Benjamin Leeway (*1985 in Zurich) is a novelist and songwriter, with a primary focus on psychological fiction. He studied psychology at the German FernUniversität in Hagen and at the Swiss Distance University Institute. His understanding of the human mind subtly informs his creative work – shaping the emotional resonance of his music and the inner complexity of his characters.
Raised multilingually, Leeway is fluent in German (including Swiss German as his mother tongue), Spanish, English, French, and Italian. He writes his novels originally in German and personally undertakes the translations into English and Spanish.
Leeway lives with his wife and son in the northern region of Switzerland. Outside of writing and composing, he enjoys long-distance running and the quiet rhythm of everyday life.

It’s a genre that delves beneath the surface of human behaviour. It focuses not on what characters do, but on why they do it. Rather than being driven by external events or plot twists alone, psychological fiction explores the inner workings of the mind — emotion, memory, desire, fear, identity, illusion.
It often blurs the line between perception and reality, between truth and imagination. What matters is not whether something happened — but how it is experienced, remembered, denied, or distorted.

The genre doesn’t require a specific setting or tone. A psychological novel can be quiet or intense, romantic or violent, poetic or cold. What defines it is its deep interest in the human psyche and the tension between inner and outer worlds.

Leeway’s writing is rooted in this psychological approach — regardless of the genre he chooses to work in. In Melodies in the Snow, what appears to be a love story gradually reveals itself as a reflection on fragility, identity, and the unreliability of memory. In Kaspar’s Game, the action unfolds like a neo-noir thriller, but the real drama takes place within — in questions of guilt, masks, trauma, and buried motivations. Even his musical concept album Romantic Shots is more than a collection of songs: it tells a spiralling story of obsession, self-deception, and emotional distortion. Across formats and languages, Benjamin’s work is united by one core principle:

»Stories unfolding beneath the surface.«

He occasionally refers to his work as Psyfiction — a hybrid term merging psychological fiction with a subtle nod to science fiction. Not because his stories rely on futuristic settings, but because they explore speculative ideas about the mind: memory as illusion, identity as construct, technology as mirror of emotion. Psyfiction opens up space for narratives that are psychologically driven, but conceptually bold — both intimate and unsettling.