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.

All the news that’s fit to break

Fans of “The Office” will enjoy the mockumentary format of the new book trailer for Peak Season, which came out in audio last week.

Breaking News 'Peak Season' trailer.jpgIn a tongue-in-cheek takeoff of shows like “Entertainment Tonight,” the broadcaster casts the debut of the CW McCoy crime series as breaking news, giving it the proper gravitas, with a bit of wink-wink, nudge-nudge.

Here’s the video. (You can also watch it on YouTube.) Enjoy the show.

 

[iframe id=”https://www.youtube.com/embed/AKINV7q0NrA”%5D

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

Now hear this . . . tips on creating audiobooks

Kids aren’t the only people who like to hear a story.

According to the Pew Research Center, 14% of Americans listened to an audiobook in 2013. Adults with higher levels of education are more likely to have read audiobooks than those who did not attend college. And the vast majority of those who read e-books and audiobooks also read print books.

Good news for writers who like to listen to as well as tell stories.

Convinced audio could prove a way to boost my audience, I contracted with an Amazon service called ACX to produce an audio version of my first novel, Peak Season. ACX connects authors with producers and distributors of digital files, in this case, iTunes and Audible.com. It does not produce CDs.

ACX made it easy to import cover art and relevant details of the novel from Amazon. I completed a form with the specs I wanted–a female narrator with a voice in the lower range, speaking in American English with no regional accent. After uploading a short script that called for multiple voices, I listened to sample readings from producers, asked for auditions and even reached out to friends who have a flair for this kind of work.

Pageflex Persona [document: PRS0000038_00064]Choosing a narrator from the auditions proved difficult. All of them sounded professional. Most handled the multiple voices well, even the male characters. A few got creative and tossed in southern or Jersey accents. Two producers offered to include a short musical segment at the beginning and end of the narration, just as traditional publishers do.

The decision was entirely subjective. At the risk of sounding deranged, it came down to a choice of who sounded most like the voices in my head. I chose Pamela Almand, who does business as The Captain’s Voice. (She’s a former pilot. More on that in a later post.) The Audible.com cover appears at left. The audio version of the book should be listed on Amazon by the end of October.

For those of you who’d like to hear your work produced as an audiobook, a few suggestions:

Research the format before you head over to ACX. These projects take just as much work and time as independent print and e-book publishing. Fellow writer Erika Liodice (Empty Arms) has written a pair of insanely detailed posts on creating and marketing audiobooks, Navigating the Next Frontier in Digital Publishing: Audiobooks and 9 Easy & Inexpensive Ways to Promote Your Audiobook. The posts are encyclopedic.

Read the contracts. ACX says it delivers royalties of up to 40% but one example shows authors receiving a little more than $2 on a $30 audiobook. Audible gives free product to new customers and discounts to members, actions that will reduce the list price of your audiobook, and your royalty. Some producers will accept half of your royalty payments in exchange for their narration. Others want an additional stipend for narrating a book that may not sell enough to earn royalties. And unlike other Amazon services such as CreateSpace for print and Kindle Direct Publishing for e-books, ACX doesn’t allow authors to set the price of their audiobook, so you can’t control the profit margin.

Finally, learn from the experts. Indie author Joanna Penn offers several tips for creating and marketing your work as an audiobook. When it comes to running your writing career as a business, she’s one of the leading voices in the field . . . and well worth a listen.

A book by any other name . . .

Allusion Books logoThe U.S. Patent and Trademark Office has approved the registered mark of my publishing company, Allusion Books. Right now I’m only publishing books that I write, such as Peak Season, Riding with the Blues and a new crime series, Mr. Mayhem, due at the end of November.

The examining attorney for the USPTO did have to amend the identification of goods and services in my application to state that no claim is made to the exclusive right to use the word “books” apart from the mark as shown.  All you folks at the Big 5 publishing houses–Hachette, HarperCollins, Macmillan, Penguin Random House and Simon and Schuster–you can breathe now.

Breaking the writer’s blockade

Today I’m working on the sequel to Peak Season and I’m stuck. The sequel’s called Tourist in Paradise. Someone is hunting visitors in the idyllic beach town of Spanish Point and CW McCoy will either solve the murders or wind up a victim of one.

The first 11 chapters went fairly well, with a bit of a rough patch during an open house at her new real estate office. I struggled with that scene for weeks until I hit upon the solution: cut the chapter. And like an ice-breaker in the arctic, that cleared the path.

Synopsis and scribbling

Until I got to Chapter 12, the bar scene where two of the Three Stooges (you remember them from the first novel) reappear to menace our heroine. Well, maybe I hadn’t paid attention to motive or maybe I hadn’t laid the groundwork for the scene, but it just didn’t work. And it went on forever. So, where is the ice-breaker when you need it?

When in doubt, think it through. Why is CW at the bar in the first place? What does she want to know? What would she logically do in the preceding scenes that would place her there?

I need a scene before this one. I actually have a scene I can use, one I’d placed further on in the book, one that addresses the logistical issues. What if I move that one? Chapter 12 becomes lucky Chapter 13, and now things makes sense.

Or will, whenever I get around to rewriting the new scene. Right now I need a break. My drink is warm.

I need some ice.