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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Sequel exposes dark side of tourism in Florida

If tourism is the lifeblood of Florida, the killers in Tourist in Paradise are intent on draining the state dry. Whether they succeed depends on a female sleuth who moved to the Sunshine State to escape this kind of violence.

What CW McCoy finds is a tsunami of corruption and deceit as she battles punks and politicians in the second in the McCoy series of mystery/suspense novels.

TIP covers top bookThe stakes are high for residents of the fictional city of Spanish Point, a tony resort town located between Tampa and Naples on Florida’s Gulf Coast. When a gunman mistakes CW for a wealthy tourist, the real estate agent is thrust into a series of crimes that pit visitor against visitor. Is the violence the start of a full-blown war on tourists? Or are the attacks a smokescreen for an even greater threat?

And if CW unmasks the killers, will it spell the end of her career, her friends and her life?

Published by Allusion Books, Tourist in Paradise is the sequel to Peak Season, a book Kirkus Reviews calls “an entertaining mystery romp.” The crime novel is available through Amazon, iBooks and Barnes & Noble in both e-book and trade paperback formats. Readers can view the book trailer at jeffwidmer.com or YouTube.

Fans of Janet Evanovich, Robert B. Parker, Ruth Rendell and Chelsea Cain should enjoy the book.

I hope you’re one of them.

Dr. Watson explores the dark side of ‘Mr. Mayhem’

Alan Wade is a busy man. When he’s not teaching theater at The George Washington University, he’s acting in plays (King Lear), movies (The Pelican Brief) and TV (House of Cards Season 4).

He’s also narrating audiobooks, including Mr. Mayhem, the first in my series of crime novels starring a defrocked journalist turned PR whiz named Brinker. And one by another chap, fellow named Watson. Ring a bell?

Alan took some time recently to talk about the influence of stage and screen on audiobook narration.

Alan Wade as the drunken clerk in Shaw’s “Augustus Does His Bit” for the Washington Stage Guild (Colin Hovde Photography)

Alan Wade as the drunken clerk in Shaw’s “Augustus Does His Bit” for the Washington Stage Guild (Colin Hovde Photography)

What’s the most challenging part of audio narration?
Being in a confined space for a few hours. Thankfully, I’m not claustrophobic!

Who are some of your favorite authors and why?
Well, here’s a clichéd response: Shakespeare tops my list. His work simply does not exhaust an exploration of human character and motivation, and it’s the locus for a discussion of an extensive range of ethical, political, and social issues. Samuel Beckett comes in second for me. Clearly, not a popular dramatist, but, like Shakespeare, though with a much narrower social purview, Beckett is sensitive to the richness of human character and motivation. It would perhaps not be a surprise that the first one-person theater show I did was based on Beckett’s prose work (I, from the Prose of Samuel Beckett at Chicago’s Victory Gardens Theater), and that the second was comprised of scenes from Shakespeare’s plays (Shakespeare in Soliloquy).

How do you prepare to perform an audio piece?
I do articulation exercises and drink water. I don’t read the book in its entirety as that would not be “cost-effective.” I skim a chapter before I do it to see what characters are involved.

When you’re narrating a work with multiple characters, how do you differentiate among them?
Let’s take Brinker as an example. There were two traits that led me to his voice, which I will characterize as harsh or “gravelly.” The first is his attitude: he’s a wise-ass. The second is his substance abuse, pretty much of all kinds. This suggested to me that he wouldn’t have a healthy voice (contrast his with my rendition of the Colonel’s voice).

So, a character’s attitude, whether it’s a male or female character, dialect or accent requirements (assuming I can do them credibly), and certain vocal stereotyping of character (a “whiner” might be nasal in vocal resonance).

What new and exciting projects do you have coming up?
Coming up for Audible is a new Sherlock Holmes collection for which I’m delighted to “be in England” as Dr. Watson.

Listen to the second chapter of Mr. Mayhem as Alan Wade brings Brinker and the cast to life:

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:

‘House of Cards’ actor narrates thriller ‘Mr. Mayhem’

Murder is murder, whether it’s in a play by Shakespeare or a popular television show. Which is one of the reasons House of Cards actor Alan Wade agreed to narrate Mr. Mayhem, the first in a series of crime novels I’ve written to feature the defrocked journalist turned PR whiz known as Brinker.

Alan Wade at mike“There were two traits that led me to his voice, which I will characterize as harsh or gravelly,” Wade said. “The first is his attitude: he’s a wise-ass. The second is his substance abuse, pretty much of all kinds.”

Mr. Mayhem has garnered widespread praise from the critics. Kirkus Reviews calls the work “eccentricity at its finest in a detective story, and proof that a flawed protagonist can still earn sympathy.” And My House Our House author Louise Machinist says the novel “socks you in the gut like a shot and a beer. The mayhem never stops in this plot-driven thriller in creepy small-town PA, where there’s not a hero to be found.”

Set in the snowy mountains of Northeast Pennsylvania where I was raised, Mr. Mayhem is published by Allusion Books and available through Audible, Amazon, iTunes, Barnes & Noble, Kobo and my website.

Listen to the audio sample as Alan brings Brinker and his crew to life.

Why we write

The chief benefit of publishing an e-book through Smashwords is the distribution channel–Barnes & Noble, Apple’s iBooks and indie e-book retailer Kobo. There’s one other feature writers might consider, an interview with the author. Here’s mine:

What motivated you to become an indie author?

After sending queries to 76 agents, I received a number of kind comments but no offers of representation. Then an indie author alerted me to Joanna Penn and The Creative Penn podcasts about the publishing industry. I found her rationale for going independent so compelling I decided to learn as much as I could. The materials on Smashwords were also a great help. In an increasingly DIY world, indie publishing makes a lot sense.

What is the greatest joy of writing for you?

The greatest joy of writing is the process, the act of writing. Something I think publishing is just an excuse to keep writing.

What do your fans mean to you?

Fans mean contact with people who share common interests and feelings. The feel of a book is so important, and so elusive, especially during the drafting phase, when the author is isolated from others. To hear that I’ve entertained or touched someone else . . . that’s the real joy of writing.

Peak Season 3D cover 375x548What are you working on now?

I’m writing the sequel to Peak Season, the second book in the CW McCoy series. It’s called Tourist in Paradise and starts with the premise that someone is trying to kill the tourism industry in Southwest Florida. I’m also working on the audiobook version of Mr. Mayhem, the first in the Brinker series of crime novels. It’s high-concept, the kind of treatment you’d expect to see on HBO or Amazon Prime.

Who are your favorite authors?

An eclectic group of crime novelists ranging from Raymond Chandler, Ken Bruen and Chelsea Cain (“One Kick) to Robert B. Parker, Sara Paretsky, Ruth Rendell and Tony Hillerman. I like the Anns–Anne Lamott, Annie Proulx, Anne Tyler and Anna Quindlen. I also like the romantics, Jennifer Crusie and Janet Evanovich, and British writers P.G. Wodehouse (Jeeves and Wooster) and John Mortimer (Rumpole of the Bailey).

What inspires you to get out of bed each day?

Another chance to create, to build new worlds and live inside them.

When you’re not writing, how do you spend your time?

Hiking, taking photos, reading, listening to classical music and NPR.

How do you discover the e-books you read?

I follow recommendations from fellow members of my writers’ groups.

Do you remember the first story you ever wrote?

No, but I remember a wonderful professor who rekindled my interest in fiction to such a degree that I wrote a book-length collection of short stories. Now that’s inspiration.

What is your writing process?

I try to write first thing in the morning and save marketing and social media for later in the day.

Do you remember the first story you ever read, and the impact it had on you?

I remember my parents reading to me, and since then, I’ve grown fond of spoken-word audio.

Riding 3D coversHow do you approach cover design?

After design the cover of my first nonfiction book, The Spirit of Swiftwater, I wisely took the advice of a seasoned indie author and hired a professional to design the covers of Peak Season, Mr. Mayhem and Riding with the Blues. The designers have captured the tone of the work better than I ever could.

What are your five favorite books, and why?

Listening Woman by Tony Hillerman, Rumpole of the Bailey by John Mortimer, All the Light We Cannot See by Anthony Doerr, Good Night, Mr. Wodehouse by Faith Sullivan and Road Rage by Ruth Rendell. Let’s add a sixth: California Fire and Life by Don Winslow. All offer sensitive characters thrust into compelling situations.

What do you read for pleasure?

Standalone books like The Girl on the Train and series novels by Parker, Hillerman, Rendell, Grimes and the inimitable P.G. Wodehouse. (Who can top Jeeves and Wooster?)

What is your e-reading device of choice?

I have an iPad mini and a Kindle and I’m looking forward to buying an Android tablet in the near future.

What book marketing techniques have been most effective for you?

Social media and word of mouth, although I will send review copies to journalists and bloggers.

Describe your desk

My dining room table.

Where did you grow up, and how did this influence your writing?

I grew up in the Pocono Mountains of Pennsylvania, a once-rural area that attracted tourists to the clean mountain air. Perched on the border with New Jersey, it is now a bedroom community for New York. The area inspired a love of nature and a desire to experience the art and culture found in the city.

Mr Mayhem 3d_coverWhat’s the story behind your latest book?

After moving to Florida, I decided to revisit a lifelong interest in fiction. During a writing class, the instructor suggested we turn a short story into a news report and a news story into a piece of short fiction. As a working journalist, the first part felt easy. (I chose one of my favorites, a John Updike short story.) For the second part, I found an article about a fugitive financier that fascinated me and turned it into a short story. I liked the product and the process so much, I worked the character into the novel Peak Season and created someone worthy of challenging him, CW McCoy, a woman who had renounced violence . . . under the fugitive kidnaps her family.

For the second novel, Mr. Mayhem, I channeled some of the anger at literary rejection and cynicism about public relations and marketing in general.

When did you first start writing?

In elementary school.

What’s next for you?

The debut of Mr. Mayhem and the character of Brinker, a disgraced journalist doing PR for a funeral home and its trolley tour of murder sites in rural Pennsylvania. He hates the job, the place and himself. The tour business is dying. There aren’t enough murders to draw a crowd. An assassin would help. The audio version should be a killer.

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

Exploring the character of place

Location, location, location. The mantra isn’t just for real estate agents. Writers have long known that a place works better as character than background. NPR does, too, which makes the radio program “Crime in the City” a delight for tourists of murder and mayhem.

The series features well-known authors and their beats—George Pelecanos’ Washington, D.C., Walter Mosley’s L.A.—as well as writers exploring smaller venues—Archer Mayor and Brattleboro, Vt., Julia Keller’s fictional town in West Virginia.

“Crime in the City” also gives armchair detectives a travelogue of international venues—Mary Lou Longworth in Aix-en-Provence, Ann Cleeves in the Shetland Islands, Richard Crompton in Nairobi, Paco Ignacio Taibo II in Mexico City.

Big or small, noisy or quiet, home or abroad, these locales illuminate both the authors and their characters in unexpected ways.

NPR’s correspondents intersperse the ambient sound of streets and cafes with the voices of police, shopkeepers and the writers themselves. As the sun becomes a distant memory in North America, the summer series offers armchair travelers a glimpse of the often superheated habitat of their favorite novelists. (In addition to the live broadcasts, the programs are available on the NPR website as downloadable MP3 files.)

As a reader or writer, what role do you think place can play in crime fiction?

NPR Crime in City Byzantine monument