Tuesday, January 13, 2026

Can you believe it? Unreliable Narrators by KM Rockwood


Few devices hook readers as effectively as the unreliable narrator. In crime fiction and psychological thrillers, this technique turns the act of reading into an investigation—forcing us to question not only what happened, but whether we can trust the person telling us the story. Often, the unreliable narrator is a likable, if confused, character who evokes empathy from readers.

What constitutes an unreliable narrator?

An unreliable narrator is the character who is telling the story, and whose credibility is compromised. This may stem from intentional deceit, psychological instability, memory gaps, or simple human fallibility. Humans are notoriously unreliable witnesses, even of their own stories. Maybe especially of their own stories. Those under emotional stress or when recounting dramatic events present what they see or think, not necessarily what is true. Add in possible mental illness, drug or alcohol use, and just plain denial, and the information which a character presents to the reader may be quite flawed.

How does an unreliable narrator support mystery and suspense fiction?

These genres thrive on uncertainty. When the narrator is biased, forgetful, unstable, or deceptive, every detail becomes suspect. This contributes to building suspense without artificial twists. It encourages characters to explore trauma, memory, and identity. Character traits are revealed through what’s omitted or distorted. The story unfolds, but how much of it can readers believe?

Once readers become aware that the narrator is unreliable, it challenges them to actively piece together the truth. The result can be a story that feels tense, intimate, and psychologically layered. Although the story can build toward the realization that the narrator is not presenting reality, that doubt is usually planted in the readers’ minds early.

Some popular examples of unreliable narrators

Margaret Atwood’s Alias Grace plays with ambiguity—Grace may be traumatized, manipulated, or simply lying. The novel’s tension comes from never fully knowing.

Alex Michaelides’ The Silent Patient features two layers of unreliability: Alicia’s silence and Theo’s increasingly questionable narration. The truth emerges only when both perspectives crack.

Paula Hawkins’ The Girl on the Train uses Rachel’s alcoholism and memory gaps to blur the line between witness and suspect. Her fragmented recollections become the mystery itself.

Gail Honeyman’s Eleanor Oliphant is Completely Fine presents Eleanor, who is in such deep denial about her traumatic past that the social worker who visits her regularly makes no attempt to disabuse her of her delusions.

Many of Margaret Yorke’s later novels are told from the point of view of an unreliable narrator.

Unreliable narrators don’t just hide information—they reshape the entire reading experience. By destabilizing our trust, they create stories that are immersive, unsettling, and impossible to put down. In crime fiction and psychological thrillers, that uncertainty isn’t a flaw. It’s the point.

Monday, January 12, 2026

Sarah Caudwell’s Thus Was Adonis Murdered

An Appreciation by Shari Randall

 

As you may have guessed from my blogs, I am a fan of classic mysteries. I’m not the only one. Did you catch the reference to John Dickson Carr’s classic locked-room mystery The Hollow Man in the new Knives Out: Wake Up Dead Man movie?

 

My latest foray into the classic mystery vault is Thus Was Adonis Murdered (1981) by Sarah Caudwell. Caudwell, whose real name was Sarah Cockburn, was a British barrister and law professor who was instrumental in opening the once exclusively male Oxford Union debating society to women. Her legal background and deep erudition are on display in the novel, but don’t let that scare you off. This is one entertaining read.

 

The plot? Young barrister Julia Larwood travels to Venice with a group called the Art Lovers. She sets her romantic sights on one of the group, and falls under suspicion when the young man is found murdered in their luxurious Venetian hotel. When her friends at the law office hear of her arrest, they work together to clear her name.

 

One would give one’s eye teeth to hang out with Caudwell’s characters, the witty and urbane denizens of Lincoln’s Inn Fields law office, and perhaps give even more to spend time in Venice with them. One feels one’s vocabulary and IQ score improve simply by turning the pages. One also finds oneself using “one” more than is wise or necessary in 2026.

 

But I digress. The investigation progresses through a series of letters that Julia sends to her friends back in London, an almost book-within-a-book effect that is utterly charming.  Don’t we all love to read someone else’s mail? I couldn’t wait for another letter from Julia. Her entire aim during the trip is to seduce the Adonis of the title. (Not a spoiler; she makes the goal plain in her first letter.) Will Julia succeed? Don’t worry, much is left to the imagination, but still the frankness of Julia’s pursuit is amusing and refreshing.

 

Elegant, arch, mannered, acerbic, witty…I find myself losing track of the actual plot, distracted by the sheer style and voice of the narrator, Hilary Tamar, an Oxford don. In four books, Caudwell never reveals the sex or age of Tamar. She said in an interview with Mystery Scene magazine, “I knew from the outset Hilary must be an Oxford don – but of equivocal sex and even equivocal age, resembling that precise, donnish kind of individual who starts being elderly at the age of twenty-two.”

 

Those of us without a first in Classics will have our horizons broadened by allusions to Catullus, Michelangelo, and the Byzantine empire but, again, don’t let that scare you. If you’re looking for a book with rare style and wit, offering the sheer pleasure of immersing one’s self (sorry!) in the British TV fantasy world of dons, barristers, and Bermuda shorts-wearing army majors, this is the book for you.


SHARI RANDALL is the author of the Lobster Shack Mystery series, and, as Meri Allen, the Ice Cream Shop Mystery series. Her latest short story appears in the new Destination Murders anthology, Murder in the Graveyard.

 

 

 

Sunday, January 11, 2026

TO PROLOGUE OR NOT TO PROLOGUE

 by Korina Moss

The choice of whether a book should begin with a prologue is often a heated debate. A prologue can be used for several reasons: to provide essential background information in order to set up the central conflict, as is often used in fantasy books; to provide a glimpse into the antagonist’s mind, sometimes used in thrillers; or to reveal information that the protagonist doesn’t yet know, sometimes used in suspense novels. Of course, there are other times one might use a prologue -- as with every “rule” in fiction writing, the reasons are not cut and dry. But should a prologue ever be used in a cozy mystery?

I’m never going to say never. However, the one reason not to use a prologue, which has come across my editing desk, is as a replacement for a slow first chapter. Some writers want to use it as a way to hook the reader with simply an exciting scene, knowing they've filled chapter one with backstory and introductions, and the plot train hasn’t left the station. Although you need to take time to introduce your main characters and set up the initial stakes and the discovery of a murder, this should be done while still moving the plot forward. A prologue can be used for many reasons, but it's not a substitute for keeping your readers entertained in chapter one. 

Readers: Do you like prologues? Writers: Do you like to use them? 

KORINA MOSS is the author of the Cheese Shop Mystery series, which includes the winner of the Agatha Award for Best First Novel, as well as two novels short-listed for Best Contemporary Novel. Listed as one of USA Today’s “Best Cozy Mystery Series,” her books have also been featured in PARADE Magazine, Woman’s World, and Writer’s Digest. Korina is also a freelance developmental editor specializing in cozy mysteries. To learn more or subscribe to her free monthly newsletter, visit her website korinamossauthor.com.




Saturday, January 10, 2026

IT’S NOT SCIENCE FICTION: Jane Cleland’s New Book Inspires Writers of Today—and the Future—to Beat the AI Bots

 By Lisa Malice, Ph.D.

Beat the Bots: A Writer's Guide to Surviving and Thriving in the Age of AI

Beat the Bots: A Writer’s Guide to Surviving and Thriving in the Age of AI. It’s an intriguing title, wouldn’t you say? This new book from Jane Cleland, the award-winning author of Mastering Plot Twists and Mastering Suspense, Structure, & Plot, had me wondering what amazing breakthrough she had made in tackling what many consider as the existential threat to writers the world-over.

I poured through the book (as I always do with Jane’s brilliant writing guides) and was excited to discover a simple, elegant, and honest approach. One sure to inspire today’s writers, as it has me, and those of generations yet to come as they strive to write the stories inside them yearning to be told. The way to thrive in the age of AI is to capitalize on what computers cannot be programmed to do—be creative.

“I believe, and this point cannot be repeated enough, that we succeed as writers precisely because we are human, not in spite of it,” notes Jane. “Bots are derivative, they can only regurgitate, on a very superficial level, words that have been fed into their memory.”

Indeed, Jane presses this point throughout her book. “I asked chatbots to craft all manner of story elements—descriptions, dialogue, character backstories, plots, even editing suggestions. The results were laughable—clichéd, superficial, overwritten, missing the mark entirely in nearly every case—in effect, showing that although AI could conceivably write a book, it cannot craft a story that anyone would enjoy.”

And that, according to Jane, is precisely why humans beat the bots each time. “As humans, we are creative, able to draw on our lived experiences, our humanity, our ability to connect on an emotional level with something inside us—our story—that resonates with readers. Being a methodical gal, I decided to construct a step-by-step process for writing that story, one that would harness writers’ creativity from idea inception to revision, while also staying organized.”  

The result? A masterpiece of a writer’s toolkit—twelve chapters (divided into three sections) of tactics, techniques, roadmaps, and exercises to cultivate the writer’s creative process. Part one, Find Your Inner Voice, offers four tactics to spark writers’ imaginations from searching for that story idea, exploring character motivations, plot points, and immersive settings. Part two, Your Story, Your Voice, provides strategies for making the most of point-of-view, artfully injecting backstory into the work, crafting dialogue that advances the tale, and writing thematically. Part three offers four tactics for Polishing for Perfection.

There is something for everyone in this outstanding guide to creative writing, for beginning writers, as well as authors of one bestselling book after another (ask them if they ever struggle with their writing, they will say, “Yes!”). For me, as a recovering debut author (feeling the weight of my first-book success on my work-in-progress), I’m thrilled with Jane’s twelve-step creativity program. I was tickled to learn I excel at some techniques, such as using Jane’s two-word prompt (“What if . . .?”) for conceptualizing an initial story idea. For me, a pantser, her “Mind-wandering” technique for exploring plot points will help firm up my saggy second act.

One unique tool offered by Beat the Bots that other craft books do not—a TikTok community for readers wherein they can learn from others as they work through the book’s techniques and exercises. “I decided to capitalize on the popularity of TikTok, hoping to connect with writers I would not otherwise have any way to reach.”

The group is in its infancy, and Jane is helping it along by recording her own responses to spur participation, but this inspired tool for stimulating creativity hits the mark dead-on. I’m eager to discover how these conversations, centered on sharing unique life experiences, feelings, and perspectives will spark new, more diverse story ideas, plots, characters, and settings inside my writer’s mind.

Get your copy of Beat the Bots today and have a more creative tomorrow. As an added bonus, you’ll help restore beautiful reefs. Jane’s publisher. Regalo Press, donates a portion of their profits to their authors’ charity of choice. Jane and her husband, avid snorkelers, chose Reef Renewal Foundation International, which incubates and transplants coral for struggling reefs. Learn more at www.ReefRenewal.org.

Bio:

Jane K. Cleland has written fourteen novels in the multiple award-winning Josie Prescott Antiques Mystery series. The series has been optioned for TV/film development. Jane’s other nonfiction books, Mastering Suspense, Structure & Plot and Mastering Plot Twists, both won the Agatha Award. Jane is a contributing editor for Writer’s Digest Magazine and the chair of the Black Orchid Novella Award, presented by the Wolfe Pack in partnership with Alfred Hitchcock Mystery Magazinehttp://janecleland.com

Friday, January 9, 2026

 


The Writers Who Kill Favorite 2025 Reads

By Heather Weidner



When we are not writing mysteries and thrillers, we are readers, too. Here are the Writers Who Kill 2025 favorite reads.

Fantasy

James Jackson: Snake-Eater by T. Kingfisher

James Jackson: Fourth Wing by Rebecca Yarros


Historical Fiction

Lori Roberts Herbst: This Tender Land by William Kent Krueger

Susan Van Kirk: The Remains of the Day by Kazuo Ishiguro

 

Mystery – Cozy

Sarah E. Burr: Trebled Waters by Leah Dobrinska

Heather Weidner: Basket Case by Nancy Haddock

Grace Topping: The Impossible Fortune by Richard Osman

E. B. Davis: Coeds and Cattails by Jana DeLeon

Grace Topping: The French Paradox by Ellen Crosby

Heather Weidner: Vice and Virtue by Libby Klein

Grace Topping: Murder in Venice by T.A. Williams

Molly MacRae: Cat on the Edge by Shirley Rousseau Murphy

E. B. Davis: The Violet Hour by Victoria Benton Frank

Lori Roberts Herbst: How the Penguins Saved Veronica by Hazel Prior

Susan Van Kirk: Villain in the Vineyard by Judy L. Murray

Grace Topping: Murder on the Marlow Belle by Robert Thorogood

Mary Dutta: Thursday Murder Club by Richard Osman

Molly MacRae: The Librarians by Sherry Thomas

 

Mystery – Historical

Marilyn Levinson and Susan Van Kirk: The Frozen River by Ariel Lawhon

Judy L. Murray: A Beautiful Blue Death by Charles Finch

Heather Weidner: Disco Dead by Marcia Talley

Judy L. Murray: The Blackout Murders by Anna Elliott and Charles Veley

 

Mystery – Legal Thriller

Marilyn Levinson: The President’s Lawyer by Lawrence Robbins

Heather Weidner: The Proving Ground by Michael Connelly

 

Mystery – Thriller

Sarah E. Burr, Grace Topping, and Heather Weidner: Secret of Secrets by Dan Brown

James Jackson: Blacktop Wasteland by S. A. Cosby

Heather Weidner: King of Ashes by S. A. Cosby

James Jackson: A Good Girl’s Guide to Murder by Holly Jackson

Susan Van Kirk: The Sequel by Jean Korelitz 

Annette Dashofy: We Are All Guilty Here by Karin Slaughter


Mystery – Traditional

Lori Roberts Herbst: The Maid’s Secret by Nita Prose

Susan Van Kirk: Apostles Cove by William Kent Krueger 

Grace Topping: The World‘s Greatest Detective and Her Just Okay Assistant by Liza Tully

Heather Weidner: The Black Wolf by Louise Penny

Shari Randall: The Three Coffins (UK title: The Hollow Man, 1935) by John Dickson

Annette Dashofy: At Midnight Comes the Cry by Julia Spencer-Fleming

Grace Topping: A Grave Deception by Connie Berry

 

Mystery – Police Procedural

Martha Reed: The Silent Trumpet by Bill Gormley

E. B Davis: Gray Dawn by Walter Mosley

James Jackson: The Waiting by Michael Connelly

Grace Topping: Niki Unleashed by James M. Jackson

 

Mystery – Young Adult

James Jackson: The Inheritance Game by Jennifer Lynn Barnes

James Jackson: The Hawthorne Legacy by Jennifer Lynn Barnes

James Jackson: The Lying Woods by Ashley Elston

 

Nonfiction

Debra H. Goldstein: Heart of a Stranger by Angela Buchdahl

Heather Weidner: Heaven Help Us: How Faith Communities Inspire Hope, Strengthen Neighbors, and Build the Future by John Kasich

Molly MacRae: Joyride by Susan Orlean

Susan Van Kirk: You Never Know by Tom Selleck

Molly MacRae: Cokie: A Life Well Lived by Steven V. Roberts

 

Poetry

Susan Van Kirk: A Thousand Mornings by Mary Oliver


Science Fiction

Lori Roberts Herbst: Project Hail Mary by Andy Weir

 

Women’s Fiction

Kait Carson: The Women by Kristin Hannah

Lori Roberts Herbst: How to Age Disgracefully by Clare Pooley




What were your favorite reads from last year?


Through the years, Heather Weidner has been a cop’s kid, technical writer, editor, college professor, software tester, and IT manager. She writes the Pearly Girls Mysteries, the Delanie Fitzgerald Mysteries, The Jules Keene Glamping Mysteries, and The Mermaid Bay Christmas Shoppe Mysteries. She blogs regularly with the Writers Who Kill.

Her short stories appear in a variety of anthologies, and she has non-fiction pieces in Promophobia and The Secret Ingredient: A Mystery Writers’ Cookbook.

Originally from Virginia Beach, Heather has been a mystery fan since Scooby-Doo and Nancy Drew. She lives in Central Virginia with her husband and a crazy Mini Aussie Shepherd. 


Thursday, January 8, 2026

JAMES SCOTT BELL'S FORCE OF HABIT: THE COMPLETE SERIES

 

                          


By Margaret S. Hamilton

 

“Sister Justicia Marie thought it was going to be a beautiful day in LA, full of mercy and grace, until she had to break a man’s finger at lunch.”

 

Meet Sister J, founding member of the Sisters of Perpetual Justice and their homeless shelter in Los Angeles. In her pre-convent life, Sister J was the child actress Brooke Bailey. As a young adult, Brooke studied Krav Maga and other martial arts in preparation for her movie roles. After she was fired while filming her last movie, she found God in a shaft of sunlight on the Santa Monica clifftops overlooking the Pacific Coast Highway.

Sister J drives a 10 year old Saturn, indulges in Fritos and Coca Cola, and uses Ave Maria as her cell phone ring tone. I suspect she’s in her mid-thirties.

The series is comprised of six novelettes, each about fifteen thousand words. Sister J leaves her elementary school teaching career to found a much-needed homeless shelter in a seedy area of Los Angeles. Each novelette addresses a crime that has been committed, and Sister J’s use of force to restore justice. The novelettes are “skinny” and remind me of graphic novels or thirty-minute TV shows plots.

Sister J flaunts her disrespect for her Mother Superior and Bishop but attends confession regularly and embraces the teachings of the Church. She feeds the hungry, houses the homeless, and rescues lost souls on a regular basis. My favorite lost soul is a teenager boy she catches painting graffiti on her shelter building. Instead of turning him over to the police, she hires him to paint a mural of Jesus stilling the waters.

The novelettes are delightful, each as crisp as one potato chip, leaving the reader craving more. Sister J routinely deals with lowlife gangsters, drug dealers, and a nightclub magician, using “harm for good” as she stops criminals committing heinous crimes.

James Scott Bell notes that his son gave him the idea of a vigilante nun and the title for the series. He wrote the novelettes in between writing other, longer, works.

Readers and Writers, does the idea of a vigilante nun appeal to you?


Margaret S. Hamilton writes the Jericho Mysteries series and has published forty mystery short stories.

Home - The Official Website of Margaret S. Hamilton

 

 

Wednesday, January 7, 2026

An Interview with Annette Dashofy by E.B. Davis

When a local Erie vet is shot during a robbery, Erie City Police Detective Matthias Honeywell and his partner Cassie Malone are tasked with pursuing the perpetrators. But as they close in on the truth, a mysterious sniper targets those involved in the case.

Emma Anderson has seen more than her share of cases since becoming a journalist in Lake Erie, and with news of the shooting becoming local interest, her instincts kick in. What she didn’t expect to uncover was a secret that could cause an ethical dilemma between Matthias and Cassie.

As the search for the sniper continues and the investigation taking a dark turn, Cassie and Emma find themselves caught up in a kidnapping plot. As the women are forced to draw on their resourcefulness to survive, will they manage to escape or is time against them?

Amazon.com


What’s the sign of a great series? Wondering what happens next to the characters after you turn the last page. In No Stone Left Unturned, Annette Dashofy writes suspense in every page. Luckily for us, the book is now on Kindle Unlimited.


 

In the first three books in the Detective Matthias Honeywell mystery series, I’ve grown to love Honeywell’s partner, Cassie Malone, who is his senior, a black, female grandmother, which may make her one of the deadliest creatures on earth. Unfortunately, in No Stone Left Unturned, her family becomes the main focus when her veterinarian husband is shot in the chest for no apparent reason. It’s up to Matthias and Emma to solve the mystery as Cassie is sidelined from participating in the case.

 

Do yourselves a favor and download this book. It’s suspense at its finest. You care about the characters, who find themselves in a downhill avalanche trying to stay alive.

                                                                                                                                         E. B. Davis

 

Aw, thanks, E.B!

 

I forget. How did Matthias get from Oklahoma, where he was raised, to Erie?

 

When he was a young cop, he fell in love with a woman from Erie and followed her there when she moved home. However, when he proposed marriage, she turned him down and married an attorney instead. She and her new husband returned to Oklahoma. A heartbroken Matthias stayed in Erie and has been there ever since.

 

Emma is at the crime scene outside of Shawn’s veterinary clinic after the police have been notified. As a newbie photojournalist, why is she uncomfortable in her job?

 

Emma never wanted a career in photojournalism because she feels it’s intrusive, taking pictures of people on their worst days. However, she has this “fantasy” of being at crime scenes, working with Matthias. I put that in quotes because she realizes it isn’t going to happen. If anything, it puts them at odds.

 

Shawn and Cassie are fiercely loyal to Shawn’s employees, as they are to him. How does Cassie react when he questions her about them?

 

Cassie’s defensive because Shawn trusts his employees like family. On the other hand, as a cop, she knows Matthias is only doing his job, and his questions raise concerns of her own.


Shawn Malone, Cassie’s husband, is known for his kindness, especially when it comes to treating pets who have low-income owners. Because of this policy, when his office manager, Bethany, accepts a last-minute appointment with a man who can’t afford his dog’s care, it’s treated as routine. But before the conclusion of the appointment, three masked men raid the office for drugs and cash, and then shoot Shawn in the chest. Why does Matthias suspect that Bethany may have been in on the attack on Shawn? 


Since the men gain access through a side door that’s locked to the outside, and since Bethany had just let the dog and its owner through those same doors, she’s immediately suspect. How else could those gunmen have gotten in unless she’d left the door unlocked for them?

 

Finding a motive for the shooting is the hardest part of the case. No one disliked Shawn. The detectives on the case, Matthias, and his underlings, Frazier and Roth, wonder if it is Cassie that the shooter was trying to hurt. Why do they eliminate that motive?

 

Cassie doesn’t recognize any of the gunmen, although since they’re masked, it’s difficult for her to be 100% certain. Once the police identify them, though, she’s positive she’s not encountered them in any of her past investigations. And the Erie police can’t find any connections to Cassie, either.

 

Why is Emma’s friend, Eric Baker, who lives in their hometown in Southwestern PA, so interested for Emma to sell the land that Emma and her younger sister, Nell, have inherited? Does he get a commission? Shouldn’t he know she can’t approve the sale without her sister’s consent?

 

There’s more going on there than meets the eye. Emma did leave the care of her property in Eric’s hands, so it’s logical that any offers would come through him, and he definitely knows that Nell’s consent is necessary to sell the land. As to why he’s being such a pain about it, you’ll have to wait for the next book!

 

Emma has to make a decision about her living arrangements. It’s August and the campground where she is living in a mobile home will close in October. What is she contemplating?

 

It’s not a mobile home; it’s a 17-foot camper with no insulation, so even if the campground stayed open, she couldn’t survive an Erie winter in her current residence. She doesn’t really have plans, although she needs to give serious thought to the situation. The idea that Matthias might invite her to move in with him is appealing, but she’s afraid too much togetherness might sink their fledgling relationship. A lot of Erie homeowners winter over in southern locales and rent out their northern homes for the season. That feels like a better option, but Emma doesn’t have the time or inclination to give it a lot of thought right now.

 

Because Matthias is busy trying to solve the case, he relies on Emma to give Cassie friendship and company while Shawn is in and out of the operating room. Emma is put into a dual role. She’s on the inside of a journalist’s story and yet, because the two couples socialize, she’s also a casual friend. How does Emma resolve the two?

 

Emma tries her best to avoid being put in the position of spy, but her loyalties are sorely tested! We are talking about Cassie Malone, after all, and Cassie is a force of nature, so when she demands details of the case, Emma can’t really say no. 



After Cassie talks to Shawn once he is stable, Shawn tells Cassie about the shooter. They conclude it was a racially motivated attack, but as it turns out, it was not. Is this an emotional response? Do people overcompensate by blaming what is convenient rather than looking at the facts?


It’s a logical assumption for them to reach, and it goes beyond emotions. They’ve experienced racism all their lives. It would be naïve to ignore the possibility in this case.

 

Among the things on Matthias’s mind while trying to solve the case is his relationship with Emma. He’s afraid she will leave Erie after her lease is up at the campground. What is the basis of his fear?

 

Matthias and Emma definitely have communication issues! From his perspective, he’s not had a lot of luck with women. He’s only been in love twice and both times, it ended badly. He built walls around his heart, and it’s been ages since he let someone get close. Now that he has feelings for Emma, he worries he’s going to lose her, too.

 

With one of the clinic’s suspected attackers found dead, they go after the second suspect who enters a warehouse area. While investigating, a sniper opens fire from an upper window. Unknowingly, Emma and her journalist partner enter the scene where Emma finds herself pinned down by the shots. Why doesn’t she dive for cover? Why does she hold the button on her camera down for automatic and continuous picture taking?

 

You get totally focused on that viewfinder and lose sense of what’s really going on. It happened to me. Well, not getting shot at, but I was photographing a wild coyote that was posing beautifully for me! I was so intent on getting the shot, I didn’t comprehend how close the coyote was getting until my husband shouted at me. I looked up from the viewfinder to realize it was very close! As for keeping the shutter depressed, when you’re dealing with action, you don’t try to compose the photo. You simply keep firing. If you’re lucky, when you go through a thousand images, you’ll find that one perfect shot.



When Emma allows Matthias to have a copy of her photos, she gets reprimanded by her boss at the online newspaper. Why? And what is Emma’s reaction?


The memory card Emma turned over to Matthias is property of ErieLIVE. The police may need those original source files when the case goes to trial, so they give her a copy to take back to the news outlet. But Emma’s boss sees it as a breach. Journalists don’t cater to the police, at least not without approval from management. Since Matthias saved her life, Emma doesn’t feel she could turn him down on the matter. It’s another case of Emma’s loyalties coming into question.

 

Why do guns and cameras have a lot of the same terminology?

 

I honestly don’t know. You aim both. You shoot pictures. Weapons obviously came first, but I’ve always found it interesting that photography stole so much of the terminology.

 

When investigating, secrets are revealed. But when the subjects of the case are friends, it is especially difficult to ask questions about them. Both Matthias and Emma dig up secrets of Shawn’s and those close to him. What is so hard about revealing the truth?

 

Some secrets are kept hidden to avoid re-opening old injuries. Haven’t we all made youthful indiscretions that we prefer stayed buried?

 

You chose to set your novel in the heat of August, which made for great January reading by your freezing audience. But as the motive turned out to be revenge, I question if you flaunt the quote about revenge being a dish served cold?

 

It wasn’t intentional. It takes the biggest part of a year to write a book, and I have no control over when it gets released. Believe me, having a mid-winter launch in snowy Pennsylvania would not have been my first choice!

 

Emma needs to go home and asks Matthias to accompany her. What’s next for them?

 

The fifth Honeywell mystery picks up right where this one leaves off, with Matthias and Emma headed back to her hometown to deal with Eric, Nell, and the land situation.  Watch for it in September!