Moving Targets follows a private investigator as a stolen-artifacts case and a decades-old murder pull him into a web of corruption, grief, friendship, and the difficult work of rebuilding a life after loss. What inspired Miles Darien as a detective, especially his emotional depth and old-fashioned investigative instincts?

My love of detective stories started in the same familiar fashion as it did for so many others: Being intrigued by the exploits of Sherlock Holmes stories as a young person, I immediately began trying to figure out the cases before reading the outcome. It set me on a path of being a detective for a good detective story. As both my reading and my real experience base expanded, I became acutely aware of how the emotional elements of everyday life intersected everything we do and the people we become. The cases that a private investigator deals with come with heightened amounts of those same elements. I wanted Miles to experience those things as well, both empathetically and personally. That’s where dramas are born.

The novel balances multiple mysteries with Miles’s grief and personal healing. How did you decide how much space to give the cases versus his inner life?

I have always viewed the cases and Miles’s life to be inextricably linked. So, there was no conscious effort on my part to give a certain amount of space to one or the other. His cases were both a refuge and a challenge when mixed with what was happening in his non-work life. Whatever ended up on the page happened organically.

Miles’s circle of friends gives the book a strong sense of community. Were any of those relationships inspired by real friendships or places?

Friendships have always been extremely valuable commodities for me. The qualities I’ve admired in my friends play a big part in how I develop the sympathetic characters in my books. Conversely, negative behaviors I observe in people I encounter often develop into the less desirable characters. Taking bits and pieces of all of those people and molding them into a story appropriate character is key to creating a believable storyline. As for places, I’ve been fortunate to travel extensively in my life which gives me more diverse places and personalities to draw upon.

The ending offers hope without fully resolving Miles’s grief. Was it important to you to avoid a neat emotional conclusion?
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Absolutely. I felt it was important to provide readers with some amount of a lift at the end but, at the same time, acknowledge that grief doesn’t just vanish. It finds an emotional refuge somewhere in a person’s mind, but it is always there lurking in the background. As Miles moves forward, he will deal with it less on a daily basis, but it can always be recalled, often at an inopportune time. Those times will come in handy as elements of his ongoing story.

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