Born of Bombs and Bullets follows a prison psychologist who relocates to Belfast following a brutal murder only to find himself deep within unrest tied to the IRA. What was the inspiration for the setup of your story?

While visiting Belfast, Northern Ireland, a few years ago, I took a political history tour to learn about The Troubles. Although that 30-year conflict supposedly ended with the Good Friday peace agreement in 1998, signs of lingering tension between the Catholic and Protestant communities were everywhere, especially in West Belfast.

Massive peace walls separated the two communities. I saw dozens of murals commemorating attacks and the people who died on both sides—ever-present reminders of the horror and grief and trauma that lasted an entire generation. There were even IRA stickers on street signs warning people not to cooperate with the police. I wondered what it’s like to live with that sort of constant strain. Afterward, when I started reading daily news reports from Belfast, I sensed a lack of closure on both sides of the conflict that haunts people today.

Imaginary characters began to form in my mind, and soon I gave them life through words—with a bit of history mixed in for context. To maintain objectivity, though, I decided to write the story through the eyes of an American psychologist. But first I needed to get him to Belfast, so that murder in the first chapter served as a catalyst.

What kind of research went into putting this book together?

A lot! But first, let me say the characters and the story are entirely fictional. Still, I knew from the beginning I wanted readers—especially here in the States, where The Troubles are less understood—to walk away with an accurate understanding of historical events. So I read countless histories and old press accounts, studied period photographs, and watched a lot of documentaries about The Troubles.

They have different car models and candy brands, for example, in the UK, so I had to research those details, too, to make the descriptions as authentic as possible. I also subscribed to Belfast news media and read the current daily headlines for a couple of years—that really helped me grasp the lingering effects of The Troubles.

At the same time, I wanted to acknowledge the psychological impact of such a prolonged and pervasive conflict. So I researched Northern Ireland’s modern behavioral health trends and reflected those themes in the characters. The descriptions of combat equipment and tactics—then and now—are as accurate as I could make them, as well. I really wanted the story to feel genuine, even though it’s entirely made up.

The hardest part, though, as an American, was trying to master the Northern Irish idioms and accents in the dialogue! I watched a lot of Northern Irish movies and television to get a handle on that—and I apologize now for any times I got it wrong! I’m sure a few “Americanisms” slipped past me.

What elements do you feel are essential for creating a successful thriller?

For me, it boils down to tension, plot twists, and pacing. Conflict between the characters—and of course, setbacks—generates the tension. An ever-present sense of danger fuels it, too.

And plot twists keep the reader guessing and therefore engaged. But above all, in my opinion, the pacing has to be right. The action needs to move forward consistently at a good clip to keep the reader’s attention. Personally, I’m a big fan of short chapters with fewer words per page to promote a feeling of urgency.

Can we look forward to seeing a follow-up to Born of Bombs and Bullets soon? Where will it take readers?
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Absolutely! There will be several more books in the series, but I don’t anticipate the next one until late 2026. My niche is travel-inspired thrillers, so the setting will be another country with a fascinating history. I’m presently choosing among Spain, Argentina, and Chile. Maybe your readers can help me decide?!

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