelong obsession with history’s unsolved mysteries inspired his bold new conspiracy thriller The Girl Who Killed Kennedy—a meticulously researched fictional re-examination of the JFK assassination that dares to fill the gaps the official narrative left behind.
Written by JJ Barnes
I interviewed John Woods about his life and career, what inspired the story of his new book, The Girl Who Killed Kennedy, and his creative writing process.
Tell me a bit about who you are.
I’m John Woods, a photographer and author based in Huddersfield. I’ve run my portrait studio for over thirty years, but I’ve always had a fascination with history, storytelling, and the odd corners of real events that don’t quite add up. Writing lets me bring those interests together, blurring the line between documented fact and imaginative fiction.
When did you first WANT to write a book?
I think the seed was planted decades ago. I’ve always loved history and detective work, and I’ve always written in one form or another. But the idea of writing a full book didn’t feel realistic until much later in life.
When did you take a step to start writing?
During lockdown I finally sat down and began turning some long-held ideas into proper stories. That’s when I realised how rewarding it was to build a historical narrative from the inside out.
How long did it take you to complete your first book from the first idea to release?
My first book, Through Time and Conflict, took around a year from forming the idea to publication.
How long did it take you to complete your latest book from the first idea to release?
The Girl Who Killed Kennedy took just under a year. The research was intensive, but the writing flowed once I locked onto the structure.
Focusing on your latest release. What made you want to write The Girl Who Killed Kennedy?
Like many people who’ve dipped into the JFK assassination over the years, I found that too many odd details don’t fit the official narrative. I couldn’t tie every piece together into a factual theory, but fiction allowed me to explore a version of events that feels internally consistent and emotionally truthful. The book is written for readers who already know the case well enough to notice the references and enjoy how the gaps are filled.
What were your biggest challenges with writing The Girl Who Killed Kennedy?
Balancing accuracy and storytelling. There’s an enormous amount of real historical detail, so I had to decide what to include, what to reinterpret, and what to leave out. The other challenge was resisting the temptation to answer every question neatly—ambiguity is part of what makes the JFK case so fascinating.
Who or what inspired you when creating your Protagonist?
David Ashcroft is deliberately grounded and relatable. He’s an ordinary journalist pulled into an extraordinary story, and he reacts the way many of us would: intrigued, cautious, sceptical, and eventually overwhelmed. He’s my way of letting the reader walk through the labyrinth with someone who isn’t a hero or a conspiracy theorist—just a man trying to make sense of something impossible.
Who or what inspired you when creating your Antagonist?
I can’t say too much without giving away one of the surprises of the book, but the antagonist was inspired partly by the idea of Kurtz from Heart of Darkness: someone whose influence grows quietly in the shadows, whose power comes not from violence but from shaping the stories people believe. I was drawn to the idea of a calm, intelligent, ruthlessly effective figure who genuinely believes their actions are necessary to protect a larger narrative. They represent the machinery behind an official truth—one that must be maintained at any cost.
What is the inciting incident of The Girl Who Killed Kennedy?
David Ashcroft receives a message from Alejandra Cortez, a woman claiming to have been directly involved in the JFK assassination. Her decision to finally talk, decades later, sets everything in motion.
What is the main conflict of The Girl Who Killed Kennedy?
The conflict is between truth and the machinery that protects an official version of events. Ashcroft is torn between scepticism and curiosity, while unknowingly stepping into territory guarded by people who will do almost anything to maintain the story the world has been told.
Did you plot The Girl Who Killed Kennedy in advance, or fly by the seat of your pants and write freely?
Originally, I intended to write it in the style of Heart of Darkness—as one long, continuous story told by a single character. But as I worked, it became clear the book needed more structure and perspective, so it evolved into two distinct parts: Alejandra’s long, immersive account, and Ashcroft’s present-day investigation. I had the overall shape in mind, but many of the key scenes and revelations emerged naturally during the writing.
Did you get support with editing, and how much editing did The Girl Who Killed Kennedy need?
A lot of self-editing went into this book, especially because of the amount of historical detail woven through the narrative. I also had a couple of trusted readers go through the manuscript to spot typos, inconsistencies, and anything that didn’t quite add up. Between those passes, the timeline, tone, and pacing went through several refinements.
What is the first piece of writing advice you would give to anyone inspired to write a story?
Write the version only you can write. Don’t chase trends, don’t imitate. Tell the story that keeps circling in your head, even if you’re not entirely sure where it leads. You can fix everything in editing—what you can’t fix is a book you never started.
Can you give me a hint about any further books you’re planning to write?
I’m currently working on Through Time and Rebellion, a new trilogy of historical stories featuring Max the whippet, set during the Suffragette movement, the Luddite uprisings, and the Irish War of Independence.
And, finally, are you proud of your accomplishment? Was it worth the effort?
Absolutely. It was a challenge, but I loved the process of pulling together history, research, and fiction into something coherent. The most rewarding thing is hearing from readers—especially those who remember 1963—who say the story made them rethink what they thought they knew.
Pop all your book, website and social media links here so the readers can find you:
Apple Books: https://apple.co/3KGvBqN
Kindle: https://amzn.to/4oRzBTG
Paperback: https://amzn.to/4oFhct2
Hardcover: https://amzn.to/4pSWJSp
Universal link (Booklinker): https://mybook.to/girlwhokilledkennedy
Author website: https://johnwoodsphotography.com/authorpage
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