Blog Archives
Reality is More Interesting Than Fantasy
Fade In follows a paralyzed ex-CIA operative who is reawakening into a web of moral decay, elite manipulation, and the creeping dread of power unbound by conscience. What was the inspiration for the setup of your story?
Basically, the things I see around me every day. The world has become increasingly unpredictable, and the actions of people and nations seem increasingly self-destructive. On top of that, we have a ruling elite that, through technology, have power over the masses that’s unprecedented. They know everything about us—where we go, who our friends are, what we buy, what we watch on television, what news outlets we subscribe to. And with the rise of AI, they can use that information to control us.
Were there any real-world events or technologies that directly influenced the book’s depiction of surveillance and AI warfare?
All of the technologies in my books are real-world. It’s possible that they’re put together in ways that haven’t happened yet or they’re larger in scale, but I tend not to make things up. Frankly, there’s no reason to. In the current era, reality is more interesting than fantasy.
You balance gritty action with moments of quiet, existential dread. How do you approach pacing to keep that tension alive without exhausting the reader?
I’ve always liked the roller coaster feel of action books and movies. My gold standard is Raiders of the Lost Ark. It was the perfect mix of crazy action, character development, intrigue, and humor.
With Fade In, I add to that interesting technologies and commentary about the possibility that human society is headed for disaster. It’s a matter of carefully choosing where to insert those components with respect to one another.
Author Links: GoodReads | Website
Instead, he wakes in a hospital. As one of the deadliest operatives in U.S. history, he’s now incapable of even standing without assistance. Alone and wanted by authorities, he’s destined to spend the rest of his life lying in a prison infirmary.
So when a shadowy organization offers him a new identity and next-generation medical care, he has no choice but to agree. Nothing’s free, though. After a grueling rehabilitation, he’s drafted into an elite paramilitary unit. But who’s in charge?
When a dire threat—a highly contagious pathogen—explodes out of China, his question is quickly answered: A select group of the world’s wealthiest and most powerful people has decided that governments are no longer capable of controlling the chaos erupting around the globe. It’s a power grab by billionaires who’ve decided that it’s their time to rule.
With panic rising, the leaders of both democracies and dictatorships prove equally willing to destroy anything and anyone to save themselves. Forced into action before he’s fully ready, Fade finds himself at the sharp end of a mission to stop a menace unlike any he’s faced before. If he fails, the consequences will be unimaginable. But what if he succeeds?
No one elected the people he’s working for. And God sure as hell didn’t ordain them. Has he signed on to save the human race . . . or to help quietly enslave it?
A Fatal Affair
A Fatal Affair is a cozy mystery with a sharp, sly, character-rich story set in the sleepy town of Nyes Landing, where drama unfolds both on stage and off. The plot kicks off with Officer Callum Nowak dealing with a belligerent actor at a local tavern, and it snowballs into a tangled mess involving poisoned meatballs, backstabbing actors, an ambitious theater production, and one very chaotic opening night. As the small-town cops try to uncover what made a dozen townsfolk sick and nearly killed Oliver Crispin, the reader is treated to a fast-paced, often hilarious, and sometimes poignant whodunit.
From the very first chapter, I was thoroughly engaged. Callum emerges as a compelling narrator, direct, introspective, and burdened with a complex personal history that adds real depth to the narrative. From the opening barroom confrontation with the volatile Crispin, a character who consistently tests the boundaries of acceptable behavior, it’s clear this is no conventional detective story. Williams’s writing is sharp and kinetic, with brisk dialogue and a narrative pace that rarely lets up. Scenes unfold with a kind of controlled chaos, where tension builds only to erupt in the most unexpected ways, such as the unforgettable moment during the theater scene, when guests begin hallucinating and turning on each other in a frenzy of accusations. It’s outrageous, unpredictable, and thoroughly compelling.
Williams also handles the emotional undercurrents of the story with remarkable sensitivity. Callum’s relationships, particularly with his boyfriend, Demetrius, and his longtime friend, Annie, are portrayed with nuance and authenticity. His emotional distance and reluctance to fully embrace intimacy add a compelling layer to the central mystery. Moments like the tense camping discussion, the uneasy dinner with Demetrius and Annie, and the confrontation at the crime scene reveal a man grappling not only with external conflict but with internal scars that refuse to fade. This is as much a story of emotional survival as it is of uncovering the truth.
Some of the dialogue occasionally veers into melodramatic territory. Characters like Daphne, the self-styled diva, and her theatrical circle often feel as though they’ve stepped out of a reality television set, with moments of exaggerated flair that strain plausibility. Lines such as “They’re witches!” or Ernest Drucker’s over-the-top reactions can be both amusing and distracting. However, this heightened drama ultimately suits the tone of the novel. Nyes Landing is a town brimming with unresolved tensions, long-standing feuds, and relentless gossip, and it’s this very turbulence that fuels the narrative’s energy. Even the local goat farm is not without its share of theatrics.
A Fatal Affair is sharp-witted, queer-friendly, and packed with snappy dialogue and messy humans. If you’re into small-town mysteries with theater kids, found families, emotional baggage, and a touch of camp, this book’s for you. Fans of Only Murders in the Building, Knives Out, or even Gilmore Girls with body bags will feel right at home in Nyes Landing.
Pages: 286 | ASIN : B0F9X8ZZR1
The Nature of Artistic Inspiration
Seren follows an art dealer whose pursuit of a dead painter’s final work leads him into a surreal spiral of obsession, identity, and the dangerous power of the muse. What was the inspiration for the set-up of your story?
SEREN is a follow-on to the short story, “Deadfall”, which appeared in the New Guard anthology published a few years ago. Four of the major characters in “Deadfall”—Moss, Seren, Bainbridge, and Haller—are part of the main cast of SEREN. Moss only makes a cameo appearance in the short story but was thrust into a larger role in the novel.
How did your background as a visual artist shape the way you wrote the more surreal or atmospheric passages in the book?
As a painter and Art Professor, I’ve long been intrigued by the nature of artistic inspiration. To personify such a mysterious and elusive element requires the creation of a powerful, and equally mysterious and elusive creature—someone who, through various attributes, can assist artists in transcending themselves. With her, they are able to enter a state of intense limerence where no effort to please is too great.
The muse/artist relationship has generated much interest over the years, by both art critics and social critics. The idea of a deadly muse isn’t original on my part, but the concept of a personification of inspiration/genius always seemed a two-edged sword to me. The fact that history often chooses to diminish or ignore the role of the muse made the job all the more intriguing. The muse’s true story is only hinted at in the novel, but she inhabits the book as much as Moss—just in a different way. The relationship is very much that of lovers.
Margaret Atwood in her essay “MacEwen’s Muse” examines the nature of the muse (this time male) as experienced by Gwendolyn MacEwen the Canadian poet.
“I now know a language so beautiful and lethal
My mouth bleeds when I speak it.
Gwendolyn MacEwen
“You now comprehend your first and final lover
In the dark, receding planets of his eyes
And this is the hour when you know moreover
That the god you have loved always
Will descend and lie with you in paradise.
Gwendolyn MacEwen
I think the ecstasy of the muse could be described as a euphoria so intense it could easily be mistaken as agony.
Fairchild is such a vivid character. Did you always envision him as the protagonist, or did he evolve during the writing?
Moss is composite character loosely based on three individuals I’ve known for a long time. The art world is full of eccentrics, posers, and charlatans, as well as intelligent and talented individuals who are willing to sacrifice much of normal life for their calling. Moss is a flawed and failed human being who hopes to find meaning for his life. Selling the work of creators, but not able to create yourself is a heavy burden. Through Claudine he finds purpose, and connection. With Seren the last vestiges of his middleclass vanities are burned away.
What is the next book you’re working on, and when will it become available?
I’m currently in the middle of a follow-on novel to SEREN—working title AIX—which follows Moss and Claudine to Aix-en-Provence, France, where they pick up the trail of the muse. Given the verities of the publishing process, I’m guessing it will be released in 2026-27.
Author Links: GoodReads | Website | Instagram
SEREN
After reading Peter Gooch’s Seren, I find myself marveling at a novel that weaves a murder mystery into the messy fabric of artistic obsession, identity, and legacy. At its center is Fairchild Moss, a once-promising painter turned weary art dealer, who becomes captivated by the final painting of a deceased, reclusive genius, Norris Bainbridge. The titular Seren, model, muse, maybe something more, appears as both a literal woman and a haunting symbol, driving Moss to unravel the truth behind the painting’s strange power. The book shifts between boozy lunches, high-art pretensions, urban decay, and moments of surreal introspection, all with a painterly eye for mood and detail.
What stood out to me most was the writing. It’s deft, sardonic, and at times almost hallucinatory. Gooch has a knack for painting with words, which fits, given his background as a visual artist. The prose rolls like jazz, sometimes smooth and stylish, other times jarring. Characters pop with distinctive quirks, and the dialogue hits that tricky sweet spot of sounding real without being mundane. Moss’s ruminations and side quests, though full of voice, sometimes slow the story. Still, I couldn’t help but be drawn into Moss’s unraveling, both in his investigation and in his own midlife malaise.
The real kicker, though, is the way Seren plays with the idea of the muse, not as a passive, dreamy figure, but as a living force that might inspire or destroy. Seren’s presence is slippery, both ethereal and grounded in flesh and snow and paint. The book doesn’t spell her out, and that ambiguity works. It makes you lean forward, ask questions, and doubt your own reading. I loved how it blurred the line between inspiration and possession, between art and madness. It feels like a meditation on how far someone might go to touch something real in a world of reproductions and sales tags.
I’d recommend Seren to readers who like their mysteries with layers, who don’t mind a story that flirts with the surreal and doesn’t tie every thread into a tidy bow. Artists and art lovers will find plenty to chew on, but even if you’ve never set foot in a gallery, the book’s humanity and humor are what really shine.
Pages: 378 | ASIN: B0DZBLG3Q8
1989: An Eye For An Eye
1989: An Eye for an Eye is a riveting and emotionally tangled novel that centers around a decades-old murder case that left deep scars on a small Southern town. At the heart of the story is Ingrid, a woman haunted by her hidden identity, a web of family secrets, and a burning desire to clear her father’s name. After faking her death to go underground, she returns under a new identity, determined to expose the corruption that destroyed her family. What unfolds is a suspense-filled narrative that weaves together revenge, redemption, and revelations, touching on systemic injustice, identity, and the burden of legacy. With alternating perspectives and past secrets slowly coming to light, the novel drips with tension, building a compelling mystery around who’s guilty and who deserves justice.
I found myself genuinely pulled in by Smith’s writing. It’s not fancy or highbrow, but it’s honest and raw, and that made it powerful. The dialogue feels real, like you’re eavesdropping on two people who have been through hell together. The way he builds emotional weight around every choice Ingrid makes, especially the internal tug-of-war between vengeance and doing the right thing, hits hard. That said, the book has a big cast, and a few times I had to flip back to remember who someone was. Still, the pacing and reveals kept me hooked. It’s a big story with layers of betrayal, hidden ties, and long-buried pain. Every time I thought I’d figured something out, another twist would shake it up.
What really got me was the heart underneath all the thriller elements. The relationships, especially between Ingrid and Nicole, carry the emotional muscle of the story. You see how trauma doesn’t just affect one person, it ripples through generations. And when Ingrid gets her moment to finally breathe and step out of the shadows, you feel it. You also feel the price she pays to get there. The moral ambiguity in this book is thick. You’re constantly questioning what’s justified and what isn’t. And while some characters are undeniably evil, others live in this gray space that makes them unforgettable.
It’s gripping, it’s personal, and it asks big questions without offering easy answers. I’d recommend 1989: An Eye for an Eye to anyone who loves mystery, family drama, or stories about strong women navigating impossible choices. If you’re into slow-burning revenge tales that pack a gut punch, this is your kind of read.
Pages: 278
The Last Word
D.B. Easton’s The Last Word is a sharp, high-stakes legal thriller that weaves courtroom drama, political intrigue, and personal redemption into a gritty story of justice and consequences. Set in Buffalo, New York, it follows Jack Hamilton, a once-promising prosecutor now scraping by as a private defense attorney, who’s drawn back into a web of powerful enemies when a U.S. senator is murdered. The accused is Jack’s long-lost love, Rebecca Monroe, and defending her forces him to reckon with old betrayals, legal corruption, and his own haunted past. Alongside him is Elijah Ramirez, a fresh law graduate trying to find his place. As the courtroom battles heat up, so do the stakes outside it, revealing secrets, power plays, and a justice system with cracks wide enough to fall through.
What struck me immediately was Easton’s ability to balance realism with drama. The writing is brisk, tight, and at times brutal, just like the legal world it portrays. Dialogue is punchy and often humorous, especially in Jack’s dry, sardonic voice, which I couldn’t help but admire. Easton captures the grind of legal work in an authentic way, showing both the backroom politics and the daily pressures of defending the accused. But beyond the law, the emotional weight of the story runs deep. Jack’s grief over his son’s overdose, his fraught marriage, and his complex history with Rebecca all made him feel heartbreakingly real.
That said, parts of the story left me uneasy in a good way. The cynicism around the justice system felt earned, but also pretty bleak. Everyone’s chasing something, power, revenge, validation, and few come away clean. I found myself constantly questioning people’s motives, including Jack’s. It added suspense, but it also stirred something deeper. I felt angry at the corruption, frustrated by the bureaucracy, and genuinely moved by the quiet moments between Jack and Elijah or Jack and his wife. There’s a bitterness to this book, but also a pulse of humanity that kept me hooked. And while I occasionally wished some of the supporting characters, especially the cops and prosecutors, had a bit more depth, the ones that mattered were sketched with enough grit and soul to stay with me.
If you’re into legal thrillers that don’t hold back, that feel grounded in real-life struggle but still offer plenty of twists and courtroom fireworks, The Last Word is absolutely worth your time. Fans of Scott Turow or early Grisham will feel at home here. Lawyers and law students might nod along (or wince), and readers who like stories about redemption, justice, and how complicated people can be when the stakes are high will get a lot out of this one. I’ll be keeping an eye out for whatever Easton writes next.
Pages: 313 | ASIN: B0FCMYHVHK
LITERARY TITAN 