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.

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.

 

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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

Summing up summaries

Writing the book was easy. Writing the synopsis was a bear.

You’d think that, after investing the better part of a year in my characters, I could crank out a summary as easily as ordering at McDonald’s. Not so for Peak Season, the first in a series of crime novels featuring the former cop turned pacifist Candace McCoy, known to her friends as CW.

Peak Season 3D cover 375x548Even after writing headlines at a daily newspaper for 14 years, I couldn’t distill the essence of the book. Should I focus the synopsis on the plot? On the characters? What if the plot arcs like a roller coaster, and the characters reject their labels? Fanciful but not helpful. Agents want to read a clear, concise summary of the book. They won’t appreciate digression.

I went at it draft after draft, pulling a few characters and themes from the wreckage. Eventually the copy wound up on the back cover of the novel. Here’s the synopsis. I’d be interested in hearing what you think. You can reach me through the comments section or the email link on the bottom of the website’s homepage.

Peak Season synopsis
Life at the beach can be murder.

Forced to shoot a fellow police officer, CW McCoy surrenders her gun and her badge to take refuge in the wealthy tourist mecca of Spanish Point, Florida. There she pedals luxury real estate, cares for her ailing grandfather Pap and tries to escape her past.

But even in paradise during peak tourist season, violence finds her like a divining rod.

Declared dead by the courts, Bobby Lee Darby bursts into CW’s office to demand the family friend clear his name in a scheme to bilk millions from investors. When CW refuses, the fugitive financier kidnaps Pap to ensure her cooperation, triggering a chain of burglary, assault and murder that convinces local police that the former cop has gone rogue.

Racing to find Darby, CW must confront her violent past, risky affairs and love-hate relationship with Southwest Florida before those personal demons turn her new-found paradise into hell on earth.

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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Hook, line and action scene

David Hagberg doesn’t mess around. During a workshop in Venice, Florida, he said genre writers have to hook readers early, and the best way to do that is with action. He should know. He’s written a dozen thrillers for TOR.

After the session, I said I couldn’t decide how to begin Peak Season, a crime novel set in the fictional Florida beach town of Spanish Point. Should I start with the inciting incident, the one that drags the protagonist, CW McCoy, into the action? Or should I start with the scene that caused her to lose her gun, her badge and her self-confidence, the incident that propelled her to take refuge in this resort town by the sea?

In that big, bellow of his Hagberg said, “Start with the action!” I think people from Tampa to Naples heard him. I certainly did.

Was he right? Take a look at the first few pages of the novel and tell me what you think. (You can reach me through the email link at the bottom of this website’s homepage.)

1.

I spotted the gun as soon as I walked through the door. Nicholas Church aimed a Glock 22 at his wife and daughter, arms straight and locked, his finger touching the trigger. His wife’s hands held nothing but air. The daughter gripped the back of her mother’s dress. Church’s eyes looked hard, the wife’s anguished, the little girl’s wide with terror.

“Bitch!” he roared and the soGun range silhouetteund echoed throughout the dead kitchen.

My face burned. After leaning out to call for backup, I stepped fully into the room and identified myself. He knew me. We’d worked together for two years. I held my hands away from my holster where he could see them. Non-threatening. No show of force. Talk him down.

Church filled the kitchen. He stood over six-feet-six and weighed more than 250 pounds, black hair slicked back, khaki slacks still creased despite the hour, white shirtsleeves rolled to the forearms to reveal a blue Marine Corps tattoo nestled among a thatch of hair. Under the fluorescent lights his silver badge glowed. Two years ago he’d received a citation for rescuing a woman trapped in a car. A year later the department had placed him on leave for beating a suspect during a drug bust. The wounded hero.

At five-foot-five, Anita Church shrank before her husband. She looked mid-twenties with a sharp nose and wisps of blond hair that floated around dangling earrings. She wore a sundress of pale yellow and blue, belted at her slender waist, and ballet shoes. Her wedding and engagement rings sparkled, as if to mock Church’s badge. When I moved closer, she glanced at me as if to say, you’re a woman, you can save me, and reached behind to clutch her daughter.

The girl was maybe seven, dressed in jeans and a sparkling pink T-shirt that depicted one of the Disney princesses. She wore pink slippers with rabbit ears. Junie, I thought. Nick called her June Bug.

For the third time that night I reminded myself that I didn’t belong there. Patrol responded to domestics, not detectives. My luck I was passing the neighborhood when the call came in. I inched forward, using Church’s name, reminding him that I was a cop and understood his anger, telling him to lower the weapon, showing him that we could talk. I gestured in slow circles, sliding to the right, watching his face, his fingers.

No one else in the room. Copper-bottom pots hanging from the ceiling. Two openings arching into shadow, one on the left that led to the laundry, one to the right that opened onto a formal dining room. In the silence I could hear him breathe, shallow, nasal. Somewhere in the house a clock chimed.

Where the hell is backup?

Church stood to my left, aiming across a table set with flowers and fruit, feet braced, both hands gripping the gun. With the slightest movement of his head he glanced right and ordered me to leave.

Tension clawed my neck. “Nick.” I kept my voice steady, my hands where he could see them. “You don’t want to do this. Put the weapon down. We can talk, whatever it is, we can talk.”

Behind me I sensed movement. A young male officer drew his weapon and crouched into firing position, his boots chirping on the tile. A radio squawked. Anita Church clutched at Junie and started to wail.

I shoved my hand into the holster and raised my weapon while edging to the right. In a voice deep from the gut I yelled, “Drop the gun!”

He kept the pistol trained on his wife. “Stay out of this!”

I tightened my grip, arms and stomach clenched, breath and blood pounding in my ears. “Drop the gun! Now!”

I watched his face, watched the eyes refocus on his wife, the jaw muscles tightening with the finger of his right hand, his stance shifting as the gun settled on the target. My vision narrowed and at the end of the tunnel Nicholas Church took in a deep breath as his index finger moved backward in slow motion.

Bam! Bam! The shots exploded in the tight space. The first round hit his chest and turned him. The second knocked him into the refrigerator. He slumped, his gun rattling on the tile. Anita screamed. Clinging to her mother’s dress, Junie gasped for air.

Ears ringing, the tang of gunpowder biting my nose, I holstered the weapon and put two fingers against Church’s neck and rose to call for an ambulance and the coroner. Walking across the kitchen to Anita and Junie, I guided them to chairs in the dining room. The crying crushed their faces. They’d soon slide from grief to shock. My arms shook and my stomach threatened to crawl out of my mouth.

You can buy Peak Season on Amazon, Smashwords, Barnes & Noble, iBooks and Kobo.

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?