Erica Boyce launched her debut novel, The Fifteen Wonders of Daniel Green, at the beginning of April, and I was lucky enough to meet her at our local independent bookstore in Fairfield. I was intrigued by the idea of a story being told against a background of crop circles and the people who make them. When I read the book, I was delighted to find it exceeded my expectations. This is one of those books that you keep putting down so it will last longer. Or you read it all in one go. I stretched it out, and will probably read it again, because it’s wonderful. So well written, and the emotional understanding the author brings to the characters belies her youth. It’s hard to believe this is her first book. The themes encompass the struggle between rural and urban existence, acceptance of others, the revelation of secrets that can mar relationships but that forgiveness can restore, and the role of art in that process. The author had me rooting for every character, and I was sorry to leave them. An excellent book for clubs (it comes with a reading guide) and anyone looking for hope in the crazy world we live in today. So I asked her whether she would let me interview her.
GC: Yours is an unusual background story for a novel. I expect you’ve answered this a million times, but for the sake of readers who don’t know, what drew you to the idea of crop circles?
EB: It is sort of a funny hook, isn’t it? When I was in college, I fell down one of those YouTube rabbit holes and came across a video of people making crop circles. I thought it was so interesting that this group of people were essentially making art—not for the recognition or the praise, but rather for the joy it brings the viewer.
GC: Would you describe one of the major themes as the push and pull between rural and urban America, as embodied in the characters?
EB: That’s a very interesting read, and I’d say it’s part of the story, for sure. I think it’s also sort of paralleled by the push and pull between the family you’re born into and the family you make and where they supplant and support each other.
GC: How has your life experience influenced the story?
EB: I think there’s a little bit of myself in almost every character in here! But I’d say the biggest influence on the story came when I was diagnosed with the same mental illness that one of the characters’ lives with. I got my diagnosis in college, right around when I wrote those first few chapters, and over the years of learning about the disorder and how it’s affected my life, I started to wonder what would happen if one of the characters was learning the same things. It can be hard to find novels with characters for whom their mental illness is one part of the whole, as opposed to their antagonist or their guiding force. So, I decided I wanted to try to write one.
GC: What made you pick up your unfinished novel after such a long break? Did you find it better or worse than you expected at first?
EB: Oh, it was terrible! Those first few chapters were so, so cringe-worthy and required a lot of editing before it was all said and done. I’d been putting off writing the rest for a long time (several years!), and I think I kept looking for “a sign” that it was time to pick it up again. In late 2016, my day job shifted from full-time with a very long commute to part-time and working from home, so I had a lot more time on my hands and I figured that was as good a sign as any!
GC: What are you planning on writing next?
EB: I’m currently editing my second book (as yet untitled), which is due out in spring 2020. After that, I’m not sure; still feeling my way through a few ideas for book three. Hope to start outlining soon…
You can follow Erica on Facebook, Twitter and Instagram. You can also sign up for her monthly newsletter (on hiatus for the next few months) at www.ericaboyce.com She gives away a copy of one of her favorite books to a subscriber in every newsletter!
Susan Ross is the author of a new novel for middle grade readers, Searching for Lottie. It’s a mystery based on her family’s past, but the main character is a contemporary 12-year-old girl, working on a family research project for school. Charlie’s curiosity and excitement come through for the reader, while at the same time shining a new light on the Holocaust. I was interested to find out how Susan Ross managed to weave such a satisfying novel from such a difficult history. Continue reading →
I met Debbie Levison at a talk she was giving to the Connecticut Authors and Publishers Association. Her debut book, The Crate: A Story of War, a Murder, and Justice, is a true crime story, and seemed like an unusual … Continue reading →
Lynne Constantine and her sister Valerie together form a writing partnership, Liv Constantine, whose nail-biting psychological thriller, The Last Mrs Parrish, has become a breakout international best-seller. It’s now available in 22 countries/territories, including places like Brazil, Croatia and China. … Continue reading →
I was surprised to find myself at a reading given by award-winning children’s book author Susan Hood, because she’s written more than 200 books for small children, and I don’t read many of those. But I heard about her debut novel for middle-grade children, written in verse, and suddenly felt I had to find out more. The book, Lifeboat 12, tells the story of a shipload of British children being evacuated to Canada in 1940, when their ship is torpedoed, leaving very few survivors.
I’m fascinated by World War II stories, and this one happens to be true. I wasn’t sure whether I wanted to read a book in verse, but I bought it and read it, gripped Continue reading →
Linda Legters’ debut novel, Connected Underneath, is unusual in several respects. Its chief protagonist, Persephone, is a confused teenager whose life becomes even more complicated when her tattooing habit, which she pays for with sex, gets in the way of her love for her best friend, Krista. Meanwhile, Celeste, a wheelchair-bound young woman who lives nearby, is watching and meddling in other people’s lives. I’ve not read a novel like it, and although the writing was a little tricky because of its unusual style, it seems to suit the novel perfectly, as the characters collide with one another like pinballs. The book is available as an eBook right now, and as a paperback on April 2nd. (Just so you know, I know Linda and she gave me an ARC in exchange for an honest review.)
GC: You’ve picked an unusual set of characters and story-lines in Connected Underneath. Was it the characters or their situations that developed first for you?
LL: The characters, definitely the characters. Celeste, for example, grew out of a childhood memory of a neighbor, and aspects of Persephone’s character come from the many wonderful and interesting but sometimes troubled students I have worked with while teaching at Norwalk Community College.
GC: Would you say that the overall tone of the book is dark?
LL: It certainly has some shadows, but there is also hope, hope that we can be more self-aware, more honest, and, well, more connected. The title of the book comes from the first line of Muriel Rukeyser’s poem “Islands,” which chides us in our thinking that we stand alone.
GC: How important is the location, a decaying upstate town, to the novel? Could the story have worked in a more upmarket place?
LL: I don’t think so. I didn’t want readers thinking about upscale solutions, such as therapy. Also, the fictional town, Madena, has been left behind by ‘progress,’ and yet maintains its struggle to survive and even move forward. At the beginning of Connected Underneath, the characters are isolated, and this parallels the ways the town is isolated, even though only a short train ride away from big cities. At the end of the story, Madena comes together, as do most of the main characters.
GC: Did you feel the changing points of view were a risky way to tell the story?
LL: In fact it’s always Celeste’s point of view, even as she describes others’ experiences. At first her information comes from what she witnesses or thinks she witnesses from the safety of her kitchen. Later, as her circles of contact widen, and her connection to the truth is on firmer ground, the story she tells becomes more and more accurate. In terms of the ending – which I won’t give away – we often imagine what moments like this must have been like for someone, and our imaginations can run wild in the way Celeste’s does.
GC: Your book is published by Lethe Press, a publishing company that specializes in books across the gender spectrum. The gay theme in the book is relatively minor, so would you describe this as a gay novel?
LL: I’m delighted Lethe Press welcomed my novel to their list, but, no, I don’t see this as a gay novel. Members of the LGBT community are part of the fabric of our lives, just as Persephone is part of Madena’s. A good friend, Dan Jaffe, who is also published by Lethe, and who first read this manuscript, appreciated the way it was not ‘one more’ coming out story, but instead showed Persephone in the throes of all-too-common teenage problems, of which her sexuality is only a part. Connected Underneath is also about parenthood, particularly single-parenthood, and about coming to terms with family dynamics, in all of its dimensions.
With the rise of self-published books, it’s hard to know which books are worth buying. So when I find one I think is excellent in its class, I like to give them and their authors a shout-out. One such is Monster In My Lunchbox, an illustrated book of family-focused rhyme. The poems are by Leslie Chess Feller and the illustrations by her late sister, Shelley. I asked Leslie how the book came about and her answers were quite unexpected. Read on to find out why.
GC: Can you tell us something about the book? LCF:Monster In My Lunchbox is a collection of light verse that celebrates family. It includes simpler poems for early readers and others for kids in elementary school and beyond. But it’s also for Moms, Dads, Grandmas and Grandpas. I like to say that anyone who has ever been a kid will get a laugh out of these poems. They are meant for the whole family to enjoy together. Here’s a sample:
SCHOOL DAYS, RULE DAYS …
Bells ring! Books slam!
Papers shuffle! Yes, Ma’am!
Raise your hand! Get in line!
Hurry up to be on time!
Quiet please! Do your work!
Don’t be idle! Do not shirk!
Reading, writing, number stuff …
Sometimes I’ve had quite enough.
Even when I’m pleased as punch,
I think my favorite subject’s lunch
GC: How long have you been a poet? LCF: I grew up in Brooklyn, NY, the second of five siblings. My sister Shelley, older by 15 months, was the alpha sibling and with three younger brothers there was never a dull moment. Our father was a physician who loved the poet Ogden Nash. Whenever he had something to say to our mother, a psychologist, he would do it with a clever Ogden Nash-ian rhyme. And my mother would rhyme right back.
Leslie (L) and Shelley
You could tell anybody anything in my family, even our father, if you did it with a poem. Every occasion became a poetic roast. Like my siblings, I began to rhyme as soon as I could write. So when my daughter Dania brought home Shel Silverstein’s A Light in the Attic in the fourth grade, I looked at it and said, “I can do that.”
GC: How did you get your first poems published? LCF: In 1985, a few of my Kidstuff poems ran in a local newspaper and attracted the attention of editors at a Westport, CT, magazine, Profiles. As soon as I found out they wanted me to do a monthly column and were open to me bringing in an illustrator, I called Shelley. By then, she was the world’s best middle school science teacher. But as a student, she used to get in a lot of trouble for cartooning all over her schoolwork. “Hey, Shelley,” I said. “I’m getting these poems published! Maybe you could do some cartoons?”
GC: Did you continue to publish poetry? LCF: I did two other light verse columns for Profiles. Both Rhyme or Reason and Poetic License won Connecticut Press Club awards, but ran without illustrations. Soon my editors started assigning me articles which put my writing career on a different track. I went from local articles to the New York Times to national magazines as a freelance journalist for almost thirty years. Writing in light verse became something I enjoyed doing for family events.
GC: What made you decide to publish your poems now?
Leslie (L) and Shelley
LCF: This book is also a celebration of a very special sisterhood. Over decades, my sister and I cheerfully perfected the art of never, ever agreeing with each other – except that we didn’t want to fight. Agreeing to disagree was our solution, the catalyst for what became an extraordinary friendship. Shelley died of leukemia two years ago. It was a terrible loss.
Six months afterwards, I was standing in my living room feeling very black. For no reason, I opened a cabinet door. Something fell on the floor in front of me. It was a xerox copy of fifty of my poems with fifty illustrations done by my sister. I had forgotten ever writing them. The fifteen Kidstuff poems in my writer’s portfolio were what I remembered. But at some point, decades ago, I had given more to Shelley and she had chosen to illustrate them.
I felt her right beside me. “Publish these,” Shelley said. The words were sweet. I threw everything out of that cabinet in a mad search for the pen and ink cartoons. Eventually I found 110 of my poems, each with the perfect cartoon. My sister and I disagreed about everything, but clearly we shared the same sense of humor. Monster In My Lunchbox is a collaboration that includes eighty of my favorites.
GC: How are you promoting your book? LCF: Monster In My Lunchbox was published in November, 2015.
The website is http://www.monsterinmylunchbox.com On the website, you can listen to me read the title poem. Then click links to videos of other poems in the collection.
And I’ve been giving talks and readings at libraries, and for parent groups among others.
You can see the promotional video here. And to connect with Leslie, follow her on Facebook or Google +, and Vimeo where you’ll find links to more videos.
The book is available from Blurb.
Kate Manning’s second novel, My Notorious Life, was six years in the making, and it was worth the wait, so far as I’m concerned. It’s the story of Axie Muldoon, an orphaned child from the streets of 1870’s New York, who makes good, in one sense, only to find that there’s a man determined to bring her down. It sounds like the stuff of all great fiction, but in fact the character is based on Ann Lohman, a 19th century midwife and abortionist. If this makes Axie sound somewhat unsympathetic, it’s a testament to Kate Manning’s skill that I found myself rooting for her all the way. Her motives are pure – she wants to help women. Becoming rich happens to be the result of the natural remedies she sells, ones that might cause a miscarriage if the patient wants them to. Clearly a lot of research went into the book, yet I never felt I was being lectured. Apart from the feeling that I was stepping in and out of Victorian New York each time I picked up the book, it was exciting, too, and I wanted to know more about what went into it.
PS This interview is longer than my usual ones, but Kate’s answers are well worth reading!
GC: You’ve drawn a marvelous picture of late 19th century New York. How much of the descriptions you write come from old photos, and how much from your imagination? KM:The photos of Jacob Riis, from his classic work How the Other Half Lives inspired me to write about that era. But it was also the city itself, the parts that are ever unchanged (smells and smoke, energy and grit), that fed the story. Books and newspapers of the 19th century, and the vivid first-hand descriptions of people who lived then, really helped me imagine it – the voice of those times was so dramatic (murder! mayhem! saints! sinners!) so overwrought, full of lovely arcane language. It’s always the very specific detail that makes something come alive, the more precise the better. Reading old medical textbooks and trial transcripts helped. The Diaries of Charles Loring Brace, the founder of the Children’s Aid Society and the orphan train movement (he’s a character in the novel) gave me a sense of Victorian attitudes toward medicine and women, children and charity that also deeply informed the book’s tone and outline. GC: Axie is an unusual character with a very distinctive voice. Was it hard to transition her speech patterns from street urchin to successful (if nouveau riche) businesswoman? KM: The New York vernacular has a distinct cadence, as does Irish-English. I’ve been immersed in both these dialects for a long time, and so I heard Axie’s voice as a combination of these rhythms. I knew that as a street child, she’d not’ve been very well educated, but that as a striver, she’d want to “speak like the upper crust,” as Charlie counsels her. And so she tries to do that. It made sense to me that as she grew up her speech would improve. It was really fun to write in the voice of an irreverent character who broke the rules. A great help was a little dictionary compiled in 1859 by the New York City police chief, George Matsell, called The Secret Language of Crime, A Rogue’s Lexicon. GC: You mention in an interview printed in the paperback edition that one of the book’s problems that you find almost unchanged in modern New York is the number of homeless children. Which other social issues do you think cause problems today? KM: The parallels between our times and the Victorian age fascinate me – because we believe ourselves to be so enlightened, philanthropic and egalitarian. In the1850s there were 30,000 homeless children living on the streets of New York, most of them out in the open. Today there are still some 35,000 homeless kids in the city, and while it’s true that they mostly live in shelters, their situation is often quite as dire as the ones Jacob Riis chronicled in How the Other Half Lives. The gulf between insanely rich people, and the destitute is as wide now, in 2015, as it was during the Gilded Age, if not wider. The greed is obscene, really. The other strong and frightening echo between our own times and the late 1800s is this increasing and relentless erosion of women’s reproductive rights. I did not write My Notorious Life as some kind of object lesson, but as a rollicking story of Axie’s search for family, the mercy and kindness she shows to the women who come to her for help, her strength in standing up to zealotry, her respect for the complexities of women’s lives, for their choices – and lack of choice. This was an era when the birth rate was seven live births per woman. Women died in childbirth at very high rates, and abortion was the main method of birth control. I wrote a NY Times op-ed about this history. But the current attacks on women’s autonomy, the demonizing of abortion care providers – is the the same kind of harassment that happened to midwives in the 1870’s. “Anti-vice” crusaders succeeded in abolishing all birth control and abortion for our mothers, grandmothers, and great-grandmothers. Now, lack of access to good reproductive health is causing dire problems for women – especially poor ones – same as it did in 1878. GC: The Orphan Trains seems to have come to the forefront fairly recently, with the publication of a novel, a program on PBS and new information coming to light from the Children’s Aid Society itself. Did you intend to include that in the novel from the start, or was it something you found in your research that prompted you to make them part of the plot? KM: The book started out – in 2005 – as a story about the orphan trains. I’d long been fascinated by this little-known chapter in our past. Then, in the course of my writing and research about that era, I came across a character that just bowled me over–I could not believe I’d never heard of her, given her notoriety during her lifetime. Ann Lohman, AKA Madame Restell, was known as the “wickedest woman in New York.” She was a “females’ physician” who delivered babies, gave out birth control information and devices, placed infants for adoption, and also performed abortions. She grew rich selling medicines, was publicly shamed, often arrested, and ultimately brought down by religious zealot Anthony Comstock. I was immediately drawn to the astonishing details of her dramatic, sweeping story, and it made sense to me that my scrappy orphan train rider, Axie Muldoon, the story’s heroine, would grow up to be someone like Lohman. I borrowed certain parts of Lohman’s story for Axie. A faked suicide provided the perfect plot device, and the novel really took off after that. Funny thing: just as My Notorious Life was about to be published, I heard an author on the radio about her new book “Orphan Train.” I admit that I cursed this coincidence quite loudly–because I felt proprietary about this material, and thought “nobody else has heard of this chapter in history…” Since then, however, I have become friends with that very generous and bestselling author, Christina Baker Kline—whom I adore–and we’ve done quite a few events together talking about our shared interest in this fascinating time. GC: I found the book more and more gripping as I started to get near the end. Any chance of a sequel? If not, what else is on your mind? KM: There’s always that impulse to tie off loose ends, so, in doing just that, I seem to have written myself out of a sequel! At least for now. But I don’t lack for book ideas. Always on my mind is the drama that goes along with the wide gulf between haves and have-nots, and how that feels, especially to the have-nots. In any story set in our country, this concern necessarily involves a hard conversation about race. In my first novel, the psychological ‘thriller,’ Whitegirl, I was circling around ideas about whiteness and celebrity culture and unexamined ideas about the past, in the wake of the OJ Simpson trial. Times have changed somewhat since the 90’s—but I think we white Americans have a long way to go, to understand our history, the grim impact and long tentacles of slavery. So I have about three other books fully formed in my head that I’m trying to get out onto the page. This is always rough going. One of them is set in the early 1900s, a time of great labor unrest, financial panic, looming war, and changing ideas in the evolving idea of what it means to be American, a woman, a human creature. I hope I can pull of the ambitious idea of it, but each story is its own world, and presents a new challenge. Wish me luck! And thanks so much for the enthusiasm and the wonderful blog. It’s a privilege to answer your interesting questions.
I met Chris Knopf at the CrimeConn conference recently, and was intrigued to find that not only is he a writer of several crime series, but is also Connecticut liaison of the New England Chapter of Mystery Writers of America, and is one of the publishers at The Permanent Press, which publishes award-winning crime novels. The main protagonist of Cop Job, the sixth novel in Chris’ Sam Acquillo Hamptons Mysteries series, is an intelligent, well-read man who is a master cabinet-maker as well as an amateur sleuth. Sam has a nice way with women, and a sense of humor, too. The novel is somewhere between a crime novel and a thriller, with a little grown-up romance thrown in for good measure, and so well-paced that I found it a pleasure to read.
GC: I don’t read many “thrillers” or gritty crime novels, but I loved your book, Cop Job. Maybe that’s because it doesn’t fit neatly into any category. There’s mystery, suspense, romance and a limited amount of violence. How did you come to write this kind of book, rather than something easier to categorize?
CK: Thanks for that. I like not being pigeon-holed in any particular genre, though most people who are heavily into mysteries would categorized the Sam books as hard-boiled, amateur sleuth. Many years ago my creative director at the ad agency was approached by a Hollywood producer looking for movie concepts. My boss thought it would be fun to get a roomful of copywriters together to brainstorm ideas. Out of this I came up with Sam Acquillo, an ex-corporate burnout who discovered the body of an old lady who’d lived next door. The setting was the Little Peconic Bay in the Hamptons, and included a potential love interest named Amanda. That was all I had, and the partially-written script went nowhere, but about ten years later I turned it into a novel and things went from there.
GC: Your main character, Sam Acquillo, reminds me a little of Spenser (from the novels by the late Robert B. Parker) or Travis McGee (John D MacDonald). They too, were resourceful private eyes with integrity and intelligence who live slightly outside the mainstream. Were these writers/characters favorites of yours?
CK: Yup. Along with Phillip Marlowe, Sam Spade and Lew Archer. Of those five influences, I always loved Ross MacDonald’s prose and Parker’s dialogue. I also liked Paul Newman’s characters in The Verdict and Nobody’s Fool. Put it all together and stir in my father’s sense of humor and engineering talents, my grandfather’s toughness (a champion boxer) and, of course, my own take on things, and you get Sam Acquillo.
GC: There’s a sense of humor that infuses the book. Is that something you have to think about, or does it come naturally to you when you’re writing? Do you laugh at your own writing?
CK: It comes naturally as I’m writing, though as noted above, my father had a very sardonic wit. I channel some of that. And yes, I often chuckle at Sam’s humor, though usually long after I’ve written the lines when I’m getting the manuscript ready to go to the copy editor.
GC: I know you’ve written two other series, one of which uses Jackie Swaitkowski, who features in the Acquillo books, as the main protagonist.If you had to pick one character to stick with long-term, which would it be?
CK: Sam for sure will always be with me. Jackie, of course, as a key sidekick, will also live on though she could easily turn up again in her own book. I’m probably going to keep Arthur Cathcart’s series as a trilogy. But one should never say never.
GC: You’re very active in Mystery Writers of America. What are the benefits of joining an organization like that?
CK: It’s very important for mystery writers to be part of our rather robust sub-culture. There are lots of conferences, publications, Facebook pages, etc., where we communicate. By we, I mean other writers, commentators, fans, bloggers, etc. It’s a great crowd, and we support each other through thick and thin. I highly recommend joining MWA, but also International Thriller Writers (if you write thrillers), Sisters in Crime (for men and women, though the skew is obviously female) and the International Association of Crime Writers.
David Handler’s writing career has taken him from journalist to writer for films and television to mystery novelist. This prolific author has produced several series of mystery novels, with different detectives in each. The first novel I happened to read was The Coal-Black Asphalt Tomb. It’s the tenth (and latest) in the Berger-Mitry series, which features a mismatched pair of detectives in a small coastal town in Connecticut. The eleventh book, The Lavender Lane Lothario, comes out in February. When David answered my questions, I was fascinated to learn how he develops his characters, and the number of tries it takes to get them right.
GC: You have one of the most unusual setups for a cozy mystery. Your two main characters are about as different as they could be: Desiree Mitry is a black policewoman and her life partner is Jewish New York City film critic, Mitch Berger. What makes the situation unusual, I think is the fact that they both live in a sweet little coastal town in Connecticut. How on earth did you come up with this mix? DH: Strictly by accident, believe it or not. When I was writing the first book of the series, The Cold Blue Blood, my plan was that it would be about New York City film critic Mitch Berger and his landscape architect wife, Maisie, renting a cottage on Big Sister Island and finding their landlady’s estranged husband buried in the vegetable garden. The first 60 pages or so felt very blah to me so I set the project aside for several months, came back to it and decided to make Mitch a young widower who rents the cottage as a means of trying to heal himself after Maisie’s death. Right away, that gave it a lot more moral weight. When he finds the body a Major Crime Squad homicide investigator is sent to the scene. At first, I wrote him as a black male officer. The dialogue felt flat. So I tried making it a black female officer instead and, wham, sparks started flying and I suddenly realized I was writing a novel about an interracial romance.
GC: I like the town of Dorset, which seems like an amalgam of many little places in Connecticut (apart from its unusually high murder rate). Do you find it restricts your plot opportunities to be in one location? DH: No, not at all, because what I’m mostly doing is studying people. If you study people then you never seem to run out of ideas. People are endlessly fascinating. My eleventh Berger-Mitry installment, “The Lavender Lane Lothario, will be coming out in February and I have many more ideas for stories to come. GC: How do you ensure that your technical information is correct? Is it all on Google? And if so, is Google reliable? DH: I began my career as a journalist so I’m always aiming to be as accurate as I can be. I’m grateful to friends in the profession who provide with me much of the technical detail that I use. Google can be a very valuable resource as well, but you have to be mindful of the reliability of the sites that you are choosing to use as sources. Some are less credible than others. GC: Tell me honestly – are you a film buff like Mitch, or did you make him up out of thin air? DH: I am totally Mitch, minus the excess blubber. Think Mitch, except sculpted, and you’ve got me. I spent my entire childhood watching old movies on late night TV and my college and young adult years haunting movie revival houses in Los Angeles and New York City. I began my career as New York cultural correspondent for the Scripps-Howard News Service, which meant I was their Broadway critic and book reviewer. I was also a syndicated television and film critic. In addition – and here’s where I depart a bit from Mitch — I actually wrote for television and films for 20 years before I gave it up to devote my time to being a full-time novelist.
I had been living in Old Lyme, which is the real life model for Dorset, for over ten years before I decided to take a crack at writing about it. I think it’s inevitable that if a writer lives in a place long enough he or she will end up wanting to write about it. That’s just how we’re wired. I had lived exclusively in big cities before I moved here, so this is foreign territory to me. In fact, I am still considered an outsider even though I’ve lived here for 30 years. That’s small town New England! Right now, I’m working on a new Stewart Hoag novel, my first in nearly 18 years. And it has been a genuine joy to write the first two Benji Golden novels, Runaway Man and Phantom Angel. I’d love to keep all three series going. That is certainly my hope.
You can connect with David via his website, Goodreads and Facebook