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

The luckiest people in the world

Writers who need writers are the luckiest people in the world.

We build on the work of other writers. We draw inspiration from their creations, and their success. We’re usually too busy building our own careers to notice.

It’s time to notice.

Women-Writers-FrontYou don’t know me but I would like to thank you for helping to create the character of CW McCoy in Peak Season, a series I hope someday will approach the benchmark you’ve set. You didn’t just paste male characteristics onto women or use violence to attract attention. You were the trailblazers, the authors who turned the noir subgenre on its head and ushered in a generation of smart, tough, proficient female investigators.

That said, here is my list of writers whose female characters have traded cookies for cojones:

  • Sara Paretsky, for creating V.I. Warshawski, a character whose toughness serves her sense of justice
  • S.J. Rozan, for her evocative sense of place in the Lydia Chin outings
  • Lee Goldberg, for the deft portrayal of a secondary character, Natalie Teeger, in his series of Adrian Monk novels
  • Julia Spencer-Fleming, for Rev. Claire Fergusson’s moral compass
  • Laurie R. King, for the daring intelligence of Mary Russell
  • Sue Grafton, for revealing the conflicted love life of Kinsey Millhone
  • Janet Evanovich, for the push and pull of drama and humor in the Stephanie Plum novels
  • Marcia Muller, for Sharon McCone’s allegiance to family and friends
  • And Jennifer Crusie, for giving her leads a heartbeat and not just a pulse.

Writers who need writers are the luckiest writers in the world. Thanks to you, I’m one of them.

‘Peak Season’ goes video

It’s the latest rage: just as movies have trailers, books do, too. Here’s the video with voice-over for Peak Season, the first of the CW McCoy crime novels. Is it under the bar, over the top or does it hit the Goldilocks spot . . . just right?

Watch it here or visit my site on YouTube.

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Writing from the distaff side of life

It’s time to switch genders.

In the genre of mystery and suspense, women have pioneered a tradition of writing as men: Agatha Christie, Elizabeth George, Ruth Rendell, Martha Grimes. Poirot, Linley, Wexford, Jury . . . masculine characters come alive in the hands of female writers. The men seem real, the writing accepted by the public.

But what happens when men write about the distaff side of life?

Peak Season 3D cover 375x548Sure, men have written about women since cave days. Their work ranges from sparkling (Robert B. Parker’s Susan Silverman) to riotous (P.G. Wodehouse’s characterization of Honoria Glossop and other females in the Jeeves and Wooster stories). But when it comes to getting into women’s heads, do men get it right?

Some authors seem to meet the challenge without effort: Anthony Doerr’s blind French girl, Marie Laure, in All the Light We Cannot See and Tony Hillerman in Listening Woman. Others, like Parker in his Sunny Randall series, seem to present female versions of their male characters.

Ignorant or undaunted, I’ve entered the fray with Peak Season, a novel about a former detective who surrenders her gun, her badge her and confidence after shooting a fellow officer. Moving to Southwest Florida to care for her ailing grandfather, CW McCoy swears off violence until a fugitive kidnaps her family and she’s forced to decide which side of the law she’s on.

In portraying life through CW’s eyes, I’ve steered clear of stereotypical male and female roles. She swears off guns but will defend herself. She longs for a relationship but doesn’t make it her life’s pursuit. Even while navigating the mostly male world of law enforcement, she puts a high premium on family and friends, qualities exhibited by both women and men.

When I began the CW McCoy series, I wondered whether I could voice the feelings of a woman. Now I wonder about a more practical question: can the public embrace that voice?