Dining and Driving with Cats – Alice Unplugged tells the story of Patterson and his wife, Alice, driving from the Mexican border to Atlanta, Georgia, with their two cats, Munchie and Tuffy. What was the inspiration that made you want to write such a heartwarming book?
This book was a love letter to Alice that wouldn’t stop flowing until it was a book – actually two books. Shortly after returning from our journey which actually was six weeks driving from Austin, Texas, to the Blue Ridge Mountains and back I took note of how much fonder I was of both our cats Tuffy and Munchie. Intrigued by this new found affection for Alice’s little prima donnas I decided to put in narrative all that I remembered about the trip. Funny thing was no sooner had I begun to write than the story took shape around Alice and how much she had meant to me for all these years. So I began to write about the very things Alice loves best after me – her cats. Only now, after our trip, I could feel they were our cats and that’s when I at last realized what Alice had been trying to help me understand all these years – that when you love another with an all-consuming passion you will love the things they love as well.
As the couple travel the country the tone is kept lite and is easy to read. What were the themes you were trying to capture as you wrote this story?
I attempted to tell through story a truth that life’s greatest joys can often be discovered and experienced by tuning in to the everyday things we often overlook. Sharing a meal in a crowded room or wincing when a cats claws catch your toes can be the occasion and should be the occasion for rekindling our love and feelings for one another. Celebratory moments are awaiting in almost every moment of the day if we only stop and feel the excitement of being alive.
It seems like you had a lot of fun writing this book. What was your favorite scene to write and why?
Actually writing about the manner in which Alice and I first met and how her spy almost cost us a life together was the most intoxicating scene for me as I penned the scenes. Alice only read the book after its conclusion and this part of the story was her favorite as well.
What is the next book that you are working on and when will it be available?
The next book is a sequel – Dining and Driving with Cats – Alice Rising. It is the story of our journey on from Atlanta into the Blue Ridge Mountains. In this one the reader is afforded
an in depth view to Alice’s intensity for living on life’s edge and how.
Dining and Driving With Cats – Alice Unplugged is a heartwarming and beguiling adventure of a couple who shares a love that most of us only imagine. Pat Patterson is a born storyteller and makes readers feel as if they are part of the road trip. This book is as much a story of sweet devotion as it is an exquisite example of discovering life’s hidden joys in the smallest of everyday experiences. Not since Michael Ondaatje’s hypnotic voice in The English Patient has a book spoken with such an allure for the reader. You might even spot a bit of Irish in the author and his spouse’s detailed arguments comparing a dish from one restaurant to the same of another restaurant.
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An epic tale spun from erratic thoughts placed into text and delivered to the world. That is the sense that readers will get from Black Inked Pearl A Girl’s Quest by Ruth Finnegan. Our protagonist, Kate, is searching for something. She is on a journey through years and lifetimes as she seeks out this piece that is required to complete her. We see this world through her eyes, her thoughts and her experiences. The tale is epic not only in page count, but in content as well. We know that Kate has lost something, that she is searching for this thing, but we don’t know exactly what it is. We are left with speculation and can only turn the next page to find out if she has achieved her goal. With songs, poetry and influences of dreams long past, this tale is one that is begging to be heard.
The way this book is written, with its dream-like prose and fractured sentences, allows this epic fantasy novel to be told in a stream of consciousness style of writing. The thoughts are thrown at the reader: fast and unforgiving. At first glance, the reader may think that our protagonist, Kate, has simply gone mad and the first chapters are from her point of view. However, the entire book reads that way and, if you are not paying close attention, you may get lost. Readers are quickly taken from scene to scene and thought to thought with barely a lull. Perfect for readers who like to be fully engaged in a story.
The words are very beautiful. The poetry both original and borrowed lends a mystical air to the story. If you view the entire book as a sort of waking-dream, it begins to make sense. This writing style is wonderful for conveying emotions and we can get a better sense of how Kate is feeling as she continues her search. The blending of a warped reality with a warped sense of fantasy lends well to the thought of this being a dream-like state that Kate has found herself in.
A whirlwind of a read is what you’ll find between the covers of Black Inked Pearl A Girl’s Quest by Ruth Finnegan. The mystical sense of the book is intriguing. This is a book recommended to be finished in one sitting as you may find it hard to pull away. The dream-like madness that seems to grip the pages make for an exciting read, but this can also be overwhelming. This may be a book suited to seasoned readers who are looking for a dreamlike story of epic proportions.
Pages: 286 | ASIN: B0158VRF26
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Breaking Magic takes place in a world where people are genetically engineered for jobs and no one is able to question their function in society. What was your goal when you started and how did it change as you were writing?
This question is interesting, because I’m not really a plotter. The details of each story tend to evolve as I’m writing, and in the case of Breaking Magic, things changed a lot. What the villain did to recreate the world of Imbera according to his own evil design was more complicated than I originally expected. It allowed me to be quite creative in terms of my protagonist’s journey. My goal was to show that everyone has unlimited potential – no matter what society tells them, or the obstacles they face. That did not change, but the story behind it certainly did!
The story follows Callax, one of the workers, as he struggles to overcome his predetermined life and learns more about the world. What was your inspiration for his character?
Callax is the storyteller, and he shares what he learns and the emotions he is feeling without much of a filter! He gets scared sometimes and he says the wrong thing as often as he says the right thing, but he’s brave and determined too. I wanted Cal to be someone the reader could relate to and care about.
In Breaking Magic the Opta are the ruling class and the Exta are the workers. What themes did you use to develop these two contrasting groups?
The overriding theme is the importance of hope, even in the face of the impossible odds that the Exta are facing. The Opta needed to appear invincible, so their leader, the Breaker, is an intelligent antagonist. The Exta are not allowed to grow up, they are engineered to be only fragments of their potential selves, and his magic uses a sinister combination of joy and pain to disorient them. Yet they never quite stop hoping, and this gives them the strength to fight.
How does this book fit into your Legacy of Androva series and what is next for Callax?
Breaking Magic was a great opportunity for me to take a minor character and bring him into the limelight in a standalone book. I expect that Cal will turn up again at some point, but for the sixth book I am writing Galen’s story. Galen is a seventeen-year-old Androvan magician from Seeking Magic, the third book in the series, who abandoned his world two thousand years ago for love of a Terran girl. I plan to return to the core series in the seventh book!
Callax is fifteen, and he already knows he won’t ever grow old. Twelve years after leaving the childstation he will be summoned to the Gathering, where life essences are taken by a deadly, irresistible spell. On his world, this is one of the many ways in which the Exta serve the Opta. His best hope is to avoid an early binding by staying out of trouble.
But in protecting his younger brother Benedar, he was noticed by the Breaker, the evil magician in charge of the Gathering. The closer Callax gets to the ruling house and the girl who lives there, the more he learns, and the greater the danger. A danger he might not understand until it is too late. Callax thinks the Breaker’s defeat will save him, but he is wrong.
Additional information: Although Breaking Magic is part of the Legacy of Androva series, it can also be read independently. If you have read Controlling Magic and want to know more about Imbera, Breaking Magic is Cal’s story. The book retells part of Controlling Magic from Cal’s point of view. Recommended for lower young adult.
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Protector of Thristas takes place fifteen years after the tumultuous One Day War and Lisen is faced with something far more challenging than ever before. What were some important themes for you to capture in this novel?
I’ve taken on several archetypes in these books with an eye towards shifting what originated as masculine-oriented myths into their feminine equivalent. Lisen is the hero of a story in which she must overcome many obstacles, including her own self-doubt, to rise at the end of the original trilogy to the destiny she cannot escape. I looked at heroes, such as Luke Skywalker and King Arthur, and asked myself how this would look not simply with a “girl” as the hero but with a gentler and more sympathetic way of presenting the momentous events that occur in the story. The battle at the end of Blooded is a case in point. Lisen found a way to break through the fighting and turn the combatants towards a negotiated resolution rather than one in which many people died or were left physically or emotionally injured.
So, when I decided to explore Lisen and the others as adults, to look at the relationships and their children fifteen years on, I made another decision–to raise the bar and tackle an archetype I refer to as “the king must die and live again.” This myth can be found in many nature-focused cultures. The leader of the people sacrifices his life (or acts the sacrifice out in ritual) and goes to the underworld, then rises again, all of which is symbolic of the “burying” of seeds in the fall and their rising as plants in the spring. It is a form of fertility ritual. It is also, in some ways, the Christ story, but this time it’s a young woman.
I think this book did a fantastic job displaying how emotional a mother-daughter relationship can be, and family relationships as well. How did you develop these complex relationships? Anything pulled from real life?
My mother was not the nurturing type which left my father with that role in my life. In fact, Korin’s nickname of “Fa” is the way my father, in his later years, signed birthday cards and such. But there was more to it than that. As I foraged deeper into the story and the wounded relationship between Lisen and Rinli, I realized one very important thing. I had to be very careful about how I framed the discord between the two of them. The critique group I belonged to at the time loved the portrayal of the mother-daughter conflict, but I began to recognize that I had created a very “earth-centric/potentially sexist” struggle. In my experience, women in our culture learn at a very early age that they must challenge one another over the attention of a man. Men are taught a similar lesson, but it manifests differently. Men thump their chests and growl at one another (figuratively) or go out and kick a football around, whereas women get mean. And it often begins in the relationship between a mother and daughter and their desire for the male in their lives–the husband/father. It’s fairly subtle in most cases, but it’s there, and once girls become teenagers with all those hormones raging, they may not “desire” their father, but they want what their mothers have and the fight is on.
I couldn’t let this be the basis for Lisen and Rinli’s conflict, so I struck out on my own to find something that didn’t smack of the sexism in the “typical” tension that can tear a mother and daughter apart. And although I may have no control over the enculturated eyes the reader brings to the story and her interpretation of what she sees in that relationship, I had to be true to my commitment to present Lisen and Rinli sparring not over the mean-girl stuff that can mess with a mother and a daughter but over the betrayal Rinli feels at her mother’s use of her as a bargaining tool to bring a war to an end. Add to that the fact that Lisen is not the nurturing parent in the family, and it becomes clear, in my eyes, at least, that their relationship was likely doomed no matter what Lisen did.
Rinli is resistant to the idea that she has her mother’s magic abilities. How did you handle magic in this novel that was similar and/or different from the previous novels?
In some way, I think the magic became more central to the story than it had been previously. I have always played the push as something unacceptable but sometimes necessary, even to Garlans who are pretty accepting of most hermit magic. As a Thristan, Korin distrusts hermits and what they can do, and Lisen has a powerful gift. This presented its own set of problems in the first trilogy and ultimately tore them apart. Now, with Rinli growing up and it becoming obvious to both of her parents that she has inherited her mother’s gift, Lisen and Korin have to make their peace over the magic thing and then band together to convince Rinli that the only way to stay safe amongst magic-fearing Thristans is to master her gift in order to control it. This is where that conflict I mentioned above manifests with Lisen trying her damnedest to reach out to Rinli and Rinli turning away. (I had one reviewer say, “So many times I just wanted to scream ‘Say I LOVE YOU!'” which would, of course, have simplified things a great deal. But it was about the magic in Lisen’s mind, and “I love you” wasn’t in her lexicon.)
What is the next book that you are working on and when will it be available?
I began a followup to Protector of Thristas with the idea that it would be the final book in the series. I had to find a way to put down the characters and the world I’d created in order to move on to something new. Five books. The series would be five books. I was adamant with myself. Then as I wrote and wrote and wrote, I began to realize that this was going to be one hell of a long book. I set a word limit at which point I would break it up into two books. I’m still on first draft, and I am within 2500 words of that limit I set. It’s definitely going to be 2 books. Because I’ve been making changes that affect earlier scenes as I go along, I must finish the entire tome before officially splitting them up. (And even then, I’m probably going to produce draft 2 of both books together, incorporating all the necessary tweaking at one time, before I turn to book 5 of the series and complete it.) All of this is to say, that this has taken far longer than I wanted it to take, but I continue to move forward.
As regards where we go from here, having sent a young person as flawed as Rinli through the experience of dying and rising from the dead, I discovered (upon working on the final two books) a character who is not doing well emotionally at all. It’s been an interesting trip. Rinli was originally intended to be the character to whom Lisen would pass the baton, but she turned out to be a character very different from what I had expected when I began. Her last words at the end of the book blew me away, coming as they did as I was writing that last scene, and they set the tone for the remaining story. I had to ask myself “what does a world broken by Mantar’s Child look like?” It took a while to answer that question. Now first draft is finally winding down for books 5 and 6, and all I can say is “whew, what a ride!” “When will it be available?” I’m hoping for some time early in the new year for book 5 and spring for book 6.
Fifteen years after the One-Day War, Lisen, now Empir Ariannas, has developed into a just and capable leader. Together she and Korin have created a union of two souls based on respect, commitment and love, and their family has grown. In addition to Rinli, their daughter who made her first appearance in Blooded, two more children have joined the family, completing their complement of three complicated adolescents.
Now the sixteen-year-out Rinli prepares to take on the mantle of Protector of Thristas, a title destined for her in the treaty that ended the war. The Empirs of Garla have carried this title for hundreds of years, and Lisen anticipates changes once she hands this single title on to Rinli at the girl’s investiture. But the prophesy of Mantar’s Child, upon which Lisen and Korin depended in the treaty negotiations fifteen years earlier, refuses to remain but a convenient myth, and with the advent of the fulfillment of the prophecy, an epic begins.
Although Protector of Thristas includes the familiar faces and settings of the young adult Lisen of Solsta trilogy, it begins a new adventure for an older and often wiser Lisen and her allies. Looking at their world through their matured eyes, the book takes on the heroic tragedy that the trilogy could only hint at. Return to Garla. Enter its mystical environs for a new encounter with Lisen and her world’s gender-free culture. The adventure awaits.
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Einstein’s Fiddle begins with a man abandoning his child on a doorstep of a stranger’s home; the rest of the novel seeks to reveal and understand this man. What was the inspiration for the setup to this emotional novel?
Like my first novel (A History of the World), Einstein’s Fiddle began as a short story. The story form was abandoned quickly – perforce, as soon as Davy abandoned Mitchell. The inspiration for the setup was a simple disturbing question that presented itself: What if someone – no, not just someone – a dad – left his baby boy on a doorstep? The image that first came to mind was of the proverbial unwed mother from earlier decades in this country – desperate, ashamed, alone, afraid, and apparently out of options. The obvious second question followed hard upon the first: why would any person – at least any loving father – do such a thing? And these were questions that led quickly to others – questions of personality, motivation and experience – and my poor powers certainly could not answer them, or sufficiently illuminate the depths of such a father (Davy Calhoun), in a short story.
Davy Calhoun is a multilayered character that is deftly developed. What were the driving ideals behind the characters development throughout the story?
The relationship between fathers and sons has been at the heart of my writing from the beginning. It was there in my early stories and my first novel, and it is at the center of Einstein’s Fiddle. The desire for his (or her) father’s love, approval, guidance and acceptance is deep in every child’s heart from the first breath. It is a ‘natural’ yearning and part of each one of us because God put it there. I wanted Davy Calhoun to be a character with whom we all (if we are honest about it) share common ground; and of course – like each of us – he has his own story, his own unique experience and narrative, which I hope makes the book singular and engaging. There are a number of fathers in the novel, all of them flawed and fallen in his own ways – and one particularly outstanding in his degree of fallenness; but my ‘ideal’ father in Davy’s story is the dad in Jesus’ story about The Prodigal Son, a parable which one of the characters in the book’s third section relates to Davy. Perhaps the one ‘driving ideal’ behind Davy’s development is best summed up by something a friend of mine has said more than once: “Love is the most powerful force in the universe – just largely untried.”
It’s hard to not get emotional when reading Einstein’s Fiddle. Did you pull anything from real life or personal experience to use in this novel?
I spent time in all the places where the narrative unfolds – Charlottesville, Washington, D.C., Chicago and San Francisco – and I used a lot of my experiences of those places (and the places within those places) in the book. As I imagine any author does, I created whole characters with pieces of people I know or have known. Whenever it worked well in the narrative, I used – call it stole, if you like – real-life stories that friends have shared with me over the years. In the last section, when Davy is in San Francisco, there is a scene near Pier 39, which completely replicates something that happened to a good friend of mine in New Jersey. It was a wonderful gift to me, and I gave it joyfully to everyone who reads Einstein’s Fiddle.
What is the next book that you are working on and when will it be available?
The working title is Thomas, but that could change in an instant. I expect it to be much shorter than Fiddle…but that could change too. I don’t want to say much about it right now, except that it is about a life-changing relationship between a white doctor in Charleston, South Carolina, and the black man he hires to build a stable for his horses. You can safely bet that there will be fathers and sons in this book too…. I hope it will be available in a year or so. I’ve begun to work on it in my head, but I have yet to write the first word.
What kind of man leaves the infant son he loves on a doorstep in a strange town and drives away? With its present set in the summer of 1985 and its past reaching from 1950 to 1974, Einstein’s Fiddle is a dramatic examination of Davy Calhoun’s journey from home to the far country and back. The language and landscape of the novel vary between the existential and familial, tragic and comic, as the non-linear narrative – by turns realistic, lyrical, magical – focuses fearlessly on Davy’s fall, dishonor and redemption.
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The Last Train revolves around Michiko Suzuki and the team of detectives that are investigating the train murders. What was the inspiration to the setup to this thrilling novel?
For quite a few years I was writing about jazz every week, so I was always going to Roppongi and Shinjuku and Shibuya, nightlife parts of the city. I’d see the hostesses who work in all the clubs there, and they would often be in the jazz clubs. They were almost always strikingly attractive, but underneath that seemed some sadness. Whatever one thinks of their work, the women seemed smart. What impressed me most, though, was the great personal dignity with which they carried themselves. So, I started wondering what kind of life those women lived, and what if they turned the tables. What if one of those people-savvy women took things into her own hands to do things men usually do? And what was this odd dynamic between men and women that seemed so unfair to women, but then again, was something else, too. Many Japanese women might not even say Japanese society is unfair exactly, perhaps because Tokyo is home to a vibrant urban culture where women are incredibly free to do what they want and live how they like. But, what would that freedom turn into if taken to an extreme? Michiko is that extreme. The men struggle to catch up.
Michiko is the daughter of a factory owner whose mother died when she was young. Her character continues to get deeper as the story progresses. What did you use as a starting point for the character and what was your guidance as you built the character?
I think the way Michiko grew as a character was based on my observation of women, and men, in Tokyo, but all kinds of women, not just hostesses. There’s a lot of people TO observe in Tokyo, for one thing, but I like to talk and interact with people as much as I can. Michiko is a “typical” character in that her experience parallels the shift in Japan from a manufacturing society, which is where Michiko grew up, to an information and service society, which is how she makes money. I wondered how that shift affected women? Is it easier for women to adapt to economic changes than men, or harder? Michiko is working class in origin, growing up above a factory, but she turns herself into something else altogether through her own efforts. She’s tough and resilient, which is how I see most Japanese women, and yet still very feminine in traditional ways. She has no hesitation to compete in a man’s world, and to do it on her own terms. Like many characters, once she was created, everything followed from that.
The novel takes place in Tokyo. Why did you choose a train station in Japan as the setting to your novel?
Trains are one of the things I love most about Tokyo, but they are also these huge masses of steel shooting through a very densely populated city. Just as America is built around the car, Tokyo is built around trains. Suicides on the train lines, sadly, happen all too often.
I came upon the clean-up after a suicide one time years ago, and the image stayed with me.
Like every other commuter, I have been stuck waiting on a train or a platform when a suicide shuts down the entire train system. It’s so shocking because usually everything runs on time. So, I guess, if you transplant the American car chase to Tokyo, it becomes a train chase, or a chase on a train. I also like that as a setting because trains and train stations are great levelers. Everyone takes the train, together, equally. I also love trains and train stations because I can completely indulge in people-watching. It’s startling how many people you see in a day. Still, it’s never so lonely as in a crowd, and there’s always a crowd in Tokyo.
What is the next story that you are working on and when will it be available?
The next novel is called Japan Hand and Detective Hiroshi is again in the lead, together with Sakaguchi. They investigate the death of a long-time Japan specialist who helped negotiate the complicated relations between Japan and America, including the US military bases in Japan. That novel should be out by December of this year or early 2018. The next one after that is called Thai Girl in Tokyo and will be out in spring of 2018. I’ve finished writing those both, so they’re now being edited and polished.
Pages: 348 | ASIN: B071DPXP7M
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The False Prophet is set in a post apocalyptic America and follows Donald of Fisher, our unlikely hero, as he must confront an army raised to conquer the land. What was the inspiration for the setup to this exciting novel?
The question applies to the first novel, The Stonegate Sword as well as The False Prophet although it is not necessary to have read the first book in order to understand the second. The initial idea was to create a character with a world view similar to present-day America and place him in a society with very different values, such as Medieval Europe. I considered a time-travel approach, but then hit on the idea that in the future the world could enter a second Dark Age. So the main character, Donald of Fisher is a lore-man, steeped in the study of the past from an early age. Then circumstances forces him to take up a sword and take on the role of a warrior. The conflict between the evil figure in the west owes a bit to Tolkien and a bit to the prophecies of the last days in Biblical prophecy. I made no attempt to create the details associated with the Antichrist, except that if the imagery in Scriptures is taken literally, it sounds as if the final battles will be fought with antique weapons. I realize that this could be figurative language, but I decided to take it literally, and that implies, again, that a dark age lies in the future.
The story follows two characters, The False Prophet and Donald of Fisher, which I felt were two contrasting characters. What themes did you want to capture while creating your characters?
The story follows the archetypal “hero’s quest.” Don is the hero and must face adversity. The False Prophet is the anti-hero and he does not actually appear in the first novel, being only a rumor, a malignant force driving the forces of evil. In the second novel, he is revealed to be a ruthless despot of the kind with whom we are all familiar. The Prophet’s armies are the driving force behind much of the conflict that Don must face and overcome, though human frailties (his own and those of his companions) are other obstacles in his path.
There were many biblical undertones throughout the novel. Where do you feel you paralleled the Bible and where did you blaze your own path? And how did that help you create an engaging story?
The story of the novel does have some similarities to the Bible in that the Israelites were often raided by their enemies and the kind of weapons were similar. The military tactics I describe are probably not similar to those used in Bible days, although some of the principles are timeless. The use of walled cities reminds one of the Bible and also Medieval Europe. The political situation in the free cities east of the mountains reminds me of Israel during the time of the Judges, when there was no king, and “everyone did what was right in their own eyes.” The apostasy or falling away from the faith is prophesied in the Bible. The rediscovery of lost technology, for example, cannons, is a new path. The idea of a man of sin arising in the last days is found in the Bible.
The False Prophet is the second book in the Stonegate series. Where does book three take readers?
Book three will take place a generation later. The False Prophet was not destroyed, and the evil in the West rises again. It is up to the children of Don, Rachel, Carla and Howard to bring the saga to its final conclusion. Donald, now a middle-aged man, past his prime, attempts to mount an invasion of the West to overthrow the Prophet, but his attempts are met with disunity among his friends and overwhelming might of his foes. As to be expected, the victory depends on help from a totally unexpected quarter.
Stonegate remains the key, and Donald returns to that great walled city and his beloved Rachel just as the hosts of enemy are also closing in. Part adventure, part love story, this epic saga covers the vast panorama of New Mexico deserts and Colorado Rockies in a possible future that looks very much like the medieval past. But duty, love, courage, and honor remain and are even more important than ever.
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The Mystery of St. Arondight’s tells the story of six teenagers on a mysterious supernatural quest across Europe. What was the inspiration for the setup to this thrilling novel?
Like my characters I was a teenager when I had my first taste of field archaeology. It was exciting, that feeling that you never quite knew what was waiting under the ground for you. It didn’t seem to matter how many of the experienced archaeologists on the site told me that treasure is unlikely, I firmly believed that every shovel full of dirt could hold some priceless artefact of great importance. Now, having been a professional archaeologist for ten years I have learned that not every excavated site uncovers great historical mysteries. In fact the closest I have ever come to treasure is five scattered Roman Denarii, probably from a lost purse. But I still have that belief that something important could be hiding just under my feet.
History itself consists of so many unanswered questions, so many what ifs, so many intangible stories. Folk law suggests the presence of ghosts at sites of violence, or in places they knew when alive. Legends tell of strange women living in trees, lakes or isolated ruins, of heroes who transcend time. There are so many mysteries out there to solve, who is to say that the conclusions must always be rational. Some stories tell of tangible artefacts, a philosopher’s stone, a sacred cup or a powerful sword. Legends give us all the chance to daydream … What might happen if one day I excavate a sword of Arthurian date from a waterlogged deposit. Could the legends be true?
The story has a host of young characters all with their own unique personalities. What themes did you want to capture while creating your characters?
With my characters I aimed to create firstly a group with a shared interest, archaeology, but to give them their own skills, knowledge and personality. The intention was to balance them so that no one character held all the aces and there was essentially no go-to hero of the piece.
I wanted to make sure that the girls were just as capable as the boys. When I was growing up I spent most of my time wanting to be one of the lads. So called ‘girly’ activities did not interest me and I felt that as a teenager there were no characters in my world, with perhaps the exception of ‘George’ from Enid Blyton’s ‘Famous Five’, that represented me as a perpetually bruised, knee skinned tomboy, hanging out with the boys, fencing with sticks and pretending that my bicycle was a motorbike. What I wanted to do here was to create characters that represented my sixteen year old self. The girly side, the tomboy side and the downright laddish part of me. Alongside my own traits I have borrowed elements of personality from the many wild, passionate, and possibly crazy archaeologists of all ages and genders, that I have met whilst digging holes all over the country. I had to try and capture some of that combination of crude humour, intelligence and boundless enthusiasm, encountered on all archaeological sites.
The action scenes and references to historical sites was well developed. Was there anything you pulled from you own life and used in this novel?
I first started fencing at university and was lucky enough to fence for my university, even becoming captain of the team and later the club. Fencing is a lot like chess, but played at the speed of light and with significantly bigger bruises, but you get a real appreciation that timing and intelligence are every bit as important as strength and skill. In writing the sword fights in St. Arondight’s, I wanted to put across some of my own experience as a fencer – the noises, the exertion required and the clear presence of mind required to make a successful attack.
Having lived in the UK all my life, I have visited many of the locations from the book, although I do admit that for a few of them I may have used a little creative licence – getting to the “beach” below the White Cliffs of Dover is much more difficult than Sarah and Jerry found it and I certainly wouldn’t advise trying it!
What is the next book that you are working on and when will it be available?
I am currently working on the sequel to The Mystery of St. Arondight’s, following the same characters on their next archaeological adventure. I’m hoping it will be available March/ April 2018 although the first draft is playing hardball right now, and it’s fair to say that working full time as an archaeologist, active fencer and motorcycle enthusiast does take up some writing time. So I’m afraid the date is tentative and it may be a little later.
Camping at ruined abbey at the end of the summer holidays, six teenage archaeologists find themselves witness to a violent haunting and discover a secret crypt below the abbey.
The discoveries they make set them on an epic quest across the country. In a race against an unhinged academic and armed with only their honour, knowledge and swordsmanship the group will have to trust one another and work together, as reality and mythology merge and the quest for an artefact of legend becomes a fight for survival.
Told in a unique blend of first and third person narration, The Mystery of St. Arondight’s follows Suzannah Jones, Melody Knight, Sarah Heddon, Claire Scott, Jerry Llewellen and Símon James Matherson in their first archaeological adventure.
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A Burning in the Darkness follows Father Michael serving at an airport when he becomes the prime suspect in a heinous crime. What was the inspiration to the setup to this thrilling suspense novel?
Essentially it was the opening set up/dilemma. An anonymous voice in a darkened confessional confesses a murder to Father Michael Kieh. Circumstance and evidence points to the Michael’s guilt but he remains faithful to the Seal of Confession and doesn’t betray the identity of a young witness. Michael’s dilemma is between remaining true to his ideals or saving himself from a long prison sentence.
Father Michael Kieh is an intriguing and dynamic character. What were the driving ideals behind the characters development throughout the story?
In relation to Michael, I often asked myself: Is it possible to be so good that it becomes self-destructive? Is it possible to have the same degree of love and imaginative sympathy for the entire human race as one’s family and not be overwhelmed? Even asking the question seems exhausting and tiresome but the answer is self-evident. You would be overwhelmed to the point of physical and psychological destruction. Yet Michael comes close to this form of destruction.
Michael’s childhood was forged in the horrors of the Liberian civil war, but he chose a life dedicated to the Good. Michael has the moral freedom and strength to be different to his environment. He was a child witness and was protected from harm so he knows the importance of the strong protecting the weak. But we all need a little selfishness to survive. And Michael certainly has a smattering of selfishness because he is not afraid to assert his need for love as a strong-willed lover. But the reader roots for Michael because he refuses to betray his higher ideals. I wanted the novel to justify Michael’s faith in the ideals of putting the needs of others who cannot protect themselves before your own needs. It’s easy to talk the talk on this, but entirely different to walk the walk when you have to make a big sacrifice.
I wanted to write a page-turner novel, but the action explores a deep morality without, I hope, being preachy and self-justifying. It’s also important to me that whether you’re a diehard atheist or fervent believer that you will be engaged by Michael’s character, dilemma and beliefs.
When you first sat down to write this story, did you know where you were going, or did the twists come as you were writing?
I wrote a 5 or 6 page outline which I tinkered around with for a year or so, not sure if it was working as a story. This gave me the main plot and character points. It was more like what they call in the movie/TV business ‘a treatment’. I’m a film school graduate, so it was part of my training. I spoke to a close friend of mine about the story and he encouraged me to write it. (By the way, I work as a cinematographer on TV drama.)
I find a problem in well written novels in that I always want there to be another book. Are you writing another book? If so, when will it be available?
Your kind and positive response makes me want to write another. Most of my time and effort has been spent getting A Burning in the Darkness published. Michael’s story is complete so there’s no room to revisit it. I am working on an outline for another novel. Actually, mostly researching it at this point.
A Burning in the Darkness took me a good 7 years to write. That’s too long! I’d also like to write a novella in the meantime. Maybe 80 to 100 pages. I’d like to be able to do it in about 6 months, but I’m a slow writer.
Sadly I lost my wife to breast cancer 18 months ago. I have three amazing teenage children who are the best thing about my life, but being a single dad and working to keep them fed and housed takes up a lot of time. But that’s my primary responsibility. Nevertheless, my kids are also a powerful source of moral strength and determination. And somehow writers always find the time to write.
A murder at one of the world’s busiest airports opens this simmering crime story where a good man’s loyalty is tested to its limits. Michael Kieh is a full time faith representative serving the needs of some of the 80 million passengers, but circumstance and evidence point to his guilt. His struggle to prove his innocence leads him on a charged journey that pitches love against revenge.
Michael’s loneliness was eased by a series of brief encounters with a soul mate. When she confides a dark secret, he is motivated to redress a heart-breaking injustice. Together they must battle against powerful forces as they edge dangerously close to unmasking a past crime. But Michael faces defeat when he chooses to protect a young witness, leaving him a burning spirit in the darkness.
Michael’s commitment to helping those in need was forged in the brutality of the Liberian civil war. Protected by a kind guardian, he too was a young witness to an atrocity that has left a haunting legacy of stolen justice and a lingering need for revenge. More poignantly there is a first love cruelly left behind in Africa because of the impossible choices of war. When Michael and his former lover find each other once again they become formidable allies in proving his innocence and rediscovering their lost love.
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Sins of the Father is a non stop adventure novel following two detectives as they hunt down a dangerous drug kingpin who seeks revenge. What was the inspiration to the setup to this exciting novel?
This is actually the third installment in the Larkin and Colt series. As I was preparing to write the first book I established, just for myself, extensive backstories for the main characters, including their years as undercover ‘contractors’ for the government. Among the stories I created was the takedown of a notorious and supposedly untouchable drug kingpin. After I finished my second book, I found myself wondering what the possible long-term repercussions might be of some of Larkin and Colt’s past actions. The opening scene of a gang of assassins breaking into Larkin’s house popped into my head almost fully formed. From there, it was pretty much off to the races.
My favorite character was DEA Agent Scott Bowman, whose dry humor kept me smiling throughout. What themes did you want to capture while developing your characters?
I wanted to create a character who was dedicated to his job and trying to do the right thing, but who had been doing it for so long that he knows that achieving any kind of long-term solution is pretty much impossible. He’s a realist, and he knows that he’s pretty much rolling a rock up a hill, but he still refuses to give up hope. When he’s approached by Larkin, he sees a chance to maybe do a little bit of good, despite his knowledge that the good guys don’t always win, and the bad guys are incredibly hard to stop.
Sins of the Father is a genre-crossing novel with elements of a adventure, thriller, and action as well. Did you start writing with this in mind, or did this happen organically as you were writing?
I try to write the story I’d want to read. I don’t outline, but I pretty much have the whole plot worked out in my mind before I start. I have the major story points, but not necessarily all the fine details. I sort of let the characters tell me what happens next and where they want to go, as long as we’re always moving toward the outcome I have in mind. I try to let the story and the characters’ actions flow naturally, at the same time hoping to surprise the reader.
What is the next book that you are working on and when will it be available?
I’m currently working on a sequel to my science fiction adventure Pegasus, which is not a Larkin and Colt book. It’s entitled Intrepid, and where Pegasus was about a trip to the moon and back, this time they’re going to Mars. When they arrive, things go horribly wrong, and the crew has to figure out how to get their crippled ship back home before their air and food run out. It’s sort of Apollo 13 meets The Martian. It should be out sometime in the fall.
So begins the latest exciting episode in the adventures of David Larkin and his partner Samantha Colt.
Eight years ago, Larkin and Colt were part of a team that terminated notorious drug kingpin Francisco Salazar. Now Salazar’s son Ramon has grown up, taken over the family business and sworn his revenge upon them. Their only option is to follow the trail of drugs and bodies backwards, from Virginia to Miami to South America, to stop young Ramon before they become his latest victims.
Sins of the Father is loaded with the exciting action, wry humor and memorable characters that fans of Larkin and Colt have come to expect.
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