Showing posts with label The Mermaid Murders. Show all posts
Showing posts with label The Mermaid Murders. Show all posts

Thursday, December 8, 2016

Christmas Coda 43


Christmas Coda 43

THEMERMAID MURDERS: Jason and Sam

 

 

He didn’t expect to hear from Sam on Christmas Day.

By now Jason understood enough to know anniversaries, holidays and family get-togethers were problematic for his…well, what were they exactly?

More than friends and less than lovers.

In fact, anytime he thought about it--something he mostly avoided--he was reminded of that scene in Young Frankenstein where Frau Blucher declares, “He vass my…BOYFRIEND!”

Except Sam wasn’t. Was he?

As a matter fact, Halloween was the last time they’d really talked. Coincidentally he’d heard from Dr. Jeremy Kyser too. That was after he’d spoken to Sam though.

Anyway, it wasn’t like Jason was sitting around waiting for newly appointed BAU Chief Sam Kennedy’s phone call. As a matter of fact, those months were pretty damned grueling for Jason too. The part he’d had played in Massachusetts ended up giving his own career a nice boost. He was flying all over the country to consult with museums directors and art gallery owners.

No one was shooting at him. That was nice.

It was natural enough, given how much they were both traveling, that they hadn’t actually ever had time for that now legendary date. In fact, they hadn’t seen each other since the summer.

Well, no. It wasn’t natural.

But it was partly the job and partly--

Yeah, no. It wasn’t natural.

But Jason didn’t have anything to lose. He liked talking to Sam, liked looking forward to what they might do when they eventually hooked up again. In a way there were advantages to not seeing each other.  They could talk more honestly, more openly--like to a pen pal or a radio talk show therapist. 

Let’s be clear. Jason vassn’t renouncing…DATING! His schedule didn’t leave a lot of time for anything other than his schedule.

Which pretty much explained June through December. There was no phone call on Thanksgiving and only one very brief call mid-December.

So no. Jason wasn’t expecting a phone call from Sam.

 

 

Holidays were a BFD at Stately West Manor. Not Jason’s favorite thing, frankly. The BFD, not the holidays; he enjoyed holidays. Anyway, he believed in picking his battles. Every year, since time immemorial, his parents had hosted a Christmas Eve party for the movers and shakers of the City of Angels. Attendance, while not mandatory, was strongly encouraged. And being ambitious, Jason understood the importance of networking over the wassail.

When his cell phone rang, he figured it was work. Something about the holidays brought out people’s worst instincts. But Sam’s number flashed up and Jason’s heart flashed up with it. He excused himself to his brother-in-law the congressman and stepped out onto the terrace.

The chilly -- for Los Angeles -- night was scented with orange blossoms (the ornamental trees having been artificially forced into bloom) and lit by hundreds of tiny star-shaped lights strung everywhere you could possibly hang a fake celestial body. From the other side of the French doors he could hear a big band version of “Zat You Santa Claus?”

“Hey,” he said, and he could practically hear the champagne bubbles warming his tone. But he was glad to hear from Sam. No point pretending he wasn’t.

“Hey,” Sam said as terse as ever. But Jason could now recognize the gradations of terseness and this level of brevity was Sam practically oozing holiday charm.

“Where are you?”

Sam seemed to hesitate and for one crazy--and, admit it, thrilling--moment, Jason thought he might be about to say he was actually here in town.

What if this was the night? Light me up with me on top let’s fa-la-la-la-la-la…ahem.

But no. After that odd pause, Sam said, “Vegas.”

“Ah. Too bad. What are you doing in Vegas?”

Sam sighed, and it was a weary, weary sound. “The Roadside Ripper.”

Right. The night air was suddenly frosty, bitter cold. The Roadside Ripper serial killings were one seriously ugly case, and Jason was very glad he had no part in it although a lot of the L.A. field office was involved. The taskforce was one of the largest ever formed.

“How’s that going?”

“It’s not.”

In the background Jason could hear the chink of ice and clink of glasses and a lot of too loud voices. A bar. A Vegas bar on Christmas Eve. Come to think of it, he preferred Stately West Manor.

“You okay?” It wasn’t what he meant to ask. But he didn’t know what to ask Sam, and the fact was, he did wonder if Sam was okay. He worried about Sam, although that was probably ridiculous--Sam would probably think it was ridiculous.

“Yeah.” Sam sounded different. Almost…soft. “Are you having a Merry Christmas?”

“Sure. It’d be merrier if you were here.” Now that was definitely the champagne talking.

Sam laughed that low sexy laugh that Jason so rarely got to hear. “I don’t know. I’m not exactly a party guy. I’d do my best to warm you up though.”

“Yeah?”

“Mmhm.”

“I’m still waiting for that date.”

“I haven’t forgotten.” A jinkle of ice sliding down glass and the sound of swallowing. “So what’s Santa bringing you for Christmas?”

And just like that the tone changed. Still warm, still friendly, but the distance wasn’t only geographic. It made Jason a little melancholy because he was beginning to suspect that date was never going to happen. Still, there had to be some reason Sam continued to phone.

They chatted for a few minutes and then Sam said, “I’d better let you go.”

And Jason made himself reply cheerfully, “Yeah. It’s good hearing your voice, Sam.”

There was another of those funny pauses where he thought he was about to hear something important.

“Jason?”

“Yep?”

He could feel his heart thumping with an uncertain mix of unease and hope.

Sam said very gently, “Merry Christmas.”

It sounded…like something else. Jason said huskily, “Merry Christmas, Sam.”

That little click of disconnect felt like the loneliest sound in all the world.

 

 

 

 

 

Friday, August 19, 2016

Cover Challenge #2 THE MONET MURDERS

Here's the blurb: The last thing Jason West, ambitious FBI special agent with the Art Crimes Team wants -- or needs -- is his uncertain and unacknowledged romantic relationship with legendary Behavioral Analysis Unit Chief Sam Kennedy.


And it seems like Sam is unsold on the idea as well.


But personal feelings must be put aside when Sam requests Jason's help in order to catch a deranged killer targeting wealthy, upscale art collectors.


I'm not sure if it makes it harder or easier that I'm not crazy about the cover for book one. (The model appears to have vanished from Shutterstock, which makes it more challenging too--but in any case he was a bit young for Sam Kennedy and way too blond for Jason West.)


So I guess this could go either way. It's possible that a completely new concept would make me rethink Mermaid's cover--you might find yourself with a commission for two book covers.


Or not.


I honestly don't know because I'm pretty divided on this one.


It might be safer to stick with just picking up style elements from Mermaid and applying them to Monet?


Questions can be posted below -- though clearly I will not have much in the way of answers. ;-)

Friday, April 1, 2016

Spring Fever -- and The Mermaid Murders book trailer

I really don't have much to say today. I've got a scratchy throat, which I hope is due to all the pollen in the air. My favorite aunt is in town and we've been spending time visiting, and I gots this book to write, AND the marathon that's known as our tax appointment was on Wednesday...

So. Yeah. I got nothing this morning.

But in case you missed this fabulous trailer for The Mermaid Murders...

This is courtesy of my film editor Brother-in-Law (a man of mystery -- and huge talent) and my ultra brilliant sister Laura Browne Sorenson. I have tried for years to get them to go into the book trailer biz, but so far no luck.

Anyway.



Friday, February 26, 2016

Five Things I Didn't Know About Jason West and Sam Kennedy Until I Started Writing Them

 
Well, time is running out on my beach resort vacation. Knowing me, I'm looking forward to being home but already missing Catalina Island.

Anyway, on Tuesday The Mermaid Murders goes live! It's always exciting to launch a new series. I plan to write this particular trilogy quite quickly with a book out each March for the next two years. I think I've made a mistake in letting so much time lag between books in all these other series. But you know, to some extent this is all determined by creative drive. You don't want to thwart it too often or it really takes the joy out of the work.

The next adventure for Kennedy and West will be The Monet Murders. Which, to my ire, turns out to be a surprisingly popular title for a mystery. HOW DARE SOMEONE(S) THINK OF THAT BEFORE ME?!

Nonetheless that's what I'm calling it.

I'm a big advocate of doing a lot of the work before you ever begin writing. I like to outline and I like to have a pretty good idea of who my characters are and what their big conflict will be. That said, writing is an organic process and there are always surprises and discoveries along the way. That's why writing is as addictive for writers as it is for readers. We also get to lose ourselves for hours at a time. Not in the same way, but it's equally powerful for all that.

So here are a couple of things I discovered about Jason West and Sam Kennedy as I began to write their story:

1 - Sam is from Wyoming and was raised by a single mom in a conservative small town.

I had originally thought he might be from Texas and that he would come from a large family. But no.

2 -  Jason is a winker. (NOT a wanker! I did not say WANKER.) He's one of those smooth, maybe a little too smooth guys used to offering one of those knowingly charming smiles and winks...and watching everyone melt into a puddle.

But that's because he was a skinny, fragile kid with braces and a chronic case of heart-on-his-sleeve, so he's worked hard and long to build up that aura of cool charm.

3 - Sam has a masters in Criminal Psychology.

I thought his background would be law enforcement! I did not see him as someone who had actually spent a lot of time cracking psychology books.

4 - Jason's parents are elderly. He was a surprise baby who arrived after they'd already raised their two daughters.

I pictured him as a middle kid with a middle kid's insecurities. But he's actually not particularly insecure. About really anything. He's more emotional than I expected, more passionate. Very loud during sex. :-D I was thinking he'd be more quiet and restrained.

5 - They both love the artist Granville Redmond.

Where the heck did that come from?! I don't know. But it's a sure sign they are Meant To Be Together.



Friday, January 22, 2016

The Meat on the Bones

My Christmas tree is still up.

I confess to this only to reassure you that if you are waiting for a book from me, it's coming. I mean a printed book, not the one I'm writing, but that one is coming too. And because that one is coming too, I'm a bit behind on things like answering emails, mailing parcels, packing up the tattered remains of Christmas. I'm in what I consider to be the "manic" stage of writing.

I thought that writing at a more moderate (it feels luxurious, to be honest) pace might eliminate this phase, but no. Once a project reaches a certain stage, the project takes over and there just isn't room for anything else. In fact, it's maybe even worse this time than usual because I've had so much space to sink into the story--and not just this story but the other two books in the trilogy.

There has also been a lot of time to think about my own writing process, which is something I haven't considered for years. Once you achieve a certain mastery of your craft, it becomes instinctive. And frankly, thinking about it too much is potentially detrimental, in the same way that thinking about how to ride a bicycle results in you falling over. Or maybe that's just me lying there in a tangle of barbed wire a few feet from my slightly crumpled bike. (That's a true story -- and I've only just realized how potentially disastrous that crash nearly was...I COULDN'T FIGURE OUT THE BRAKES!)

Anyway. Writing, writing, writing and I wake up every morning with my brain buzzing and the tendency to shriek all Edgar Allan Poe-like at every disruption.  NEVERMORE!

Actually, even if you never achieve a certain mastery of your craft, the work becomes instinctive. In the same way that pulling the lever on a chute does.

I joke a lot, but I do take craft very seriously. Partly because it took me so long to get published (or so it felt to my sixteen-year-old self) at a time when getting published was no easy matter. I have a library of books on craft--and I've actually read them all. Numerous times. They were enormously helpful. But the biggest help was working with editors. Even the editors who rejected me. Partly because back then editors occasionally took the time to spell out what was wrong with the work (possibly they recognized how really young I was). If you don't know what you're doing wrong, it's hard to fix it.

It's not hard to get criticism these days, but it is very hard to get informed and knowledgeable criticism. It just is. It's the new paradigm. You've got a lot of people at the same stage of development advising each other. That's the blind leading the blind. Which can be helpful, I hasten to say, because we're all readers as well as writers. But it's not the same thing as having the opportunity to work with someone who has a lot more experience. Someone who is a lot more successful.

Ah. Yes. THAT. If I'm going to take advice that goes against my own instinct, it's going to be from someone who is more experienced or more successful than me.

Which is how I came to take the James Patterson writing course.

Yes, I know. Now you're giggling.

Maybe you're thinking That's funny, I never knew Josh was such a fan of James Patterson. And...the truth is I've never read a James Patterson book (although I probably will now) but I was looking for an online writing course and this one kept popping up. So I signed up.

And I am LOVING it. Patterson always struck me as a smart and affable guy, and it turns out he's also full of good advice. Or maybe I think he's so brilliant because he confirms so much of what I already think and do (though not with the staggering success as Mr. Patterson). But that doesn't matter because what's happening is there's a lot of commonsense reassurance there--and a lot of reminding me of things I'd forgotten. It's just incredibly relaxing listening to him talk in those little podcasts.

And of course, he knows what the hell he's talking about -- which makes ALL the difference.

I was so pleased with the Patterson experience, that I popped over to Audible to see what else I could find that I could listen to while falling asleep, but aside from the wonderful Anne Lamott, there really wasn't anything -- particularly anything for mystery and suspense. Meaning, there was nothing by anyone I'd ever heard of, and part of the problem with taking writing advice from people who are not successful writers in their own write--er, right--is that it's all theory with them. And theory is great as far as it goes, but...

Anyway, one of the things Patterson talks about is using a writing outline. His rough draft is essentially a detailed outline--and that's what I do as well. But for some reason I had started feeling guilty about writing this way. I'm not sure why--like I was being lazy writing that first draft? I don't know. I know intellectually that there is no "wrong" way to write--so long as you get the work onto paper, it's all good. And yet... it felt like cheating to jump ahead and write all the bits I already knew. But holy moly it's a relaxing way to produce words.

And then when the time comes to do the second draft, yes, it's pretty much as hard as ever, but it's like riding your bike up a hill. Pump, pump, pump. Ah! Then you hit one of those prewritten bits and you skim for several pages. It's like flying.

Plus it's fascinating how much does not change. The bones almost never change. Some of the connective tissue gets altered, but the bones remain.

Friday, January 15, 2016

2016 in Preview

Regular subscribers will note that I'm late with this morning's post. I did totally forget today was Friday, which is what happens when the writing is going very well--which it is.

I've changed up my creative process this year -- well, actually I started last year with A Case of Christmas. The first big change is I'm giving myself loads of time to write everything. "Loads of time" translating to charting out a writing schedule that requires no more than 1500 - 2000 words a day. This is a very comfortable pace which leaves time for research, rewriting, chortling over Donald Trump's latest bon mot and staring blankly into space.

 Secondly I'm writing the way I used to -- this is a bit trickier -- and doing a lot of skipping around and writing out of order. You can't do this if you're pressured for time because you lose emotional continuity. But because I have plenty of time, I feel comfortable sketching out scenes and conversations out of order, as inspiration occurs.  What I like about this, especially when writing mystery, is it allows me opportunity to go back and plant clues -- both physical and psychological. Plus it's just a way more enjoyable way to work. Like popping pieces into a giant puzzle.

I'm not saying that everyone should work this way -- actually, that reminds me. What is it with all these defensive posts about NOT TAKING WRITING ADVICE FROM ANYONE ELSE!!! Good heavens. There are actual memes on the topic of not taking writing advice. :-D Speaking for myself, I love books on writing, books on craft. Heck, I'm planning on taking a screenwriting course this year. Not because I think I'm going to sell a screenplay. But because I am wholeheartedly in favor of anything that stretches and tests my writing brain. My writing muscles. I've been writing professionally a long time. As in selling my writing to publishers since I was sixteen. I've forgotten more about writing than some of my contemporaries have yet learned. :-D  But that forgetting, is why I'm all in favor of refresher courses and writing books and so forth. Why do people get angry at the idea they may have more to learn. OF COURSE YOU HAVE MORE TO LEARN. Unless you are Yoda, you have more to learn. About everything. We ALL do. Until the day we die.

Anyway, I think that defensive, huffy attitude is at odds at becoming the writer we all eventually hope to be.

But I digress.

I don't have a lot set in stone for this year. Partly that is because I have a ginormous mainstream project that I'm doing with the SO. MR AND MRS MURDER: HUSBAND AND WIFE SLEUTHS IN DECTECTIVE FICTION is due to McFarland Press at the end of the year. We have a zillion books to read and one hell of a lot of essays to write. So that is pretty much my year.

Ground-breaking stuff, I assure you. (Actually, I sound like I'm kidding, but I'm not -- this is a big deal.)

In addition to that, I've got The Mermaid Murders (Book I of the Art of Murder trilogy) due out March 1st.  What do you get when you combine a special agent from the FBI Art Crime Team with the top profiler/manhunter from the BAU units? A lot of art-loving serial killers. No, I'm kidding. Partly. Partly not. I think I will write this series pretty fast, with a book out each year.



Then there is a little bitty surprise project which I am superstitiously not going to talk about yet.

Officially next up, Murder Takes the High Road. This is an amateur sleuth standalone for Carina Press. A lonely librarian finds murder and love on a tour bus wending its cumbersome way through the Scottish Highlands. Also the secret cache of whisky in the back of the bus. NOT BASED ON TRUE INCIDENTS. Except the whisky part.

Then there is a lot of room--about three months?-- to do some other projects and I am leaving that stretch of boundless possibility blank for now. Because that's part of the fun, part of the excitement of  being a self-employed artist. (The flip side is never knowing if you will be able to pay the bills.) What should I write? Since I'm reading all these historical mysteries, maybe it makes sense to write historical. The sequel to Snowball? The sequel to This Rough Magic? I need to finish Slay Ride... What? What should I do?



Not knowing is kind of luxurious.

Then, final contracted project (again to Carina Press) for the year, Fair Chance. This is the third and final book in the All's Fair trilogy. We'll be talking about that one quite a bit more I have no doubt. This is the farewell to Elliot Mills and Tucker Lance. Elliot must confront jailed serial killer Andrew Corian -- who may have picked up an apprentice or a copycat killer in the interim.

So that's what we know for sure. The rest of the year is wide open to opportunity and possibility. And that is just the way I like it.

Friday, October 23, 2015

Sneak Peak - THE MERMAID MURDERS

I'm starting a four-day green juice cleanse/detox this morning, and I always feel horrible at first during this process, so I'm going to be rather scarce for a few days. I'm still trying to catch up to where I was before I left for Scotland, but my focus is just not there--one of the things I hope juicing will help with--and I find myself postless this morning.

So I'll leave you with a Sneak Peek of next year's first book (something I forgot to mention last week when I was touching on upcoming projects).

This is from The Mermaid Murders, scheduled for a February 1st 2016 release. I'm going to do something a bit different with preorders this time, so at the moment TMM can only be purchased through Smashwords (that will obviously change!)

Smashwords.


BLURB:
Special Agent Jason West is seconded from the FBI Art Crime Team to temporarily partner with disgraced, legendary “manhunter” Sam Kennedy when it appears that Kennedy’s most famous case, the capture and conviction of a serial killer known as The Huntsman, may actually have been a disastrous failure.

 
The Huntsman is still out there…and the killing has begun again.
 
EXCERPT:
Summer heat shimmered off the blacktop.
In that shivery, humid light, the big, blond man casually leaning against the silver government-issue sedan—and checking his watch—looked a little like a mirage. But no such luck. Special Agent Sam Kennedy was not a trick of the light.
Kennedy looked up, spotted Jason, and grimaced. Maybe it was supposed to be a smile. Probably not, given Kennedy’s reputation.
“Special Agent West,” Kennedy said. His voice was deep, and he spoke with a suggestion of a drawl. “I thought maybe you stopped off to see if you could solve the Gardner Museum heist on your way over here.”
Funny guy, Kennedy. Special Agent in Charge Carl Manning had already warned Jason that Kennedy was not thrilled to be partnered again, let alone partnered with an agent seconded from the Art Crime Team. But that’s what happened when you screwed up your last high-profile investigation to such an extent the governor of Wisconsin denounced you on the nightly news. An agent with less seniority would have been “on the beach” for the foreseeable future, but Kennedy was a legend in the Bureau. One of the great “manhunters.” His career would survive, but he was under a cloud, no question. His kind of success earned enemies—and not just from the usual suspects. A successful career wasn’t just about closing cases—and Kennedy didn’t strike Jason as the tactful type.
“Nice to meet you too,” Jason said, reaching the car. Kennedy did not offer his hand, so Jason shoved his own in his pocket. “Just to be clear, I’m supposed to be on vacation. In fact, I busted my ass to get here. I was at Boston Airport about to catch a flight home to L.A.
“Duly noted.” Kennedy turned away, going around to the driver’s side of the gleaming sedan. “You can throw your bag in the trunk.” He reached in and popped the trunk hood.
Jason opened the trunk and slung his brown leather carryall next to Kennedy’s black Tumi. That was some serious luggage. The luggage of someone who lived out of his suitcase. Primetime TV notwithstanding, it was rare for agents in the Behavioral Analysis Units to leave Quantico and travel around the country, but Kennedy was the exception that proved the rule.
“We need to hit the road. That girl’s been missing over eight hours already.” Kennedy threw that comment over his shoulder, before sliding in behind the wheel.
Jason started to answer, but restrained himself. SAC Manning had clued him in to a few facts about his new—temporary—partner. And, ostensibly, this urgency to get to the crime scene out in rural Kingsfield was all part of what made Kennedy so good at his job—not to mention the reason they were meeting in a diner parking lot instead of the division office at One Center Plaza.
He slammed shut the trunk, walked around to the passenger side and climbed in. The car was still cool with air-conditioning, so Kennedy hadn’t been waiting long.
Kennedy turned the key in the ignition. More cold air blasted out along with news radio. “So you know the area? Your family used to have a vacation home in Kingsfield?”
“That’s right.”
“How nice.” Kennedy’s tone was more like Oh brother. He wore too much aftershave. The fragrance as aggressive as everything else about him. Top note sandalwood, bottom note obnoxious.
“I guess so.”
Kennedy threw him a sardonic look as they exited the parking lot. Or at least the twist of his mouth was sardonic. The dark Oakleys he wore concealed his eyes. He was not handsome, but he had the kind of face you didn’t forget easily. Although Jason was going to try his best the minute this case was over.
Jason said, “Clarify something for me. The Kingsfield Police Chief asked specifically for you because he thinks he might have a copycat killer on his hands?”
“It’s too soon to say, but yeah. That’s the concern, of course. No girl is going to go missing in Worcester County ever again that people aren’t going to fear it’s some kind of copycat crime.” Kennedy began to bring Jason up to date on the case.
It was a swift and concise summation, but then the facts were few. Rebecca Madigan, the teenage daughter of wealthy local residents, had disappeared Saturday night while hosting a party for friends. Rebecca’s parents were out of town, so her boyfriend had reported the girl missing. A search had been organized, but so far there was no sign of Rebecca.
“There could be a lot of reasons a teenage girl disappears,” Jason pointed out.
“Yep. But like I said, the folks of Worcester County have long memories.”
Jason stared out the window at the slideshow of skyscrapers and historic buildings. Parks, playgrounds…ponds. The dazzle of bright sunlight on green water. He removed his sunglasses, passed a hand across his eyes, and replaced the shades.
Worcester was an old city with a modern attitude. It was only about twenty-four miles from Kingsfield, not much more than a forty-five-minute drive, but it could have been a different planet.
He said, “I remember the original case. You were behind the capture and conviction of Martin Pink.”
“I played a role.” Kennedy was displaying unexpected—and undue—modesty. There was no question the Kingsfield Killings had stopped due to Kennedy’s efforts, which was no doubt why the police chief had been so quick to call him in this time. It was a little surprising the Bureau hadn’t waited to see how things developed in the Madigan case, but maybe this was as much about putting Kennedy on ice as finding a missing girl. That was certainly the way it had sounded to Jason when SAC Manning had asked him to cancel his vacation.
“What kind of a party was it?” Jason asked.
“What do you mean?”
“It’s June. Was it a graduation party? Birthday party? Sweet sixteen? Secret baby shower?”
Kennedy’s laugh was without humor. “It was the kind of party you throw when your parents are out of town for the weekend.”
“Was everybody invited or was it private?”
“We don’t have the details yet. You know everything I know.”
Yeah, probably not. Kennedy was one of these lone-wolf types who no doubt “preferred to play his own hand” or whatever bullshit macho phrase he’d use to excuse not being a team player. It made for good TV, but in real-life law enforcement, not being a team player was how people got hurt.
Sometimes you got hurt even when everyone was playing for the same team. Jason’s shoulder twinged, and he rubbed it absently.
 
There was a large heart-shaped sign by the side of the road on the outskirts of town. The sign read IN OUR HEARTS FOREVER Honey Corrigan June 15th 1998.
The sign had not been there the last time Jason had driven this road. But it was probably familiar to Kennedy. He’d probably passed it a hundred times that long ago summer.
Neither of them spoke, and a couple of minutes later they were out of the green woodland and into the shady streets of the picturesque and rustic village of Kingsfield. It was classic New England. Pretty and quaint. Clapboard houses surrounded by wide lawns or gardens of old roses, renovated nineteenth century commercial buildings of red and yellow brick, war memorials—that would be the Revolutionary War—white churches with tall steeples, all artfully positioned around the large and lush village green. Nothing like California, that was for sure. But then that had been the point of spending summers here.
“Just like you remember?” Kennedy’s voice jarred Jason out of his thoughts.
“Doesn’t seem to have changed much.”
And that was the truth. They passed Beaky’s Tavern. Bow windows and a hanging, hand-painted sign featuring a bewigged gentleman with a nose like a hood ornament.
“When was the last time you were back?”
“Years.” His parents had sold their vacation home right after Honey had disappeared, and Jason had not been back since. He was not going to share that information with Kennedy, even if Kennedy had been listening.
Which he wasn’t. His attention was on the information his GPS was providing in crisp, mechanical tones. His big hands moved with easy assurance on the steering wheel, his gaze raked the pretty little shops and cafes.
The police station was located in the center of the village, housed in the former Town Hall building. It was a two-story structure of faded brick complete with a clock tower—including a rooster weather vane—and gray columns supporting the front portico. The arched windows had a nice view of the Quaboag River, a blue shadow in the distance.
Jason and Kennedy parked in the rear beneath a row of maple trees.
“I’d expect to see a lot more cars here,” Jason said, studying the nearly empty lot.
“They’re out searching,” Kennedy replied.
His tone was neutral, but yes. Of course. The problem was it had been a long time since Jason had worked a violent crime. Or at least since he’d worked a crime where there was an expectation of violence. People were always unpredictable. Especially when they felt cornered.
He walked beside Kennedy around the building. The air was hot and humid, scented of warm stone and daylilies. Kennedy didn’t say a word from the parking lot to the front portico. Not a chatty guy.
They went in through the old wood-frame glass doors. A matronly-looking officer was busy answering the phones. She barely glanced at their IDs, indicating with a nod of her head that they should proceed down the dark-paneled hallway—all the while calmly answering the caller on the other end of the line.
An incident room had been set up on the main floor. It was abandoned but for one lone deputy who was erasing something on the large whiteboard. Jason’s heart sank as he recognized Boyd Boxner. It had been a long time, but Boyd hadn’t changed all that much. Square shoulders, square jaw, square head. Well, his head wasn’t square, but his towheaded crew cut gave that impression.
“Special Agent Kennedy,” Kennedy offered his ID again. “This is Special Agent West.”
“We’ve been waiting for you,” Boxner said. He glanced at Jason without recognition—suits and shades provided excellent camouflage—and that was fine with Jason. “Chief Gervase is directing the search for Rebecca. He asked me to escort you to the search site.”
“Fine. Let’s get moving,” Kennedy said.
Jason said, “You don’t think we should maybe head over to the girl’s house? Take a look around. See if there’s a reason she might have walked away voluntarily?”
Kennedy stared at him as though he’d forgotten Jason was present. He’d removed his sunglasses. His eyes were blue. Arctic blue. A hard and unforgiving color. He turned back to Boxner. “We’ll start with the search site.”
Okay. That could have been handled with a little professional courtesy. But fair enough. Kennedy was the senior on this investigation. Jason was just riding shotgun. This was not his field of expertise. By the same token, he wasn’t there just to fill a second suit.
He said, matching Kennedy’s blank face and tone, “Do they need us to join the search? They’ll have plenty of volunteers. Maybe we could be of more use taking a look at the case from a different angle.”
Kennedy stared at him for a long, silent moment. It was not a friendly look. Nor the look of someone considering another viewpoint.
“You want me to leave you two to work it out?” Boxner was looking at Jason more closely now.
“If you don’t mind, I’d like to have a word with my colleague,” Kennedy said with ominous calm.
“I’ll bring the car around.” Boxner was clearly in no doubt as to who would win this round. The old floorboards squeaked as he departed.
Kennedy didn’t say a word until Boxner had vanished down the hall. He turned to Jason.
“Okay, pretty boy. Let’s get something straight.” His tone was cold and clipped. “We both know your role here is to run interference between me and everybody else. All you need to do is stay out of my way and smooth the feathers when needed. And in return you’ll be the guy who gets to pose in front of the cameras with Chief Gervase. Fair enough?”
“The hell,” Jason said. “I’ve been asked to try and make sure you don’t step in it again, sure, but I’m not here to hold your cape and deerstalker, Sherlock. I’m your partner on this case whether either of us likes it or not. And, for the record, I don’t like it—any more than you do.”
“Then make it easy on both of us,” Kennedy said. “You stay out of my murder investigation, and I’ll let you know if I hear about any paintings getting stolen.”
He didn’t wait for Jason’s answer. He turned and followed Boxner down the hallway.
 
 
 

Friday, January 30, 2015

The Coincidental Killer


I’ve been researching  serial killers this week. It’s not one of my favorite things.

 

Not that I don’t enjoy the chilly creepy pleasure of the occasional serial killer thriller, but too often serial killers are used as a means of having to avoid writing a real mystery. These fictional serial killers always make it easy for the detectives by contacting them first because they’ve inevitably formed a weirdo attachment and they’re planning the de rigueur cat and mouse game in which the serial killer does all the real work.

 

I’m not saying that can’t be entertaining. Sometimes it’s very entertaining. There’s a reason serial killer stories continue to sell well.

 

Part of the horror of real life serial killers is that -- like other forces of nature -- there’s no real way to guard against being randomly targeted by a lunatic. That’s also part of the fascination. It’s like spontaneous combustion. The chances of it happening are phenomenally slight, but at the same time there aren’t any real preventative measures you can take. Don’t eat too many jalapeño peppers?

 

Well, let me qualify, there aren’t any real preventative measures beyond the preventative measures we all hopefully take on a regular basis. Lock your doors, don’t walk alone at night down a dark alley, etc.

 

What is more preventable are the crimes that occur simply out of bad luck and the opportunity for evil. The night you have a fight with your boyfriend and go to a bar...and end up giving a stranger a ride home...that's arguably preventable. But someone’s car breaking down on a lonely stretch of highway -- nine times out of ten this results in nothing more than a long walk and a lousy night. But every so often, bad luck and evil collide.

 

Black coincidence. A different day, a different hour, sometimes a matter of minutes can make the difference between life and death.

 

Of course fiction is not real life and the number of coincidences a reader can swallow are fewer than might occur in real life.

 

Also, although smart people do dumb things, in fiction the dumb things have to be believably dumb. Also limited in scope and few in number.

 

Anyway, I’m not sure what my point was. The fact that humans are capable of vile and depraved action is not news. Humans are also capable of heroism and self-sacrifice. Evil and insanity are over-represented in fiction. From a reading standpoint, I prefer small, intimate stories over grand scale slaughter. Motive is the single most interesting element to me in any crime story. Crazy is not a motive. But when you write, you have to mix it up.

What do you love in mystery stories? What makes your scalp tingle and your pulse thump?  Do you intricate puzzles or romantic cozies or bloody thrillers?