Blog Archives
A 360-Degree View
Dream Me Dead follows a dead woman watching her husband’s trial for her murder, who tries to leave clues for the living as to what happened to her. What was the inspiration for the setup of your story?
As living people, we only know what we are told, or what we assume to be true, but if the story is told through the eyes of a deceased person, they are able to have a 360-degree view of the world, and there is no more room for speculation. Peggy Prescott knows exactly what happened to her and how it happened, but she only reveals bits and pieces of her story so that the reader can begin putting the pieces together until they make sense. If she revealed everything at once, it would not be exciting. When someone has to work for the reward, the goal is that much more exciting and fulfilling. The reader feels challenged to put their mind to work as the clues accumulate. The reward, therefore, is worth the effort. Peggy knows her life on earth was valuable, and wants the readers to appreciate her trials and tribulations, making her life, and death, more meaningful. Hopefully, it gives the reader the idea that everything we do, everything that happens to all of us, will one day make sense.
What intrigues you about the paranormal that led you to explore this direction in your psychological thriller novel?
I have always questioned the paranormal, believing that we can only know what we know, but that is not the entire story. I believe in unseen entities, good and bad, who guide us along the way, preparing us to make better choices, be fearless, love deeply, and know that when someone dies, they are still with us. Those whose death was unexpected need for those left behind to make sense of things, and to dig deeper for clues that finally are revealed. Timing is everything, especially for those who search for answers. When I look up at the sky, I see endless possibilities, other lifetimes, souls who have moved on, souls who have remained for a while to keep their loved ones safe. It is an endless cycle of love and possibilities, that intrigue me the most. We have miracles all around us if only we look for them.
What was the most challenging part about writing a mystery story, where you constantly have to give just enough to keep the mystery alive until the big reveal?
The most challenging part of writing a mystery/psychological thriller is to ask the reader to be part of the story, to immerse themselves in the richness of the characters, and to follow the clues as they appear. This cannot occur if the reader becomes bored with the story, or finds that they cannot relate to the characters, so my job was to create characters who come alive, who the reader wants to root for, or despise, but cares about deeply one way or the other. The clues have to be available, but hidden, and can be found just beneath the surface if the reader looks hard enough. For me, the characters in Dream Me Dead are taking the reader on a journey and asking them to believe that they exist, if only on the pages, but remain in our hearts as real people.
Will there be a third book in the Dream Me Home series? If so, what can readers expect, and when will it be available?
Yes, there will be a third book, entitled Dream Me Gone, which will challenge the reader to take a stand, knowing that just as in life, each person can view the same problem differently, depending on their own personal experiences. I know what the ending is, of course, but that’s because I am a believer that anything is possible. Being an optimist and hopeless romantic, I will determine that the ending comes from a place of love, but others, those who are realists, who employ logic as their first language, are welcome to view an ending that makes sense in a realistic world. In other words, just as the readers will align themselves with specific characters, they will also stand firm on a logical conclusion. Everyone should feel that the time they put in to reading the Dream Me Home series was time well spent.
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The Perfect One
The Perfect One pulled me in right away. The opening sets the tone for a dark and twisting story built on secrets, obsession, and the fragile edges of relationships. The book follows several characters whose lives intersect around a brutal murder in a secluded cabin, and the story unfolds through shifting perspectives that slowly reveal old wounds, hidden affairs, and long–buried resentment. It reads like a slow burn that keeps tightening, chapter after chapter, until every character feels like both a suspect and a victim.
Some chapters felt intimate and tightly drawn, the kind that keep you leaning closer because the emotions feel raw and too real. Other moments felt almost playful, like the author knew exactly when to pull back before things got too heavy. I liked that mix. It made the pacing unpredictable in a good way. I also enjoyed how the book handled tension. It did not rush, and it did not give easy answers. Instead, it let scenes breathe with quiet detail that sometimes made me uneasy. I appreciated that slow drip of dread. It made the world feel lived in and messy, which fit the characters perfectly.
What surprised me most was the emotional twists. I kept catching myself feeling sympathy for characters I had sworn I disliked ten pages earlier. Then the story tossed in another reveal, and my feelings flipped again. I love when a book does that. It makes me feel like I am part of the mess rather than just watching it. The ideas beneath the plot lingered with me, too. The story pokes at pride, loyalty, and the ways people hide things even from themselves.
Everything came together in a way that made sense for the world the author built, even when the truth was painful. I would recommend The Perfect One to readers who enjoy psychological thrillers, character–driven mysteries, or stories where the emotional stakes matter just as much as the plot. If you like books that take their time and let you sit in the characters’ minds while feeding you tension bit by bit, this one will be a great fit.
Pages: 360 | ASIN : B0FM1F3QKW
Justice and Loyalty
Part of the Solution: A Mystery follows a New York professor who experiences a chance meeting that pulls her back into the 70s and brings her closer to a death that shook the community she once called home. What was the inspiration for the setup of your story?
Setting Part of the Solution in 1978 was an easy choice because the very first version of the book was written in 1978! I had just finished a dissertation in English literature, and I’d survived graduate school by sneaking off to read murder mysteries when I couldn’t bear one more page of “serious” literature. A few years ago, I reread my original manuscript and decided to rewrite it as a period piece. I thought it would be interesting to go back to that time and wrestle with who we “Boomers” were back in the day – idealistic, earnest, and hopeful but also very young and sometimes very silly. The book is completely different now. In some ways, it’s a comedy of manners as much as it is a mystery.
Yet comedy of manners though it is, I don’t want to overemphasize the humor in the book. In the process of rewriting, the mysterious death at the core of the original plot took on a deeper meaning. Now my main character, Jenifer, has had forty years in which she has had to live with what happened. The decisions she made at the time as the “amateur detective” have shaped her life in ways that she – and even I – could never have imagined at the time.
What is it that draws you to the mystery genre?
I have a complicated relationship with the mystery genre. I love the structure and discipline of the classic whodunit in which all the clues and red herrings line up in a way that plays fair with the reader. I love the puzzle at the heart of the genre and, to quote the title of my book, the `solution’ that is revealed at the end. But I am also troubled by how much fun such mysteries are because death, even in fiction, shouldn’t be fun. I worry that devouring mysteries the way a lot of us do ends up dulling our responses and thus numbing an important piece of what makes us human. I don’t want the characters, or even the reader, to get off scot-free.
In Part of the Solution, I tried to tell a story in which the characters don’t get off scot-free because they are changed forever by what has happened to them. I wanted them to have to wrestle on a deeply personal level with the issues that are raised. What does justice mean? What does loyalty mean? How do different people understand those terms, and what difference does that make? Jennifer and Ford – the amateur detective and the official detective – have very different relationships to questions of justice and loyalty, and those questions matter to them both. The very different answers they come up with have never stopped haunting them.
How did the mystery develop for this story? Did you plan it before writing, or did it develop organically?
The mystery plot was there from the beginning. I had a wonderful time inventing a set of wonky characters in an imaginary little hippie town in the Berkshires, with the challenge of trying to figure out who among these various peace activists, artisans and poets, leftwing intellectuals, and spiritual seekers would murder someone, and why. Once I had the mystery structured, I could relax into writing the dialogue and the scenes. What were they listening to on the stereo? What were they arguing about? Laughing about? What were all of them wearing? How did they understand the world around them, and how were they trying to change it for the better?
What is the next book that you are working on, and when will it be available?
I want to bring Jennifer and Ford back together in the present day. They are both in their late ‘sixties now, and they meet up again at a conference during which someone dies mysteriously. I have the plot lined up as well as most of the characters. I haven’t gotten very far in the writing yet, but I’ve booked myself some time away this winter just to write, and I’m planning to have it done by the end of this coming year.
Concern for her community prompts Jennifer to investigate the murder with the sometimes-reluctant help of Ford McDermott, a young police officer. Little does she know that the solution lies in the hidden past.
Part of the Solution blends snappy dialogue, unconventional settings, and a classic oldies soundtrack, capturing the essence of a traditional whodunnit in the era of sex, drugs, and rock-and-roll.
The Pressure of Testing
Tokyo Juku follows an eighteen-year-old student in Japan who, while studying all night in her cram school, discovers one of her teachers has been murdered, leading to an investigation into the education system. What was the inspiration for the setup of your story?
The main inspiration comes from talking with my students. Their struggles inspired me to write about them. I teach at a university, so hearing from my seminar students about what they’ve been through really made me rethink the Japanese educational system from their perspective. One of the largest problems is the pressure of testing. Students hate tests. I mean, really hate them! My job entails evaluation, but more as individual feedback than standardized testing as social gatekeeping. Over the years, when I tell people that I teach at a university, they often cast their eyes down and mumble the name of their school, a little embarrassed at their past failings. Or, just the opposite, very proudly. That’s a sad reaction to what should be a life-transforming experience. In the novel, I wanted to take my students’ stories, my observations, and others’ experiences and condense them into the struggles of the main character, Mana. Like most Japanese, she has to learn how to navigate treacherous educational waters. As an educator and a writer, I’m on the side of improvement, but that’s easier said than done.
How has character development for Detective Hiroshi Shimizu changed for you through the series?
Hiroshi has evolved through the series. In the first novel, he had just returned from America and found the detective job through a connection. He works the job reluctantly but gradually finds he is pretty good at it, despite being resistant to crime scenes and the grittier aspects of the job. He reconnects with his college girlfriend, moves in with her, and they start a family in the latest novel. That idea of fatherhood causes him great anxiety because of what he’s seen behind the curtain. Does he want to bring a child into the world he’s glimpsed while working in homicide? But he has a knack for finding the pattern in the chaos of cases, and he’s needed.
Was it important for you to deliver a moral to readers, or was it circumstantial to deliver an effective novel?
An effective novel comes first. The moral is something that occurs in readers’ minds. I think if you push a moral or make themes too explicit, it takes away from the beautiful ambiguity of reading. As a writer, I can nudge readers in specific directions, but they will draw their own conclusions. So, if you push a moral without a compelling story, it comes across as preachy. Nobody likes that. Readers have their own reactions to the characters’ conflicts, which might yield a moral they take away, but it might also be something more complex—a conclusion or understanding that doesn’t fit into the frame of a moral. The conflicts and confusions of characters are at the heart of an effective story. I focus on that. My job as a writer is to keep them turning pages, thinking, and enjoying the ride.
Can you tell us more about what’s in store for Detective Hiroshi Shimizu and the direction of the next book?
The next book will focus on the tourist industry, which has really taken off in Japan. I have culture shock—or maybe reverse culture shock—in parts of the city swamped with visitors from abroad. That’s changing the city. I’m not against that, but the influx of tourists and tourist money has not been clearly planned for. And much of Japan is highly planned. Japan is internationalizing, in good and bad ways, so that Hiroshi will be needed even more with his English and accounting skills. He’s got plenty more cases to work on.
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Eighteen-year-old Mana pulls an all-nighter at her juku, a private Japanese cram school that specializes in helping students pass the once-a-year exams. She failed the year before but feels sure she’ll get it the second time—if she can stay awake. The Japanese saying, “Four pass, five fail,” presses her to sleep just four hours a day, and study the rest.
When she wakes up in the middle of the night, head pillowed on her notes, she takes a break down the silent hallway. A light comes from an empty classroom, and still sleepy, she pushes open the door to discover something not covered in her textbooks. Her juku teacher, the one who got her going again, lies stabbed to death below the whiteboard, with the knife still in his chest and the AV table soaked in blood.
Detective Hiroshi Shimizu is called in, and though he’s usually the forensic accountant, not the lead detective, he’s put in charge of the case. With the help of colleagues old and new, he’s determined to find the killer before the media convicts the girl in the press, the new head of homicide pins it on her, or big money interests make her the scapegoat.
Hiroshi follows up on uncooperative witnesses, financial deceptions, and the sordid details of some teachers’ private lives. Even as he gets closer, the accumulating evidence feels meager amid the vastness of the education industry, and the pressures and profits of Japan’s incessant exams.
At the outset of the investigation, Hiroshi listens as an education ministry official lectures him on how education holds the nation together, but he soon discovers how it also pulls it apart, and how deadly a little learning can be.
Overlooked Corners of History
An Unsuitable Job follows the first woman detective in her Las Vegas agency, who is investigating the murder of a salesman at a hotel and encounters a dismissive attitude from those around her. What was the inspiration for the setup of your story?
The idea came from my fascination with overlooked corners of history, especially those involving courageous women who quietly broke barriers. When I discovered the real-life Harvey Girls—young women trained to serve with precision and elegance across the American West—I saw the potential for a deeper story. Many of these women had grit and ambition but were often remembered only for their uniforms or smiles. I wondered: what if one of them refused to fade into the background? What if she stepped into a role no woman had held before—like that of a detective?
The hotel setting, inspired by the historic Castañeda Hotel in Las Vegas, New Mexico, was the perfect place to explore class, gender, and secrecy. A grand old hotel invites both luxury and scandal—and that’s where Josie MacFarland steps in.
I found Josie to be an intriguing character, and I admired her determination to prove herself in a career dominated by men. What was your inspiration for this character?
Thank you—I admire her too. Josie is very close to my heart. She’s smart, observant, and deeply principled, but also shaped by the pressures of 1929: the Great Depression, limited choices for women, and expectations from her family. I gave her my own stubborn streak and added a longing for justice and belonging that I think many of us share.
She’s inspired in part by the women in my own family—strong, capable, and often under-recognized—and by the many female pioneers who were told they were “unsuitable” for one reason or another. Josie doesn’t just want a job; she wants to matter. And she wants to do it her own way.
How did the mystery develop for this story? Did you plan it before writing, or did it develop organically?
A bit of both. I began with a clear sense of the victim and the setting—who died, where, and why it would shake up the community. But the full mystery unraveled as I wrote. I’m a big believer in letting characters surprise me. Once I had Josie on the page, her instincts began to shape the investigation. Clues appeared I hadn’t planned for, and side characters revealed secrets I didn’t see coming.
Will this novel be the start of a series, or are you working on a different story?
Yes—this is the beginning of The Harvey House Mysteries, a new historical series set in the American Southwest during the late 1920s and early ’30s. Each book will feature Josie as the recurring protagonist. She’s now a “Harvey House Detective,” solving problems the company wants handled quietly—before the press or police get involved.
The next installment will take Josie deeper into the dusty corridors of power, family secrets, and crimes that echo far beyond one hotel room. I’m currently working on book two, and let’s just say: someone ends up dead in a very public place—and it’s not who anyone expected.
That’s part of the fun and challenge of writing a mystery. It needs a solid structure, but also room to breathe. I knew the ending early on, but the journey there? That unfolded like a case file opening in real time.
Author Links: Facebook | Website | GoodReads
1929 Las Vegas, New Mexico. When a man is murdered at the Castaneda Hotel, Josie MacFarland is given an impossible role: the first Harvey House Detective. Armed with only her determination, Josie faces a dismissive sheriff, the cold shoulder of old friends, and the hardships of the Great Depression.
She can either return home in disgrace—or fight to prove she belongs in a world determined to shut her out.
For readers of Jacqueline Winspear, Rhys Bowen, and Sulari Gentill.
Rose Dhu
Rose Dhu follows the disappearance of Dr. Janie O’Connor, a brilliant surgeon whose sudden vanishing rattles Savannah. Detective Frank Winger takes the case, and his search uncovers secrets that coil through old money, family loyalty, and violence hidden in plain sight. The story widens from a missing person case into something heavier. It becomes a portrait of power and the people crushed or remade by it. The final revelation, in which Janie reemerges alive under a new identity as Alice Tubman, lands like a quiet shock and changes the emotional color of everything that came before.
Scenes move quickly and often hit with surprising force. I felt pulled in by the atmosphere of Savannah. The place feels damp, shadowed, and tangled with history. Some chapters made me slow down because the emotional weight crept up on me. I found the depictions of trauma raw, but never careless. The book wants you to sit with pain, not look away. That kind of blunt honesty made me connect with Frank more than I expected. His flaws feel lived in. His memories of Afghanistan haunted me in ways I did not anticipate.
There were moments when the story’s intensity nearly overwhelmed its subtler pieces. Still, the ideas underneath the plot stayed with me. What people will sacrifice for those they love. What power looks like when twisted by entitlement. How a life can fracture and rebuild itself into something new. The book is bold about those questions. It pokes at uncomfortable truths, and I appreciate that kind of nerve. By the final pages, I caught myself rooting fiercely for Alice and for Frank.
Rose Dhu reads like a blend of Sharp Objects and Where the Crawdads Sing, only with a darker pulse and a tighter grip on the shadowy power games that shape a Southern town. I would recommend Rose Dhu to readers who enjoy mystery that leans into emotional depth, stories about moral gray zones, or Southern gothic settings with teeth.
Pages: 384 | ISBN : 1967510709
Carnage in D minor
Carnage in D Minor follows Leeza Allen’s rise from a prodigious Southern piano talent to a battle-hardened military veteran who is struggling to hold herself together while trauma keeps dragging her back into the dark. The novel blends psychological suspense with a deeply personal story about survival, family, fear, and the brutal tug of the past. From childhood recitals in Beaufort to the nightmares she carries home from deployment, the book moves between tenderness and terror with an intensity that caught me off guard. The story paints a heroine who is gifted and broken and stubbornly alive. It builds a world where beauty and violence keep brushing up against each other in quiet but devastating ways.
I found myself pulled in by the voice of the book. The writing swings sharply between raw emotion and calm precision. I liked that. It made me feel as if I was inside Leeza’s head even when I wanted to reach out and steady her. The scenes around her childhood are vibrant and warm. Then the tone shifts when the story lands in adulthood where PTSD, addiction, and grief turn everything jagged. That contrast shook me a little, and honestly, that is what made the book memorable. The author seems to understand trauma from the inside out. The panic attacks. The sudden triggers. The numbing habits that pretend to help but only make the ground softer under your feet. Those moments felt painfully real. The writing has a rhythm that matches Leeza’s state of mind. Sometimes measured. Sometimes chaotic. Sometimes barely holding onto structure at all. I felt myself riding those waves with her.
I also found myself reacting strongly to the ideas the book brings up about responsibility and the human mind. The novel keeps circling back to the question of why people break the way they do. It shows trauma not just as an event but as a rewiring of a person’s internal world. I appreciated that the story never treats addiction or homelessness or depression as simple problems with simple solutions. There is frustration in Leeza’s voice. Anger too. And a fierce compassion that pushes her to believe she can fix the unfixable even while her own life is slipping through her fingers. At times, her determination feels reckless. At other times, it feels heroic. I found myself rooting for her even when she made choices that scared me.
The novel is gripping and emotional and often uncomfortable in ways that feel purposeful. I would recommend Carnage in D Minor to readers who enjoy psychological fiction that digs into trauma without sugarcoating it. It is also a strong pick for anyone drawn to stories about gifted women trying to rebuild themselves after the world has already taken too much. If you want a book that feels honest and relatable and a little bruising in all the right ways, this one is worth your time.
Pages: 265 | ASIN : B0G1CN78FG
LITERARY TITAN 