Frank De Blasé’s new novel, A COUGAR’S KISS, takes readers on a journey back to a gritty mid-20th century world of dark deeds and mean streets. It’s that territory of pulp and noir with dangerous mobsters and beautiful women who might be even more dangerous.
In this second adventure for his crime scene photographer Frankie Valentine, following Pine Box for a Pin-Up, the hero gets called back from Hollywood glamour photography to his more treacherous New York stomping grounds.
A body has turned up, that of a childhood friend who’s been missing 10 years. Soon Frankie finds himself dealing with a hidden stash of money and remnants from his past including the mother of a junkie stripper who once led him into manhood.
De Blase sat down recently to answer a few questions about the book for The Big Thrill.
A COUGAR’S KISS is set in 1960. What about that era made it intriguing as the setting for your series and this book in particular?
I’ve always dug everything retro/classic from that era; the music, the movies, the fashion. As a crime writer, I also get a kick out of showing readers that there were no good old days. Love, lust, greed, and murder are all universal themes and like catsup, they’re good everywhere. Also, the capers I create are solved psychologically with guts and instinct rather than science. It’s hard to be a liar in a DNA world.
How do you immerse yourself in that time period as you write? Any particular music that sets the tone? Do you watch old TV series?
The immersion is more in the story once it gets rolling. I’m already immersed in music and classic movies, and the patter of the parlance that pops up throughout.
“Graduate school in creative writing can teach discipline, it can help a writer make contacts, and it can put a writer in a supportive environment,” says associate professor David Bell, who holds an M.A. and Ph.D. in creative writing. “But it’s not a magic bullet,” adds the bestselling author. “A writer still has to be able to tell a good story and have the discipline to keep writing when school ends.”
David Bell’s latest suspense novel is SINCE SHE WENT AWAY, a fast-paced page-turner that Romantic Times has named a Top Pick for June. Women are disappearing in Hawks Mill, including Jenna Barton’s best friend and her teenage son’s new girlfriend. Jenna begins to wonder how many secrets one small town can hold as she desperately tries to untangle the truth.
Although Bell and I both attended ThrillerFest X last summer, we didn’t manage to meet until now. But I knew we’d get along when I discovered our shared fondness for cemetery walks.
Your first published works were short stories. How did writing them prepare you for the transition to writing novels?
Most writers start out writing short stories for practical reasons. In the length of time it takes to write one novel a writer could produce five, ten, or fifteen short stories. And short stories can teach useful skills for the suspense novelist—efficiency, concision, control. But, in the end, the only thing that can teach someone to write a novel is to write one. I tell my students they have to write a bad novel before they can write a good one, so get started on that bad one before it’s too late.
You’ve written eight novels in as many years. I saw a BBC documentary in which Scottish crime-fiction author Ian Rankin explained his strictly detailed schedule for writing a novel a year. Do you have a regulated routine?
In order to write a book every year—and continue to work my day job as a college professor—I have to be disciplined. Since I have summers and holidays mostly free from my teaching job, I do a lot of writing then. During the academic year, I spend time generating ideas, working on outlines, and revising. I’m a creature of habit. I like routine, so this works for me.
I always make an outline. I can spend as much time on an outline as I spend writing a draft of the book. By working out as many character and plot issues in the outline, the writing of the book is a little easier. It’s a road map to where I want to go. Still, surprises crop up. My outline for SINCE SHE WENT AWAY had a totally different ending. The ending of the published book just came to me as I wrote. If I’m surprised then I figure the reader will be surprised as well.
Although still recovering from a recent abduction, vulnerable but strong-willed Delilah Price takes a job as a substitute art teacher to quell some of her recent financial pressures. Her desire to lay low, recuperate, and try to figure out her ever changing relationship with Detective Quick is thwarted by her uncanny ability to find trouble—or rather, for trouble to find her.
While Quick is busy working on a serial rapist case that seems to pull him away from her, a series of events offers Delilah clues regarding his case. Her inability to wait for police support draws the attention of a dangerous adversary. Reminiscent of the suspenseful twists and turns of Israel’s first novel, Over My Live Body, the second in the Delilah Price series, STUDENT BODIES, will keep readers guessing until the end.
Having previously written short stories, Israel says “I wanted to delve into something that allowed a longer lasting relationship with my characters.” While she didn’t initially plan a series, Price’s character has continued to grow, and Israel plans at least one more book featuring Price, Foreign Bodies. “I am certainly not averse to writing more as long as my characters have the opportunity to grow. Delilah and Quick’s relationship is an on and off one and they will continue to decide whether they should stay together or not. Several other characters, particularly Freddie, will make appearances.”
Israel describes Delilah’s character as a bolder, braver version of herself.
“I’ve shared a lot of her self-doubt and discomfort when doing something out of my comfort zone. I’ve taught classes and wondered if I made a difference. I’ve waitressed and once dropped a tray of roast beef dinners at a banquet,” she says, noting that many of her other characters were inspired by “walk-ons,” or people she’s seen in passing.
In order to get into the mindset of her teenage characters, Israel reads Seventeen and Girls Life. And she acknowledges a secret affinity for gossip magazines, “to get a feel for who [teens] listen to on their iPods, who they’d like.” As for Israel’s other reading choices, she admits that they are all over the map. “Lately I’ve read books by Gillian Flynn, Linda Fairstein, and Julia Dahl. I also want to reread my collection of Raymond Chandler books.”
A Blistering Collection of Short Stories
By Alex Segura
Jen Conley is a closer. Her short stories–packed with bite and meaningful and evocative twists–don’t just impress you, they stick with you. As someone who has hosted a handful of Noir at the Bars, I can attest to this. When you put together a lineup of short story readers, you’d be foolish to put Conley anywhere but last. She’s that good. She’s a closer.
CANNIBALS: STORIES FROM THE EDGE OF THE PINE BARRENS takes readers on a tour of the New Jersey you thought you knew. Not the Jersey gleaned from too many episodes of The Sopranos, but the Jersey you’d find near its center, where the mundane lives of many can be disrupted in a moment through violence.
Music, murder, extramarital affairs, blood, lies and double-crosses are front and center in this collection of Conley’s best and most eyebrow-raising tales, and you’ll be left shell-shocked and looking around for the next volume.
It was a pleasure to get a chance to talk with Conley about the book and what inspired here.
Jen, what motivated you to put together a short story collection?
I’ve always loved short stories–reading and writing them–and putting a collection of my stories together was just something I always wanted to do. But I wanted to make sure my collection was something I could be proud of, and that means loving each and every story, so it took a long time until each story came to me. I didn’t want any filler stories–because that’s a major problem with story collections if a writer is just writing to put together a collection.
How did DOWN & OUT become the right fit in terms of publishing?
Most of my stories fall under crime fiction, or at least gritty, something DOWN & OUT does. Short story collections are a hard sell and I was concerned when I pitched it that they wouldn’t be interested, but luckily they were. The stories are loosely connected, if not by characters but by geography and class. DOWN & OUT is established, they do gritty crime fiction, it’s also a good indie publisher. It seemed like a perfect place for me.
Jerry Keneally is a native San Franciscan—a rare breed nowadays. He’s been a policeman, fireman, and licensed private investigator for more than twenty years, and also served as past vice president of the Private Eye Writers of America.
His first books were all first-person private eye adventures, including ten in the Nick Polo series, in which most of the action took place in San Francisco. The following eight thrillers moved around from London, Madrid, Russia, and so on, but often containing a scene or two in San Francisco, along the lines of the write what you know.
Keneally is back in the city with a new series, stating with Jigsaw, featuring an offbeat hero, Mr. Carroll Quint, an entertainment editor for the San Francisco Bulletin. Keneally talked with us about this new release for Down and Out Books.
Tell us about Screen Test.
The idea for SCREEN TEST had been rambling around my little gray cells for years. My older brother, Don, was an inspector for the San Francisco Police Department in the Sexual Assault Division. When Steve McQueen came to town to film Bullitt, Don and his partner were assigned as bodyguards to McQueen and were told by the powers that be—the mayor and the Chief of Police—to assist him in any way possible in making the movie.
At that time, 1968, McQueen had a reputation as a bit of a cop-hater, but Don said the actor could not have been friendlier, and was interested in learning all he could about real cops and how they worked. They drove McQueen around on “night runs” and showed him different locations that could be used in the film. McQueen responded by using several cops parts in the movie.
So I had the McQueen angle, but needed more for a book, so I folded in a case involving the murder of a transsexual cabaret singer that I’d worked on as a private investigator.
For three years, Detective Jude Fontaine was kept from the outside world. Held in an underground cell, her only contact was with her sadistic captor, and reading his face was her entire existence. After her experience with isolation and torture, she is left with a fierce desire for justice—and a heightened ability to interpret the body language of both the living and the dead.
Author Anne Frasier recently sat down with The Big Thrill to discuss her latest book, THE BODY READER.
How did you create the character Jude Fontaine, and at any point did you find it difficult to write from her perspective?
She was difficult because it was important that she be removed and shut off. It’s hard to make that kind of character sympathetic, regardless of what she’s been through.
Would you ever consider writing a sequel to this book and if so, do you have any ideas on what you would focus on?
I’d love to write a sequel. It would be a bigger story, with a bigger canvas. Last year my editor was eager for me to sign on for a second book, but since I’m still writing the Elise Sandburg series I suggested we wait to see how readers respond to The Body Reader.
Broken family dynamics seem to play a large role in this book. What inspired you to include this topic in your story?
I came from a pretty damaged family, so it’s hard to keep that kind of thing out of my books no matter how I try. 😀
By Matt Ferraz
Having traveled around the word for twenty years as a DEA special agent, J. Todd Scott knows the drill when it comes to law enforcement procedures. With his upcoming debut novel THE FAR EMPTY, Scott creates a modern western environment, set in the small town of Murfee, in the Big Bend area of Texas. There, two men join forces to take down an untouchable figure that commands the town. Chris Cherry is a once promising high school football hero who has to come back to Murfee and become a deputy under the orders of Sheriff Standford “Judge” Ross. Caleb Ross, on the other hand, is Judge Ross’ son, and believes his father might be responsible for the death of his mother. Together, Chris and Caleb form an unlikely partnership to defy the sheriff, and find many skeletons in the town’s closets.
Scott already had the book’s opening line (My father has killed three men…) written down for quite some time, but only managed to carry on after deciding to set the story in the Big Bend. Instead of creating a straightforward period piece western, Scott decided to set THE FAR EMPTY in modern days, in order to tackle many of the issues he got to know during his years as a law enforcement agent, such as drug and alien smuggling and corruption. That meant a lot of research on the region, which also served the book’s two upcoming sequels, one of which is already finished.
Westerns being a cinematic genre by definition, Scott draws lots of influence from classic and spaghetti western, and also later movies like Unforgiven, The Assassination of Jesse James by the Coward Robert Ford and Appaloosa, as well as the True Grit and 3:10 to Yuma remakes. William Fridekin’s To Live and Die in L.A., adapted from a book by former U.S. Secret Service Agent Gerald Petievich was also an inspiration. The author wanted to do for the Big Bend what that movie did for Los Angeles.
But can all this roughness and grit affect the literary quality of a novel? “Ultimately, I want the places in my books to feel real, to seem truly three-dimensional, even if the characters that inhabit these places make dramatic and often unwise decisions,” the author explains. “I also try to capture some lyricism in language, even when I’m writing about darkness and violence. The descent of Duane Dupree in the course of the narrative as he succumbs to meth addiction is a prime example. In order to really show his mind’s inexorable disintegration, I put him through several vivid, dramatic hallucinations. It’s tough at times for Duane to know what’s real, and I imagine that’s true for the reader as well.”
By Amy Lignor
“Writing is hard!” may have been one of the best lines ever stated by someone in this industry. But when it comes to author Bryon Quertermous, the “hardhat” of writing comes hand-in-hand with that of being an editor for others.
Quertermous chatted with The BigThrill this month to share his advice on writing, his future thoughts regarding the cyberpunk genre, a writer’s take on the benefits of the “Golden Arches,” as well introduce new work that will definitely have suspense/thriller fans begging for more.
Being an author and an editor, you wear two very different hats. Can you describe how easy/difficult it is for you to step away from your own work when it’s completed and let another editor take over?
It’s not difficult because I know when I’m too close to a manuscript for my own editing instinct to be of any value. If I had the luxury of putting every manuscript away for a year and then looking at it with fresh eyes, I might be more inclined to only trust myself. I’ve been lucky to have an editor in Jason Pinter who is great and mostly pushes me to try harder on the stuff I want to be lazy about, and who provides a different POV from the reader and industry side that I usually find inspiring.
Can you please tell readers a bit about your new release, RIOT LOAD, and what to expect from the tale?
On the surface, RIOT LOAD is about a sperm bank robbery. Failed grad student, lazy writer, and all-around trouble magnet, Dominick Prince, is guilted into a scheme to steal the frozen sperm of a dead man that quickly blows up into a turf war between violent factions of a fading Michigan crime family. But it’s really about fatherhood and the weight of legacies we put on ourselves. It’s also about how to deal with the boredom and expectations of actually achieving a major life goal too early in life.
Say there was a time capsule being put together by writers. What advice would you put in for the future author who happens to find that treasure and dig it up?
The best writing advice is timeless. It also borders on absurdly common sense. But I would imagine a writer of the future would be even more bombarded by technology and technological and societal distractions than even we are now, so I would give two variations on the best writing advice. Read a lot and read widely, and keep your head down and write a lot. I don’t care what they’ve invented in the future, this is still the only way to get better as a writer.
By George Ebey
Christine Carbo brings us her second thriller set in the Glacier National Park. In this story, a wildlife biologist’s body is found at the base of a ravine, prompting rookie investigator Monty Harris to take on the case. He’ll soon learn that the truth is buried in the gorgeously terrifying wilderness surrounding him. And the wilderness does not give up its secrets easily.
The Big Thrill recently caught up with Carbo to learn more.
What first drew you to writing stories involving mystery and suspense?
I didn’t begin to dabble with writing until I was in college—a short story or two and a little poetry. After college, while teaching English and Linguistics at the community college in my hometown in northwest Montana, I wrote two non-genre novels that I simply put aside. Then, in my early thirties, I became a single mom, continued to teach as an adjunct instructor, but also supplemented my income by doing technical writing. Creative writing took a back seat for some time because I was focused on lesson plans, grading essays and working on technical documents late into the night after my little boy went to bed. Eventually, I took up Pilates as a hobby, began teaching it and opened a studio and quit technical writing. I found myself with much more flexibility—no pun intended—to return to what I now understand is my true passion: writing fiction.
Once I decided to return to novel writing, I chose the world of crime because I love reading crime fiction, especially those steeped in a strong sense of place: Denise Mina’s Glascow; Elizabeth George’s mysterious English countryside; Tana French’s Dublin; Dennis Lehane’s Boston, John Connelly’s Los Angeles… the list goes on. At first I thought, I just live in Montana with no sexy, dynamic, bustling cities around me. How was I supposed to write what I knew so that it was credible, but still interesting? Then it dawned on me that I lived only a half hour from a place that people from all over the nation and the world come to visit. And that place— Glacier National Park—is not only stunning, it’s haunting at times. Plus, some of the local areas around Glacier are economically depressed and tend to have their share of crime.
Automatically, when I began to think of Glacier, the awe and fear-inspiring grizzly came to mind, and I began to ponder what would happen if my main character had issues with bears at the very park he needed to conduct an investigation in. Hence, my first book, The Wild Inside, is as much about whether the protagonist will find some emotional peace as it is about who committed the crime. My second book, MORTAL FALL, featuring a secondary character from the first book, also takes place in Glacier. The park, in essence, remains a strong secondary character.
By Marcus Sakey
Rather than ask each other the same questions via email, authors Marcus Sakey and Johnny Shaw decided to have a conversation on the phone with no set plan. No prepared questions. They just let the conversation go in whatever direction it headed and made notes as they went.
This had nothing to do with both of them being unprepared for the interview or forgetting the deadline until the last minute. Absolutely nothing to do with that.
The following is a sampling of a conversation that was mostly laughing. Attribution didn’t seem necessary as neither author was great at keeping notes or really wanted to take credit for what they said.
ON THE PROCESS
“The process sucks. It’s also awesome. That’s the baseline, I think.”
“The thing is, I’m not really talented. I’m not a good writer. Honestly, my first draft reads like an illiterate ogre just started typing with their thumbs.”
“You’re a shitty first drafter.”
“Oh. Oh, man. Yeah. But with that draft I get the shape of the thing. Which is what I need to fix it. Then I just do a ton more drafts.”
“I’ll go 30 pages in the wrong direction. It’s part of my process. It sucks, but it’s part of my process.”
Tracking a Killer and Facing Down the Past
By Alex Segura
Even as a series pushes forward, there’s always an opportunity to go back to the beginning. Author J.T. Ellison manages to do both in her latest Lieutenant Taylor Jackson thriller, the menacing and intense FIELD OF GRAVES. With a serial killer on the loose in Nashville, readers are left to ride along with cops that seem just as damaged as the madman trying to speed up a nightmarish future. Jackson and some of Ellison’s most memorable characters join forces to not only defeat the killer—but to fight back their own haunted pasts. Ellison, a New York Times-bestselling author, keeps you on edge with stellar pacing and lively characters. Coupled with some surprising peeks into the history of some of her key characters and fans will not want to skip on the dark, haunting GRAVES. We had the pleasure of talking about the book and what’s next for the prolific Ellison.
What was the first thriller you ever read, and what about it made it memorable?
I read a lot of Tom Clancy back in the day, but the first thriller I remember getting really excited about was Nelson DeMille’s The Charm School. I loved the idea of the wolf in sheep’s clothing, a theme I explore over and over in my own work. Also, because of the imminent Russian threat to the U.S. (I actually took a class on global thermo-nuclear war my freshman year of college), I decided I wanted to join the Foreign Service and do my part to end the threat from abroad. I was on that path when I met my husband (who was, oddly, a CIA recruit at the time). Neither of us took it any further, though. So a life-changing read, indeed.
Definitely. What can you tell us about your writing process?
Schizophrenic, at the moment. Because of terrible scheduling on my end, I have my hand in several projects right now. I’ve given up on any sort of steady progress on anything and instead have been putting out fires, snatching whatever writing time I can. But when things are calm and normal, I keep shop hours. I do business in the morning and write in the afternoon. I am not a morning person, so this works well for my creative flow, which doesn’t hit its peak until 4 or 5 in the afternoon. When I open the manuscript, I reread what I wrote the previous day, edit it, fix any lingering issues, decide which scene I need to get out of my head, and go from there. I shoot for the whole scene, which generally is a chapter, or 1000 words, give or take. I research while I write, for the most part. I am a terrible taskmaster. If I stay on myself, I can write two books a year comfortably, three if I push it. I’m pushing it right now.
Tell me about FIELD OF GRAVES—what was the inspiration behind it and why did you find you needed to tell this story now?
The inspiration—I wanted to write crime fiction like John Sandford (here we are again, being influenced by another life-changing thriller.) I wanted a female homicide lieutenant who was half cop, half rock star, and Nashville had to be very integral to the story. So I wrote a novella, which was awful, then wrote Field of Graves, which wasn’t horrible. It was my very first full-length novel. (And yes, this all happened a decade ago. Which is wild.)
Field of Graves landed me my agent but didn’t sell, so I put it in a drawer, jokingly called it “my 80,000 words of backstory,” and wrote the next book in the series, All The Pretty Girls, which was my official debut. Field of Graves introduces Nashville homicide lieutenant Taylor Jackson, and the case of the University Killer results in Dr. John Baldwin, FBI profiler, joining the team. It’s the origin story for Taylor and Baldwin, and for Samantha—a prequel to both their series.
By Brad Parks
Allison Leotta is a former federal sex-crimes prosecutor in Washington, D.C. who now writes kickass, ripped-from-the-headlines thrillers. She has been called “the female John Grisham.” She has also been called “someone who tolerates Brad’s presence at the bar at ThrillerFest.” Therefore, they decided to sit down for this electronic chat about her latest novel THE LAST GOOD GIRL.
We’ll get to the serious subject of this terrific novel in a moment. But first: You write at your kitchen table. In order to be more in tune with you, I am writing this interview at my kitchen table. I can report it’s a typical day for my kitchen table, which means it currently contains: my children’s breakfast dishes and their contents (unfinished oatmeal, half-eaten biscuit); a stack of baseball cards; a purple sweater; nation cards from the board game Axis & Allies; some bills (unpaid, of course); and a plastic Minny Mouse cup that has some kind of bug crawling on the rim. What’s on your kitchen table right now?
Lovely! The bug is a nice touch. I’ve got: a glass bowl full of murky water and one immortal goldfish. A vase of dessicated flowers from my husband, to mark our (14th!) anniversary. I should clean it out, but there’s something about dead roses that’s perfect for a mystery writer (and, ok, honestly, it’s pretty far down on my to-do list; I’ll get to it after I change the poor fish’s water). Paint pens for my kids to decorate the Little Free Library we just installed in our yard. A game of Monopoly, mid-play (I’m the thimble, losing big time to my 9-year-old mogul, the cat). Soggy Cheerios, obviously.
Learning how to lose graciously at Monopoly is one of the real keys of parenting (hint: when you land on Park Place, say, “Oh, that’s okay. I’ll pass.”). How do you concentrate with all that crap around you?
I don’t. I’m at Starbucks. I appreciate that you know about my beloved kitchen table, but I’ve made some changes. Ever since I saw a kid steal a computer right from under the hands of a coffee-shop patron WHILE the poor woman was typing, I’ve been remarkably productive in public places. You know the old ass-in-chair advice for writers? Well, nothing keeps your ass in that chair better than the fear of losing your laptop to the local heroin addict. I write like a demon at Starbucks.
Yes, but the barista still thinks his fan fiction is better. Switching topics… Up until five years ago, when you walked away from a perfectly good job at the Justice Department to write novels—crazy! who does that?—your professional writing experience consisted of legal briefs. After five years as a novelist, how has your writing changed?
I get paid less for it.
Lisa Back is a writer first and a forensic scientist second. These two passions came together for in a series of suspense stories of absolute perfection. The writer of unforgettable bestsellers starring forensic scientist Theresa MacLean (Trail of Blood, Evidence of Murder, and Takeover), Black takes her readers on fast-paced journeys, possibly sparked by a latent fingerprint or a spot of blood.
Black was kind enough to take time out and talk with The Big Thrill about her latest title, giving us a peek into her latest offering, her writing career, and even her thoughts on what the elusive Ripper might manage to pull off in the high-tech forensic world of 2016.
When did you have the desire to add writing to your resume along with forensic scientist? Did one overlap the other?
I’ve written since I was a kid, actually, so that “career” came first. I wrote amateur sleuth mysteries before I got into my current line of work, so once I had the training in forensics it just made sense to approach the murder mystery from that point of view.
Is there any particular thing you dislike about writing?
It’s hard. And after I spend months and months doing it, my agent—followed by my editor—want changes, and I have no idea if the changes make the book better or worse. No idea. And…it’s really hard.
By Andrew Case
We knew they didn’t care about us because they scheduled us during lunch.
Every spring, the New York City Council would hold budget hearings, asking every city agency to come forth, boast about their performance, and beg for a little supplemental funding. Each year, I would write the testimony for the board chair and executive director of the Civilian Complaint Review Board—the city’s official all-civilian agency dedicated to investigating police misconduct. All the criminal justice agencies—the NYPD, the District Attorneys, the Department of Corrections, and us—would be scheduled for the same day. And every year, year in and year out, we would be scheduled from 12:15 to 1:15, and every member of the city council save two would finish fawning over New York City Police Commissioner Ray Kelly and go get a sandwich.
During my decade investigating police misconduct for the City of New York, the most important lesson I learned was that, during that time, almost no one cared about police misconduct. We issued reports about the geometric increase in the number of street stops years before the NYPD got sued over it, and it was a few graphs in the back of the metro section. We reported on an officer who had tried to get someone to cough up a few grams of heroin by whaling on him with a nightstick until his spleen was ruptured. Nothing. We reported on a cop who had dialed 911 on his own cell phone and pretended to report a crime so he could stop and search some kids he had a hunch about. No one cared. Broken bones, pepper spray, ethnic slurs—from 2001 until 2008, it was the kind of thing that a grateful city could easily forget. Didn’t you know? The cops are all heroes.
I left the CCRB in 2008, but it never left me. I wrote a play about my experience there in 2009, and it had healthy runs in Miami, Philadelphia, New Jersey and Chicago. And when I moved on from theatre and started writing fiction, I realized that my topic had been staring me in the face for years.
By Dan Levy
What are little girls made of?
Sugar and spice
And all things nice
That’s what little girls are made of.
But are they really?
This stanza from the poem (or nursery rhyme), credited to English poet Robert Southey, is a preeminent theme in Sheila Bugler’s third Ellen Kelly novel, ALL THINGS NICE. The book is more than an opportunity to evolve the series protagonist and create something new for fans to devour. For Bugler, it was the chance to explore how individual demons find new life through parenting.
“As a mother myself, I’m only too aware of how easy it is to mess up this important job. I always think loving your children is easy, but being a good parent? That’s the difficult part,” she says.
In an email interview with Bugler for The Big Thrill, we explore how this topic is embodied in the character of Charlotte Gleeson, how protagonist Ellen Kelly grows in her own right, as well as Bugler’s views on writing. Here’s an edited version of that interview:
Revelatory Stories from a Master of Crime Fiction
In spring 1959 the California newspapers were full of stories about a young woman’s disappearance. Linda Millar, a 19-year-old honor student, vanished from the University of California Davis campus. For more than a week, her distraught Santa Barbara parents, Kenneth and Margaret, tried to find her, hiring a private detective and asking the media to publish stories on the search. Linda read a written appeal from her father in one newspaper and telephoned home. She had been wandering through Northern California and Reno, Nevada. “She just wasn’t herself,” said a private detective.
The problems of Linda Millar ran deep. Three years earlier, driving drunk, she hit three pedestrians and killed one, a 13-year-old boy; she was on probation and under psychiatric care when she disappeared from college. After her father drove to Reno to reunite her with her family, Linda was hospitalized for emotional stress.
Leap forward to the early 1960s: Three novels in the Lew Archer detective series hit the stores: The Zebra Striped Hearse, The Chill and The Far Side of the Dollar. They were meticulously constructed mysteries, with spare yet eloquent prose and haunting Southern California atmosphere. And the plots of all three books revolved around the disappearance of a young woman or a young man, or the breach between a father and daughter. The author: Ross Macdonald, the pen name of Kenneth Millar. The author of 18 Lew Archer novels, Macdonald is today considered the third in the “holy trinity” of American crime fiction icons, with Dashiell Hammett and Raymond Chandler. Macdonald’s writing style has influenced writers from Sue Grafton to Michael Connelly.
Author and critic Tom Nolan selected these three books for the collection, published by the Library of America. “He was a brilliant writer in so many ways and these three are first-rate books representing a golden period.” (Macdonald aficianados debate whether The Chill or The Galton Case is his best book.) The connection between the personal traumas of Kenneth Millar and the professional work of Ross Macdonald is anything but news to Nolan. He wrote an acclaimed 2008 biography of Macdonald revealing the at-times unhappy life (an impoverished, fatherless Canadian childhood, a difficult marriage) of the deeply private writer, who had been known to make it a condition of press interviews that his daughter not be mentioned. He died of Alzheimer’s disease in 1983.
By Matt Ferraz
Known as the Queen of Crime in Denmark, Sara Blaedel is the author of the Louise Rick series, which just reached its seventh volume with THE KILLING FOREST. Louise Rick is a member of the Special Search Agency, an elite unite dedicated to finding the missing, and her search for a 15-year-old boy leads her to an ancient religious cult. We talked to Sara about the series, her writing career and the challenges she had to face as a woman writing about crime.
Introduce us to your main characters.
Louise Rick is a smart, hardworking, sometimes stubborn, independent woman, who takes her work as a police officer very seriously. She’s human; she’s been through her own struggles and very difficult times, some of which she continues to work through. She’s both extraordinary and an everywoman. She commits herself, completely, to searching for the missing in Denmark, while bringing those who victimize them to justice. Louise is curious and hungry to learn, like I am. Her partner in work and now in love is Eik, a wonderful and decent guy, who is far more laid back than she is. Louise adores her son, Jonas, once her foster child, and now a part of the family she can’t imagine living without. And she gets great support from her dear friend, Camilla, a bright and spirited journalist. Sometimes their professional paths cross and they join intellectual forces.
How much of you is in Louise Rick?
This is a really interesting question. When I first conceived of and starting writing Louise, there was quite little of me to be found in her. I was determined to ensure that she would be her own person, and so I was careful not to saddle her with all the things I wanted to be or already understood. But over the years, as she and I have evolved, more and more of my life has gone into hers. As more of her own life has come into mine. It works both ways. We now even have the same dog. But to be clear, we are two different women, doing two very different jobs.
Can you imagine the Louise Rick series existing if the protagonist was a man?
I can absolutely imagine Louise as a male protagonist. I really embrace and love writing male characters like Eik, but there’s something quite different that happens with the female figures I write. Frankly, I’m not sure Louise’s stories, as I envision them, are set up for a man to drive, and I’m certain they wouldn’t play out as organically.
Reporter Pete Fernandez’s life is in ruins when he makes his return in Alex Segura’s DOWN THE DARKEST STREET, the follow-up to his debut, Silent City.
As the book opens, Fernandez’s best friend is dead, his newspaper is career lost, and his ex-girlfriend is staying with him while her own marriage falls apart.
Despite those problems, Fernandez is drawn into an investigation involving a missing girl and is soon put in the path of a vicious and calculating killer who is “cutting a swath of blood across Miami.”
While the prospects are grim at the outset, Segura says his new novel “tells a tale of redemption, survival and the sordid backstreets of Miami — while asking the question that many are too scared to answer: When faced with pure darkness, would you fold or fight?”
Segura, a Miami native and critically acclaimed comic-book script writer, recently answered a few questions for The Big Thrill about DOWN THE DARKEST STREET.
Readers who encountered Pete Fernandez in Silent City got to know his troubles and his struggles. What new dimensions did you discover in writing this second adventure?
We find Pete in a rough spot at the beginning of DOWN THE DARKEST STREET. He hasn’t fully recovered from the evil he faced at the end of Silent City, and it’s starting to wear on him. His life is in shambles, and we accompany him as he tries to, somehow, get it in order. The Pete that readers see here is deeper and more self-aware, while curious and brave.
Jeffrey Hess’ debut novel, BEACHHEAD, employs three of this passions—a Navy veteran, a Florida setting, and a 1980s time period. Hess himself is a Navy veteran and has lived in Florida most of his life. He holds a master’s degree in creative writing and has taught military veterans and their family members creative writing for nine years.
I asked Hess to talk about his new book for The Big Thrill. Here, he shares his inspiration for his protagonist and how his personal life shaped the story.
The hero of BEACHHEAD, Scotland Ross, is a Navy-prison parolee who’s being manipulated by a shady gangster. What inspired you to create such an unlikely hero?
I knew he’d be a Navy vet with a set of principles he can never live up to, because of his temper and because that’s just how his luck runs. After a few “What-If” scenarios, the next thing I knew, he’d spent time in a Navy prison in Leavenworth, Kansas. That was a world that fascinated me, and quite frankly had scared the shit out of most of us when I was on active duty. Horror stories of spending the day breaking rocks and the nights locked up in cells with no windows were made more severe by the sheer extremism of the Uniform Code of Military Justice. In our minds, military prisons weren’t subject to the same standards as civilian prisons and often skirt issues of basic human rights. Nobody wanted to be sent there, even though plenty of guys were.
How did your service in the U.S. Navy shape the world you created in BEACHHEAD?
The world of BEACHHEAD is the physical world I grew up in, but while serving aboard ship, I always carried a book in my back pocket and read at every opportunity. Being repeatedly immersed in fictional worlds while living in a world unfamiliar to most people formed endless possibilities in my mind.
Many of us outside of Florida were not aware of the fishing ban and how that affected people. How does this play a role in BEACHHEAD.
BEACHHEAD began as a short story, which I started after sitting at a bar on St. Pete Beach, where the bartender told me I should write a story about the fishing ban. His brother-in-law had been locked out of business and couldn’t pay back the loan on his boat. It was a great idea, but I knew nothing about grouper fishing. So I made the brother-in-law a tertiary character, but the fishing ban is still a major plot point. My main character is affected by the moratorium because he works in a tourist area.
For someone who nearly needed a bayonet in the spine to be encouraged to attend his English classes, no truer words were ever spoken.
You see, I was the kid in the heart of the Central Valley of California who was too smart for his own good. I thrived and reveled in hard sciences like physics, chemistry, and calculus. I loved the clean and simplistic world of numbers and facts. My analytical and type-A personality ravenously devoured facts and regurgitated them more readily than the world’s favorite mailman in a Boston bar.
I hated writing. I detested it. I loathed assignments that cramped my hand and offered no new information to further inflate my more-than-healthy ego.
I received my first glimpse into a dimension I’ve come to love exploring during my sophomore year of high school back in 1995. Mr. Thomas Craig patiently endured my reluctance to finish his weekly writing assignments. His constant pressure, combined with an amazing teaching style, frustrated me and, unbeknownst to me at the time, taught me the value of writing as an outlet to express oneself. I expressed my displeasure with his assignments in my weekly journal—and walked right into his trap.
Mr. Craig, if you read this… thank you.
Fast forward to college. Once again, while swimming in a vat of organic chemistry, microbiology, and calculus, I stumbled into an English class chock full of writing assignments we were required to pass. One such assignment involved free writing about a one-word topic picked by the professor. The third free write topic was “courage.” I thought back to Thomas’s teaching, and was surprised to find a smile on my face. I wrote, “This is.” And turned in the paper.
England’s Somerset Levels are a mainly flat, misty region of the county of Somerset, comprising an expansive area of marshes and waterlogged fields, criss-crossed by ditches, or rhynes, as they are called. As a local, I have got used to the sight of large-scale flooding around me. During the winter of 2013/14, however, the Levels suffered the worst floods in living memory. Vast tracts of countryside were submerged under several feet of water, which also cut off villages and main roads as well as destroying hundreds of homes and businesses.
It was a major catastrophe, but, as a professional writer, it also provided me with the inspiration for the latest novel in my local crime series, featuring feisty police detective sergeant Kate Lewis and her laid-back detective constable partner and husband, Hayden.
“What if?” is the question that is born in the minds of most crime writers when their imagination is stirred by an event that could provide the ingredients for a novel. My latest “what if?” kicked off with the sight of a village marooned by floodwater on the Levels. Its isolation was so complete it was accessible only by boat. As I lay awake in bed one night, I imagined the partially submerged body of a woman trapped amongst driftwood at the edge of a swollen river and a voice in my head asked, “Accidental drowning or murder?” Obviously, it had to be the latter! Immediately, SANDMAN was born—though at the start, I didn’t have a title; that came once the plot began to take shape.
So, I had the location and I had a body, but nothing else except the first burning question: who was the victim? It was a news broadcast about the flooding that gave me the answer. Seeing a TV reporter in wet weather gear, standing in the pouring rain with acres of flooded fields behind her as she provided an update on the situation, suggested the who.
The second, more difficult question, was why? Motive is always the key feature of any murder, so why had my journalist been killed? What had she done to merit such a violent end? That soon came to me too. What do journalists do? Like police officers, they investigate and they can make themselves unpopular as a result. My victim would be a journalist sent to report on the floods who is “silenced” after she stumbles upon a much more sinister news story.
From that point on, the story quickly gathered momentum. My imagination took over completely, racing on faster than my aching fingers could transfer the jumble of dark thoughts spinning round in my head to the keys of my laptop. At times, I came to a juddering stop when mental fatigue left me totally drained and bereft of ideas—a situation I have had to confront with all my novels. But this time, as on all the other occasions, the Somerset Levels, with their wild mystical beauty, were on hand to fire my imagination and restore my creative energy. And in a strange way, my key characters also provided the additional stimulus to keep going.
A popular UK quiz show recently posed this question to a contestant: “Author Linwood Barclay is known for writing fiction novels in which genre—A) Science Fiction, B) Crime, C) Romance?”
The contestant guessed, “C) Romance.”
When I spoke to Barclay recently, he laughed at the episode. “Such are the highs and lows of being a writer. I think ‘I’ve made it’ because I’m a question on a quiz show, then I’m pushed back down to earth when the contestant has no idea who I am.”
The humorous reaction probably shouldn’t come as a surprise. After all, before leaving the newspaper business to write novels full time, Barclay was a humor columnist for the Toronto Star, Canada’s largest newspaper. And his first novels, the Zack Walker series, were hailed as the funniest crime fiction around.
But it wasn’t his more comedic side that led to breakout success. In 2008, Barclay’s standalone thriller, No Time for Goodbye, shot to number one in the UK and stayed there for the entire year. It was a validation for Barclay, one that “remains one of the high points of my career,” he said. The book’s success also convinced Barclay that it was time to leave the newspaper job he loved to focus on fiction.
Today, Barclay is a New York Times and international bestselling author. He includes in his fan base none other than Stephen King, and his books have been repeatedly optioned and adapted for the screen. His latest, FAR FROM TRUE, the second entry in his Promise Falls trilogy, is already an international bestseller.
“FAR FROM TRUE kicks off with a bizarre collapse of a drive-in movie theater screen that leaves several people dead,” Barclay said. “One of the victims also had his home broken into. Private detective Cal Weaver is hired to see what’s been stolen. But it’s not what’s missing that catches his attention, but what he finds.” The story tracks Weaver and other familiar faces from Barclay’s prior books set in the creepy upstate New York hamlet of Promise Falls.
By Anne Tibbets
The idea for CROSSWISE first came to S.W. Lauden while doing a crossword puzzle on vacation in Florida.
“I can clearly remember sitting on the porch at the rental house where we were staying and watching the story unfold,” Lauden says. “I’m not much of an outliner, so I just started typing…The four main characters in that first scene—Tommy Ruzzo, Shayna Billups, Jesse Lee Cavanaugh and Sgt. Badeaux—sprang to life and took over.”
A stand alone novella, CROSSWISE follows disgraced police detective Tommy Ruzzo, who now holds a security job at a retirement community in Florida, as he unravels a murder mystery amongst a slew of former wise guys.
CROSSWISE is full of twists, turns, and mystery. Those who loved Lauden’s previous short fiction will enjoy another round of his quick prose and taut descriptors.
“Short fiction,” Lauden says, “whether it’s flash fiction, a novella, or anything in between—is an interesting challenge because it forces me to jump right into the action and keep the plot moving if I want to tell a complete story. It’s also very satisfying to be able to finish a short story and see it published less than a year later—which hasn’t been my experience with longer works.”
An accomplished drummer and Word.doc believer, Lauden confesses to not always feeling organized.
“…my process is pretty scattered,” Lauden says. “I’ll jot down ideas on Post-It Notes, send myself text messages, and leave voicemails—whatever it takes to capture the idea before it disappears.”
When New Hampshire rich girl Mindy Hollis gets lost in Los Angeles, her big sister hires private detective Ed Traynor to find her. Traynor and Hollis’s security chief, Jack McMahon, take off for Tinseltown to track down the aspiring actress—but soon discover the only part she ever got, was the one that killed her.
Their hunt for her killers takes them from the bowels of Mexico City, to the glitz of Los Angeles, north to a movie set in Vancouver, and then back again to Hollywood, where the angels are dying in the dark. It’s up to Ed and Jack to save them before the film fades to black.
Where did you get the idea for THE BLACK ORCHID?
I’ve always been intrigued by The Black Dahlia murder case. Elizabeth Short, a young woman from the Boston area, went to California in 1946. On January 15, 1947, her mutilated nude body was discovered in a vacant lot. In THE BLACK ORCHID, another young New England woman travels to L. A. to make it in the movie industry. Her mutilated body is dumped on a hillside in the Santa Susanna Pass, in the Simi Mountains near the San Fernando Valley.
Some of the reviews suggest that this book is not for the faint of heart, that it’s a violent book. Is it?
The short answer is yes, there is violence. My protagonists find themselves wading through the worlds of drug dealers, sexual perverts, and purveyors of the worst kinds of pornography imaginable.
Your book is set in several locations, but you live in Northern Maine, so how did you research your settings?
Before I started writing full time, I worked for a number of hi-tech firms and travelled extensively. The case takes my protagonists from an exclusive neighborhood in New Hampshire to California, and then south to Mexico City, and north to British Columbia. I have been to all the locations in the book. The place I’ve visited cover a wide spectrum: Warsaw, Poland; Paris, Lannion and the Loire Valley, France; Singapore; Seoul, South Korea; Tokyo and Iwakuni, Japan; Sydney and Melbourne, Australia; Buenos Aires, Argentina; Sao Paulo, Brazil; and Vietnam. I am working on several plots that will utilize these locations.
A climb in the Olympic Mountain is just the first challenge for the hero of Glen Erik Hamilton’s new thriller, HARD COLD WINTER. Van Shaw’s search for a missing girl leads to the scene of a brutal murder and forces the ex-Army Ranger to delve into corners of his own criminal past.
Dead bodies are found, including a member of one of Seattle’s most prominent families. Soon more dangers arise. Then a fellow Ranger from Afghanistan turns up at Van’s doorstep, seeking support.
While Van struggles with PTSD symptoms, his investigation leads him into a struggle that includes a billionaire businessman, vicious gangsters, and a betrayal that forces him to seek help from a surprising source.
HARD COLD WINTER blends suspense and tension, with a mystery at its heart.
Hamilton recently answered a few questions for The Big Thrill about his new book.
In HARD COLD WINTER, Shaw is faced with another action-packed mystery. Tell us a little about the puzzle-to-thrills ratio you strive for.
I love action scenes—both reading them and writing them—but there’s nothing quite as compelling as an unsolved problem that torments the hero, and by extension, the reader. Learning “whodunit” is an almost primal urge. If there’s a murderer lurking about the village, can we rest until we know which of our tribe can’t be trusted? That’s the urgency that drives Van, a fellow with more than a few secrets himself, to go where he’s not wanted and demand answers from rough people. Which of course leads to more action. Win-win.
By Dawn Ius
These days, you’re apt to find retired teacher Ronnie Allen poolside in sunny Florida, iPad in hand, deep at work on her next thriller. The setting is a fascinating juxtaposition—the bright light warring against the dark themes woven into Allen’s The Sign Behind the Crimes novels.
ARIES, the second book in the series, takes readers—and the author—down a shadowy path indeed. Lies. Deception. Death. That’s what waits for rookie NYPD detective, Samantha Wright when an Aries-obsessed killer combines black magick rituals, knives…and murder.
“I try not to bring my fictional dark into my real life,” she says. “But writers sometimes get even with people who upset them…in their novels.”
All kidding aside, the characters in Allen’s first two books do somewhat mirror her own life, at least when it comes to some specific skillsets—as a former school psychologist who later obtained her PhD in Parapsychic Sciences, Allen epitomizes the old adage, “write what you know.”
The Sign Behind the Crime series was born by combining her love of the crime genre with her vast career background. What she couldn’t find in textbooks or from past experience, Allen researched—extensively.
“Because I have a green personality, I have to know everything,” she says, noting that often Google doesn’t cut it. For ARIES, she interviewed a knowledgeable and generous detective who gave her the low down on certain aspects of of the job that would increase the novel’s authenticity. “Forensics and weaponry—you have to get those right.”
But she’s quick to remind readers that her books are works of fiction, and despite the fairly grim nature of her stories, she’s far more upbeat in person. Just ask her curious poolside companions who not only ask her questions about her writing, but also were instrumental in pushing her to finish her book.
Tell us about HIDE AND SEEK.
There are certain criminal cases that are talked about generations after the investigation is closed. I’m talking about the big ones, the OJ Simpsons, Scott Petersons, and the Grim Sleeper type of investigation, the big news media type of case. They are biopsied, broken down, with every move by the detective analyzed. These cases can make legends or goats out of the investigators.
In HIDE AND SEEK, such a case lands in Detective Jake Skinner and his partner, Detective Dan Rico’s, laps. Having just transferred from South Bureau Homicide, Jake thought taking down an armed bank robber on his first day was as wild as the ride got. He was wrong.
The kidnapping of the wife of the mayor of Los Angeles, who also happens to be a federal prosecutor, threatens the core of one of the world’s most famous cities. An internal power struggle, false leads, meddling media, the victim’s own family, and Jake’s personal struggles all threaten to derail the investigation, an investigation that leads to pure evil.
By Matt Ferraz
Things are not looking good for detective Sean Duffy, and not just because a dead body was found. It’s 1980’s Belfast, bombs and assassinations are a daily occurrence, and Duffy is a Catholic detective working for the largely Protestant RUC (Northern Irish police force.) This doesn’t make him the most popular guy in the precinct. Intrigued by the apparent suicide of a journalist in the courtyard of Carrickfergus castle, Duffy decides to investigate further, which leads him to a huge case of corruption that might reach the highest levels of power in the UK.
RAIN DOGS is the new crime novel by Irish author Adrian McKinty, and the fifth adventure of detective Sean Duffy. With this series, which started in 2012 with The Cold Cold Ground, and has produced a book a year ever since, McKinty creates a dense and engaging noir tale that takes places during the most critical period of the Troubles. To create a series based on a character he calls “a man of time and place”, the author relies on references to music and pop culture.
“I do a lot of research for the Duffy books, but I remember a lot from that time. You have to keep the series fresh by developing the characters and putting them in believable situations. Otherwise, you’re just doing it for the money.” To make the setting even more believable, Duffy lives in the house the author grew up in. “People in that neighborhood would go crazy at the idea of having a Catholic, bohemian, middle class cop from Derry living next to them,” says McKinty.
Though writing about a specific time and place, McKinty states that his job is not teaching history, but to use the facts as a skeleton to frame the fiction narrative. “You won’t find a lesson on the Troubles by reading the Sean Duffy series,” he says. “But sometimes fiction is a way of conveying the atmosphere of a place better than history ever can.” As a writer, McKinty owes a lot to the examples set by crime masters such as Thomas Pynchon, James Ellroy and Dashiell Hammett, but when asked about his greatest influences, he mentions Jane Austen and Fyodor Dostoyevsky, “the two greatest novelists of the last 200 years.”
As a longtime lover of cinema, Italian author Rita Carla Francesca Monticelli began her writing journey with screenplays. From there, she progressed to fan fiction based on movies—in fact, her first novel was a piece inspired by The Mummy.
Today, the pacing she learned from these iconic films is reflected in her novels. As one might expect from a woman who writes in multiple genres, her reading tastes are eclectic, ranging from Little Women to The Silence of the Lambs.
Although her degree is in biology, Monticelli works as a researcher, scientific and literary translator, freelance web copywriter, and author. Her novels, all of which were originally written in Italian, include L’isola di Gaia (The Isle of Gaia), Affinità d’intenti (Kindred Intentions), Per caso (By Chance), and a science fiction series, Deserto rosso (Red Desert), set on Mars. Her sixth and latest book, THE MENTOR, features a Scotland Yard detective who is both moral and morally flawed, a dichotomy that drives the narrative and gives the story dimension.
Monticelli took time from her busy schedule to answer some questions for The Big Thrill about her writing—and especially about THE MENTOR.
You began your writing journey with screenplays and fan fiction. Where did you go from there?
My first attempt to write original fiction dates back to 2009. I’m a science fiction and thriller fan, so I started writing a cyberpunk techno-thriller titled L’isola di Gaia (The Isle of Gaia). It took me nearly three years to finish that first draft and then I put it aside for a long while. Instead, my adventure in the publishing industry started in 2012 and 2013, when I wrote and self-published a hard science fiction series set on Mars titled Red Desert (the original title is Deserto rosso, but this series is also available in English), which became a Kobo and Amazon bestseller in Italy.
THE MENTOR came just after Red Desert. It was originally published in Italian (IL MENTORE) in May 2014 and immediately started selling very well—so well that in September 2014 Amazon Publishing requested that I sell the English translation rights. Before the end of the same year, I finally published L’isola di Gaia, after a long editing process. Two more novels were published in Italian in 2015.
As you can see, I’m quite a prolific writer. I’m one of the few independent fiction authors in Italy currently living off of their writing.
By Paul McGoran
Paul McGoran is no academic, but his volume of short stories from New Pulp Press, PAYING FOR PAIN, is prefaced with an essay on the noir genre that displays a thoughtful and deeply-considered interest in the theoretical side of crime fiction. In the essay, he identifies five essential elements of noir—crime, obsession, fatalism, perversion, and betrayal. He then announces the theme of his collection as the “geography of noir”—McGoran’s term describing the genre’s predilection for urban settings.
As with any book of short fiction, however, it’s the stories that matter. And PRAYING FOR PAIN contains a quartet of suspenseful noir tales and a 100-page novella titled, No Good Deed. It’s a world peopled with ex-cons, Mafiosi, common thugs, killers, accountants, clerics, models, yachtsmen, society dames and trust-fund layabouts. The upper, middle and lower classes collide in San Francisco, Las Vegas, Miami, Newport, Boston and Puerto Vallarta. You’ll be caught in a twisted travelogue that conjures up a dark and peppery vision of the urban experience. Noir fans should love it.
McGoran’s first novel, Made for Murder came out in August 2015, and was featured in the November issue of The Big Thrill. PAYING FOR PAI N is his follow-up volume. A sequel to Made for Murder will debut sometime in 2016.
We noticed none of your stories were set in New York or Los Angeles. How come?
Good catch. Well, those cities are the great instruments fingered and bowed by Raymond Chandler, Cornell Woolrich, Robert Crais, Lawrence Block, and any number of others. I knew I couldn’t improve on their work.
Do you have a different mindset when writing a short story versus a novel?
You know, writing often takes you in unexpected directions. But when I begin what I think will be a short piece, I go for a limited theme, limited setting, and limited time frame. Even so, I have a hard time keeping within the expected word limit. I’ve done short stories as long as 6,500 words. That’s partly why I put a collection together. Magazines seldom want more than 2,500 words, even though every story has its own proper length.