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Imperfect Reflections of Reality
In Quant, a grieving son trying to face the realities of his mother’s dementia returns to her home and finds himself pulled into the case of a suspicious death and small-town secrets. What was the inspiration for the setup of your story?
In many ways, this is a very personal story for me. I grew up on a farm in Saskatchewan, Canada, near a small town very much like the one portrayed in the book. For several decades, a notable change has been occurring in Saskatchewan, particularly in farming communities. The province’s rural population has decreased significantly. Many young people migrate to larger cities seeking adventure and opportunities, and those who wish to stay find it increasingly challenging. Rising input costs and the corporatization of farming threaten to obliterate small family farm operations and their communities. I understand and accept changing times, modernization, and progress. Still, there is a cost, and a loss of a way of life. Nostalgia and blurry, sweet memories create a yearning and mourning within me and a desire to reflect that disappearing world in my work, and perhaps suggest a hopeful future.
The novel treats dementia with both realism and tenderness. How important was it to portray Kay as more than simply a tragic figure?
Like Russell’s mother, Kay, my own mother suffered from dementia in her final years. As anyone who has gone through it knows, it is a cruel disease, not only for the sufferer, but for the caretakers who share in what can be a long, drawn-out period of mounting loss. That being said, as with most things in life, dementia isn’t simply black or white, good or evil, ease or disease. There are spaces in between where resilience, strength, and familiarity exist. If you remain open to them, those moments can bring joy, hope, and comfort. With this book, I hope I’ve communicated some of that.
The novel explores how family secrets evolve over time rather than disappear. What fascinates you about buried histories?
I find history of any kind – whether it’s in a book or home movies – fascinating. They are honest, blemished, imperfect reflections of reality, and very important. I don’t know if history is so much buried as simply obscured by time. Often, all it takes is someone with keen interest and motivation to reveal it. Without that someone, history can become altered or fade away and remain unknown forever. Family secrets are different. You are correct. They don’t disappear, they evolve. Especially the kind that are truly and intentionally buried for one reason or another. These kinds of secrets rarely vanish forever. Sometimes they germinate like a seed, awaiting the right mixture of soil, water, and sun to reveal themselves. Other times (and considerably more interesting for mystery writers like me), they’re like a disease or bit of rot that festers and grows until they can’t remain hidden any longer. It just takes someone like Russell Quant to show everyone what was there all along.
Where will the next Russell Quant Mystery take readers?
I’ve been asked whether QUANT is a return to the series or a one-time reunion. My answer is that it is neither. I’m someone who never says never, but for now there is no immediate plan to have a follow-up 10th book. When I write a series, my goal is that every book in the series adds something to the collection, progresses the story, presents something new and interesting, and moves our characters along on their personal journeys. When I feel that is no longer the case, I end the series. It wasn’t until I came to realize it had been almost 15 years since we’d last visited the world of Russell Quant that I became excited about returning to the series. When we started the series, Russell was a young man in his thirties, struggling to open a PI agency in a small prairie city. Today, he’s a man in his fifties. I loved the idea of finding out who he is today. Where is he in his career, marriage, and relationships? Whereas QUANT is a reunion of Russell and his friends and family, is it a one-time reunion? Who knows? Wouldn’t it be interesting to revisit them in another 15 years, when Russell is a 70-year-old man? That’s the kind of thing I find fascinating. Throw in a good mystery, and hopefully it all makes for a rip-roaring good read.
Author Links: GoodReads | Amazon
Death in the Manor
Death in the Manor, by Michael H. Balfour, is a layered mystery that starts with Roland Astor’s suspicious death and steadily widens into a story about money, legacy, family loyalty, and civic rot. Dante Villehart enters Astor Manor expecting a rich family’s private disaster, but the case quickly becomes bigger than one dead man in a study. The novel works best as an investigation of power: how it’s inherited, protected, hidden, and eventually exposed.
Dante is the center of the book, and he’s easy to spend time with because he’s observant, worn down, funny, and just self-aware enough to know when the case is getting under his skin. His exchanges with Gemma, Marissa, Ingrid, Beatrice, Marcus, Margaret, and Dr. Blackwood give the story a lived-in feel. The book gives him a lot to carry, but it also lets him be human in small ways, especially when someone reminds him, “You can’t help everyone, you know.”
The manor itself feels like more than a setting. It’s a pressure chamber full of locked rooms, old grudges, coded files, hidden cameras, and family history that refuses to stay buried. One of the best early lines comes when Beatrice says, “The Astor family, Mr. Villehart, has never lacked for enemies. Most of them dine at our table.” That line captures the book’s whole mood: polished manners on the surface, bruises and leverage underneath.
As the plot moves from a possible suicide to Project Phoenix, offshore accounts, boardroom panic, blackmail, and corruption reaching into City Hall, the story becomes part manor mystery and part corporate crime thriller. The pacing is strongest when Dante is following paper trails, reading people’s silences, or trying to decide who’s scared and who’s performing. There’s a good balance between clue-hunting and character work, so the revelations feel tied to people’s choices rather than just case mechanics.
Death in the Manor is a moody, talky, character-driven mystery with a broadening sense of danger and a detective who’s as interested in motives as he is in evidence. It’s about a death, but it’s just as much about the machinery around that death: the family myth, the financial scheme, the public image, and the people left to clean up after powerful men. The book closes with enough resolution to satisfy the case while still leaving Dante’s world open, which fits the series well.
Pages: 373 | ASIN : B0G3JWPL1N
Sympathetic Characters
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?
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.
Author Links: GoodReads | X (Twitter) | Facebook | Website | Instagram | Amazon
The investigation takes Miles and his life-partner FBI Agent Ken Caldwell, to Wisconsin’s Northwoods where the ongoing distrust between the indigenous and white populations is palpable. The case suddenly takes a deadly turn when its resolution leaves a new tragic trail of death. Miles is forced to decide whether he can continue his work while, at the same time, overcoming his guilt and paralyzing sadness. That dilemma drives him to make the biggest decision of his life.
Changing the Narrative
Stairwell to Silence follows a former Navy SEAL turned PI who is investigating the death of a brilliant law student who, while ruled an unfortunate accident, quickly turns into a conspiracy and murder case. How did you decide what to reveal, and when, to keep that shifting tension alive?
I did every reveal strategically. I attempted to write in a way that each chapter ended almost with a cliffhanger, which encourages the reader to want to “see what comes next.” I had some pivotal plot twists, and I made sure not to divulge too early as they may compromise the ending. Even the ending was a twist, not to give anything away, but it makes the reader ask himself, “What really happened to Bella?” This was my first trial of a neo noir thriller, so the ending needed to be that way – essentially ambiguous. The reveals were placed strategically to keep the reader engaged, changing the narrative to keep the reader guessing what comes next.
Klade’s investigation feels like a descent rather than a straight path. What does each layer of the investigation reveal—not just about the case, but about Klade himself?
Each layer revealed how thorough Klade is in his work. It tells the reader how dedicated he is not only to taking on a challenge, but indeed to getting to the truth. That the investigation felt like a descent rather than a straightforward path, well, that was an attempt to make the stairwell a metaphor for what may have happened to Bella, with her going “downwards,” and also that the deeper down that stairwell that Klade went, the more he discovered that what happened was not exactly a cut and dry accidental death as the powers that be would have them believe.
The novel explores how wealth and influence shape outcomes. What interested you about that intersection of class and justice?
I see that scenario every day. Money and connections often times dictate what the narrative is, whether this is right or wrong. Interesting fact is that this is not my first novel with that concept, as my very first novel, Sovereign Deception, explored something similar.
What do you hope lingers with readers after the final page—the mystery, the mood, or the moral questions?
The moral questions would be the main thing I would hope to linger on. I also would realize that a picture might not necessarily tell the whole truth.
Author Links: GoodReads | X (Twitter) | Facebook | Website | Amazon
Bella Gaines was brilliant, driven, and hiding more than anyone knew. When she’s found dead at the bottom of her townhouse stairwell, the police call it an accident—a drunken misstep with tragic consequences. The case is closed.
John Klade knows better.
A former Navy SEAL turned private investigator, Klade is no stranger to official lies. Reluctantly hired by Bella’s estranged mother, he begins pulling at loose threads—and discovers a life split cleanly in two. Law student by day. Exotic dancer by night. Somewhere between the shadows, Bella uncovered something powerful men were willing to kill to protect.
As Klade descends into a labyrinth of corruption involving an upscale strip club, a prestigious law firm, and whispers of classified military contracts, the line between justice and survival blurs. Evidence vanishes. Allies lie. And the deeper Klade digs, the more his own past begins to echo back at him.
In a city where truth is bought, sold, and buried, the stairwell where Bella died may not be the end—but the entrance.
Because some falls aren’t accidents.
And some silences are earned in blood.
Excellent for fans of gritty, atmospheric crime thrillers.
Heroes Are Lonely Hunters
Heroes Are Lonely Hunters, by Lloyd R. Free, is a historical mystery that follows an audacious setup: the Marquis de Sade, imprisoned and compromised, is pulled into a covert investigation after a series of brutal murders of young women rocks Paris. The police want his knowledge of the city’s hidden rooms, secret appetites, and dangerous social circles, so the book turns him into a deeply uneasy detective moving through salons, prisons, brothels, theaters, and court intrigue in late eighteenth-century France. It is part murder mystery, part historical fantasia, and part character study of a man the novel never lets us see as simple.
I was pulled in by the writing’s appetite for atmosphere. Free clearly loves this world, and that love shows up in the detail. The streets feel crowded, damp, and watchful. The interiors glitter, then sour. Paris often comes across like a stage set built of velvet, mud, perfume, and rot. I liked that the book does not give us a clean hero. Making Sade the center of a mystery is risky, and that risk is the point. Sometimes I admired the boldness of that choice, and sometimes I felt the discomfort of it pressing back on me. That tension is where the novel has its pulse. It asks me to follow a man who is clever, damaged, self-justifying, observant, and morally unstable, and that makes the reading experience more jagged than cozy, which feels right for this kind of story.
I also found myself drawn to the book’s ideas, even when I was not fully persuaded by them. The novel keeps circling the gap between enlightenment and appetite, public virtue and private vice, reason and superstition. You can feel that in the way Sade moves through philosophical talk, occult rumor, erotic spectacle, and state power, all while the mystery keeps widening instead of neatly shrinking. That gave the book a restless energy I appreciated. I do believe that, at times, the dialogue and exposition can feel a little overflowing, as if the novel wants to pour every fascinating name, scandal, and theory from the era onto the page at once. But even then, I never felt the book was empty. It is too curious for that. Too committed to the mess. And I think the ending leans into that same refusal to tidy everything up, which felt truer to the world the book had built than a slick, over-polished finish would have.
I’d recommend Heroes Are Lonely Hunters most strongly to readers who enjoy historical fiction with a dark edge, especially people who like their mystery novels tangled up with politics, sexuality, philosophy, and real historical figures. For readers who are open to a historical mystery that is intellectually curious, morally thorny, and willing to get its shoes dirty in the back alleys of history, I think there is a lot here to appreciate.
Pages: 247 | ISBN : 978-1948664059
Hell to Pay
Hell to Pay is a fast-moving crime mystery that follows Iris Raines, a private investigator whose long night of chasing down a missing witness explodes into something far bigger. The book opens with Iris watching her family’s law firm go up in flames just hours after she drags a frightened, drug-addicted witness out of a dangerous alley. From there, the story spirals into criminal entanglements, old secrets, gang threats, and a devastating building explosion that leaves Iris shaken and determined to figure out who is behind it all. The plot blends gritty street crime with legal drama and emotional fallout, and the mystery keeps widening as Iris realizes the disaster may have deeper roots than anyone wants to admit.
What struck me first was how quickly I settled into Iris’s voice. She feels sharp, funny, and deeply human all at once. One minute she’s dodging gunfire in a trash-strewn alley, the next she’s cracking a joke to keep herself steady, and somehow both moments feel true. The writing has that crisp, no-nonsense energy you expect from a crime mystery, but it also lingers in the moments that count. Iris isn’t just tough. She’s tired. She’s scared. She’s grieving places and people she hasn’t even lost yet. When she watches a woman burn in a car outside the exploding office building, it hits her hard, and the book lets her sit in that shock instead of brushing past it. Those emotional beats helped me feel anchored even when the plot moved fast.
I also appreciated the author’s choices around relationships. Iris and her “fathers,” the Raines brothers, give the book a surprising warmth, especially as we learn how she came into their lives. Her friendship with Dean adds another layer, mixing loyalty, dark humor, and the kind of comfort that only comes from years of shared history. Even Maybelline, a character who could have easily been written off as a stereotype, is treated with compassion. Her story is messy and sad, and Iris meets that messiness with more empathy than she gives herself credit for. That mix of grit and heart is what kept me reading. Sure, the book has gang shootouts, legal maneuvering, and explosions that shake entire blocks, but it also has tiny, quiet moments where people choose to take care of one another.
By the time the story shifted fully into unraveling what caused the explosion and who might be responsible, I was hooked. The mystery feels grounded, like something that could happen in a city where money, politics, and corner-cutting collide. And it never forgets the personal cost. Iris isn’t solving a puzzle for the thrill of it. She’s fighting to keep the people she loves alive and to protect the witnesses who fall into her orbit, whether they want to or not.
I’d say Hell to Pay is perfect for readers who enjoy character-driven crime mysteries with a mix of danger, sarcasm, heart, and legal intrigue. If you like stories where the investigator has as much going on inside as she does outside, this one will land well. It’s gritty without being bleak, emotional without dragging, and smart without feeling showy. Fans of mysteries with messy heroes will feel right at home.
Pages: 337 | ASIN : B0DSY8M2QJ
Suspense on Every Page
Choice of Evils centers around a former district attorney now working to defend a millionaire accused of killing his best friend on a rock-climbing excursion. Where did the idea for this novel come from?
Colorado really does have a “Choice of Evils” statute in its criminal code. It’s the actual name of the statutory defense. The phrase is in the jury instruction, too. It provided the inspiration for my legal thriller.
The “choice of evils” defense applies when the tragedy the defendant prevented by his act would have been worse than the crime he committed. A textbook example is a runaway train heading for a trestle. Five people, unable to escape, are on the trestle. They are going to die. The defendant flips a switch and causes the train to take a different trestle, where only one person is killed. One died, rather than five. It was a choice of evils, and if the facts are proven, it is a defense to the homicide of the one person.
Most states give the defense the boring name “justification. You’ve gotta admire the creativity of the Colorado legislature.
In most jurisdictions, it cannot apply to murder; in Colorado, it can.
The title of the statute gave me the idea for the book. The title came first, then I needed a plot! But how can “choice of evils” apply to murder? What could be worse than murder? I sought out examples in the Model Penal Code. Sure enough, one provided my overall story. Two men are rock climbing. The survivor claims they slipped, and he had to cut the rope to save himself; otherwise, two would have died, rather than one.
Throw in a couple of complications: (1) the man who fell to his death was having an affair with the wife of the man who cut the rope, and (2) they were business partners with a key man life insurance policy that paid two million dollars to the survivor should one die.
The prosecutor filed the charge. Wyatt Blake, former prosecutor, now criminal defense lawyer, defends it as his first murder case from the dark side, pitted against the current district attorney, who had beaten Wyatt in the election.
So, with Choice of Evils, the title came first.
Where do you find the inspiration for your characters’ traits and dialogue?
I was a prosecutor for over 30 years, so Wyatt Blake has a lot of me in him. His voice is pretty easy for me to use, as is the humor. When writing dialogue, I often cut and shorten it during the editing process.
Ryker Brando, the autistic criminal defendant, was fun to create. I have a cousin who is autistic. Several of his mannerisms were fodder for this character. I pored over books on the topic of how autism can apply to criminal defendants and used that material.
I read a couple of books about how a person can make money by setting up an Only Fans account when creating my fictional Intimate Fans account used by Chloe Brando. I, ahem, subscribed to one Only Fans account as part of the research. It was educational and informative! Alas, I no longer need it so I unsubscribed.
The courtroom scenes are informed by the 178 jury trials (111 homicide cases) I have tried in real life as a prosecutor and criminal defense lawyer.
What is the most challenging part of writing a thriller?
The most challenging parts of writing a thriller are the same things a novelist faces when writing any book: you need to put suspense on every page, to keep the reader interested and turning pages. Furthermore, you need to make the reader care about your main character, so he or she is invested in the outcome. Care must be taken not to make your protagonist too perfect, or your villain too purely evil.
Can we get a glimpse inside the next book in this trilogy? Where will it take readers?
Make My Day picks up the week after Choice of Evils ends. Wyatt Blake gets his second murder case, this time featuring another Colorado defense–the “make my day law.” Under this statute, you can shoot a person who breaks into your home without waiting for them to attack you. Wyatt’s client is a former state senator, who has shot a man he claims he mistook for a burglar. The man happened to be a movie star who date-raped his daughter. Meanwhile, Wyatt’s love life has become complicated. Harper Easton’s former fiance is back in the picture, and another potential love interest is throwing herself at Wyatt. As always, ethical issues abound!
Author Links: GoodReads | Website | Facebook | Amazon
Choice of Evils
Choice of Evils, by Morley Swingle, is a sharp, twist-filled legal thriller that follows Wyatt Blake, a former district attorney turned defense lawyer, defending a millionaire accused of murdering his best friend during a rock-climbing trip. Set in the snow-draped peaks of Colorado, the story weaves courtroom drama, moral gray areas, and emotional backstories into a compelling tale of justice, loss, and the fine line between right and wrong.
What really pulled me in wasn’t just the whodunit mystery; it was Wyatt himself. He’s a flawed, smart, funny, sad guy who’s trying to stitch his life back together after losing his wife in a freak skiing accident. His inner thoughts are dry and biting, like when he watches a potential client chew his nails and thinks he hasn’t “encountered scissors in months.” That kind of dark humor is sprinkled throughout the book and made me both laugh and wince. I felt his grief when he hides the photo of his daughter before meeting the accused murderer, Ryker Brando. Swingle writes pain without melodrama.
Ryker Brando is a chilling character; detached, calculating, and unnervingly composed. He openly admits to cutting the rope that led to his best friend’s death, yet displays no visible remorse or emotional turmoil. Instead, he presents his actions with stark, matter-of-fact reasoning. This emotional flatness makes him difficult to read, let alone sympathize with, yet it’s precisely this ambiguity that gives his character such power. Swingle resists the urge to paint Ryker as a clear-cut villain; instead, he challenges the reader to grapple with the unsettling logic behind Ryker’s choice. “Two people die, or just one,” Ryker says, and you’re left genuinely unsure of what you might have done in his place. The novel’s treatment of the “choice of evils” defense is not only compelling but also intellectually provocative, presenting legal nuance in a way that’s accessible without ever oversimplifying.
The courtroom scenes are particularly well-executed. Unlike many legal thrillers that get bogged down in tedious procedural detail, Swingle’s narrative moves with precision and energy. His legal expertise is evident, but what stands out even more is his ability to translate that knowledge into sharp, engaging drama. The pacing is brisk, the dialogue crisp, and the legal sparring, especially between Wyatt Blake and his successor, Chad Coburn, is both intense and layered. Coburn, a former NFL linebacker turned district attorney, brings an aggressive, politically charged edge to the proceedings, making their confrontations not just legal battles, but deeply personal and ideological clashes.
The supporting characters are also given room to shine. Nikki, Wyatt’s resourceful and sharp-tongued secretary, adds both levity and depth, underscoring Swingle’s talent for creating memorable, multidimensional personalities. By the final chapters, I found myself fully invested, not just in the outcome of the case, but in the broader questions the book raises. The narrative explores themes of guilt, justice, and moral ambiguity with both intelligence and emotional resonance. Whether or not Ryker is truly guilty almost becomes secondary to the exploration of what guilt really means. Swingle delivers this with wit, emotional insight, and a firm grasp of human complexity.
Choice of Evils will appeal to readers who appreciate legal thrillers that delve into moral ambiguity and psychological depth. With its layered characters, ethically charged dilemmas, and compelling courtroom drama, the novel offers both intellectual engagement and emotional impact. For those who enjoy thoughtful, well-paced narratives grounded in legal realism, this is a standout choice.
Pages: 731 | ASIN : B0F6M1YJHL
