Interview by Scott Adlerberg
Born and raised in New Jersey, Wallace Stroby had a long career as a journalist before turning to novel writing. He worked for the Asbury Park Press as a police reporter, and was a Sunday features editor for the Newark (N.J.) Star-Ledger. His years writing and editing for newspapers helped him develop the razor-sharp prose, compelling sense of character, and precise attention to detail that mark his books.
THE DEVIL’S SHARE, Stroby’s new novel, is his seventh overall and the fourth about professional thief Crissa Stone, who debuted in 2011’s Cold Shot to the Heart. The Big Thrill talked with Stroby about his early books and his latest effort.
Your first two books, The Barbed-Wire Kiss (2003) and The Heartbreak Lounge (2005), were set along the Jersey Shore and featured a male former state trooper named Harry Rane. Then your third book, Gone ‘til November (2010), focused on a Florida sheriff’s deputy, Sara Cross, doing her job and facing dangers in an overwhelmingly male world. What was the impetus behind you creating Harry Rane, and why did you decide after the Rane books to switch perspectives, first to a female law enforcement figure, then to a woman who’s a professional criminal?
With Harry, I essentially wanted to write about the area I grew up in, and where I continue to live, the Jersey Shore, specifically Monmouth County. It was changing a lot at that time, a lot of development going on, and I wanted to capture that a little. Harry’s house is based on my grandmother’s farmhouse in Englishtown, N.J., where I spent a lot of time as a kid (the farm was sold a few years back, the house razed).
In Heartbreak Lounge though, I ended up telling a lot of the story from the point of view of the villain, an ex-con named Johnny Harrow, and I found myself intrigued with that. He was a bad guy who did some evil things, but he had his reasons.
“It reads like a movie script. . . . Only this was no blockbuster action film. It was a real-life crime drama straight from the streets of Miami.” Those aren’t James Grippando’s words. They come straight from the FBI’s official website, the bureau’s own description of one of the biggest airport heists in history—$7.8 million in cash stolen by a band of amateur thieves. That real life caper is the inspiration for James Grippando’s twenty-fourth thriller, CASH LANDING, released from HarperCollins.
Who were the real-life crooks?
The mastermind, Karls Monzon, teamed up with his uncle, an ex-con; his cocaine-addicted brother in law; and an insider who worked for Brinks Security, Onelio Diaz. Diaz was Monzon’s neighbor and friend since childhood, and he drove one of the armored trucks that regularly shuttled millions of dollars in cash from Miami International Airport to the Federal Reserve Branch just four miles from the airport.
How much cash are we talking about?
Every week a 747 leaves Frankfurt and lands at MIA with anywhere from $80 million to $100 million in U.S. dollars in the cargo belly. German banks don’t need all those fifty- and hundred-dollar bills, and much of Miami’s economy runs on cash.
How did this rag-tag group pull off the heist?
The cash is shipped in 38-pound bags, each holding almost $2 million in bricks of bills. The bags have to be opened to clear customs in a warehouse at MIA. Diaz, the security guard, told Monzon about the security failings inside the warehouse: the bills lay exposed; the security cameras didn’t work; the guards removed their guns before entering the building; and most alluring of all, the warehouse’s enormous bay doors led directly onto the street, which meant that any getaway vehicle could bypass the perimeter fence and the airport gatehouse. For an even cut of the haul, Diaz signaled to Monzon when it was time to strike. The gang drove up to the loading dock in a pickup, covered their faces with bandanas, brandished a handgun, and hurried to grab as many bags of cash as they could carry. They dropped one of the forty-pound bags on their way out, but they still managed to speed away with Monzon’s cokehead brother-in-law at the wheel and $7.8 million in the bed of the pickup.
REMEMBER MIA is a thriller that puts you in the midst of every mother’s worst nightmare: her baby has disappeared. When Estelle Paradise’s baby daughter is taken from her crib, she doesn’t report her missing. A week later, Estelle is found in a wrecked car miles from home, with a gunshot wound to the head and no memory. The only thing she can recall is the blood…so much blood. She knows she holds the key to what happened that night—but what she doesn’t know is whether she was responsible.
Tell us about your background. You are originally from Europe?
I was born in Germany. I read English literature in high school—I remember Bram Stoker’s Dracula, C. S. Forester’s African Queen, and Mary Shelley’s Frankenstein—but other than that I read books exclusively in my native language. Days after graduating from college I boarded a plane to the U.S. I ended up in Texas, I married, and explored a career in corporate America. I eventually started reading English novels, gluttonously, day in, day out. After the birth of my daughter I became a freelance translator and even though the projects I worked on were mostly commercial, I really wanted to break into literary translations. The union never panned out and I so decided to tell my own stories instead. I took a few writing classes and eventually published my short fiction.
Tell us how you came up with the idea for REMEMBER MIA?
I eventually took a novel-writing class, and on the first day of class I was asked to post twenty-five pages. Needless to say, I hadn’t put a single word on paper. So later that night, I sat down and a sentence popped into thy head: “Tell me about Mia.” I imagined a woman, ravaged by postpartum depression, being confronted by a psychiatrist working to unravel the ball of yarn that is the disappearance of her infant daughter. The title may changed over the years, but the story remained the same; a tale of motherhood, shortcomings, and isolation. There were many revisions, many workshops, but eventually the story took shape.
The stakes soar both professionally and personally for Austin PD Detective Jason Scarsdale as he finds himself in a race against time to hunt down a vicious gang hell-bent on murder. Realizing that his new partner, the attractive divorcee Tatum Harper, could be trouble in more ways than one, he tries to run her out of Homicide. Will their partnership destroy his romantic relationship with long-time girlfriend Dani Mueller? Will they both survive their harrowing face-off with the increasingly unhinged gang leader?
“Precise and unequivocally gripping; an edge-of-your-seat ride from beginning to end.” ~Kirkus Reviews
“This gritty crime thriller is an absolute gift to fans of the genre…[a] tale of murder, Texas style…an
intriguing set of crimes…a man and a woman working long, tense hours together, and its fallout for those around them – a masterpiece.” ~BestThrillers.com
“…a promise of chaos and confrontation which doesn’t disappoint. [It’s] more than a cut above the
ordinary…” ~Midwest Book Review
With its breakneck pacing and fascinating characters on display from the first page, EENY MEENY opens with a compelling and terrifying premise. A young couple wakes up trapped in an abandoned diving pool without food or water. There’s no escape. Instead there is a loaded gun with a single bullet, and a phone with enough battery life to receive one message: to walk free, one of them must kill the other.
Kill or be killed—no choice.
When other pairs are given the same orders in increasingly twisted ways, the brilliant but damaged Detective Inspector Helen Grace (reminiscent of Prime Suspect’s Jane Tennison or Stella Gibson in the TV series The Fall) finds herself racing against time and confronting dark chapters of her own past.
Published in the UK last summer, EENY MEENY was a Richard and Judy Book Club pick, an instant Sunday Times bestseller, and a reviewer favorite.
“Readers will look forward to seeing more of this strong, intelligent, and courageous lead.”
By George Ebey
Jane Isaac is the author of several works of crime and suspense including, An Unfamiliar Murder and The Truth Will Out. Her latest book, BEFORE IT’S TOO LATE, is due out this June and introduces us to her new character, Detective Inspector Will Jackman.
Following an argument with her British boyfriend, Chinese student Min Li is abducted while walking the dark streets of picturesque Stratford-upon-Avon alone. Trapped in a dark pit, Min is at the mercy of her captor. Detective Inspector Jackman is tasked with solving the case, and in his search for answers, discovers that the truth is buried deeper than he ever expected.
The Big Thrill recently checked in with Isaac to discuss her book and what elements are needed to tell a good suspense story.
What first drew you to writing about crime and psychological suspense?
Raised on Sherlock Holmes and Agatha Christie, sitting around the television with my family on a Sunday evening watching Poirot, and trying to guess whodunit. I guess I’ve always loved the twists and turns of thrillers and mysteries, so the genre felt the natural choice with my own writing.
You book features a new character, Detective Inspector Will Jackman. Did you learn anything interesting about his profession when you were developing your story?
In BEFORE IT’S TOO LATE, a Chinese student is abducted from the dark streets of Stratford upon Avon and kept in a disused pit in the surrounding Warwickshire countryside. We follow her story as she is held captive, and the rest of the novel is through the eyes of Will Jackman as he seeks to find her.
For me, research is one of the most fascinating parts of writing detective fiction and police procedural research is key, as it gives the story authenticity. As this is my third book, I was already aware of the basic ground rules of a police investigation. However, every case is different and for this novel I spent time with a former Chief Superintendent of Police who was able to help me with the protocol associated with kidnappings, and the procedure for international liaison with China, and how this affects a case.
Greek Heroes, Shutter Island and Why I Love Thrillers
Perseus was a big draw for me. An assassin outfitted with all sorts of gadgetry, including winged sandals and an invisibility cap, I think of him as the James Bond of Greek heroes. My favorite was Theseus, because he had the most interesting villains. Look beyond the Minotaur; he defeated Procrustes, who tortured travelers on an iron bed. If they were too short, he stretched them to fit the bed. If they were too tall, he cut off body parts until they fit. Unsettling stuff.
The tone and tropes of some of these myths live on in today’s thrillers. Often, you have a hero who needs to outwit and ultimately defeat a monster, human or superhuman. Sometimes heroes have specialized tools, and sometimes they have little more than brains and courage. Thrillers embody the same sense of adventure and justice, and if I’m being honest, the fantasy that I can be the hero by inserting myself into the story as its reader.
Since part of my career has been spent working on social issues, I also admire thrillers’ ability to delve into important social topics using the framework of suspense.
Dennis Lehane’s Shutter Island is one of my favorite books from the past decade. Not only did it entertain me, but the book also covered the state of mental health care and the flaws of the penal system. Instead of pounding me over the head with social advocacy, it provoked thought through a compelling story.
I begin this article with the background of the Instruments of Death series, of which MEAT CLEAVER is the fifth entry. I lived in Chicago and worked at the American Society of Clinical Pathologists’ Chicago headquarters, directly across West Harrison Street from the Cook County Medical Examiner’s office, when I wrote Claw Hammer. My ASCP job was to sell continuing education classes to pathologists, and I got to sit in on many of those classes because I was the person who registered pathologists and medical technologists for various courses. I set up microscopes in classrooms at conference centers, ran the overheads and slide projectors, hawked new books published by the Society or the College of American Pathologists, and hosted elaborate cocktail parties for the Docs at national medical conferences. One of those ASCP classes featured the latest techniques of tool mark analysis available to forensic pathologists interested in identifying the instrument of death, and I was fascinated to learn about the variety of ways people quite often used common household implements to kill beloved family members and friends.
That class reminded me of several terrible tragedies that had happened to grade-school classmates of mine in my own hometown of Rockford, Illinois. I recalled awakening one dawn to the sound of sirens when I was only about eight or nine. I learned that a neighbor had allegedly gone crazy during the night and killed his entire family—all but one daughter who survived–with a claw hammer. The milkman, the same milkman who had just delivered milk to my house, discovered the bodies when he entered the neighbor’s house to put milk in the refrigerator as he normally did twice a week. In those Father Knows Best and Leave It to Beaver days of the early 1950s, people were very trusting and nobody ever locked their back doors. All that changed, of course, after an entire family was killed in our close-knit suburban neighborhood. It never dawned on us that locking the doors would do no good if the killer lived inside the house and had keys.
Not long after that first tragedy, the mother of another female grade-school friend was electrocuted in her bathtub. Supposedly, a radio fell off a shelf and added 110 volts to an afternoon bubble bath and fried the lady like a lobster. Police arrested the lady’s husband and charged him with her murder. My young friend had to leave school to go live with her grandparents. I never saw her again.
Because I love to read widely in a variety of genres, I often find myself crossing genres in writing my own novels and short stories. AXES TO GRIND, the sixth novel in The Instruments of Death series from Crossroad Press, is both a police procedural and a supernatural suspense story. I didn’t intend it to be that way when I began writing the novel, but elements of the preternatural suddenly appeared. That’s the way the cookie sometimes crumbles.
AXES TO GRIND introduces Merritt County Sheriff’s Deputy Dan Edmonds. Dan will appear in later novels of the series that tie together murders in northern Wisconsin with murders in Illinois, but this story belongs to Dan Edmonds and Sandy Beech and it can be read as a stand-alone novel. None of my usual suspects make guest appearances. You can probably guess that the instrument of death is an axe. Both the title and the cover give that away, but there are a few surprises along the way that readers won’t suspect.
When I was researching northern Wisconsin for both AXES TO GRIND and Winds, my supernatural thriller series featuring completely different characters, I uncovered an unusual number of Bigfoot sightings within a three-county area of north-central Wisconsin. Of course, I had to include that fact in one of my novels. AXES TO GRIND seemed the perfect vehicle. Maybe someday I’ll write a novel about Bigfoot, but AXES TO GRIND is primarily about demons—personal demons and mythological demons. It’s also about trust and belief and searching for clues outside of one’s normal experience. There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.
Anna Curtis fans rejoice! She’s back, this time on the other side of the legal system, as she fights to prove her sister’s innocence when the beloved football coach from their high school turns up murdered. When Anna first arrives in town, she’s confident that her sister could have had nothing to do with the coach’s death. As she becomes involved with the investigation though, she begins to wonder if she knows her sister as well as she thought.
Be prepared to lose sleep as you find yourself turning page after page to get to the startling finish.
This month, The Big Thrill caught up with author Allison Leotta to talk about her what inspired A GOOD KILLING, and her process for writing the book.
You write about the complexities of the sister relationship with authority, and you’ve dedicated this book to your own two sisters. How much do your sibling relationships affect your stories?
A lot. Anna has a little sister named Jody and although she is a very different person than my two sisters, I used our fights, our shared interests, and most of all the fact that we always have each other’s backs as a guide to Anna and Jody’s relationship. Jody played a more minor role in my first three books. Fans have been asking for “more Jody,” and this is really her book.
You alternate between Anna’s and Jody’s points of view. Did you feel more of a kinship with one over the other?
I am intimately familiar with Anna’s job. We were both sex crimes prosecutors in Washington, D.C. But I have written three books about her before this.
I felt a freshness that came from writing a new POV, Jody’s. The chapters from her perspective came very easily. With Anna, I work hard to get the legal details right. It is definitely work. Writing Jody was pure pleasure. I wrote the chapters from her POV in two weeks—the fastest writing I’ve ever done.
By Josie Brown
Like J.T. Ellison’s other thirteen critically acclaimed novels—including The Cold Room (Taylor Jackson Series), which won the International Thriller Writers Thriller Award for Best Paperback Original—the next book in her Sam Owens series, WHAT LIES BEHIND, will certainly have both fans and reviewers singing its praises, and sleeping with one eye open.
Formerly Nashville medical examiner but now based in Washington D.C. as a pathology consultant with the FBI, the life journey of Ellison’s protagonist, Sam, has been fraught with personal loss, emotional complexities, and professional challenges. Ellison explains how intricately woven plots and well-formed characters keep readers coming back for more.
Bioterrorism is at the heart of WHAT LIES BEHIND, as it was in Book 2 of the Sam Owens series, Edge of Black. However, each book tackles it differently—and gives readers very different reasons for staying up at night, biting their nails. You’ve obviously done a lot of research on the very real problem. How did you come to choose this book’s threat? (I’ll be darned if I give it away here…)
I knew early on I wanted to write about something that was possible to spread by casual contact (great band name, that.) Something virulent and unstoppable, that if released into our world could create a hysteric response and become a serious problem. I chose an Ebola-esque hemorrhagic fever, and got to work. You can imagine my surprise and dismay when the Ebola outbreak began in Africa. I was three-quarters of the way through the book, and my story was coming alive nightly on the TV screen. I had to do a lot of scrambling to make sure what I was writing was still unique, considering all the attention this was getting. By contrast, in Edge of Black, my villain uses ricin in the subway—equally deadly, but not as personal, because of the nature of how the attack manifests. I find the idea of someone infected with a virus, taking planes and spreading a disease, terribly scary. Of course, that’s the best topic to write about in a thriller, what scares you the most.
By Basil Sands
From his secret lair just outside of London where he experiments with advanced highly-classified military weapons systems and teleportation devices, Andy Boot is an author to be reckoned with in more ways than one. He’s spent most of his career in the shadows as one of the writers behind the Deathlands series, as well as my teenaged literary addiction The Executioner—he’s written twenty-eight novels in these franchises.
Boot also created the Dreams Of Inan series for Abaddon, co-created three other series, wrote one novel, and was a series consultant. He’s written four non-fiction books under his own name, including a seminal work on British Horror films, Fragments Of Fear. And he’s worked in TV and new media, although several years of his career are listed by MI6 as “Unavailable For Comment Until Year 2115.”
He claims he writes simply because he loves it… or has he turned to writing because fiction is the only way he can tell his story?
All kidding aside, NO DOVES is an intense crime novel that had me up late into the night hoping the bad guys got their due, but sometimes feeling sorry for them when they did. It’s a dark and gritty journey into London’s underbelly that can leave you glancing over your shoulder and stepping wide of shadows on the street.
Andy, can you tell us more about NO DOVES?
It has a long history. Back when I was freelancing as a journalist, I had a few ideas for which I’d written a couple of chapters and a synopsis while I was trying to get into non-fiction books. At the time in the U.K., this represented my best chance of progressing from newsprint to hard covers One of those was NO DOVES.
Vaughn C. Hardacker is a writer of five novels and numerous short stories. Sniper, his first novel, was selected as a finalist in the Crime Fiction category of the 2015 Maine Literary Awards.
In THE FISHERMAN, homicide detective Mike Houston returns for a second outing. When an elderly couple recruits his partner, Anne Bouchard, to help locate their missing granddaughter, the two take up the hunt. Where they expect to learn that the girl has gone off on a romantic interlude, they soon discover that there is much more than meets the eye. Not only is the granddaughter missing, but dozens of women have disappeared before her—and each disappearance is somehow linked to someone called The Fisherman. The case will lead Houston and Bouchard from the streets of Boston to the wilderness of the north Maine woods.
Where did you get the idea for THE FISHERMAN?
The idea came from my late wife Connie. She had accompanied me to Vancouver and fell in love with the city. She came across the case upon which the book is loosely (very loosely) based.
Some of the reviews suggest that this book is not for the faint-of-heart, that it’s a violent book. Is it?
My protagonists are former police officers who have dealt with violence for most of their adult lives, and another of my major characters, Jimmy O’Leary, is a gangster. These are all people who live with violence. The challenge was to make their world as realistic as possible without including a lot of gratuitous violence. So, the short answer is yes, there is violence. Which I tried to offset with a more human side of each of the major characters. Heck, even my antagonist has some, no matter how minor, redeeming features.
By John Raab
It’s a busy time for author Paul Gitsham, who in addition to launching book three in his popular DCI Warren Series, has also released a short novella called BLOOD IS THICKER THAN WATER.
The Big Thrill caught up with Gitsham to talk about the long and short of writing, plus, the inside scoop on SILENT AS THE GRAVE, the third instalment of the series featuring DCI Warren Jones. In this book, things get personal for the gritty cop as he investigates the grisly murder of a former gardener. To find the killer, Jones must go up against criminal conspiracy, a ruthless gangster, and the haunting truth of his past.
You have two new books out—one is a short story called BLOOD IS THICKER THAN WATER. Is this a prequel to your full length novel, SILENT AS THE GRAVE?
BLOOD IS THICKER THAN WATER is a stand-alone DCI Warren Jones story, set between book two, No Smoke Without Fire, and book three, SILENT AS THE GRAVE. Like many writers, I have a file of story ideas that I’d like to share, some of which need a full novel to tell properly, and others, which are naturally shorter. BLOOD IS THICKER THAN WATER serves two purposes, really. First, it’s a little something for my readers to keep them happy until the next book is available. And second, it’s a way into the series for readers new to Warren Jones. I decided to include a short preview of SILENT AS THE GRAVE, both as a teaser for my fans, and as a taster of my writing for those deciding if they want to commit their time to an unknown character.
Mark Pryor shines a light on his newest novel in the Hugo Marston series.
Mark Pryor is currently an Assistant District Attorney with the Travis County DA’s office. He is also author of the popular crime fiction Hugo Marston series. He grew up in Hertfordshire, England, and currently lives in Austin, Texas, with his wife and three young children. Before taking pen to paper (or fingers to keyboard), Mark worked at various jobs: ski instructor, personal trainer, and bra folder (I’m not making this up, I swear). But the job that largely formed his future as a writer was that of newspaper reporter in Colchester, Essex, where he covered the police and crime beat for nearly two years. In 1994, Mark moved to America, according to him, “mostly for the weather.”
Mark, thanks for taking a few moments of your time to share some thoughts and insight on your new book, your process and the life of an author. To get things started, could you tell us a few things about yourself—a little bit about your background, where you live, a day in the life of Mark Pryor.
Absolutely, and thanks for having me. Originally I’m from England, I lived there until I was twenty-five years old. My mum is from Chapel Hill, North Carolina, so I took a trip there in 1992 just to visit family, travel around the country a little. But I fell in love with the place and never really left. I went back to school in Chapel Hill and ended up in law school at neighboring Duke. I met my wife there and she brought me to Texas, where she has family.
I’ve been in Austin for almost ten years, and I work here as a state prosecutor. Right now I’m in the juvenile division prosecuting kids, although, in truth, we try to fix their problems, not prosecute them.
What links a terror attack on Washington, D.C., missing girls, coded price lists, and a rogue Interpol operator? It’s up to FBI Special Agent Ellie Conway to figure that out in Cat Connor’s new novel ERASERBYTE, seventh in the “Byte” series. That’s if she can survive helicopter crashes and other threats.
It’s a tale that sets the U.S. capital on fire with a series of explosions, and Ellie has to reach out to controversial connections to try and stop further terrorist attacks and horrifying deaths.
It’s a great, page-turning challenge for the agent from the FBI’s Delta A, who has already won over fans in previous adventures and should earn new ones in this outing.
Connor, who is from Cantabria, New Zealand, saw databyte, Number 6 in the Ellie Conway series, long listed for the 2015 Ngaio Marsh best crime novel award. Amid that and other excitement including a fortnightly writing workshop, Connor is busy with the launch of ERASERBYTE and other travels. Happily she had time for a few questions with The Big Thrill.
Inspiration can come at a writer from any direction, but for Rachel Howzell Hall the stories that resonate most deeply are drawn from her own life and the lives of people close to her. SKIES OF ASH, her second thriller featuring Los Angeles Detective Elouise “Lou” Norton, reflects some of the turmoil she witnessed in her friends’ lives over the past few years.
In a recent interview, Rachel said, “I remember having the realization about five years ago that my friends, and friends of friends, were starting to divide into two groups—still married (like me) or now divorcing. Everyone had hit those hard patches in life, late thirties, early forties, kids, private school bills, taxes owed, jobs, lay-offs, failing health, deaths.” At the same time, she noticed a stream of news stories about domestic violence. “Husbands killing their wives, moms killing their kids, and on and on. Everyone was pissed off and frustrated and broke and suicidal. And then, our economy tanked and all these smart bankers were outed as crooks.”
Rachel blended those elements into an intense tale that begins with Lou Norton responding to the scene of a house fire in which a woman named Juliet Chatman has perished with her two children. The grieving husband and father, Christopher Chatman, is hospitalized after supposedly trying to rescue his family. Neighbors and friends call the Chatmans a perfect family living a dream life. Lou doesn’t take long to uncover the sordid truth about Juliet and Christopher’s marriage and to suspect that one of their perfect children set the fatal fire. Lesson: People are never what they seem to be.
By E. M. Powell
Of course I love thrillers (don’t we all?!), but I especially love a thriller that brings something new and different to the table. In DOUBLE VISION, Colby Marshall does just that. Her heroine, Dr. Jenna Ramey, is an FBI forensic psychiatrist whose brain is wired very differently to most of us. Jenna also comes to this book, the second in the series, with a heck of a backstory that I’m sure will bring new readers rushing to catch up on the first one too. DOUBLE VISION is a fast-moving, intriguing read that grabs the reader from the off and refuses to let go.
Marshall is a multi-talented creative: writer by day, ballroom dancer and choreographer by night, and acting on stage when she has a spare moment. She lives in Georgia with her family and a collection of furry friends.
Exclusive to The Big Thrill, I caught up with Colby to find out more about her latest release.
This is the second outing for your heroine, Dr. Jenna Ramey, who debuted in the first book of the series, Color Blind. For readers coming new to her, there’s something that marks her out as very different: synesthesia. Can you explain what that is?
Different types of synesthesia manifest differently, so I can’t claim I know what every type is like to experience. In the case of grapheme-color synesthesia, the hardest aspect to describe is how the associations a synesthete makes are the same as those anyone makes in the way that they manifest. If a person hears the word “cake,” the image of a cake might flash in their mind. The difference is, their word/image reference was learned. Somewhere along the way, someone or something taught that person what cake is, showed him or her what it looks like, and so the association of the picture and word developed. Color associations are not limited to known things. Often a synesthete will lay eyes on something for the very first time, and immediately have a color association for it—that’s actually why it’s so useful to Jenna when she analyzes a crime scene.
Although he was born in Cumbria, England in 1968, author Mike Craven grew up in the northeast and attended the same school as Newcastle and England center-forward, Alan Shearer, before running away to join the circus army. He believes, but has no proof, that his little sister moved into his bedroom before the train had even left the station. He trained for two years as an armourer (that’s gunsmith to you and I) before spending the next ten being paid to travel the world and drink ridiculous amounts of alcohol.
In 1995, sick of writing postcards and having fun, he decided it might be time to do something a bit more sensible. And it doesn’t get more sensible than getting a law degree. So, he did social work instead. Two years later, he started working in Cumbria as a probation officer. Sixteen years, and a few promotions later, he is still there; although as a crime writer, he now has different motivations for trying to get inside the minds of criminals.
In between joining the army and securing a publishing deal, Mike found time to nurture a pet crocodile, survive cancer, get married, and buy a springer spaniel named Bracken. He wanted to call him Gimli, but was told to grow up. He lives in Carlisle where he tries to leave the house as little as possible and gets annoyed by people who say “it’s too cold to snow” and “watch that swan, its wings can break your arm”.”
Craven took time out of that busy schedule to talk to The Big Thrill about his new release, ASSUME NOTHING, BELIEVE NOBODY, CHALLENGE EVERYTHING, a collection of short stories that explores betrayals of trust, poker cheats, ambitious barristers, cyber bullies, lost diplomats and revenge.
Nicholas and Victoria Foulkes’ children are kidnapped to force repayment of a gambling debt, but when the couple are unable to raise the ransom money in time, they turn to crime. The stakes are raised when their crime spree catches the attention of Harry Evans, a childless and recently bereaved detective trying to dodge enforced retirement.
Smith writes tough-as-nails prose and delivers a page-turner that will leave you high on adrenaline.
Graham took some time this month to answer a couple of key questions about what inspired his latest release, and the motivating factors behind his protagonist Harry Evans and the family that opens old wounds.
How well does childless Harry Evans understand the plight of the central characters in SNATCHED FROM HOME?
I think he fully understands their desire to save their children. Being the swine I am, I have him mourning the loss of his own wife and unborn child. This gives him the perspective needed to put himself in their shoes. Also, he believes (wrongly) he could have done things differently and saved them.
By Linda Davies
James O. Born has had a long and distinguished career as an agent for the Drug Enforcement Agency, and is still employed as an agent with the Florida Department of Law Enforcement where he has worked in a number of areas, including the Special Operations Team. This has given him experience that many writers would die for (figuratively, and probably literally too, if we ever stumbled into the path of clear and present danger!)
After years trying to get published, Born hit the big leagues when Putnam published his first novel Walking Money in 2004. This year marks his ninth book, SCENT OF MURDER. It focuses on the use of canine units in law enforcement and detection:
Two years after being tossed from the detective bureau for his questionable tactics catching a child molester, deputy Tim Hallett’s life is finally on track. Assigned to a special K-9 unit with the best partner in the world, a Belgian Malinois named Rocky, Hallett has finally learned to balance police work with his family life. But that all changes in the heat of a Florida sugarcane field.
The wealth of Born’s experience shines through in the novel in a way that is never allowed to bog down the narrative. He manages to combine background detail with a gripping and compelling plot that speeds along. I particularly enjoyed passages from the dog’s perspective.
Born also manages to create a very real and powerful microcosm of life with all the characters extremely well drawn and the dialogue snapping along with the ring of authenticity. This is a class act.
By Kurt Anthony Krug
David Levien has a reputation for exhaustive research in order to authenticate his fiction.
For instance, Levien (pronounced “Levine”) and frequent collaborator Brian Koppelman entered the dangerous world of underground poker halls when writing the screenplay to 1998’s Rounders, starring Matt Damon and Edward Norton.
For his latest novel, SIGNATURE KILL—the fourth featuring private investigator Frank Behr—Levien researched serial killers.
“Wouldn’t it be off the charts insane if I admitted to becoming a serial killer in the name of research? Well, I didn’t do that. I did read dozens of biographies, case histories, non-fiction and clinical books on killers of all different types. I also spoke pretty extensively with a couple criminal psychiatrists. The process took a few years,” said Levien.
In SIGNATURE KILL, Behr takes on a cold case to find a woman whose face is plastered all over billboards throughout Indianapolis and collect the $100,000 reward. At the same time, bodies of murdered women start piling up and before too long, Behr realizes his cold case is connected to these brutal murders and a serial killer is on the loose. However, this man has the ability to blend in with polite society, which makes tracking him down difficult, forcing Behr to go to dark places.
“I’m highly interested in the iteration of evil that walks the streets amongst us, unrecognized. Certain real-life killers like Dennis Rader, John Wayne Gacy, Jeffrey Dahmer, going all the way back to Albert Fish and H.H. Holmes—these people led quiet, normal lives, for all intents and purposes, but their real existences were far from quiet or normal. The ‘regular’ way this type of killer conducts himself makes him extremely difficult to discover and stop,” said Levien. “It would take someone, I posit, singular of purpose, with extreme determination, toughness, and ingenuity—like Behr—on a sort of quest, to hook into the mind and actions of a killer like this.”
Researching SIGNATURE KILL disturbed Levien.
By David Healey
David Hodges is a British crime writer whose long career in law enforcement informs his fiction with rich details of police procedure.
STRAWFOOT is his newest novel set on the moody Somerset Levels, a coastal area with a penchant for marshes and murders. The case will be the biggest challenge yet for Detective Sergeant Kate Lewis, the main character in the series. In this new release from Hale Books, a murder has the locals wondering if Strawfoot, a sort of bogeyman from local legend, could be behind the killing.
Hodges answered some questions from the perspective of a veteran police officer and crime writer from “across the pond.”
The main character in your thrillers is Detective Sergeant Kate Lewis. Was it challenging to put yourself in the head of a female police officer?
I suppose it was a bit of a challenge making my main character a female detective instead of the usual male stereotype. But I have worked a lot with female officers and have not found them any different in the way they do their job than male officers. I wanted to create a character who was pretty, sexy, but competent at her job, without offering a sop to the feminist brigade by making her a butch-type superhero who can best the men at every stage or fall into the male chauvinist trap of creating a simpering girlie type who needs male protection all the time. Kate is an ordinary “copper” who makes mistakes and achieves successes like everyone else; the only difference being that while she is a brash, forceful and very outspoken character, her partner (now her husband), Hayden, is a more reserved, old-fashioned ex public schoolboy, who often acts as a brake on her activities. (Role reversal of the sexes?)
Before I wrote my first novel, I was a print journalist for four decades, spending many of those years editing investigative stories that won every journalism prize including the Pulitzer. It’s not surprising, then, that the fiction writers I most admire are the ones who use the popular form of the crime novel as a platform to talk to mass audiences about serious social issues—novelists such as George Pelecanos, Laura Lippman, James Lee Burke, and Richard Price.
The last major story I edited before I fled journalism exposed the plight of child workers, some of them as young as five years old, laboring in the gold mines of West Africa. The story traced the gold as it moved through a series of middle men to Swiss smelters and banks, and then on to some of the world’s most prestigious producers of luxury goods. The author, Rukmini Callimachi, was a Pulitzer finalist for that one. I have nothing but admiration for the journalists who continue do such work. But over the last couple of decades, the decline of print journalism has made it increasingly difficult for them to do so.
Most newspapers are circling the drain. A handful of big ones, including The New York Times and The Washington Post, still do a solid job of reporting important national and international news, but even they aren’t as aggressive and comprehensive as they once were. Meanwhile, TV broadcast news organizations, never all that good to begin with, have slashed their reporting staffs. Cable news has deteriorated into a platform for partisan propaganda, shouting talking heads, and celebrity trivia. And, few online news websites do much in-depth reporting, culling much of their news from declining newspapers.
By Basil Sands
Does crime pay? Rick Mofina might say yes. He has been making his living writing about it since he sold his first short story to a magazine at age fifteen. During college he walked in Hemingway’s shoes as a rookie reporter for The Toronto Star launching a career in journalism that spanned three decades. He’s been face-to-face with murderers on death row, covered a horrific serial killing case in California, an armored car heist in Las Vegas, and the murders of police officers in Alberta. He’s flown over Los Angeles with the LAPD, and gone on patrol with the Royal Canadian Mounted Police near the Arctic. And he’s reported from the Caribbean, Africa, and Middle East. All of it helped prepare him for his work as a successful crime novelist.
Today we’re here to talk about his latest novel FULL TILT.
Rick, please tell us a little about FULL TILT.
FULL TILT is the second book in the new series featuring Kate Page, a reporter with a global wire service based in New York City. Kate was orphaned as a child and had a hard life. But she’s a fighter and a survivor. We find Kate, now a single mom, working in Manhattan, when she receives a heart-stopping call from a detective. A guardian angel charm found at a horrific crime scene fits the description of the one belonging to Kate’s sister, Vanessa, who washed away after a car crash in a mountain river twenty years ago. Kate has spent much of her life searching for the truth behind her little sister’s disappearance. Now Kate is faced with one last chance to either mourn Vanessa’s death—or save her life.
How do you come up with the story lines you write?
I like to start with a “seed of ‘reality,’” to help shape a story. A larger part of my news reporting experience involved working the police beat. It put me face-to-face with the best and worst of the human condition. I was expected to write about it, to make some sense out of horrible incidents that made no sense at all, then present it in a story to readers on deadline. Sadly, the true horrors that happen everywhere every day seldom end well, if they end at all. This is something I bear in mind in writing crime fiction. I try to apply the fundamental code of most crime fiction, which is the restoration of order to chaos. And I try to start with a ‘grain of truth,’ to build on a solid foundation for a compelling story, from there I’ll apply the “what if,” this happened element, and off we go.
By Ian Walkley
Glen Erik Hamilton’s debut thriller introduces readers to an exciting new protagonist, Van Shaw, whose military and thieving skills inevitably find him immersed in the high-stakes and violent underworld of ruthless criminals where right and wrong aren’t defined by the law.
In PAST CRIMES, former thief and now Army Ranger Shaw receives a call from his criminal grandfather Dono to come home to Seattle. But when he arrives at Dono’s house in the early hours of the morning, Van discovers the old burglar bleeding out on the floor from a gunshot to the head. With a lifetime of tough history between him and the old man, the battle-tested Ranger knows the cops will like him for the crime. Diving back into the illicit world he’d sworn to leave behind, Van reconnects with the ruthless felons who knew Dono best. Armed with his military and criminal skills, he follows a dangerous trail of clues that leads him deeper into Dono’s life—and closer to uncovering what drove his grandfather to reach out after years of silence.
The book already is creating buzz: Lee Child described it as “a home run off the first pitch,” and J.A. Jance called Hamilton “a gifted writer with a sure hand.”
Glen, first tell us what made you come to write this type of story.
The story evolved by blending my favourite aspects of mystery literature. I’m never quite sure what to call it. It’s definitely intended to be thrilling, with a lot of action scenes. It has many characters who are crooks tangled up in their various schemes, but it’s not strictly a crime thriller. And there’s a fair amount of good old-fashioned whodunit in the recipe. Add a dash of memoir, since we see Van at different ages as he’s growing up with Dono. A bouillabaisse thriller, perhaps? Mystery smorgasbord?
Speaking of Dono, tell us a little about the relationship between Van Shaw and his grandfather—how is that background an important element in the changing nature of Van Shaw?
Van came to live with his grandfather Dono—a career criminal—at six years old after his mother died. Dono and Van’s mother had a falling out, and Dono may be trying to make that right by giving his grandson a home. But of course, Dono’s approach to raising a child is a little outside the norm. Van grew up with a very skewed sense of right and wrong. As an adult and as a soldier, he’s worked hard to reset that moral compass.
In David Putnam’s new novel, THE REPLACEMENTS, ex-cop Bruno Johnson is drawn into a deadly, twisted game to save two kidnapped girls. They’re in the hands of Jonas Mabry, a man Johnson once saved from death—as a child, Mabry was shot by his own mother. Now, seeking a warped form of revenge, he’s demanding a $1 million-dollar ransom for the girls.
Following the events of 2014’s The Disposables, Johnson is living in Costa Rica when the book opens. He’s hiding out from the FBI, tending bar and supporting eight children he illegally rescued from abusive homes. Johnson agrees to help a former colleague and risk arrest back in L.A. to help track Jonas down.
To write THE REPLACEMENTS Putnam, who’s now retired, draws on his former law enforcement experience. During his career, he worked primarily in California on teams for patrol, investigations, S.W.A.T., narcotics, violent crimes, criminal intelligence, internal affairs, detective bureau, and as child protective services coordinator. His final assignment in law enforcement was as a Special Agent working in Hawaii.
He took some time out from growing organic California avocados and spending time with his wife, Mary and their two dogs, to answer a few questions about THE REPLACEMENTS, and writing contemporary thrillers.
Your hero from The Disposables returns in THE REPLACEMENTS to work on a case for which he has a strong personal tie. How important do you believe a link between the hero and his goal is in a contemporary thriller?
I believe the goal is only the vehicle or framework to display character. What is more important is how the character evolves within that framework. In order for the story or novel to be a success, the character has to be three-dimensional. I believe this is accomplished through voice: consistent, strong, emotional, unique and with nuance of point of view. A long-time mentor of mine, Jerry Hannah, has always drilled into me that: story is not story; character is story.
By John Raab
Stephen Edger started out like thousands of other authors today and self-published his first novel, Integration in 2010. By 2014, he’d not only had several other successful titles on Amazon, but was picked up by Endeavour Press, which published Crosshairs, the first in his The Cadre series.
The Big Thrill recently had a chance to catch up with Stephen to talk about his second book in the series, COMPLICIT .
COMPLICIT is your latest book, can you give us the inside scoop, not on the back cover?
COMPLICIT is the second book in The Cadre series and follows on from where the first book (Crosshairs) finished. It is now November 2014. The current Prime Minister has been executed by ‘The Cadre’ a secret organization fronted by the heads of industry (media, finance, security services etc.). They have plans to start a new war on the Middle East, with a view to driving forward a New World Order, with Britain at the head of the table. The trouble is: the man hired to kill the PM, Dylan Thomas, is a petty thief who has just ripped off a loan shark, drug dealer and the Russian Mafia, and is on the run. The group identify Dylan’s oldest friend, Connor Price, as their best chance of silencing Dylan before he reveals their plans.
It’s a political thriller with a ‘man against the world’ plot.
There is a debate between Character Driven vs. Plot Driven, which side do you stand on?
Definitely plot driven. I always start with a plot and build characters around it. You can write the strongest character, but if the plot is weak, you will upset your readers.
You have published over a dozen books, when someone meets you for the first time where do you suggest they start?
Of the eight novels I’ve published, three of them are part of a trilogy (Integration, Redemption and Shadow Line), three of them are standalone stories (Remorse, Snatched and Trespass) and the final two (Crosshairs and Complicit) will be part of a series when I publish the final part (Double Cross) in June this year. Despite this, the time periods for each story mirror the order they were published in. Although the main characters can vary from book to book, a number of the background characters (e.g. police officers) appear in several of the stories and I make references to previous stories in later books. I guess what I’m trying to say is people should start with my first book Integration and work forwards.
Oh, what a sorry sight we must have looked, two New York writers of Irish descent, staggering from bar to bar along Seventh Avenue on a cold night in January. But it was the first night of the NFL playoffs and the Patriots versus Ravens had every bar with a television packed. Tim O’Mara and I finally found a relatively quiet table in the back of one of those fine establishments and ordered something medicinal—we were both fighting colds. Tim is the author of three mysteries featuring ex-cop turned public school teacher, Raymond Dunne. Sacrifice Fly, which introduced the series, was nominated for the Barry Award, followed by Crooked Numbers, and his latest, DEAD RED, published by St. Martin’s Minotaur in January. The New York Times has called his work “authentically gritty.”
Tim, the police are New York’s finest, the firefighter’s, the bravest. What are the public school teachers? The toughest?
I love working with kids. I started out as a camp counselor and still feel a bit like one now.
But, twenty-seven years in the New York school system? You’ve been a mainline middle school teacher, a Special Ed teacher, a dean, and now you work in an Upper West Side school. How do you think this has molded you?
I’ve seen so many changes. It’s the things that remain the same, though, that blow my mind. We still have folks who’ve never stood in front of a group of teenagers, but have the whatever to try to teach my colleagues and me the best way to do it. I have a pretty simple philosophy about that: the farther you work from an actual classroom with real live kids, the less you know what you’re talking about. And the kids—they’re great. Sure there’ve been societal and technological changes since 1987, but the kids are amazing. They never bore me, they occasionally crack me up, and they are a constant source of inspiration for my writing. Which I will deny if I’m ever sued.
There’s more than a bit of you in Raymond. You made what I think is a great choice to have him be an ex-cop from a cop family—his uncle is the Chief of Detectives. It gives him immediate credibility—both with readers and with other characters. Where does that come from? Are you from a police family?
Yes and no. Not the same, at any rate. My brother is a Sargent with the Nassau County Police out on Long Island. But he’s the only one of us to go in that direction. But you’re right, Raymond is a combination of the two of us.
By Dawn Ius
After a two-year hiatus, Thomas Perry returns to his bestselling Jane Whitefield series with, A STRING OF BEADS—a fast-paced thriller about how abandoning the past can sometimes be the hardest thing to do, even when your life—and the life of those you love—depends on it.
It’s a book Perry has wanted to write for some time, but it wasn’t until he received a letter from a fan that he found true inspiration.
“I acquired a friend who might be called my ‘culture guide,’ an expert in Senca culture,” he says. “He’s a Canadian lawyer specializing in rights issues concerning the Iroquois nations, who live on both sides of the border.”
He’d read all of Perry’s books, and while he enjoyed the stories, he was able to share expertise that not only helped Perry understand some of the more intricate parts of the Seneca culture, but also got him fired up to return to this series.
“He had a lot to say that was new to me, and new to readers, and so, I knew it was time to write,” Perry says. “I could hardly wait.”
In A STRING OF BEADS, Jane Whitefield is enlisted by the eight clan mothers of her tribe to find one of her childhood friends who has been accused of murdering a local white man. But as she retraces the steps of a walking trip she and her fellow tribesman took together at age fourteen, she soon realizes the police aren’t the only ones after him—and bringing Jimmy back before he is killed or arrested might be much more dangerous than she anticipated.