Darkness descends on the Sunshine State

Someone has declared war on Florida’s tourists. And caught in the crosshairs is CW McCoy, the retired female detective desperately trying to lead a normal life as a real estate agent in tony Spanish Point.

She does, until that someone comes gunning for her.

As if a midnight carjacking isn’t enough trauma, CW must deal with savage punks, corrupt politicians, an errant lover and a disease that is rapidly obliterating her beloved grandfather.

Welcome to Tourist in Paradise, the sequel to Peak Season, the book that kicked off the CW McCoy series of crime novels. The sequel debuted this week in trade paper and ebook formats through Amazon, iTunes and Barnes & Noble. But fans of the spunky sleuth who are eager to read about her troubled past and doubtful future can read the full first chapter of Tourist in Paradise here.

Enjoy.

1.

THE AIR FELT THICK and wet. Lightning slashed the clouds and thunder detonated over the Gulf of Mexico. In the rental lot of the Spanish Point International Airport, palm trees swayed like frat boys. Mercury vapor lights buzzed. The sky dropped another foot.

A hard rain was gonna fall.

By the time Walter Bishop dropped me off at the car rental counter, the display on my cellphone read 12:01 a.m. Despite the hour, the rental agent looked crisp in white shirt and black slacks. Tall, early twenties, with black hair slicked forward in a rapper quiff. His nametag read Ken. No Barbie in sight.

The agent stood at a computer terminal in front of a banner that read, “Spanish Point—Welcome to Paradise.” The photo showed a man in a white shirt, striped tie and madras shorts leaping through the surf with a smiling woman and young girl, both in swimsuits and sarongs. At least the women had dressed the part.

Ken handed over the keys and a copy of the paperwork. “Here you are, Ms. McCoy. You’re in Number Three. Enjoy your stay.”

He smiled. He had a right to look happy. This was Southwest Florida after one of the worst winters on record, when tourists had fled south like refugees. I should have been happy, too, because I’d moved to this beach town two years ago, although trouble with money and men had thrown a bit of sand in my face.

I considered correcting Ken’s assumption that I was a visitor—he should have known, he’d looked at my license—but I kept that thought to myself. Score one for self-restraint.

Walter had the parking lot to himself. Leaning against his gold Mercury Grand Marquis, arms folded, jaws snapping gum, he looked every inch the former state police commander and proud owner of a forty-one-foot sloop. Not exactly your typical beach bum, he still carried a weapon. Louie, his vintage black Labrador Retriever, stood on the passenger seat with his head hanging out the window. All this time in the South and Louie didn’t know better than to wear black.

I walked to slot number three and beeped the remote of a white car that could have passed for a Hyundai, Toyota, Ford or an enameled rickshaw. The front looked like the helmet of an imperial storm trooper. The back bore a Florida license plate.

Walter walked to the car. Last winter, while helping me take down an enraged investor in a bank-fraud scheme, he took a bullet in the thigh. He still walked with a slight limp, but when I’d asked how he felt, he’d always say, “Fine.”

I slid into the seat and started the car. “Why is it that half the rental tags in this state begin with the letter J?”

“They used to begin with Y and Z, until the governor banned the practice.”

“Why?” Even after midnight, the August heat made my clothes feel like a sausage casing. I cranked the knob for AC. The system fought back with a blast of hot air.

“Carjackings and robberies near Miami International.”

I adjusted the mirrors. “How’d that work?”

“Gangs would tail a tourist out of the airport based on stickers and tags. They’d bump the car from behind. Tourist pulls over, puts up a fight, gets popped.” Walter snapped his gum for emphasis.

In the distance, thunder rolled off the horizon. “When was this?”

“Nineteen ninety-two, right after Hurricane Andrew.”

The air blowing out of the vents smelled like the wrong end of a vacuum cleaner. I adjusted the fins and clicked on the headlights.

Walter leaned on the doorframe. “So tell me why you need a rental.”

“I’m showing a house.”

“You always rent cars at midnight?”

The sky crept closer to the ground. I looked for the stalk that controlled the windshield wipers and sighed. “I got a last-minute call to show a condo on Spanish Key and had to return Cheryl’s car. You’d think the cops would let her take a patrol wagon home for the night.”

He crossed his arms and grinned. “You’re diligent.”

“I’m broke, remember?”

“What happened to the SUV?”

“I loaned it to someone.”

“To whom did you loan it?” His grin tempered the mocking tone, but only a bit.

“Chet.”

He smiled to reveal a gap in his top teeth and curled two fingers in a “come on and spill it” gesture.

The car’s clock read 12:06 a.m., the temperature gauge eighty-six. I sighed. “You’re not going to let go of this bone, are you?”

He shook his head.

“Chet, my auto body guy.”

“Ah.” His smile grew wider. “And what did you hit this time?”

“A pole, all right? I was pulling out of the marina lot—you know they won’t let you back in—and this sign came out of nowhere and clipped the bumper. Totally did not look where it was going.”

He laughed and walked to the Merc. “I’ll follow you home. Wouldn’t want you to get ambushed by a traffic light.”

I slammed the door with enough force to fly the rivets back to South Korea and headed down the access road to University Parkway, one of the main East-West highways in Spanish Point. We sailed across the railroad tracks and into the northern part of the city, encountering little traffic at this time and season, when well-heeled residents traveled to cooler climes and the tourists headed back to Canada and the Continent.

The few houses here stood far apart, guarded by cement-block walls with peeling white paint. Not the sign of a prosperous neighborhood. I rarely showed property this far north. The rich retirees preferred gated communities and five-acre ranches east of I-75. I preferred them, too, since I worked on commission.

At the cross street I hung a right onto Orange Avenue and headed south into a fist of rain. Fat drops smacked the windshield, then ratcheted up the volume. I checked the mirror. Walter hung back so far his headlights had disappeared.

The street numbers had dropped from the fifties to the thirties when a car fell in behind me. I glanced in the mirror and saw its glittering image edge closer. When I slowed to let it pass, the car lurched forward and rammed the back of the rental, not enough to set off the airbag but hard enough to jar my teeth.

I jammed the brakes. “What the . . .” I yelled as a black Honda with tinted windows and dual exhaust pipes spun a hundred and eighty degrees and came to rest twenty feet in front of the car, blocking the road and blinding me with its high beams.

A short black kid in a hooded sweatshirt and jeans bounded from the passenger side, raising a handgun as he ran. Hands and eyes, eyes and hands, I reminded myself. Watch the eyes and hands. My heart thundered, my vision narrowing to focus on the weapon. Ducking beneath the dashboard, I searched my ankle for the Beretta .25 only to remember I hadn’t carried since I’d shot that officer in Pennsylvania. I came up to see the black kid pointing the gun at my head and screaming for me to get out of the car.

Things happened fast. I heard Walter yell “Freeze!” and the black kid fired a round that splintered the windshield. Another shot slammed the kid’s shoulder and took him to the pavement. I looked for the driver, a light-skinned male, his features obscured by the blinding headlights. He glanced at his buddy, ground the gears and barreled north, forcing Walter into the ditch.

The kid on the highway rolled in pain. Walter climbed onto the crown of the road and kicked the boy’s weapon out of reach, then backed away and asked, “You all right?”

“Yeah,” I said. My breath felt ragged. I inhaled deeply, willing my heart to slow. “You get the tag?”

“Enough,” he said.

My stomach clenched as Walter moved his gun toward me but he must have changed his mind about asking me to hold the weapon. Flipping open his cell phone, he called 9‑1‑1, asked for police and fire rescue and disconnected.

The kid hugged himself and moaned and rocked on the double yellow line just as the sky opened wide, the rain mixing with blood as it soaked his clothes.

“We need to help,” I said.

With his weapon trained on the boy, Walter tossed his keys to me. “There’s a first-aid kit in the trunk.”

Arms shaking, I grabbed a checkered blanket and red plastic box marked with a white cross and knelt near the boy. He looked about fifteen with a scraggly mustache and a burst of acne on his forehead. With his high top fade, he resembled Will Smith in the “Fresh Prince of Bel Air.”

As shock set in, the kid stopped yelling and stared at me with eyes the size of quarters. Walter had shot him in the meaty part of the right shoulder, as far away from the heart as he could and still hit body mass. I cut away the shirt and, using scissors, tape and a large square of gauze, pressed the makeshift bandage to the wound. He groaned when I tipped him onto his side. The exit wound looked worse. Cutting away the shirt, I stretched the remaining gauze over the hole and taped it to his skin. The patches wouldn’t stop the bleeding but they’d slow it.

Leaning back on my heels, I glanced up at Walter. He stood ramrod straight, gun at his side, a living shadow backlit by the headlights. Between us, rain pelted the pavement, turning the stones to shards of glass.

I bent my head toward the kid. “Why’d you come after us?”

He stared over my shoulder, eyes glazed, blood trickling from a bitten lip. I pulled the blanket over his torso, propped his head on the plastic case and tucked the cloth underneath. Then I backed up to where Walter stood.

“He’s not going anywhere,” I said and heard a faint tremble in my voice.

“Trust but verify.”

“You going to toe him in the ribs to make sure?”

Without taking his eyes from the kid he holstered his gun. “How’s the car?”

“Drivable, if you don’t mind bullet holes.” Rain streamed through my hair and soaked my collar.

He shook his head. “You know what this is about?”

“Robbery for drug money?”

He glanced at me. “Anyone after you?”

I shook my head. “Does he look like a pro?”

“They had to pass me to follow you.”

In the distance, sirens split the air. I leaned against the rental to steady my legs and felt the water soak my pants. “What do you think?”

He stared over my shoulder into the dark. “It’s starting again.”

Dark night of the American Dream

A savage attack. A corrupt politician. A war on tourists . . . and within herself.

CW McCoy faces a barrage of challenges that threaten to overwhelm her in Tourist in Paradise, the sequel to last year’s Peak Season, the novel that marked the debut of the scrappy former detective who battles punks and politicians to head off a full-blown war in Southwest Florida.

Watch the video trailer for the novel here or on YouTube.

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Veteran actor brings ‘Mr. Mayhem’ to life

Alan Wade is a character. It’s a description he likes, one that has brought him work in theater (King Lear), movies (The Pelican Brief) and television (House of Cards Season 4). And one of the reasons he was drawn to the narration of Mr. Mayhem, the first in my series of crime novels starring a defrocked journalist turned PR whiz named Brinker.

Alan is a veteran of film, television and stage. Actor, writer and director, he has appeared in regional theater and off-Broadway, as well as television (Homicide) and film (The Pelican Brief, Major League II).

For almost four decades he has served as a professor of speech communications and theater at The George Washington University and directed 30 plays there. His professional work has won praise from After Dark magazine and The Washington Post.

For his latest project, Alan drew on his extensive stage experience to bring the dark story of Mr. Mayhem to life as an audiobook, as he explains in this two-part interview, conducted shortly after he finished the narration.

Alan Wade as Sgt. Rough in “Angel Street” for the Olney Theatre Center with Julie Ann Elliott (Stan Barough Photography)

Alan Wade as Sgt. Rough in “Angel Street” for the Olney Theatre Center with Julie Ann Elliott (Stan Barough Photography)

Tell us a bit about the path you took to a career in acting and narration.
I was a freshman in high school when the “bug bit.” I took some after-school courses, went on to Northwestern University’s theater program, to Catholic University’s drama program (M.A.), and back to Northwestern for a Ph.D. in what is now Performance Studies. Intertwined with this academic work was a stint as a resident actor at Center Stage in Baltimore.

You’ve appeared in everything from King Lear to The Pelican Brief. How has stage and television influenced your voice work?
Well, I’m what is thought of, certainly now, as a character actor, which can often involve roles differentiated in part by changes in vocal characterization: dialects, accents, vocal qualities, and other speech mannerisms. My first Equity role was as Billy Bibbitt in One Flew Over the Cuckoo’s Nest at Center Stage. Billy suffers from a pronounced stammer.

How does audiobook narration differ from your other projects?
You’re by yourself and, for someone like me who enjoys the culture of theater and its sociability, this aloneness is a pronounced difference. I’ve done two one-person shows during my stage career, so I’ve had a performance experience that approximates being in a booth alone, but there was always the audience to provide companionship.

What do you like best about voice acting?
In the case of audiobooks, it’s somewhat self-directed (though you do interact with the author and sometimes a producer), so there is a larger creative component to voice acting of this kind.

Next: the challenge of multiple characters.

Listen to Alan Wade bring Brinker to life in the first chapter of Mr. Mayhem:

A walk on the dark side with ‘Mr. Mayhem’

Sued by his publisher for libel, Brinker is reduced to promoting trolley tours of crime scenes. The tour business is dying. There aren’t enough murders to draw a crowd.

A good serial killer would help.

When his doctor asks for aid in euthanizing terminal patients, Brinker hires an assassin named Angel, who reigns chaos and fame on the sleepy resort town.

But as Angel’s demands soar with the body count, Brinker wonders whether he’ll become the latest addition to his own list.

For better or worse, Mr. Mayhem, the first in the Brinker series of crime thrillers, comes alive in this video.

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In a small Pa. town, an unwelcome guest

In this economy, even an assassin needs an agent.

Sued by his publisher for libel, Brinker is reduced to promoting trolley tours of crime scenes. The tour business is dying. There aren’t enough murders to draw a crowd.

A good serial killer would help.

That’s the premise of my new thriller, Mr. Mayhem, a book my fellow writers have alternately called clever and demented. Here’s the first chapter. I’ll let you decide.

1.

Brinker stood beside the body with its red flannel shirt and black ski pants and two-tone duck boots and smiled. “Couldn’t have happened to a nicer guy.”

From the end of the road, police lights flashed as two cops directed traffic. At this hour, there was next to none.

“I’d be careful,” the Colonel said. “People might think you had a hand in this.”

“You should talk,” Brinker said. “Word is, our pal Red diddles with the bodies.”

The eyes of Col. Frank Mabry, U.S. Air Force retired, darkened to the color of his three-piece suit. “No wonder you got fired for libel.” He motioned for the redheaded intern in black to help hoist the body onto the gurney. Red was nineteen going on twelve. He had more acne than a porn star’s ass.

Mr Mayhem 3d_coverThey shoved the gurney into the back of the hearse and slammed the door with the little white curtain and Red drove the hearse into the night, its tailfins glowing like hot coals from hell, which was where the publisher of the Free Press was headed . . . after a brief layover at Mabry & Sons Funeral Home.

Brinker’s feet stuck to the ground. If he stayed here much longer he’d be next in the meat wagon. He looked around the yard. The porch lamp lit an axe, a pile of split wood, a felt Stetson and a dent in the snow bank where the publisher had fallen headfirst.

Brinker asked, “What killed him?”

“Heart attack, most likely.”

“How do you know?”

“What do you mean, how do I know? I’m the coroner. If I say he died of mustard gas poisoning, that’s what killed him.”

The Colonel usually showed more patience. Maybe he needed a drink. Brinker did, and his meds. He lit an unfiltered Camel and let the warm smoke trickle through his nose.

“Those things will kill you.” The Colonel had the spine of a floorboard. He’d retired from some base in the South and returned to Pennsylvania to manage the family business and had gotten trapped here like everybody else. Coroner and undertaker. Add animal-control officer and you’d have a trifecta.

“You should know,” Brinker said and coughed up half a lung. He’d have to see Dr. Jolley tomorrow. The doc had reduced his prescription of Vicodin and Percocet for lower back pain but he’d pony up a month’s worth of Xanax or Ativan, since the meds he prescribed didn’t seem to work anymore. It didn’t matter that benzos were addictive. The doc didn’t like to see people suffer. Neither did Brinker.

The Colonel stared into the dark, as if it would part like a curtain to reveal the secret of the afterlife. The dark stared back. “I don’t need to tell you, business is bad.”

“Then don’t,” Brinker said.

“Traffic’s down at the museum and most of the seats on the ghost tour are empty.”

“Murder tour,” Brinker corrected. The cigarette bobbed in his mouth. “Tell me something I don’t know.”

“Did you talk to your mother that way?”

Brinker smiled. “Why do you think she kicked me out?”

MM1 cover 1The Colonel pointed to the dent in the snowbank. In this cold, it wouldn’t lose its shape until July. “What can we do with this?”

Brinker looked at the yard. The snow sparkled like broken glass. The axe hadn’t moved. Neither had the hat. “You said he died of natural causes. No one’s flying up from Florida in the dead of winter to watch this guy make snow angels.”

In the brittle light, Mabry’s nose looked like it could hook rugs.

“Unless,” Brinker said, “you tell the cops you have doubts.”

“That would be official misconduct.”

“It’s a living,” Brinker said.

“You’re supposed to be the PR guy. What are you going to do about this?”

Going to, not gonna. As an elected official, the Colonel took care with his speech. Brinker picked a piece of tobacco from his tongue. “I’ll think of something.”

“You had better think fast. Get on the radio. Send out a release.”

“The paper won’t print our shit anymore.”

“Why is that?” Mabry asked in his I’m-struggling-for-patience voice.

“Too self-promotional.”

“For God’s sake.” Mabry abandoning the pretense. “Then get us on social media—or didn’t they teach you that before they canned your ass?”

Brinker tried to blow a smoke ring but the wind took it. “The murder tour’s getting old.”

“Of course it’s old. The crimes are old. History’s old. That’s pretty much the definition.”

Brinker stamped his feet to drive out the cold. The cold didn’t budge. “The tourists are looking for sensation, the big hit. They want blood, guts, scandal, like they get from TV, or Congress.”

“They want their heads examined,” the Colonel said. “We offer them something they can’t get anywhere else.”

“Time travel?”

“Yes,” the Colonel said, “it is like time travel. They can relive history. They can stand in the exact spot where the murder took place and use their imaginations for a change.”

“Soak up the vibes.” Brinker dropped the butt and listened to it hiss. “So what do we do?”

“Drum up business, fill the trolley. That’s why I hired you.”

“We’re fresh out of stiffs.” Brinker nodded toward the road. “Not counting this one.”

The Colonel turned on a polished boot and waded through a foot of new snow. He popped open the door to a black Escalade the size of a dinosaur and said, “I don’t care how you do it . . . just make it happen.”

Brinker watched the car fade to black. He hated winter almost as much as he hated the job.

What if serial killers had agents?

A doctor wants to euthanize his terminal patients. A disgraced journalist wants a better job than flogging tours of crime scenes. The tour business is dying. There aren’t enough murders in this sleepy town to draw a crowd.

A good serial killer would help.

Mr MayhemSo begins Mr. Mayhem, the new crime thriller that fittingly goes on sale on Black Friday.

For a man known only as Brinker, the trouble starts when he’s fired for reporting his publisher’s DUI. Reduced to doing PR for a funeral home and its trolley tour of murder sites, Brinker despairs of ever restoring his pride, or his bank account. Compared to journalism, PR is degradation, an excuse to lie for a living. His addiction to prescription medication only fuels that rage.

When his doctor asks for a hand in dispatching hopeless patients, Brinker hires a wildly successful assassin named Angel, who brings chaos and fame to this backwoods town. But as Angel’s demands soar with the body count, Brinker wonders whether he’ll become the latest addition to his own list.

With Mr. Mayhem, I’ve tried to turn the suspense genre on its head. Fans of Elmore Leonard and Gillian Flynn will enjoy the double- and triple-crosses that give the book its dark edge. And readers who like a little sugar with their spice may come to think of Brinker as the king of the comic sex scene.

Mr. Mayhem is set in the snowy mountains of Pennsylvania, from whence I come. Published by Allusion Books, the novel is available in print and ebook formats through Amazon, iTunes, Barnes & Noble, Kobo,  my website and bookstores that place orders through Ingram. The audiobook version is due by the end of December.

What a way to end the year.

Juggling the multiple voices in our heads

In Part 1 of our interview with  Peak Season narrator Pamela Almand, she talked about how a career in flying helped her second career as a narrator take off. In Part 2 she hones in on the joys and trials of audiobook narration. Pam and I talked about her career and her company, The Captain’s Voice, via email in late October.

Who are some of your favorite authors and why?

I’ve always loved suspense and thrillers. Dave Baldacci, Harlan Coben, Vince Flynn, Grisham, Brad Thor. . . . Unfortunately, male suspense authors don’t often use female narrators unless, like in Peak Season, their protagonist is a woman. I love the opportunity to narrate strong female protagonists like CW McCoy. That is where my strengths and deeper voice can really shine, and I love books where I get to add a touch of sarcasm or sassiness to the character.

I also really enjoy non-fiction from Thomas Sowell, Bill Bryson, Charles Krauthammer and others, but don’t have a lot of time to read them. I’d love to narrate any of their books, though, and that is where a lot of documentary and e-learning work helps me. The non-fiction author has a purpose and motive for writing and my job is to capture his or her passion and enthusiasm for their subject matter. And I’d love to narrate Ann Coulter. Although I don’t always agree with her, I love the combination of dry wit, snarkiness and intelligence with which she writes.

Pam Almand recordingDo you have a favorite book or project?

That’s the toughest question yet, Jeff. I can honestly say I’ve enjoyed just about all my projects as new and interesting learning opportunities, with the possible exception of a very dry, 10-hour narration on rules and regs on the handling of toxic chemicals (but it paid very, very well, so I’m not complaining.)

Which characters are your favorites to play?

Strong female protagonists with many facets to their emotions and personalities . . . and I always enjoy doing over-the-top characters where I can play with crazy accents and dialects.

How do you prepare to perform an audio piece?

Since I love to read, and read fairly fast, many times I’ll have read a book in its entirety before I decide whether to audition for it. If not, I’ll read the book and annotate it at the same time; each character has a distinctive voice, and many times you don’t find out details about it when the character’s first introduced. Halfway through the book, there might be a note that “the slight hint of her German background was obvious when she shouted at him” or “that morning his high whiny voice just drove her nuts.”

I’ll also practice a particular voice I want to use for a character and record a sentence or two for reference and make a separate audio file for each character who doesn’t appear regularly.

Then I jump into the studio and start telling the story, to myself more than the listener.

When you’re narrating a work with multiple characters, how do differentiate among them?

I mark them with individual highlight colors and notations on characteristics I need to know and I kinda try to feel out each major character in different emotions in the voice I’ve chosen for them, if that makes any sense.

And I don’t try to sound just like a man but only to suggest the difference through a bit of gravel perhaps, a flatter delivery, maybe a more resonant delivery. One of the best things I heard from Pat Fraley in a coaching session was that men don’t all have low voices, women don’t all have high voices. Duh. It seems obvious but it’s a common misinterpretation. Pat is a great coach for the sheer number of distinct sounds he can produce from that smiling mouth of his.

What new and exciting projects do you have coming up?

The release of Peak Season in audiobook is the most exciting right now. Lots of marketing and promo for that and a couple of other audiobooks. And I have a documentary piece coming up for a Christian non-profit on sex trafficking as well as a United Nations video directed by a wonderful client in Barcelona. And then the usual smattering of other work that comes up in a normal week.

And, of course, I’m eagerly awaiting CW McCoy’s newest adventures. I love this woman and love getting to live her life vicariously narrating your novels.

Flying high with the voice of CW McCoy

Pamela Almand used to pilot 747s for a living. Now she’s flying high with a second career as narrator and voiceover actor.

The voice of CW McCoy in Peak Season, Pam has a voice and delivery perfectly suited to strong female leads in the mystery/suspense genre. I’m impressed with how she captures the spirit of CW McCoy and imbues each character with a unique voice. We hear the anguish of Anita Church and the flippant Jersey girl in CW’s neighbor, Cheryl Finzi. As for the male voices, Pam renders them with suitable gravitas but avoids descending into caricature. Hers is an expressive reading that captures every nuance of the dialog.

I interviewed Pam about her career and her company, The Captain’s Voice, via email in late October. Here, in Part 1, she talks about how a career in flying has helped her second career as a narrator take off. In Part 2, which will post later, she hones in on the joys and trials of audiobook narration.

Tell us a bit about the path you took to a career in voice acting and audiobook narration.

My career path has really run the gamut. After a BFA degree in graphic design from Colorado State, I took a flying lesson and got completely hooked. Although at the time there were no female airline pilots, I abandoned the art degree and built my flight time quickly. I did everything from flying single-engine aircraft solo across the Atlantic to being a production test pilot for a business jet manufacturer and eventually became an airline pilot.

In 1995, I was asked to do a national Tylenol TV commercial—fun and very lucrative—and that cascaded to jobs here and there: spots for Northwest Airlines, narrating training videos, doing occasional narration for clients all over the world, all the while toying with the idea of a full-time voiceover career.

When I had to temporarily stop flying for medical reasons, I built a professional recording studio and built my occasional hobby into a full-time business. Although I wasn’t able to go back to flying and finally retired this year, I’ve been tremendously blessed to have had two careers that I passionately love.

Pam Almand in uniformYou piloted a commercial airliner. How has that influenced your audio work?

You know, the perseverance and drive and just plain hard work it took to get on with a major international airline as a woman has served me well in building this business. And as a 747 captain flying all over the world, I caught a lot of grief and teasing from my male colleagues, which helped me develop a thick skin and a sense of humor, traits I find useful in just about anything I’ve ever accomplished.

The most tangible carryover from flying to voiceover is the asset, for a female pilot, of having a low-pitched voice. I think after hearing a few high, squeaky female voices on the radio frequencies I unconsciously deepened my tone, not only for the added gravitas, but for that air of calm authority you expect from an airline captain. I never added the stereotyped Chuck Yeager drawl, though.

And although English is the required aviation language, excellent diction is as essential in international aviation communications as it is for professional voiceover and audiobooks. Think about trying to radio your situation to a Chinese or Russian air traffic controller.

How does audiobook narration differ from your other projects?

Audiobook narration is far more of a storytelling style than normal voiceover work. And in commercials, e-learning, video narration and other voiceover work, I’m rarely called upon to be a male character or to carry on a conversation with myself.

What’s the most challenging part of your job?

I truly think, to me, fictional audiobooks are a great challenge. You have such an enormous wealth of characters, personalities and voices possible in a span of an 8-12 hour book, it’s a job to keep them straight, to jump from character to character, and simply to keep the stamina required to do hours of recording without the energy fading.

My other voiceover work is broken up into 30-second, 60-second TV or radio spots, shorter narrations, phone messaging systems, e-learning projects (which can sometimes get as long as an audiobook) or videogame voices and it breaks up the recording and editing sessions into much shorter blocks. And, of course, those usually only involve being me.

What do you like best about your job?

That’s a hard one. What I think I’m most passionate about, though, is the variety of subject matter I get to read and learn about.

As a case in point, I had a week where I voiced the phone messaging system for The Hotels and Casinos of Monte Carlo; signed a contract to record a contemporary Christian romance audiobook called Come To Me Alive; narrated a series on medicinal marijuana; recorded pickups for a national infomercial for CamiShaper by Genie; and was the voice of Abraham’s 95-year-old wife Sara for a Biblical video game called Stained Glass. (I wasn’t sure if I should be flattered when they loved my audition for that one.)

Do you have any disasters you’d care to share?

Oh, many, but my clients are loyal and the only harm has been to my pride. On one of my very first audiobooks, a reviewer on Amazon said she couldn’t stand my voice and couldn’t listen to the rest of the book. Ouch. I later found everybody gets these occasionally, so I just worked on that thick-skin-sense-of-humor trait…but also modified a couple of things based on her other comments. I can learn from the nastiest of reviewers as well as the positive ones.

And, of course, I look back on some of my earlier work and cringe at things sometimes, but I do try to never stop growing and learning and honing my voice and my craft. I always learn from coaching sessions with Pat Fraley, Johnny Heller, Carol Monda, Marc Cashman, Paul Ruben and other narrators I really admire.

Next: juggling multiple personalities without going crazy.

Beach-town thriller ‘Peak Season’ debuts in audio

I heard CW McCoy before I saw her face.

The heroine of my first crime novel was listening to a fugitive con artist make the case for clearing his name. CW did what I bet most former police officers would do: she kicked the guy to the curb.

Feisty, I thought, from the low, smooth voice to the Spenser-like banter. Maybe I should take notes.

I did, and the result was Peak Season, a novel set in the tony Florida beach town of Spanish Point. The work came out this summer in ebook and paperback formats. And while that satisfied my itch for publication, I kept hearing the dialog and realized CW wanted her own voice.

She has finally gotten it. After months of preparation, Peak Season is now available as an audiobook through Amazon, Audible and iTunes. The recording sounds just as I envisioned it, thanks to the powerful narration by Pamela Almand, who captures CW’s grit as well as the nuanced voices of her mentor, friends and enemies.

At first I had some doubts. Everyone said that writing from a woman’s point of view would prove challenging. So it felt like a victory to hear Pam bring the fellow risk-taker to life. CW may surrender her gun and badge but she will never surrender her spirit, and Pam’s rich tone and nuanced reading make that spirit sound very real.

If you’re a fan of Lorelei King’s wonderful rendition of the Stephanie Plum books, you’ll enjoy Pam Almand. It’s a voice that will ring in your ears long after she turns the last page.

You can listen to a free excerpt of Peak Season at Audible or iTunes.

Peak Season Audible

New crime series launches with ‘Mr. Mayhem’

A doctor wants to euthanize his terminal patients. A disgraced journalist wants a better job than flogging tours of crime scenes. The tour business is dying. There aren’t enough murders in this sleepy town to draw a crowd.

A good serial killer would help.

So begins Mr. Mayhem, a new crime thriller from a mind the folks in my writers’ group have alternatively called clever and demented. The work is available as an ebook pre-order through Amazon, iTunes, Barnes & Noble and Kobo, with the print release set for Nov. 27.

Mr MayhemHere’s the story: For a man known only as Brinker, the trouble starts when he’s fired for reporting his publisher’s DUI. Reduced to doing PR for a funeral home and its trolley tour of murder sites, Brinker despairs of ever restoring his pride, or his bank account. Compared to journalism, PR is degradation, an excuse to lie for a living. His addiction to prescription medication only fuels the rage.

When his doctor asks for a hand in dispatching hopeless patients, Brinker hires a wildly successful assassin named Angel, who brings chaos and fame to a backwoods town in Pennsylvania. But as Angel’s demands soar with the body count, Brinker wonders whether he’ll become the latest addition to his own list.

I’d like to think that Mr. Mayhem turns the suspense genre on its head. I’m hoping that fans of Elmore Leonard and Gillian Flynn will enjoy the double- and triple-crosses that give the book its dark edge.

A note of caution to readers: Mr. Mayhem is wildly different from Peak Season, my first novel of suspense. That book is set in sunny Florida and chronicles the life and loves of former police officer and real estate agent CW McCoy. Mr. Mayhem is set in the snowy mountains of Pennsylvania and draws on my experience as a journalist with Dow Jones/Ottaway News.

The parallels between Brinker and me end there. But not the drama. The two of us are planning a sequel. I think we’ll set it in the world of advertising. No chance anyone in that industry ever lies.