By George Ebey
With MOOSE FEVER, author A.J Marcus brings us the third book in his mystery series featuring Colorado Parks and Wildlife Officer, Brock Summers.
This time around, Summers and his fiancé, wildlife rehabber Landon Weir, are preparing for their wedding when someone starts killing moose along a creek in the northern part of Teller County. As the moose casualties rise, human bodies turn up, and the case is taken over by the sheriff’s office. When a Forestry Service Ranger is killed, the service joins the hunt. All signs point to one of the many photographers who have been taking pictures of the moose.
Then Weir discovers a small piece of gold in the creek and while there now appears to be a motive, Summers and Weir still lack solid suspects. Bullets fly as the duo seek to track down the perpetrator while trying to get everything wrapped up in time for their wedding.
The Big Thrill recently caught up with Marcus to discuss his series and what he has in store for readers next.
What first drew you to writing mysteries set in the parks and wildlife field?
In real life, I’m a falconer. I have regular interactions with our local Colorado Parks and Wildlife officers. I also have a degree in biology which I got many years ago due to my love of animals. When I started thinking about the types of mysteries I’d like to write, I first thought about things that would impact wildlife and the natural world around us. I’ve also worked in wildlife rehabilitation and I know some of the things we’ve encountered there that left us scratching our heads. It seemed like a great fit for a mystery book series. When I run out of ideas I hit Colorado Parks and Wildlife magazine for some of their stories, or just watch the news. Some of MOOSE FEVER came out of the news reports a couple of years ago.
One of the pleasures in doing interviews for The Big Thrill is getting the chance to meet new and interesting people, even if that meeting is over the net rather than face to face. Robin Yocum is my latest interviewee.
Robin, you’ve done quite a few jobs, especially in your formative years. Pumped gas, mopped floors, baled hay, and all the rest. Did any of them help you with your subsequent writing career?
I always had a job when I was a teenager. I don’t know if any of those jobs helped me with my writing career, but they sure motivated me to get an education. My dad worked at Weirton Steel, in West Virginia, and arranged for me to take a tour when I was a junior in high school. I think he did it to motivate me. If that was his plan, it worked. It was loud and hot and dirty, and I thought it was the most dangerous place in the world to work. I remember seeing a ladle of molten steel being poured and some guy standing a few feet away eating his lunch. I wanted nothing to do with that mill. If I screwed up at school, Dad would say, “That’s fine. Just keep it up, funny man, and instead of going to college you can come work next to me in the mill.” That was motivation.
It’s important to note that I’ve used the Ohio River Valley as a backdrop for two novels, and it’s also the setting for a third, which is due out later this year from Seventh Street Books. The industrial Ohio Valley of my youth makes for a rich setting. I use many of the people I knew from the valley as inspiration for my characters.
I am incredibly envious of your having met John Glenn. What was he like?
I interacted with John Glenn several times as a reporter for the Columbus Dispatch. He was a U.S. senator from Ohio during my eleven years at the paper. During every encounter, Glenn was always gracious and humble.
However, my first meeting—and it was very brief—came in the spring of 1971. I was a freshman in high school and walking down the alley to school when I saw a group of people in Bea Helmick’s back yard. Bea was a widow who lived seven doors down from us. She had a flat-topped garage upon which had been installed an air pollution monitor. Brilliant and Steubenville had been deemed two of the most polluted communities in the United States and the government was getting involved and trying to reduce the pollution.
Brain twisting murder mysteries can take place just about any place, but if you’ve never read one set in the genteel setting of a university campus, here’s your chance. The halls of academia host horrible deaths in THE SEMESTER OF OUR DISCONTENT.
In the book, English professor Lila Maclean takes a new assignment at a prestigious university. It’s a great opportunity but turns dark when she finds the corpse of one of her fellow professors. What’s worse, all of her coworkers think Lila is either the killer, or is protecting him. The only way to clear her name is for her to find the killer. That’s certainly a challenge in a small private school with many unspoken codes. Luckily, Lila is not your average college prof.
“Having had a rather unorthodox upbringing as the daughter of a famous artist, she doesn’t feel as though she fits in,” Kuhn says. “And she definitely does not think of herself as a detective. But she’s good-hearted and stands up for what she believes in.”
Lila does have an impulse to speak out which is not appreciated by some of her colleagues. But it is a useful quality for a person suddenly thrust into the role of detective.
“She’s a reluctant amateur sleuth at first,” Kuhn says, “and she doesn’t have the kind of existing methods that, say, a PI would have. But as a professor, she’s been trained to find and interpret textual evidence, and she approaches her sleuthing the same way—trying to gather and make connections among different types of evidence, beginning with questions and moving into searches and observations of various kinds.”
From the outset, Lila encounters a lot of opposition at the university: “She’s in a showdown with her new boss, and she goes on to clash with other people in her department,” Kuhn says. “She finds herself at odds with the detective working the case, and she even comes up against a secret society whose purpose is unknown.”
The woman that Private Investigator Eddie Shoes photographed kissing her client’s husband ends up dead. When Eddie’s client disappears, Eddie wonders if she is being stiffed her fee, if her client is in trouble, or if she is the killer. Solving this mystery leads Eddie straight into trouble, followed quickly by her adrenaline-junkie gambling mother. To make matters even more interesting, Detective Chance Parker, Eddie’s ex, has moved to Bellingham and is the lead investigator on the homicide.
While Elena Hartwell’s novel ONE DEAD, TWO TO GO (an Eddie Shoes mystery) is her first foray into the literary world, she has been a playwright for more than twenty years. “I’ve always wanted to write a novel,” Hartwell says. “I wanted something tangible. A book on a shelf instead of just the memory of a production.”
Hartwell is not only excited about the permanency of her new novel, but about the opportunity for growth a literary work offers. “Mysteries can be done onstage, but it’s not that common,” says Hartwell. “Whereas, mystery novels and series are huge in the literary world. I wanted that experience.” Readers can look forward to at least two more novels in the Eddie Shoes series.
Hartwell’s main character was born out of a road trip conversation with her husband John “JD” Hammerly. When he mentioned the name, “I said, that would be a great name for a Private Eye.” “If Kinsey Millhone (Sue Grafton’s P.I.) and James Rockford (The Rockford Files) had a love child, she would be Eddie Shoes,” Hartwell says. In contrast, two other characters in the Eddie Shoes series “do have their feet in the real world.”
Detective Chance Parker is modeled after Hartwell’s horse, Second Chance. Hartwell adopted Second Chance after he was saved from the kill pen. While initially physically and psychologically “far gone,” Hartwell says, “after a year of groundwork he became a completely different horse.” Detective Parker sports many of Second Chance’s characteristics, including his brown hair with red highlights and some of his physical attributes—such as “standing on his toes, vibrating with nerves.”
If you think you’d enjoy a wild ride through streets filled with quirky characters involved in every kind of hustle and caper, you’ll want to read J. L. Abramo’s, BROOKLYN JUSTICE.
There’s a lot going on in this book, including a good measure of bad behavior. What holds it all together is private eye Nick Ventura. Brooklyn born and raised, Ventura wanted to be an NYPD detective when he grew up. Unfortunately, by the time he realized the aspiration, his unscrupulous past disqualified him.
“Those who like a tough guy with a soft heart—who is loyal to his friends—would like Ventura,” says Abramo. “He’s a guy who knows trouble, but not how to keep his nose out of it.”
Ventura first appeared in a novella called Pocket Queens. The story ended, but as so often happens, the character would not let his author rest.
“He drove me to write five short stories involving him,” Abramo says. “They appear sequentially—covering a period of ten months—and feature many recurring supporting characters. Call it what you will—a collection of shorter fiction or a novel in stories.”
Or simply call it BROOKLYN JUSTICE. You’ll see a Buick plowing through a storefront with a dead detective aboard; a fatal rendezvous in the shadow of a Coney Island landmark; a man gunned down walking his dog in the wrong place at the wrong time; a mob boss assassinated leaving a neighborhood restaurant, and so much more. And Ventura is involved with all these events. As you can see, Ventura is not trying to save the world from total destruction, or dealing with villains who want to rule the world. This is a different kind of thriller.
Clea Simon has garnered a name for herself for using animals, and more particularly cats in her novels, now covering three series. THE NINTH LIFE is the first Simon book I read and it won’t be the last. I found myself agreeing with Joseph Finder’s assessment: “Forget everything you know about ‘cat mysteries.’ THE NINTH LIFE is a dark and gritty story of life on the streets told from the unique point of view of a narrator who sees things humans can’t. [It’s] a window into a world of constant and surprising dangers, frustrations, and almost unbearable tension, and it’s one I won’t soon forget.”
Blackie provides the narrative point of view and it is from his non-human perspective that we garner most of our information about a nightmarish urban landscape filled with drugs, abuse, and prostitution.
For each of her novels, Simon starts with a problem of some sort. For THE NINTH LIFE, Blackie can’t remember his past or what has happened to him. His memory begins with him being pulled from a flood. He has no recollection of how he got there or who would want to hurt him and until he finds out, he is vulnerable.
Blackie meets up with Care, a young woman who is also in trouble. For Simon, Blackie came first as a character, and his issues are at the core of the book. She sees him as the guiding mind, while his companion, Care, is the heart.
Simon shows not only an excellent command of language but considerable skill in creating tension and using an animal, more specifically a cat, as the protagonist, telling the tale in the first person. She relies on using cat characteristics as the means for conveying description.
“I simply work to get into that mindset, that persona,” she said of Blackie. “Blackie is a very rational, as opposed to emotional, creature—much like I imagine most animals to be. He has no room for sentiment in his life. It is very kill or be killed.”
After more than 40 published books in the erotic romance and young adult genres, author Karenna Colcroft is turning her pen to mystery this month, with the release of her new work, DAWN OVER DAYFIELD.
The Big Thrill interviewed Colcroft via email in January to get the scoop on this daringly different and powerfully written new release—and her answers are as intriguing as her thriller debut.
DAWN OVER DAYFIELD is a dramatic change of pace for you. What made you decide to branch into mystery/suspense?
To be honest, the story decided for me. It was originally intended to be a male/male erotic romance novel, but the plot of solving murders and almost being murdered, and exploring history and connections between two families, vastly overshadowed the romance. And, given that Andy and Weston’s lives were in danger during parts of the story, it didn’t seem reasonable for them to suddenly stop everything to have sex. In addition, I was going through some things in my life that made writing erotic romance difficult.
The hero in DAWN OVER DAYFIELD is a young gay man searching for his birth parents. What inspired this combination of characteristics—gay and adopted?
Andy is gay because my original plan for the novel was a male/male romance, meaning both main characters had to be gay men. He is adopted because the story was initially inspired by a friend of mine who had written his family’s genealogy. When he was telling me about the research he had done, and that much of it had involved traveling to small-town libraries and historical societies around Massachusetts, the first thing that popped into my brain was “I need to write a male/male romance; it would be kind of cool to have one guy be a historical librarian, and the other be looking into his family’s past for some reason.”
When a Ponzi Scheme Turns Deadly
J.A. Jance has reached national bestseller lists over and over with her multiple series, known for their fast-paced plots and appealing protagonists. CLAWBACK, her new novel, features Ali Reynolds. When the series began, Ali, a TV journalist, was bounced from her job by bosses who want a younger face and betrayed by her husband and moved to Sedona, where her parents own a diner. Twelve books later, Ali is happily remarried and involved in meaningful work, but her life turns upside down when her father is suspected for murder after a Ponzi scheme destroys his life savings. Jance knows firsthand the devastation of such financial crimes. She and her own husband lost half a million from their retirement fund because of a Seattle-area Ponzi scheme. As she says, “It’s a very bad idea to make a mystery writer mad.”
I loved the Sedona, Arizona setting for CLAWBACK. How do you think that city, with is particular mixture of retirees and wealth and natural beauty, plays into the plots of your writing?
Locale always plays an important part in my books and in my plots. By using places I know as the background for my stories, I don’t have to invent my own private universe. Invented things are a lot more difficult to remember and keep track of from book to book than real things are. Knowing the geography, the distances, the weather involved as I write a particular passage makes it possible for me to put all those things in the background while keeping an eye on what my characters are saying and doing in the foreground.
As for Sedona specifically? I love it. I love the scenery and the people. By the way, there is a homeless camp, summer and winter, far up on the edge of the Mogollan Rim, but the camp in the Ali books is a fictional creation.
And yes, Sedona does have its share of one-percenters who jet in and out of town, staying far above the fray as it were. But then there are all the “little” people, the ones who do the necessary jobs that keep all the wheels on the bus as far as the town’s tourism industry is concerned. They’re also the ones who keep the other necessary pieces of infrastructure in good working order. I think CLAWBACK shows those two parts of the community in an interesting juxtaposition.
I read CLAWBACK during the same week that “Madoff” was shown on television. You have been hurt by another financial criminal. Do you think robbing people of their investments and Ponzi schemes are a ripe fodder today for thriller plots?
Having been victimized by a Ponzi scheme—please note the words on CLAWBACK ‘s dedication page—I absolutely believe Ponzi schemers are “ripe fodder.” Unfortunately, the fictional outcome in CLAWBACK is much more satisfying to the victims involved than the “real world” outcome of ours has turned out to be.
There are ordinary secrets and then there are far more nefarious secrets born in combat and brought home by returning soldiers. The combat secret in wartime correspondent Gwen Florio’s gripping DISGRACED is like an improvised explosive device lying in wait as a small group of soldiers returns from Afghanistan to their homes in Wyoming. The reader knows an explosion is coming—that the secret will be revealed—and that the dangers lurking around every corner of protagonist Lola Wisk’s path to the truth are equally perilous.
Florio propels the reader at rocket speed from the grisly opening scene in Afghanistan to a soldier’s suicide at a welcome home ceremony in Wyoming in the first few pages. The riveting set up is the mysterious killing of an American soldier and Afghan civilian during a combat patrol. Florio narrates through the eyes of Lola, a recently furloughed reporter. Lola is helping a friend by picking up her cousin, a returning soldier named Palomino “Pal” Jones, from the airport in Casper, Wyoming. During the welcome home ceremony, another member of Pal’s unit, Cody Dillon, commits suicide in front of shocked onlookers. Scurrying for cover with her daughter Maggie in tow, Lola gathers Pal and takes her home to rural Wyoming. Lola’s reporter friend, Jan asks her to stay with her cousin given the suicide and some other odd communications she had with Pal prior to redeployment. With a potential story brewing around the suicide, and to extend the favor to her friend, Lola decides to stay in Wyoming. Lola attempts to balance the demands of digging for the story, caring for her daughter, and watching over Pal.
Lola gets sucked into the mystery of what happened to this small group of friends in Afghanistan when she begins to piece together the transformation of each of the soldiers who returned. Pal, who once sported long beautiful hair, now wears it short, as if she is trying to be a different person. She barely eats and when she does it is canned ravioli. She hacks her arms with sharp instruments in ritual defacing. From Delbert St. Clair, Lola learns that Pal, Cody Dillon, Mike St. Clair (Delbert’s grandson), and a few other locals all deployed together. She hears the story of a lone Taliban that killed Mike, a Shoshone Indian from the Wind River Reservation. Too late, the rest of the group managed to kill the Taliban. The mystery revolves around that combat action. Two of the returned veterans are arrested after a fight in a bar, prompting Lola to interview each returning soldier to determine what actually happened to Mike. At the risk of her relationship with Maggie’s father and the safety of her family, Lola presses ahead with her investigation.
DISGRACED deftly handles soldier suicide, posttraumatic stress, poor leadership, racial tension and other topical issues. Florio’s skill as a writer and former journalist are evident in her flowing prose and gritty narrative. Having reported for the Denver Post in Afghanistan, Florio writes with a unique authenticity about combat and veterans.
Have I ever been to Mali? No. Can I find it on a map? Vaguely, over there somewhere.
Both of these facts made me a little nervous when sitting down with award winning French author Laurent Guillaume, who’s written a hard-boiled noir about a refugee French cop who sails into the middle of an extraordinary case in Mali.
Given Laurent is both an ex-cop and a former advisor to the Mali police, it’s perhaps no surprise that this book has a rather excellent premise. I sat down with him and translator Sophie Weiner, who made sure an Australian interviewing a Frenchman via an American all went smoothly.
Hi Laurent (and Sophie!), thanks for agreeing to speak to The Big Thrill. Can you tell our readers a bit more about WHITE LEOPARD?
In 2009, a Boeing 747 unloaded some mysterious cargo in northern Mali and got stuck in the sand trying to take off again. The plane had just delivered several tons of cocaine that was headed to Europe and the Middle East. Investigating this case, we uncovered an extremely well organized network of Colombian and Spanish drug traffickers that settled scores with dollars or a chainsaw, depending on how much opposition they got. I had wanted to write a novel about the drug trade in Africa for a long time, but I didn’t know what angle to attack it from. I hesitated between an approach like Don Winslow used in Power of the Dog, his thriller that takes a deep look at drug trafficking between Mexico and the United States, or using the point of view of one person. I chose the latter, and the Air Cocaine case inspired the story.
Then all I needed was the imaginary vehicle: a protagonist who, like me, travels between two worlds. Solo was the obvious choice. His father’s Malian, his mother’s French, and he’s split between two continents, two religions, and two approaches to life. He is also a former French police officer who is running away from a dark past in France. He has no more family, and his life is in ruins. He wants to die, but despite the trauma and the solitude, he can’t, because his desire to live is so deeply engrained. He drinks, snorts coke, and spends time with ladies of the night… he’s not really a good guy, but he’s the kind of man I like.
Sarah Bennett’s return to her father’s home mid-war is anything but a happy reunion. Having spent the last year in an asylum and under suspicion of killing her mother, Sarah’s release is marred by unanswered questions, distrust in her new stepmother, and paranoia about war spies. A second murder heightens everyone’s suspicions and the pressure mounts for Sarah to remember the fateful night of her mother’s murder in order to clear her name.
Harkening back to popular gothic suspense novels, THE SPIRIT OF GRACE offers elements of the supernatural, a glimpse of old world San Francisco, and a hint of romance.
Thomas’s debut, the first in the Sarah Bennett series, features a “feisty heroine who overcomes her inner struggles as she thwarts the bad guy.” The series will follow Sarah as she struggles to accept and keep secret her “unique ability,” despite the strain it places on her relationships. An amalgamation of men and women that Thomas admires in her own life, Sarah exemplifies strength, curiosity, and a “plucky attitude.”
The setting for THE SPIRIT OF GRACE in old world San Francisco represents one of Thomas’ passions, as she spent many years in the San Francisco Bay area before moving to Mississippi with her husband. “When I lived near the City and worked there, I could ‘feel’ old San Francisco, especially since some of the old buildings are so timeless. San Francisco has a unique charm, which resonates with me,” she says. Setting the novel in the past allowed Thomas “to create a world (and inhabit it in the abstract) where everyone is ‘unplugged’ and relating to each other in a more genuine way.”
Garnering influence from the old television soap opera Dark Shadows, Thomas says she is drawn to television murder mysteries, such as Masterpiece Theatre. “I do love the old Agatha Christie’s, with Joan Hickson as Miss Marple, and I enjoy Rosemary and Thyme, Downton Abbey, and Land Girls. As you can see, I really like British drama.”
By David Healey
The setting and the landscape are as much of a character in Larry D. Sweazy’s new novel, A THOUSAND FALLING CROWS, as is his protagonist, former Texas Ranger Sonny Burton. After losing an arm and retiring as a result of his run-in with bank robbers Bonnie and Clyde, Sonny is just as down and out as Depression-era Texas with its Dust Bowl storms and hard times.
Fortunately for Sonny (and the reader), it’s a case of once a lawman, always a lawman. He finds himself drawn into the search for a Mexican immigrant’s missing daughter. Wallowing in self-pity, the case brings him back to life. It also sets in motion a fascinating journey through 1930s Texas.
As to why he chose to write a western, Sweazy, a Western Writers of America Spur Award winner, said, “There’s a romance to westerns that’s universal. It’s the American genre. It’s the self reliance, it’s the journey, it’s the characters shaped by the landscape.”
He also sees a natural connection between westerns and crime ficition. “They are mostly morality tales. They ease right into crime fiction.”
He recalled an era when kids grew up watching westerns on black-and-white TVs. For that generation, there remains a certain nostalgia for the genre—but that doesn’t mean westerns can’t win over a new generation of readers.
While the American West was a unique time and place, who knows that there won’t be a new frontier someday to capture imaginations all over again? I think it could happen again.” Sweazy points out that Gene Rodenberry envisioned Star Trek as Wagon Train in space.
Until then, readers will have the setting of this new novel, which is rich in details, down to the brands of beans eaten by the characters and the operational quirks of a Ford Model A. Even telephones remain a relative novelty in the rural Texas of 1934. There are no radios yet in police cars, so in an emergency, lawmen have to knock at the door of the nearest farmhouse to use the phone. It is a time period vastly different from our own 24/7 connectedness, and yet it is an era that many readers will remember from their own grandparents’ stories.
She loves to write about remote locations, and living in North America, Europe, Asia and the Caribbean fired up her imagination, but it was after she moved to a small resort town that the transient community, consisting of people from all over the world, inspired her to write about the day-to-day drama of living in an isolated mountain resort.
In July 2015, Stanley published Descent, introducing readers to Kalin Thompson, a big-city woman who moves to Stone Mountain Resort hoping a drastic change to her life will help her recover from the death of her husband. She gets more change than she expected. Kalin arrives as the human resources manager and after only months on the job she’s thrown into the role of security director.
BLAZE is the second book in this series.
Tell us about BLAZE
BLAZE is a tale of arson and revenge.
Just when Kalin Thompson thinks her life makes sense again, she finds herself preparing her home for evacuation. She should be at the altar getting married. Instead, flames creep close to her house, her fiancé is fighting the fire, her dog disappears in the forest, and the one road to safety is blocked. What more could go wrong?
The Stone Mountain series takes place in a ski resort located in the depths of the Purcell Mountains. Descent, the first in the series, follows Kalin Thompson as she grows accustomed to small-town living while searching for the killer of an up-and-coming Olympic caliber skier.
What inspired you to write BLAZE?
Every year, forest fires are a big concern in my neighborhood. The cost in lives, both human and wildlife, and in property is incalculable. The idea for BLAZE evolved from a frightening night I spent while working at a ski resort.
Terry Shames discovered the power of writing when she read Stephen Leacock’s short story “The Man in Asbestos” in the fifth grade. “I read it and I was just dumbfounded. I still remember the feeling I had: ‘I could do that. I could write like this.'”
That feeling, and the sense of direction it gave her life, never left her. She was determined to major in English in college but her English teacher dissuaded her, encouraged her to major in something else that would teach her about the world. So Shames majored in political science. Later she got an MFA in Creative Writing.
In college she wrote short stories. As a child she had spent every summer with her grandparents in Summerville, Texas.
“What child likes to go visit their grandparents in a town where they don’t know anybody?” Shames told me in an interview. “There is nothing special about Summerville, Texas. I just love it. I still have family there. There is a family reunion there every year. I have cousins who have children, they love the town too. But there is absolutely nothing special about it.”
But for Shames, at least, there is something special about it: a source of inspiration that she was able to turn to even after the requirements of life had slowed down her writing career.
Her first novel was a sci-fi book. “I wrote it at night when I got home from work. I set myself a goal of typing five pages every night. But by the time I finished it the publisher who was interested went out of business.”
Calibrating the balance of crime-fueled suspense, romance, and comedy in a novel is fiendishly hard—yet Janet Evanovich makes it look easy, and the results are in. TRICKY TWENTY-TWO debuted at No. 1 on The New York Times hardcover best seller list on November 29th, business as usual for Evanovich. Bounty hunter Stephanie Plum, a curly-haired Trenton girl with a pair of handcuffs she can’t always clamp onto her prey, two men trying to get into her skinny jeans, and one gerbil running the wheel at home, has won legions of devoted fans.
Evanovich grew up in South River, New Jersey, and in her thirties began pursuing a writing career. After numerous rejections and four months into a secretarial temp job, she sold her first story, a romance, for $2,000. She now lands onto Forbes‘ list of 100 Highest-Paid Celebrities.
Evanovich’s first novel featuring Stephanie Plum, One for the Money, was published in 1994. Along with that series, she’s written the Lizzy and Diesel series, twelve romance novels, the Alexandra Barnaby novels and Troublemaker graphic novel, How I Write: Secrets of a Bestselling Author, as well as the Fox and O’Hare series with co-author Lee Goldberg. She lives in Florida, her family working on her book empire alongside. According to Evanovich, “It turns out I’m a really boring workaholic with no hobbies or special interests. My favorite exercise is shopping and my drug of choice is Cheeze Doodles.”
We caught up with the fast-moving Janet Evanovich to learn a few of her secrets.
The judge of a screenwriting fellowship recently said a strong writer’s voice is the most important thing in launching a career. I think it’s more important in fiction than people realize. You have an effective and entertaining voice in the Stephanie Plum series. How would you advise writers to develop it?
I don’t think a writer can “develop” voice. Voice comes from a writer’s point of view and is heard in a writer’s head. It’s a reflection of a writer’s personality. Some writers have a generic voice that disappears on the page and others, like me, have a voice that is more unique. The hard part is not developing the voice but rather recognizing that the voice is there.
What is the most rewarding aspect of a long-running series? What is the most challenging aspect?
The most challenging part of a long-running series is the reintroduction of continuing characters. It has to be done in a way that is interesting to both the core reader and the new reader. The most rewarding aspect for me is the fun of getting up in the morning and going into The World of Plum or The World of Wicked or The World of Fox and O’Hare and watching the characters develop with each new book.
How do you write sustained dialogue passages in which there is laugh out loud comedy?
Comedy is the easy part for me. I grew up in Jersey watching I Love Lucy. Most of my comedy is character driven so I simply get into a character’s head (like Lula or Grandma Mazur) and run with it.
What is your secret to keeping suspense levels high in a book that has that many light moments?
For the most part I follow the pattern of a screenplay and divide my book into three parts. When I get to a pivotal plot-point mark, I drop in a dead body. Sometimes just for variety I blow up a car or have someone get kidnapped or fall off a fire escape into a pile of dog poop.
In Top Secret Twenty-One there are some intriguing crime developments having to do with Russia, in Tricky Twenty-Two it’s biological warfare. How did you conduct that research?
Google, Google, Google.
How do you incorporate Trenton’s rising murder rate into the books, or do you feel it’s best to stay away from that?
The books are set in Trenton, but my characters live in The World of Plum. My characters don’t age. Good guys and hamsters don’t die. Crime is a constant. And at the end of the day Stephanie succeeds in thwarting evil. I tend to ignore the changing face of Trenton.
You didn’t achieve a writer’s contract quickly or easily in the beginning of your writing career, and you persevered to outstanding success. How would you advise beginning writers who are frustrated with trying to find an agent and publishing contract?
This is a tough one. You need to have a thick skin and tenacity and you need to hone your sales person skills when it comes to getting an agent. I think organizations like ITW and RWA can be helpful.
Do you hear from real-life female bounty hunters on Stephanie Plum?
Every now and then I’ll get a letter or someone will pop up at a signing. In the beginning of the series I attended PBUS conferences and had much more contact with actual bounty hunters and bondsmen than I do now. Unfortunately (or fortunately) my writing schedule has me pretty much tied to my office these days.
Janet Evanovich is the #1 New York Times bestselling author of the Stephanie Plum series, the Fox and O’Hare series, the Lizzy and Diesel series, the Alexandra Barnaby novels and Troublemaker graphic novel, and How I Write: Secrets of a Bestselling Author.
To learn more about Janet, please visit her website.
Photography Credit: Roland Scarpa
I found the idea for THE THRONE OF DAVID while reading the Old Testament—and knew it was a high concept idea from the very first. Understanding the scope of the story helped me stay focused as I wrote the manuscript, and when I sent out queries, two of them, both agents wanted the book. I’m convinced it was the high concept element that got their attention.
I can hear you asking, just what is high concept and how do I incorporate these ingredients into my writing?
High concept fiction is a term hijacked from Hollywood. Think ‘visual’, ‘high stakes’, and ‘easily communicated.’ It’s attractive to publishers and agents and eventually, readers and moviegoers.
The reaction you want when an agent reads your synopsis is: “Why didn’t I think of that?” or “Why hasn’t somebody written about this before?” Or, “You tell me your amazing idea, and then I decide I have to kill you so I can steal it!” When people light up after you tell them about your book, you know you’ve got them. This is what high concept is all about.
The essential elements of a high concept book are:
- an original idea
- mass commercial appeal
- a great title
- a big problem
By Ian Walkley
Sherry Fowler Chancellor writes thrillers, romances, and YA novels, and her latest thriller offering, THE EISENGER ELEMENT, follows a determined young detective, Emilia Hammond, on her first assignment with the New Orleans Police Department, determined to prove herself capable and worthy of her shield.
Sherry Fowler Chancellor is a lawyer by day and writer, amateur photographer, and history buff by night. She lives on the beautiful gulf coast of Florida and loves her little slice of paradise.
Sherry, could you give us the “elevator pitch” to the story?
A Garden District lawyer and a New Orleans detective with a shiny new gold shield collide at the scene of a murder.
I understand you developed the essence of the book during NaNoWriMo in 2013. How did you discipline yourself to that challenge?
THE EISENGER ELEMENT was my NaNoWriMo story for 2013. I’ve participated and won every year since 2009. I love it. The mad dash to the finish line motivates me. I get excited to update my word count and watch that graph move along. I’m a lawyer in my day job and it’s pretty hectic there, too. I seem to thrive on the pressure. I do a lot of lunch hour writing and use the weekends to really up the word count.
Did you change the story much during the editing?
I actually didn’t change much on this story after I submitted it to the publisher in May of 2014. I finished the first draft during NaNoWriMo and polished it for a few months afterward but once I turned it in, I waited for the edits and made just the editorial changes as suggested.
Michael Stanley is the writing team of Michael Sears and Stanley Trollip. Both were born in South Africa and have worked in academia and business. Stanley was an educational psychologist, specializing in the application of computers to teaching and learning, and a pilot. Michael specializes in image processing and remote sensing. He also contributes to the monthly Africa Scene feature in The Big Thrill.
On a flying safari to Botswana, they had the idea for their first mystery, A Carrion Death, which introduced Detective “Kubu” Bengu of the Botswana Criminal Investigation Department and was short-listed for five awards. The series has been critically acclaimed, and their third book, Death of the Mantis, won the Barry Award for best paperback original mystery and was shortlisted for an Edgar Award. Deadly Harvest–the next book in the series–was shortlisted for the ITW best paperback original thriller award.
Set amidst the dark beauty of modern Botswana, A DEATH IN THE FAMILY is a thrilling insight into a world of riots, corruption and greed, as a complex series of murders present the opera-loving, wine connoisseur detective with his most challenging case yet.
When grief-stricken Kubu defies orders to bring the killers to justice, startling and chilling links emerge, spanning the globe and setting a sequence of shocking events in motion. Will Kubu catch the killers in time … and find justice for his father?
What inspires you about Botswana?
Botswana is a beautiful country with friendly people, superb wildlife areas, and good governance. It may seem odd that we–as South Africans–chose to set our books there rather than at home. However, we have spent time there in various capacities and know the country well.
Apart from giving us an excuse to explore parts of country we don’t know so well, it allows us to investigate issues important to the region that aren’t the legacy of the apartheid era in South Africa.
When a young girl is found murdered in a Pennsylvania rye field in the autumn of 1897, Ned Gebhardt, a feeble-minded youth known to have stalked the victim, is the prime suspect. Incidents involving another girl and gossip stir emotions to a frenzy, nearly leading to a lynching.
Evidence against Ned is circumstantial and there are other suspects. Influenced by the opinions of Ned’s stepsister and Ellen, a woman who has perked his interest, Simon Roth, the investigator, is inclined to give Ned benefit of the doubt. Then he discovers damaging evidence.
Still unwilling to view Ned as a cold-blooded killer, Roth puts his job and reputation in jeopardy as he seeks to assure a fair trial for the accused.
In PYRAMID DECEPTION, the new release from author Austin S. Camacho, Private Eye Hannibal Jones takes on a case he can’t afford to lose. His girlfriend Cindy Santiago has been betrayed by a close friend and swindled out of all of her money. Hannibal closes in on Irene, his first credible lead, only to get framed for her murder. As he fights to clear his name and recover Cindy’s stolen funds, he stumbles down a rabbit hole of red herrings, double-crosses, and more killings. Hannibal’s quest for the truth puts him and Cindy in the crosshairs of a homicidal mastermind who’s not afraid of adding another name to his list of victims.
The Big Thrill caught up with Camacho this month to talk about the inspiration behind PYRAMID DECEPTION, his writing process, and what readers can look forward to next.
This was a complicated story peopled with characters of dubious motives. Did you flesh out a profile for each character or did they form organically as you wrote the story?
I had all the major characters clearly defined before I started writing. Of course, in the writing those people always evolve and grow a bit. That’s part of the fun of writing. But I knew them pretty well before I set them in motion.
The end was a big surprise, yet it answered the story question with great satisfaction. How did you construct the plot to do such a deft and tight job? Did you have the end in mind beforehand or did it appear as you finished the story?
I am a plotter, not a pantser in any way. So the first thing I know is the beginning of the story, and the very next thing established is the end. Then I kind of sit back and say, “well, that happened. Now how can I make it not obvious? How do I leave in all the necessary information and still lead my detective down the wrong path, so the reader will follow him?” I love building a corkscrew of a puzzle, and if I can leave the reader feeling I played fair but still fooled him, I’m one happy writer.
When I opened Erica Wright’s new novel, THE GRANITE MOTH, I expected it to be good. I didn’t expect to be so fully transported into the story. Wright has a crisp, fresh writing style, a flair for language, and a deep understanding of character that made this book a pleasure to read.
Wright’s facility with language should come as no surprise, considering her roots as a poet. Her first book was a poetry collection, Instructions for Killing the Jackal. She’s also written another novel called The Red Chameleon. So how does a poet become a crime writer? By teaching English at John Jay College of Criminal Justice, where she developed an interest in crime fiction. That marriage of poetic language and gritty crime stories turned out to be a perfect match.
She’s graciously agreed to answer some questions about her latest work.
Let’s get the obvious out of way first. How does it feel to have your book chosen by O, The Oprah Magazine as a 2014 Best Book of the Summer? And…may we rub your head?
I’m a bit of a fainting goat. Bad news or good, I can tip right over. When I got my copy of O Magazine, I managed to stay standing, but I definitely thought, Is this real life?
You started your writing career as a poet. How does your background in poetry influence your novels?
Switching between genres can be challenging, but there’s definitely some overlap. I found studying forms like sonnets and sestinas to be really useful. There’s creativity, of course, but also an element of puzzle solving. Mysteries require those dual skills as well.
By James Ziskin
THE SECRET LIFE OF ANNA BLANC, Jennifer Kincheloe’s smart, irresistible debut mystery, is a fun romp through 1907 Los Angeles in the company of one of the most infectiously likable heroines you’ll meet all year. Anna Blanc is a poor little rich girl, sheltered to the point of captivity by her domineering father. She craves adventure, is fascinated by detective work, and–oh, yes–is most eager to be ravished by her husband-to-be. But when she discovers a string of murders in the seedy brothels of Los Angeles, the irrepressible Anna risks everything–her comfortable life, her impending marriage, and her reputation–to solve the crimes.
THE SECRET LIFE OF ANNA BLANC is a delightful madcap frolic and an addictive read. Both hilarious and tragic, it’s an unusual mix that succeeds to perfection. That’s hard to pull off. Tell us how you balance comedy and tragedy in one story.
Gee, thanks! Much of the comedy is Anna’s internal dialogue and how she reacts to things. So just staying true to her as a character really helps. Our own lives are both ridiculous and tragic. I was trying to capture both of those aspects of 1907 Los Angeles. After reading a draft, my agent suggested that I make the crimes worse and tone down some of the farce that was external to Anna. Her instincts were absolutely right. There is one scene that is so dark, I cringe that I wrote it.
You’re a research scientist with a PhD. I have to ask you about the rich historical detail in your book. Everything from period clothing to police stations to city planning and language. It’s all so authentic. How do you go about gathering the information to build such a realistic backdrop? And how do you restrain yourself from overdoing it?
Being an expert in one thing—public health research—makes me hyper aware that I wasn’t trained as a historian. As a result, I probably over-researched the book to boost my confidence. I read fiction from the period to harvest the slang and mores. I read memoirs, eyewitness accounts, sermons, books about politics written during the period. I studied maps. I watched film footage from the 1900’s—street scenes, mostly, and old movies that my character would have seen. I listened to 1900’s music. I looked at the art. I watched videos of animal dances, which Anna would have done. I called museum curators. I would sit and read old L.A. newspapers for hours, and got many of my story ideas from there. I looked at thousands of pictures of old Los Angeles, Central Station, Bunker Hill, the clothes Anna would have worn. I even had a historian who specializes in L.A. prostitution in the 1900’s read the book cover to cover—Annemarie Kooistra. She was great, and I approached her cold. Anytime I needed help, she’d answer my question. One thing I couldn’t get was access to LAPD archives. You literally have to get permission from the chief of police.
By Dawn Ius
Like that of many authors, Judy Penz Sheluk’s publishing journey was not without obstacles. Persistence paid off, though, and last July, THE HANGMAN’S NOOSE debuted with Barking Rain Press, making at least one of Sheluk’s publishing dreams come true.
Inspired in part by Sheluk’s varied careers, THE HANGMAN’S NOOSE tells the story of Emily Garland, a small town journalist whose research into a community issue puts her in the middle of a deadly investigation of murder and intrigue.
Sheluk took some time out this month to talk to The Big Thrill about her road to publication, THE HANGMAN’S NOOSE, and what readers can expect from her next.
You mention on your website that your journey to publication was long—please share a few highlights (or low lights) from that journey.
I finished THE HANGED MAN’S NOOSE in February 2013 and thought I needed an agent to get a publishing deal. I even had an agent who had expressed real interest at Bloody Words 2012 (a mystery conference in Toronto, Canada) and so I was convinced she would fall in love with the manuscript, sign me up, and sell it to one of the major publishing houses. That didn’t happen. I wrote about the experience quite candidly on my blog and The First Cut is the Deepest launched the My Publishing Journey series.
Beyond the obvious highlight—landing a publishing contract with Barking Rain Press—by far the most fun I’ve had is helping with the cover design for THE HANGED MAN’S NOOSE. I can’t speak for other publishers, but at BRP it’s a very collaborative process.
In J.R. Scott’s newest thriller, THE HORSE HIDE, murder at a racetrack draws ace reporter Alie McCull into the dark underworld of the horse business. But that’s only the start of her problems. She’s blindsided by infidelity, and the untimely appearance of an old flame serves to complicate both her personal life and her investigation. As she creeps through a labyrinth of deception and misdirection, every uncovered truth brings her closer to mortal danger.
In this Q&A with The Big Thrill, Scott talks about his inspiration for his protagonist—and explains the background behind his intriguing bio. Scroll down for the full story!
Alie McCull is an interesting protagonist. Is she based on someone you know? What brought her about and why do you keep returning to her as a protagonist?
I fashioned Alie as a character who has a little bit of all of us in her. Or how deep down the way we’d like to be; loud, brash and impatient with a world that seems unjust. But tempered with empathy for the little guy trampled on by society. Alie is not always “politically correct”—she’s not too concerned about offending people. Just because you tick someone off doesn’t mean you’re not right. As a woman, Alie has a strong sense of empowerment and equality. Using her as a recurring character is a literary tool to examine the world through a microscope. All the people under the lens are creatures just trying to make sense of events in their daily lives.
THE HORSE HIDE, with its backdrop of horse racing, reminded me of the late Dick Francis. Did his work influence you?
I must confess that I’ve never read a Dick Francis novel. I’ve always been fascinated by the old ‘50s and ‘60s hardboiled mystery novels I read as a kid, Ross MacDonald and Mickey Spillane being on the hit list. And the classic noir films that pop up on TMC every so often. The backdrop of THE HORSE HIDE came from the hours spent on tedious research that most writers do, but afterwards always gives me that pesky brain-damaged feeling.
Allen Eskens’ debut novel, The Life We Bury, was a breakout hit for Seventh Street Books in 2014. His second novel, THE GUISE OF ANOTHER, releases October 6, 2015. I sat down with Allen to talk about his writing, his success, and THE GUISE OF ANOTHER.
First, congratulations on the success of The Life We Bury, which won the Rosebud Award at Left Coast Crime and was a finalist for the Edgar for Best First Novel and ThrillerFest Best First Novel. If that weren’t enough, Suspense Magazine and MysteryPeople named it one of the best books of 2014. And a starred review from Publishers Weekly and a movie option, all in less than a year. Tell us how you keep yourself grounded and in the saddle writing more books.
Thank you, Jim, for this interview and for the kind, congratulatory introduction. It has been a terrific year, no doubt, far exceeding my wildest dreams. For a while after The Life We Bury launched, it seemed like there was some new review or internet post every day that pulled at my attention. I didn’t have quite the discipline I’d hoped to have, but I have a multi-book deal and in order to remain on pace I’ve had to create discipline.
THE GUISE OF ANOTHER is a heart-pounding thriller, a game of cat and mouse between a cop and a ruthless assassin. The Life We Bury is more of a mystery. Are you moving in a new direction or will we see more of both from you?
My first two books are similar in some ways, but they do have clear differences. The Life We Bury is more character driven and has a stronger emphasis on literary writing. THE GUISE OF ANOTHER is more reliant on thriller elements and plot. This came about because after I completed The Life We Bury, I started the arduous process of seeking an agent. After the first couple weeks, I realized that agents weren’t clamoring to get me as a client, so I distracted myself by starting a second novel (THE GUISE OF ANOTHER). Because I didn’t have a readership, I decided to write something a bit different than The Life We Bury.
Before The Life We Bury hit the store shelves, I had submitted THE GUISE OF ANOTHER to Seventh Street Books and signed a three-book deal. I like playing with the spectrum of plot and character (and scene) and plan to keep adjusting those elements depending on what I think the story calls for.
By E. M. Powell
The first novel featuring cops’ reporter Gabriella Giovanni, Blessed Are The Dead, is nominated for both a Macavity and an Anthony Award. Now author Kristi Belcamino has brought Giovanni back for a fourth time in her latest release, BLESSED ARE THOSE WHO MOURN.
Although she’s in a happy relationship with Detective Sean Donovan, one that has given them their beloved daughter, Grace, Giovanni can’t let go of her traumatic past. When a string of young co-eds start to show up dead with suspicious Biblical verses left on their bodies—the same verses that the man she suspects kidnapped and murdered her sister twenty years ago had sent to her—Giovanni fears the killer is trying to send her a message.
It’s already a taut, fast-moving read. But when Grace’s life is threatened, the novel becomes a nerve-jangling hunt for her, with Giovanni increasingly terror-fueled in her desperate attempts to save her daughter.
A mother herself, Belcamino acknowledges that she is extremely fortunate that she has never had to deal with anything as serious as Giovanni has in her books, describing it as “absolutely the worst nightmare I can imagine.” She does however convey that visceral fear of motherhood under one of its most extreme challenges with great skill. At one point she has Giovanni musing that if anyone had told me that motherhood leads to this: your heart ripped to shreds while you are willing to beg the devil to take your soul in exchange for the safety of your child—if I had been magically given a glimpse of my life right now by the Ghost of the Future, I would’ve said, “Fuck that.”
But as a newspaper reporter covering crime, Belcamino has spent time growing close to parents who have lost their children in the most horrendous ways imaginable. She alludes to the tragic case of Xiana Fairchild, a little girl who was kidnapped and murdered. Belcamino maintains a friendship with Xiana’s family to this day, and believes she lost a lot of objectivity writing those very difficult stories.
If you’ve ever wondered what goes on in the minds of police officers, pick up one of Ellen Kirschman’s books. Her latest, THE RIGHT WRONG THING, takes psychologist Dot Meyerhoff behind closed doors and into her sessions with cops in crisis. It is a world where outsiders are unwelcome and closed ranks are the norm. When rookie officer Randy Spelling shoots an unarmed pregnant teen, it is the catalyst for a series of events that tears the community and the department apart.
For over thirty years you’ve worked with police and first responders. What first made you interested in specializing in this area?
I was working as a social worker in an outpatient psychiatric clinic. Several of my clients were married to cops who were struggling with depression, nightmares, post-traumatic stress, angry outbursts, and alcoholism. These women needed help and there was none available. I decided to start a support group for police wives and the response was so overwhelming it drove me back to school for my doctorate and later on to write I LOVE A COP. Today police families have a lot of support and acknowledgement. I’m gratified to have been part of that beginning effort.
Is there anything you would like to see changed in the way police departments handle the psychological health of their officers?
I would like to see every agency, big or small, have a confidential peer support program including family members as peers, family orientations at first hire and again every five years, a chaplaincy program, supervisors who are knowledgeable about spotting mental health issues and compassionate when talking to their officers, and easy access for officers and their families to culturally competent, confidential, low-cost counseling. I’d like to see police academies devote more time to teaching officers and their families how to manage stress and develop resilience, and I’d like to see field-training programs incorporate behavioral science principles and promote wellness, both physical and psychological.
By David Healey
You might expect a Washington, D.C., lawyer to write a legal thriller filled with intrigue and conspiracies. Robert Palmer has done just that … except for the part about it being a legal thriller. Instead, Palmer’s debut novel THE SURVIVORS features a more unusual protagonist, therapist Cal Henderson. He is privy to some of Washington’s biggest secrets, and as it turns out, he has a few of his own.
Palmer’s thriller is the fascinating story of the therapist and a client who have a shared and tragic past. Together, they uncover a past that takes them both by surprise and puts them at deadly risk. While Cal is more used to talking things out than taking action, he soon finds himself dodging FBI agents, mysterious black SUVs, and powerful figures in the defense industry as he and his client search for the truth about their mutual past.
In THE SURVIVORS your main character is a therapist whose troubled client becomes the catalyst for the novel. What kind of research did you do to get the details of therapy right?
I’m a lawyer and happen to have a lot of clients who are health care professionals, including a number of psychologists (and psychiatrists). That gave me a ready-made pool of experts for my many, many questions. One thing I learned early on: psychologists are a very diverse group. If I asked a few people the same question I almost never got the same answer twice. As an example, some psychologists have “patients.” Others will never, ever, use that term and claim instead to have “clients.” And some use both terms and can’t see why it’s a problem. The best way to explain that is that psychologists work to their own personal beats. Some are warm and full of stories; some are much more clinical and distant. They are a fascinating and wonderful bunch.
By George Ebey
In Linda Thorne’s exciting debut, JUST ANOTHER TERMINATION, a career human resources manager flees bad bosses and guilt-ridden memories due to her coerced role in a wrongful termination that prompted a suicide. She finally lands a job with a good employer, but her new workplace is spun into turmoil when a young female employee is found shot to death. Then another murder occurs, and there’s a connection—both are linked to a double homicide twenty-five years earlier. Knee-deep in the investigation, the protagonist finds information that draws her back into the life of one evil, prior employer, and keeps the memory of the suicide heavy on her mind.
The Big Thrill recently caught up with Thorne to learn more about her and her debut JUST ANTOHER TERMINATION.
How did you first get bitten by the writing bug?
I think it may have been in sixth grade. I have a clear memory of a homework assignment to write a poem based on any subject we’d studied that year. I chose what we’d learned about the planets. After several drafts, I finalized Mrs. Earth So Pretty. My parents seemed impressed and I pictured my teacher scrawling a large A in red ink at the top of the first page. Instead, she called me to the front of the class, gave me an airy “tsk-tsk,” and returned my assignment in a sealed envelope addressed to my parents. When my mom opened it, to our dismay, the only thing scribbled over the paper was a message stating I’d obviously copied the poem or had someone else write it. Grade: Incomplete. My mother hauled me back to school where I pleaded my case to the teacher, my mom backing up my every word. I got the A, but more importantly I felt my first rush of success and brandished a grin for creating a poem that a teacher thought was too good to have been written by an eleven-year-old.
By E. A. Aymar
Grant McKenzie doesn’t pull punches, but they’re not thrown without purpose. His new thriller, SPEAK THE DEAD, opens with three different people experiencing brutal encounters; splits time between a mortician and a hardened detective; and involves a misguided, bloodthirsty cult, none of which is gratuitous. The book moves at a fast clip, and McKenzie does a terrific job of weaving the tension into the plot; one element is never abandoned in favor of another.
McKenzie cut his teeth on five thrillers before SPEAK THE DEAD, as well as the three books in the Dixie Flynn series (under the pen name M. C. Grant) including the Shamus-nominated Beauty with a Bomb. He was kind enough to discuss his new thriller, his craft, and his journey (both the past and what comes next) in the interview below.
How did you end up working with Polis Books? Can you describe your path to that publishing house, and the experience of working with them?
My publishing journey, like a lot of authors today, has been a rollercoaster ride. I have been published by Random House, Penguin, Heyne in Germany, and others, but always, for some bizarre reason, outside of the U.S. This is especially puzzling as all my novels are rip-roaring, U.S.-based thrillers. Jason Pinter at Polis Books read my novel No Cry for Help—which was published in the U.K. and Germany by Random House—and loved it. He contacted me about U.S. rights and we ended up signing a five-book deal that is bringing one of my most popular books, Switch, to the U.S. for the first time, plus four new novels. Switch was released in trade paperback in August, and SPEAK THE DEAD arrives in hardcover in September. This will be followed by two trade paperbacks, K.A.R.M.A. and The Fear in Her Eyes, in 2016, and a brand new hardcover next September. The relationship with Polis has been wonderful as Jason and the gang truly believe in the nail-biting stories I’m telling, and they really, really want to share them with as wide an audience as possible. I’m excited for a whole new audience of readers to discover what my U.K. and German readers already know: you can’t put these thrillers down.