Pismo Beach Sniper follows a private investigator as a surf-trial shooting that nearly kills his son pulls him into a dangerous web of arson, federal secrets, old enemies, and revenge along California’s Central Coast. What was the inspiration for the setup of your story?

The inspiration for each of my books has been a little different. For ALL THAT GLISTERS, it was reading Coma, a medical thriller by Robin Cook, and thinking to myself: If a doctor can write a medical thriller, why can’t a CPA write a financial thriller? For OCEANO BEACH BEDLAM, it was a drive along the shore of Oceano Beach, CA, and watching a guy on a tractor dragging a sand rake across the beach to clean up debris. For PISMO BEACH SNIPER, it was a working title—CowaBANGa!—a mashup of two popular exclamations that seemed incapable of being together: (1) Cowabunga!—surf slang for “Dude, that was Awwwwsome!”, and (2) BANG, the sonic crack of a high-powered rifle.

What each inspiration has in common is the germ of a preposterous premise—an idea that demands attention.

Here are the preposterous premises for each book in the Thad Hanlon & Bri de la Guerra Series:

ALL THAT GLISTERS — What if a secret audit of the U.S. gold stockpile by two surfing buddies found the gold was fake?

OCEANO BEACH BEDLAM — What if a teen surf legend was in the wrong place at the wrong time and learned of an impending eco-terrorism plot to blow up Moy Mell—the California Central Coast spiritual haven nestled in the dunes—to liberate it from desecration by ATVs and dune buggies?

PISMO BEACH SNIPER — What if a deadly sniper starts using local surfers, waiting for their next wave, as target practice?

Thad’s fear for Zael gives the mystery a strong emotional charge. How did you approach writing him as both a father and an investigator?

For the father side of Thad, I simply tapped into my own experience raising two sons. While I had the good fortune of a supportive wife to share the journey, there were still plenty of nights spent worrying about our boys—especially during their tween years, when sports, adventure, and growing independence seemed to present a new reason to worry every week. No parent survives those years without a healthy concern for their children’s safety.

For the investigator side, I drew on my professional training as a CPA, software developer, and college professor. I’m analytical by nature. I like patterns, puzzles, and problem-solving. I can be methodical to a fault and have been known to spreadsheet just about everything.

The challenge—and the fun—was bringing those two sides together. When Thad is investigating a case, he wants to follow the facts wherever they lead. When his son is in danger, he’s a father first. The tension between those roles gave the story much of its emotional energy.

The ocean feels almost like a character in the novel. What role does the California Central Coast play in shaping the story’s mood?

The Pacific Ocean is a moody presence. At times, she provides solace from the daily grind. A chance to take a dip, cool off, and catch a few waves. And at other times, when big weather rolls in and the swells kick up, she can be a cruel monster, lashing out with rip tides and pounding surf. In Thad Hanlon’s world, the ocean is simultaneously a source of comfort, danger, and wisdom. When life becomes complicated, he paddles out beyond the break. The rhythm of the waves helps him untangle the Gordian knot of mysteries he’s facing and decide what to do next. In that sense, the Pacific isn’t just a setting—it’s a trusted companion in the story.

The novel blends PI procedural, action suspense, family drama, and coastal noir. How do you balance those elements while keeping the story moving?

By ensuring tension in every scene. That’s the secret to keeping the story moving when you’re juggling multiple elements.

For each scene, I work from a cinematic framework inspired by Blake Snyder’s Save the Cat!® approach to screenwriting. I start with a simple structure: where the scene takes place, what is happening, and—most importantly—the emotional arc of the point-of-view character.

From there, I focus on what really drives momentum: the conflict. Who wants what, what stands in their way, and what’s at stake if they fail. If I can clearly define Hero—Goal—Obstacles—Stakes, the tension takes care of itself and the story keeps moving.

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