Tag Archives: Dennis Lehane

Interview with Cinematographer Richard Vialet


This marks the first time I’ve interviewed a cinematographer, so this is pretty cool. I learned about Richard because he reviewed my novel IT’S ONLY DEATH and my novella WHEN WE JOIN JESUS IN HELL. Like most creators, I like people who like my work. No shame there. Thanks to Richard Vialet for taking the time and sharing about himself and what he’s learned with his craft. For fellow writers, up-and-comers and such, I believe we can learn a lot from other creative people (I learn all the time from musicians, athletes, artists, poets, other writers, film makers, etc.) So enjoy! And spread the word about the interview. You can check out Richard’s website here to see cool stills and video clips from projects he’s done

How much artistic leeway do you have with each project? Or does it vary a lot from director to director?

Richard Vialet: Yes, it definitely varies from director to director. I’ve worked with some directors who are very specific with the shots that they want from scene to scene, providing storyboards and other references, while others are less specific visually, and lean on me to craft the shots while they just work with actors. I try to adapt my working style to fit the style that the director prefers. Most directors give me carte blanche on lighting decisions though, with the occasional suggestions on set. But I never plan a look and approach without letting the director know my intentions first.

What is the most valuable lesson you’ve learned so far?

Richard Vialet: Probably the most valuable lesson for me at this point in my career is to keep an open mind about every project and everyone you meet, and always treat everyone with respect. I might find a project that doesn’t sound very attractive at first, but by keeping an open mind, you might discover potential. For example, a project might not be paid very well, but the director may be an undiscovered talent and have a unique vision that could lead to great things down the road. So you never know who you’re meeting with. Another great lesson I’ve learned is to stay healthy. I’m still working on that! We work demanding hours that are taxing on the body, and I would love to be doing this job for as long as possible.

What’s a typical film project like? What steps do you have to take to do your job with as few hitches as possible?

Richard Vialet: On a typical film project, the crew is basically just trying the tell the story and support the director’s vision as much as possible. while also trying to predict any obstacles that might pop up on set and being prepared to tackle them.

The key to doing this is: Pre-production. Pre-production. Pre-production. There is a lot of money on the line, and unless you’re David Fincher, Steven Spielberg, or Chris Nolan, you almost never time to get shoot the movie you want to make. So scouting locations as much as possible, being familiar with the script, getting on the same page as the director and the other department heads, and having a clear idea of how I want to approach every scene, goes a long way to a successful shoot.

What are some of your favorite films?

Richard Vialet: 1) Casablanca – It’s a timeless, universally enjoyable, and nearly perfect story of romance and heroism, and explores the choice between striving for personal happiness and acting for something that’s bigger than yourself.
2) L.A. Confidential – It’s probably the best movie adaptation of a book, skillfully converting one of the densest crime novels ever into a 2-hour, 20-minute movie that is really entertaining and extremely well-made. It also has one of the best casts of any movie.
3) Se7en – The textbook movie for what a great psychological thriller can be. It has a creepy and original concept and script and has such a dark, oppressive mood, that after your finished and watch it again, you’re surprised by how little violence and graphic images there are. A feat of filmmaking.
4) Sunset Boulevard – It was amazing how modern Billy Wilder’s movies felt. And this one was his greatest. It’s one of the most scathing satire on Hollywood to date and I consider Gloria Swanson’s tightrope walk of a performance one of the best ever.
5) The Treasure of the Sierra Madre – It’s pretty cool that this movie is still endlessly entertaining even though it was made in 1948. It’s an awesome adventure about how greed slowly corrupts and becomes a greater danger to the characters than bandits, wild animals, or the elements.
6) A Separation – Proof that great writing and acting is all you need. It’s interesting how this small Iranian family drama was ten times more riveting than most of the big-budget action movies I’ve seen.

Who inspires you?

Richard Vialet: My mother Eveth, cinematographers Rodrigo Prieto, Harris Savides, Greig Fraser, and Bradford Young, late photographer Gordon Parks, and directors Sidney Lumet and Steven Spielberg.

How did you get your start in the film industry?

Richard Vialet: I enrolled at Howard university in Washington D.C with the goal of becoming an actor and film director. But I fell in love with cinematography and decided to focus on that exclusively. I was then accepted into the prestigious American Film Institute Conservatory as a cinematographer and after graduating from there, I’ve been working, doing what I love ever since!

I know you love to read, who are five of your favorite authors?

Richard Vialet:

1) Stephen King is truly a master storyteller who”s not only entertaining but knows how to skillfully use the art of the written word to tell engaging stories. And he’s constantly challenging himself and evolving. I think King should be included more in talks about the greatest modern American authors.

2) Dennis Lehane is one of our greatest crime writers. His books have a great balance of character development and plot and has yet to write a bad book in my opinion. Mystic River is one of my favorite novels, Gone, Baby Gone is the best detective novel I’ve read to date, and Shutter Island is a great atmospheric psychological thriller.

3) George Pelecanos’s urban morality tales and tragedies continue to touch me. He writes some of the most authentic dialogue and explorations of inner city life than most authors and always treats his characters with love and respect. I feel like I know the people in his books.

4) I recently started reading Junot Díaz and I love how reading his books feel like hanging with a buddy and hearing some good stories about young lovelorn guys and failed romance.

5) I’ve also just started reading Lawrence Block and his writing and crafting of plot seems so effortless. He makes it look so easy.

*Other favorites include the great Walter Mosley, David Goodis (the poet of depression and urban despair), Megan Abbott, Gabriel Garcia Marquez, Robert McCammon, Scott B. Smith, Jake Vander Ark, and Chester Himes.

I’m sure you travel a lot, correct? Did you ever fall in love with a particular setting while filming?

Richard Vialet: I fall in love with at least some aspect of everywhere I’ve traveled; I just love to discover new places. But the Pacific coast of Costa Rica might be my favorite so far, and looked great on camera. I’ve also shot in the Redwood forests of Northern California and that was mind-blowing! I kept thinking about the Endor scenes in Return of the Jedi!

You’ve already been part of some great projects. What is something you’d like to achieve that you haven’t done yet?

Richard Vialet: Of course, every filmmaker is dying to get the next game-changing script. But yes, I’ve been fortunate to work on a wide variety of genres with their own individual challenges. But I would love to shoot a Western. A serious one, with classic themes and a great villain. I’m a huge Western movie fan. I think a musical would be tons of fun as well!

What are you working on now? Can you tell us a little about it?

Richard Vialet: I can’t talk lot about the specifics, but it’s a sequel to a popular revenge thriller remake. At first, I wasn’t excited about it because I’m not really a fan of the gory genre that the first movie belongs to. But after a director I’d worked with before signed on and I read the script, I realized that there was more of character and story in this sequel and I was excited about doing an installment that brought something new to the genre.

Thanks so much for taking time to answer questions, Richard!

Again, check out Richard’s website here!

New Interview at Crime Fiction Lover

Michael Parker interviewed me for the fantastic Crime Fiction Lover. It was a blast and I was able to share some insider info on my first Crime novel A BEAUTIFUL MADNESS. Plus I talk about some of my heroes, like Tom Piccirilli, John D. MacDonald, Joe Lansdale, James Lee Burke, Dennis Lehane, John Connolly, and Lee Child.

Check out the interview here.

Feel free to leave a comment over there, and share the link.

For Writers

Here are some great videos! Let them teach you and inspire you and create new questions that might possibly lead you in new directions and toward new heights. I’ve watched some of them several times now because I’m a glutton. Terrific stuff! If you’re seeing this on Goodreads you might have to track back to my website to see the videos. Enjoy!

Ideas for Christmas Book Buys

Hey there you sexy pilgrims. I hope everybody is well. I’ve bought a bunch of books recently and figured, hell, why not do a suggestion post of some of my favorites old and new to help you with your merry holiday shopping list! Keep in mind that most of these are dark, heartbreaking tales, not feel-good reads, although there are a couple on the list that have moments of wonderful humor (like Grendel, Beautiful Sorrows, and Savage Season).

Darkfuse Book Club: It’s a hell of a deal! Top-notch writing from established writers on both sides of the pond, as well as up & comers like myself. They used to be Delirium Books and have since branched out into Dark Fiction of all styles, which I think is truly awesome. Got a hankering for Horror, Sci-fi, Mystery, Techno-Thriller, Noir, Coming-of-Age, etc., Darkfuse has you covered!

GRENDEL by John Gardner: Easily in my top-three of all-time favorites. Beautifully written, tragic and funny.

THE LAST KIND WORDS by Tom Piccirilli: Pic is a master of Noir. The sequel to his novel was released recently. Check them out!

WILLY by Robert Dunbar: A truly underrated author who, with this novel, captures some of my favorite things a great story can produce. This novel still sticks with me.

THE BLEEDING SEASON by Greg Gifune: Another underrated author. This novel is extremely atmospheric, as is all of Gifune’s work, and the story is a perfect example of why craft is so important.

THE RAPIST by Les Edgerton: This is one wicked read but don’t be scared by the title. It’s a terrific book!

THE DAMNED by John D. MacDonald: I heard of John D. MacDonald through John Connolly’s BOOKS TO DIE FOR… MacDonald quickly became my favorite of the old pulp crowd. He’s a master of characterization and most of his stories zip along. This one is brilliant in a very subtle way, kind of like WINESBURG, OHIO by Sherwood Anderson. He was one of Stephen King’s and Dean Koontz’s favorite authors too.

WATER FOR ELEPHANTS by Sara Gruen: Still one of my favorites, and the book is a thousand times better than the movie. Read it!

MORDRED, BASTARD SON by Douglas Clegg: Like EDGERTON’S The Rapist, this short novel will not set well with the PC crowd, but it’s brilliant and I think Clegg’s best.

BEAUTIFUL SORROWS by Mercedes M. Yardley: Mercede’s first short story collection. Dip your toes and imagination into an assortment of tales that are at once disturbing and humorous. This gal is a sweetheart and so incredibly talented.

THE GIRL NEXT DOOR by Jack Ketchum: Ketchum’s novel pulls off that tough to do ‘I want to punch this protagonist in the face,’ thing. At it’s heart it demonstrates the damage done when we stand by and watch horrible things happen. Sadly, I think this is one of the truest novels there is.

SAVAGE SEASON by Joe Lansdale: The first Hap & Leonard novel and a great introduction to these two raw-boned characters. What a great series!

SHARP OBJECTS by Gillian Flynn: A short novel with a terrific punch!

THE END OF EVERYTHING by Megan Abbott: Still my favorite of her novels. Haunting and fast-paced and has a perfect ending.

THE CYPRESS HOUSE by Michael Koryta: I met Michael at Bouchercon and he signed a book for me. Such a nice guy and terrific writer. In many ways he reminds me of a cross between two other favorites–Michael Connelly and Dennis Lehane.

WHITE DOVES AT MORNING by James Lee Burke: Great novel!

CABAL by Clive Barker: This was one of the first Barker books I read and certain moments are still vivid in my memory. He’s such a talent at showing how our hunt for excitement and pleasure can transform us.

THE BOOK OF LOST THINGS by John Connolly: Still my favorite of Connolly’s!


And for a shameless plug, add WHEN WE JOIN JESUS IN HELL by me. It’s my most popular release so far and a quick, powerful read that heroes like Tom Piccirilli and Jack Ketchum read and blurbed.

If you’re on Twitter, give me a follow. If you’re on Goodreads, friend me. And don’t forget to subscribe to my website newsletter since I have a lot of big news coming in 2014!

Happy holidays to all!

My Favorite Reads in 2012

Here is the best of the best of what I’ve read during 2012. Thanks to the friends who recommended or sent me some of this stuff! Read ’em!



Grendel by John Gardner

The Wreckage of Agathon by John Gardner

The Given Day by Dennis Lehane

Live by Night by Dennis Lehane

The Last Kind Words by Tom Piccirilli

The Burning Soul by John Connolly

The Neon Rain by James Lee Burke

Heaven’s Prisoners by James Lee Burke

Light in August by William Faulkner

As I Lay Dying by William Faulkner

Heart-shaped Box by Joe Hill

Only Child by Jack Ketchum

The Great and Secret Show by Clive Barker

Heart of Darkness by Joseph Conrad

Death of the Mantis by Michael Stanley

So Cold the River by Michael Koryta






The Night We Buried Road Dog by Jack Cady

By Reason of Darkness by Jack Cady

Reign of Blood by Sandy DeLuca

Wood by Robert Dunbar

Without Purpose Without Pity by Brian Hodge

The Rapist by Les Edgerton (forthcoming)





Falling Idols by Brian Hodge

Beautiful Sorrows by Mercedes Yardley





Becoming Faulkner by Philip Weinstein

The Faulkner-Cowley Files: Letters & Memories 1944-1962

Writing 21st Century Fiction by Donald Maass

Books to Die For by John Connolly and Declan Burke



And for my 2012 Year in Review… Go here! It blew 2011 to bits.


Tuesday’s Training: Showing Vs. Telling?



First off, there is no competition between showing and telling so get that out of your head. Both are required, in their place, and work together to push the story toward the climax and payoff. I remember when I first joined some writers’ groups (Editred and then Zoetrope) and these are good places but nearly everybody would do critiques that can be summed up with “Show, don’t tell.” It’s very misleading, and it creates very thin work. After I began studying what my heroes did and I started learning how to use showing and telling together is when I also started selling work professionally. Coincidence? I don’t think so. It’s too easy to buy into rules like “Show, don’t tell!” because we desperately want to believe that if we follow the rules then somebody will buy our work. So we only show, we never open with weather, we always write in active voice, all that crazy shit. Anytime somebody gives you a bunch of absolutes–Always, Never, Everybody, etc.–run away. Or better yet, see what your heroes have done. Figure out why they did it and why it works.

Mastering when to show and when to tell (and how to blend them) are essential in drawing the reader into your story. There are dangers with both, even though writers have it pounded into their heads to “Show! Show! Show!” I say bullshit. Showing can be done very badly. Telling can be done and connect with readers quickly. Telling can prepare the reader and most of all make the characters and their actions understandable. You read Stephen King, Clive Barker, James Lee Burke, John Connolly, Lee Child, William Faulkner, Tom Piccirilli, Jack Ketchum, Dennis Lehane, etc., and pay attention to how often they’re ‘telling.’ It’s a lot. And there are reasons they tell when they do instead of showing. It’s an essential and basic part of great storytelling. Learn how and when it’s right for you personally to use both of them. Know why you’re showing, know why you’re telling. Just remember this, it’s a key: Whether showing or telling, it must be interesting, it must have movement and advance the story and/or show character.

Think about some of your all-time favorite books, the ones that inspire you to write something so moving and entertaining and grand. Study them. Seriously, take them apart and see why things work, where they work, how they work.

I’ll list what I believe to be some of the dangers and benefits of both showing and telling that novice writers face. I’ll give examples, too, so you can see what I mean, though some of this will be a bit tongue-in-cheek.

Dangers of Showing:

#1- The novice writer can easily write scenes that show nothing happening (no emotional turmoil, no physical challenge, no doubt or anticipation)


(Showing only)

Bright sunlight hurt her eyes as she carried flowers to her husband’s grave. She knelt and set them near the headstone. Tears wet her cheeks. She read his name and the date of his death.

(Showing and telling)

She dreaded taking flowers to his grave because it reminded her of all the times her husband had bought her roses.  Bright sunlight hurt her eyes as she wandered from the car and over the lawn, the wrapping soft and crinkling beneath her fingers the way the letters he used to writer her had. She knelt and leaned them against the headstone. He’d been gone a year and she thought it was supposed to get easier. Tears wet her cheeks but she ignored them, reading his name, the date of his death–July 4th, 2011– and slowly, her neck and heart aching, she glanced at the empty plot next to his. They’d had no children, and she feared the day she’d take place next to him, for there would be no one to bring either of them anything.

#2- It’s easy for a novice to write scenes that play out well in their head, but do not play out the same way in the readers because the telling details aren’t there (how the character feels about the setting, themselves, those involved in the situation, etc.) I won’t take the time to write a whole scene showing examples because I have a novel to work on as soon as I finish this post.

#3- The novice writer can easily present back story through character dialogue, which comes across forced and unrealistic.


Derrick popped the top on his beer and placed his feet on the coffee table. “I’m really glad you’re finally divorcing that bitch. You put up with her cheating, lying, stealing ass for way too long. Like five years. You guys met in Vegas, so I guess it figures. Your parents were so mad that you married a stripper. A midget one at that! If they hadn’t disowned you you’d have been in their will though and shared the inheritance with your brother. Instead you’re drinking beer in the morning with a guy with little ambition or interest in anything other than internet porn. I’m starting my own company though and if I ever get rich, you’ll be rich too. The bitch and her boyfriend can suck it, then, right? Blah, blah, blah.”

It could go on and on, unfocused, instead of hitting  the points that matter most for the story.

#4- A writer may show something graphic, overdone, overwrought, for showing’s sake and never follow up with how it affects the character emotionally and intellectually. If you have a chapter where something incredible or hardcore happens it’s good to follow it up with the character dealing with it, or trying not to deal with it. If the reader is invested in the character and story they care even more after seeing the protagonist struggle to restore balance.

#5- For a novice it’s easy to be vague when showing instead of being specific.

Look at Example #1.


Benefits of Showing:

#1- Creates suspense by visually showing your protagonist physically/emotionally in jeopardy.

#2- Transports the reader into the action via sensory details: Taste, Touch, Smell, Sight, Sound.

#3- It’s engaging if it’s raising the stakes and showing the character making a choice, followed by setbacks and more choices and higher stakes.


Dangers of Telling:

#1- Loss of suspense… It’s easy to fall into telling too much (though you can also show too much if it’s not something that moves the story and characters forward).

#2- Preaching your beliefs. You feel very strongly about something and you have your character preaching about it from beginning to end instead of growing. Easy mistake to make.

#3- It’s easy to summarize instead of letting important moments play out.


Benefits of Telling:

#1- Increases anticipation since telling serves setting things up well and the reader can visualize the showing portions to get to the payoff of each scene.

#2- Transports the reader into the story via descriptive details: setting, back story, secrets, etc.

#3- Works with showing to establish who your character is, how he feels about those around him, and why he makes the choices he makes.

#4- Helps you speed past the boring crap which improves pacing.

Don’t be afraid of telling or showing. Study the professionals and see how they apply each to draw you in and hold you to the end. For more of my thoughts on writing go here.

And watch this video of Lee Child at The Center for Fiction. Good stuff.

Lee Child

Tuesday’s Training: Finding Your Voice


“As a writer, you should not judge, you should understand.”
― Ernest Hemingway


A lot of beginning writers worry about finding their voice. They spend money on courses and exert an incredible amount of energy thinking about it. I think it is within us from the beginning. It’s not hiding at all. Our voice is our experience, our biases, our pains, our joys, our passions, the themes of our own lives. We just need to learn and practice our craft so the expression and execution of those things that are ours and of us come across as powerfully as possible.

I believe, at least in my own case, that there is a duality that has to be acknowledged and embraced. My duality is a deep-seated wonder of life and people in contrast to the other side of my nature which is hip-deep in melancholy. I can write with authority in a certain area because I know them, feel them, and they’re of my essence.

I believe favorite writers–like Dennis Lehane, Stephen King, John Connolly, William Faulkner, Hemingway, Michael Connelly–all have a unique voice. Their writing is an extension of them is my bet.

You want to discover your voice? Know thyself. Your voice comes from honesty, reflection, acknowledgment, craft and confidence.

What holds people back from letting their voice out? Fear is probably number one. We don’t want people to hear what resonates in our hearts, what makes us us, and not accept it, or worse, make fun of it/judge it, and in turn judge us. But that’s part of connecting, and we can’t please everybody, so write from your deepest self. I get it, our egos our fragile. Yet I believe that if we’re spending a ton of energy protecting who we really are  then we’re NOT expressing who we really are.

Know thyself.

It’s also fun to explore the things we squirm away from. The ‘hot buttons’ for us. I think it’s a quick way to challenge ourselves, by creating a character who shares an opposing core belief different from one of our own, and instead of showing the reader how the character is wrong, let the character show why he’s right from his perspective. It’s an important skill learned to grow as a person and a writer. To gain new perspective and tear down the walls we build to protect ourselves from the world.

What do you really want to write, more than anything else in the world? What story are you scared to tell because you’re afraid of what those around you might think of you?

What do you think you need to become a great writer that you lack now? Once you can identify it, you can learn it. You can learn what is important to say and what is wasted breath. You learn what you fear is not insurmountable, even if every fiber of your being cries out that you can’t do it, or think it, or say it. You learn to understand yourself, the good and the horrible. And you learn to understand other people and show their lives honestly, beauty and blemish.

Everything you need voice-wise is already intact. You just have to trust yourself. Refine it. Learn how to express yourself masterly. Expect that not only will you discover the voice already inside you, but it will morph as you experience more, assimilate it, reflect upon it, and share it.

For more writing advice visit this page. If you find any of it helpful, share it with someone else. 
























Opening of my Crime WIP “The Wolverine”

Rocking on this Crime novel THE WOLVERINE that I intend to sell under the pen name James Logan. It’s a dark and complexly layered Thriller. Here’s a simple teaser:


A Texas Senator’s teenager is brutally murdered on shamed ex-Governor Edward Wood’s lawn. The Senator and his wife are missing. Eddie Wood claims he saw a man with scars on the backs of his hands beyond the kid as he stumbled onto his property and died from his wounds.  


Eddie’s drug dealing son, Sammy, suspects his father of the crime since his old man has snapped once before on a seemingly normal sunny day, when he beat his wife with a lead pipe and crippled her before coming back to his senses. 


Sammy searches for the truth in direct opposition of a Corpus Christi detective, risking exposure of his budding criminal empire, and totally unprepared for what he’s about to find.





He said he noticed the tall guy in the black rain slicker and wide-brimmed hat first.

Then he noticed the teenage boy between them covered in blood.

My old man swore this is what he noticed first, but I had a hard time believing him because he’d had history tormenting this kid, and there was the day he’d snapped and beat my mother into a coma, not to mention my father had made a career based on lying.

The day the boy and the stranger made their grand appearance it’d been raining all morning, the quiet street close to the bay lost beneath the drumming of nearby thunder, the quick etch of lightning across car windshields, these cars more upscale than most, parked in front of the fancy houses lining the cul-de-sac. It was a peaceful street in a town on the southeast Texas coastline, not far from Corpus Christi. My father had watched men and women go about their business, fretting over things that didn’t amount to more than strands of plastic, polished steel, fake tits and even faker smiles. Once he’d been one of them, the great Edward Woods, but after a nervous breakdown, he beat our mother with a lead pipe, cracked her skull. She was in the coma for a week and the neurosurgeon said her chances of ever walking again were slim. After that I was done with him, and our mom left us all, as if even seeing the children she bore with her husband and attacker was too much to handle. Our father gave his resignation as governor before they could fire him.

After his resignation he seemed quiet and peaceful again for the most part, but every once in a while, for what appeared no reason at all, he’d tormented some of the neighboring children by making his big Shepherd, Grendel, chase them down the road.

What a bad joke.

But he’d learned that someone seriously bleeding wasn’t a joke. Whether it was strangers in a bar fight, some brothers dishing each other pain, or friends cutting each other over some girl who wouldn’t be there for either of them in a year, blood wasn’t stingy.

Blood came like rain, sometimes a trickle, other times a cascade.

He didn’t know why the kid was bleeding, though it was easy to give into speculation, the way the world fed on its own dark center, lost in some numbing agent or another to tide them over until things got better, and deals made in those trades along the coast—drugs, booze, prostitution, gambling, arms dealing—sometimes went wrong.

The teenager stumbled forward into his yard, looking at nothing, his face slack. He was seventeen, the same age as my little sister Delilah. My father sat there on the porch with Grendel.         

The kid, Shaun Garrett, had one hand raised toward my father, a gash in his forehead leaking fluid in his eyes. He said, loudly, “Anna?” 

The man in the slicker paused at the end of the block, his face a pale mask beneath the hat, the only thing remarkable about him sticking out sharply in contrast to the gloom. My father remembered thinking he thought the stranger had thick white scars running from his knuckles up to where his jacket covered his wrists.

For some reason those scars frightened him, reminded him of something painful from childhood that he’d thought he’d hidden away for good.

The boy slowly assessed where he was, the condition he was in, and that there was help waiting for him on the porch. He tried to take a step forward, tripped over his own feet, and landed heavily in wet grass, a geyser of water splashing in front of his face like a load of buckshot.

He tried to rise, a few dozen holes in his pants and tee-shirt showing all the red ravaged flesh beneath. He slipped again on his hands and knees. He shook his head, trying to get his bearings. Some people think that’s the beauty of violence; that it leaves you so shaken, so essentially you, that the act committed strips you of your masks and leaves you stark naked, and defenseless, and wholly you.

The stranger, as much as he hated seeing his quarry escape for a moment, didn’t make a move. He just watched with the rain dripping from the brim of that hat. My father couldn’t see his face clearly. He didn’t want to. For years, other than the children who had learned to avoid him, Eddie Woods had done his best to avoid eye contact with anybody.

His hand was a foot from his cell phone. It lay on the small table where his tall boy of Labatts rested. He stared at it dumbly for a second before casting his gaze back across the lawn.

The kid sobbed and rolled onto his back, let the rain pummel him.

The three of them held their positions a moment longer.

My father thought he heard the roar of the tide close by, even though he lived a mile from shore, as the stranger turned his back to them and wandered up the street from the direction he and Shaun Garrett had come. The drizzle swallowed his form. My father blinked. He looked at the boy in the grass. His fingers brushed the phone and he was dialing before he realized what he was doing. Grendel tramped into the soggy turf and approached the boy.

My dad’s chest hurt, he thought he may have a heartattack. He spoke numbly into his cell once the 911 operator answered. He gave her the necessary information and explained what he’d seen. Wiping his eyes, he sighed deeply, and said, “Yes,” though he had no idea what he was saying it in response to.

In his yard, Grendel whined and nudged the motionless Senator’s son with his muzzle.



The detective’s name was Jim Thompson. He looked like a fire hydrant with a thick trunk, a low center of gravity, short arms and a shot of bright red hair. He didn’t like me and I tolerated him, but he had a lot of respect for my father and seemed friendly with my brother Andy who worked for the local paper. Jim questioned my father while the forensic team worked over the boy’s corpse, it firmly planted in his mind that the great Edward Woods had fallen far and fallen fast, yet still retained something that most people just didn’t have.

Too bad he was the only one who could see it.

My father sipped his beer, a deep chill running through him after Jim said, “You know whose son that was, correct, sir?”

My father nodded, once, slowly. He said, “Marcus Garrett’s son.”

Mr. Garrett was Texas’s senator, a big jolly man who claimed it his God-given calling to clean our state’s streets of all the things that stained them. He’d grown up poor on the streets of Dallas and worked hard to get ahead and establish a legacy his children and grandchildren could be proud of and adhere to. Under the first year of his term, things began to change on the street, which was an unexpected occurrence and one I wasn’t particularly fond of since it cut into my business. But it proved beneficial because most of the criminals in prison are the dumb ones, or those who act on a whim, or those with no long term plan. I wasn’t brilliant but I wasn’t retarded either. I had things firmly established, a great product that not just any jackass could get their hands on, and if a situation arose that required drastic actions I’d sleep on it—sometimes for a couple nights so I could move with a clear head and an iron-clad alibi.

At first I, like my father and brother, thought all of Senator Garrett’s hyperbole was a political move, just another blowhard with no backbone. But old Mr. Garrett was just as fervent in action as he was in his speeches to the communities he visited. He was a man who caused ripples. Some people don’t like ripples, which is probably why Detective Thompson said, “We can’t find them, sir.”

“What?” my father said. “Who?”

“Mr. Garrett and his wife.” He leaned forward, said, “Do you have any idea of their whereabouts?”

My father, Eddie, stared at the Jim’s shoes. They were black with thick rubber soles that gave him an inch or two of extra height. “No, I haven’t got a clue.”

The rain let up and the air grew humid. A stray spray of rain stabbed a puddle in the road.  The detective sat on the top porch step. He said, “Why did their son run into your yard, sir?”

 “I have no idea what the kid was thinking,” my father said.

“And your daughter,” Jim said, looking at his notepad. “Delilah? She knew him well, didn’t she?”

Eddie swallowed hard. He took a long slug and set the empty can down. He went inside the house to retrieve a new can. Detective Thompson turned and sighed, placing his back to the porch support and leaned hard into it. He’d had some suspicions but knew he had to keep them in check and let the evidence lead him toward what happened here. To most people he’d tell them that he hated cases like this, ones involving murder, but secretly they were his favorites. Cases like this were the only time he slept well at night. It fed his belief that his job was making a difference. He believed that if there was any justice in the world it was that everybody’s humanity was laid bare beneath the harsh light of tragedy. He and the stranger had that belief in common. And I had to agree with them. You didn’t know somebody well when all you saw was their happy-go-lucky side. You had to see them broken and so broken they were unashamed and unguarded. That’s who they really were.

Jim smiled a little, feeling guilty for it. He wasn’t sure if Eddie was coming back out, which didn’t bother him too much, he’d gotten most of the information he needed, though he thought the old man was holding some things back. Then again, everybody held some information back. He ascribed the need to keep secrets as a basic human function. Hell, he still did it with his wife, sometimes to protect her, sometimes just because he didn’t think it was any of her business. And he was certain she did it to him, just like they both did with their parents, telling them they were as happy as they’d ever been and never broaching the defeat they felt since finding out they couldn’t have children.

Children and parents, he thought. What a strange dynamic.

He wondered where the senator and his wife had gotten off to, it still too early for him to expect anything suspicious regarding their whereabouts since the patrolmen he’d sent to their house down the street reported it undisturbed.

He scratched his head, wondering where the kid had come from then, rolling with a theory that he’d been abducted for ransom, escaped, and suffered the consequences of escaping. Sometimes all it took to fuck you up was bad timing, or not enough endurance.

He glanced at the team working over the body, catching glimpses of the corpse they knelt before. The kid was chewed up. Looked like somebody had used a meat grinder on his legs, arms and torso. It tainted the puddle of water he lay in pink. Upon first arriving and seeing Grendel with his bloody snout, Jim had feared the dog finally went and did it after the last few years of Eddie encouraging him to attack the kids who lived down this way—which he never understood in the first place since the old governor was one of them, even if two of his three kids didn’t have respectable jobs—and he thought that maybe Eddie hadn’t been able to stop the mutt once the leash slipped from his hand. But the forensics team concluded that the punctures weren’t caused by a dog, and Grendel had been sitting there next to Shaun Garrett, whining, his teeth clean. It seemed good natured. A kind of dog he’d always wanted. It crossed his mind to take it with him when he left until he realized how stupid that sounded, thinking that a moment later if nothing else it’d at least bring a glimmer of the old Edward Woods back.

Jim rubbed his head then stood. He tried to peer through the screen door and into the darkened interior of the house. He wondered what keepsakes the old man had on the mantel from his glory days as governor. He wondered how my dad slept at all when he had a son—me—who lived a life he didn’t approve of, and he had a daughter who ran the fringe as well. He thought Andy was probably the saving grace and had been the only one to inherit Eddie’s better traits: balance, honesty, fairness.

I wouldn’t have argued with him. I never claimed to be a good guy and I knew my sister was always one step away from lock-up because she couldn’t keep her mouth shut or her hands off what didn’t belong to her. And that was partly my fault and partly my parents.  



The day the stranger with the scarred hands turned his back on my father and Shaun Garrett, Delilah was smoking weed in a small apartment overlooking main street, perched on the corner of a mattress in a bedroom full of stolen goods. She was built like a gymnast with dark eyes and pale skin. Pretty much everybody who met her loved her. She drifted off into a netherwhere from time to time when she was alone, like now, as she moved into the living room and reclined on the sofa, knowing that Shaun would be back soon with what she wanted from his dad’s house, and then they could celebrate.

Delilah usually attracted the wrong kind of people, and by people I mean men. She didn’t live in one of those fairy tales where she thought she could take some ex-con and mold him like clay, her deft fingers shaping him into what she thought he could be instead of what he really was. She went for the good boys instead and chose to corrupt them.

She’d known Shaun Garrett since they were children. They’d gone through private school together until Dad had his breakdown and she ran away. Garrett watched her from afar, crushing hard and then harder as the years passed and they’d matured. It’d taken her running away at fourteen for Shaun to go looking for her. At first he’d went to Andy, who our sister never much liked—her always believing him a people pleaser—but our brother didn’t know where she was or he would have told our father, not that he claimed to care since seeing or talking to her reminded him of conversations he’d shared with our mother. After discovering from Andy that I was the closer brother to Delilah, Shaun came looking for me. He found me, but on a bad day, and he got lippy, the kid frustrated that nobody seemed to care about my sister’s welfare or his puppy love. He demanded I tell him where she was hiding, and if he didn’t have a valiant stead and a Knight’s armor, I’d imagined he did. Something about his attitude got to me and I hurt him a little, needing somewhere to direct my anger with my father even though in many ways I was just like him.

I punched Shaun hard enough to make him bleed but soft enough that he could try and fight back.

It went on for twenty minutes.

The whole time his face shifted from my father’s to his father, never either of them for more than a few seconds. My partner, Levi, he said nothing, just watched with sad eyes as if I’d disappointed him. After it was over, after I went and found Delilah and ran her to meet the kid at a café downtown, I told Shaun if he let her hurt him it’d teach him an important lesson. Delilah smiled, sitting across from him, because she saw what I did, this helpless, spoiled brat who didn’t know what he was stepping into by opening up his heart.

He’d kept up appearances with his parents but disappeared nightly to join Delilah in some scheme or another, both of them thinking the beliefs of the young—that they’re eternal, indestructible, and wise.

Shaun hadn’t been eternal, indestructible or wise enough to avoid overdosing once. Delilah had left him in a stinky basement to die if the other people there couldn’t get him help. Luckily for him one of the girls still had enough wits about her to dial 911 and scram. But he went back for Delilah after his father disowned him and his mother sent him to rehab. A few months later he took the fall when Delilah fumbled a burglary. And he came back after a ninety-day stint inside the Wargrove Correctional Facility, a little more cautious around everybody except my sister.

Our father heard about it all through Andy. The two of them were concerned that she was headed for a hard road, unable to accept that she’d been on it for the last couple years, and it was a road that she chose to travel willingly, much like I chose to do what I did despite having other dreams, and they did what they did because it was what came natural, or caused the least amount of discord in their lives.

Don’t rock the boat… Eddie Woods had lived by that until he couldn’t anymore and just gave up because giving up was easier than caring or being responsible for your choices. It’s hard to respect your father when he goes from an employed shit bag to an unemployed one. I’ve never trusted people who spout common catchphrases as if they hold some incredible philosophical meaning. Life isn’t even that complicated. You live and you die. So does everybody you love, and thankfully, everybody you hate.

I can’t say that I hated my sister, but I can’t say that I loved her either. She was talented in what she liked to do, but selfish. I didn’t trust her, even though, in a way, I watched for a glimmer of some kind of goodness she kept suppressed to protect herself.

Even back when Dad was governor, and we’d spent a bunch of time dressed up at a party with his constituencies, I’d find myself bored out of my skull, while Andy smiled and made conversation with those boring, rich assholes, and Delilah teased many of them, saying, “It’s funny how unaware people are that sociopaths are some of the most charming people in the world.”

And those people would laugh and nod, imagining that somehow they could win her affection or acceptance.  She had a throaty voice for her size, and when she wasn’t staring directly at you, she was playing at the innocent little girl who needed a knight. So many suckers fall for that. Among them lot of old men in powerful places who enjoy the flesh of an underage girl, especially the daughter of a man they pretended to like but secretly despised, or envied, or simply yielded to.

And Delilah loved every second of seeing their hidden faces, all the desires they kept in check against close scrutiny in their political circles. But she’d always find one, like Shaun Garrett’s father, who her charms didn’t work on, which only made her want to disprove their honor even more. In a way I used to enjoy watching her trap them, but it grew tiresome, just more logs she was tossing on an already out of control fire.

She shifted on the couch that morning, the television’s volume low enough that she could hear car tires squealing and someone yelling down the street. When the news showed our father’s house surrounded by cruisers, their lights flashing, a strange feeling ran through her, soft and quiet at first, but quickly growing in volume and intensity.

She reached for the phone blindly and pressed it tight to her thin, hard stomach. The television showed our father’s house from a different angle as the cameraman shifted, following the reporter, showing at first a smidgen of Edward Wood’s front porch, the end of a scuffed black shoe, then the camera jerked up and she saw our father sitting with a detective. One was in his prime, clean cut, clean. The other, the old man, was wrinkled, shoddy, hunched. He had dark circles beneath his eyes and a can of beer resting in his lap.

Delilah squeezed the phone, felt a tear slip down her cheek, and lowered her head before letting out a long breath. When she looked up again the camera was on the lawn and a group of men discussing something at their feet. One of them shook his head, scratched some notes, while another looked directly at the camera and asked a policeman at the crime-scene tape to get the reporter out of there. The patrolman shrugged then told the reporter to back up.

Delilah waited for the camera to swing back to our father. She waited a long time, long after the report had ended and moved on to other things, before she gathered her senses. She called Andy, plowing through the noise she heard in the background at his office, overriding him as he said, “It’s not a good time, Dee, I—”

“Something happened at Dad’s,” she said.

Hearing grief in her voice, a quality he had come to suspect she lacked, he said, “I don’t have anything on it here. Hold on.”

She was about to tell him that no, she wouldn’t hold on, but decided against as she chewed on a fingernail and stared at the clock hanging between the windows, above the TV. She thought Shaun should have been back an hour ago. A pang of something she’d never call worry bit deep into the pit of her stomach. When Andy came back on the line his voice startled her. He said, “Okay, Dad’s okay, but somebody murdered a kid. You remember Shaun Garrett? The senator’s kid? I don’t have all the details yet but I’ll have them in a bit. I’m going to head over there to talk to him in a few, you’re welcome to ride with me.”

She shook her head. “I can’t.”

“He’d be glad to see you, Dee. He might even need you right now. May be he’s needed you for the lp /spanspan style=”font-size: 12pt; line-height: 200%; font-family: ‘Times New Roman’, ‘serif'; color: #000000;”ast couple of years but you’re both too stubborn to apologize to each other.”

“Let me know what you find out,” she said, not wanting to hear him.

She ended the call and set the phone on the arm of the couch and wrapped her arms around herself. She sat that way for about ten minutes before she slapped herself once, the sting hot across her cheek, nestling up beneath her right eye and burrowing into the smile line at the corner of her lips. She jumped up, went into the bathroom and pulled off the back of the toilet. Knowing it could just be the dope fucking with her head, but thinking it better to be safe than sorry, she withdrew a clear plastic bag, half filled with light blue pills, from the water. After she dried it off with a towel she snagged a garbage bag from the kitchen and slid the first bag into it. She knew it’d be a couple of hours before Andy called back and filled her in on what happened.

She thought, Somehow Sammy found out.

With the package tucked beneath her arm she fled the apartment and disappeared in a throng of the people Dad both pitied and hated, allowing the violent sea of flesh and concrete to swallow her.  




If you haven’t read my latest Horror/Noir WHEN WE JOIN JESUS IN HELL, give it a chance. It’s been getting some great feedback, which I’m excited about, and I’m very proud of it. Thanks to those who have already ordered and read it!

Random Fun Stuff…

It’s been a crazy and exciting year so far, and it’s hard to believe that it’s almost over.

Right now I’m working on an interview for @HarperCollins author Michael Stanley (Michael Sears and Stanley Trollip) who I met at Bouchercon a month ago where they won the Barry Award for Best Paperback Original for the third novel in their series. They’re such lovely guys and the Detective Kubu series is so unique. I think the interview will be a lot of fun for everybody.

In the past couple days I’ve knocked out some serious story wordage in a new Thriller novel–The Wolverine. I expect I’ll finish the first draft by the end of the month if life doesn’t throw me too many curve balls. It’s about a dysfunctional family and a complex killer, a book that will explore the bonds of family, forgiveness, death, and maturity. This is another novel that I intend to sell under a pen name to keep separate from my Horror/Dark Fantasy work. It’s a lot of fun writing this book like it was to recently write The Lesser People. I see my career branching off, and like the idea of it, since most of my favorite work is more Literary Crime/Thrillers (think Dennis Lehane, John Connolly, Michael Koryta, Michael Connelly, Lee Child.) I’ll still write under my own name too, because I love Dark Fantasy in the vein of Clive Barker, Joe Hill, Brian Hodge, John Gardner, Jack Cady, Neil Gaiman, Robert Dunbar, Greg Gifune, and Peter Straub. So it’ll be a doubly fun adventure to do both genres under different names.

My latest novella (When We Join Jesus in Hell) from Darkfuse is doing well. If you’ve read it, share it with a friend and leave a review somewhere please.  I also picked up two new pre-readers yesterday and look forward to their feedback from a reader’s standpoint to balance my writing buddies that pre-read from a writerly/reader angle.

Right now I’m reading William Faulkner’s Snopes Trilogy, and Mercedes M. Yardley’s Beautiful Sorrows. Recently finished John Gardner’s Freddy’s book, which I enjoyed but Grendel (my favorite read so far this year) it is not. 

Some things I’ve found interesting around the web lately…

Shock Totem, my favorite Dark Fantasy magazine, shared a bunch of covers here.

Jane Friedman from Writer’s Digest shared this post on her blog: 2 Critical Factors for Successful Stories. It’s a simple way to stay focused and on track in your story.

I love old blues and thought this was a pretty neat movie: Lead Belly.

My hero Tom Piccirilli needs help. You can read about it on Brian Keene’s website.


Tuesday’s Training: Your muse

Our creativity comes from what has touched, scared and stimulated us before this present moment as well as through thinking on what has never been, what could have been, and what might yet be.

We form narrative from light and shadow, wisps of smoke, whispered prayers, all in hopes that the finished product will connect with and move someone else (hopefully a lot of someones.)

Our muse, our inspirations, come from a number of places and take various processes from quick absorption, a streak of lightning, or the slower, gestating movement that rattles us to our core and takes our breath away. Sometimes the lightning strike produces the gestation, but no matter what inspires us a key aspect of a healthy writing career is to STAY inspired.

I’ve heard tons of people talk about writer’s block. Don’t have a clue how to get through it because I’ve never had it, but I think one of the reasons I haven’t is because of variety, multiple points of inspiration, and a pretty simple approach to life (kinda black and white actually, which isn’t always good but isn’t always bad either because it keeps me focused.)

So, let’s look at the various parts that feed and sustain our muse, our energy, and make our time more effective both before and after creating something new, and hopefully makes what we put ourselves through worthwhile…


It’s easy to stay inspired when you have knowledge that you’re passionate about, whether it be some aspect of the writing craft, or some aspect of what it means to be human, or the importance of stories, or a deep and abiding knowledge of human emotions. Some of it we pluck consciously from every day life, some floats up like gold-encrusted debris from our subconscious, from lessons learned that can only be learned via hindsight.

But how we come by inspiration isn’t as important as acquiring the seeds that produce more of it.


That spark of an idea that stirs something in us is always exciting. But we also get inspiration from other places and probably should. Those who wait for inspiration to strike them are happy when it does and tortured when it doesn’t. Who wants to live and create like that? We can make our own inspiration a lot of times by reading books that level us, by reading those that have before, by participating in other creative endeavors (which also bleed over into our writing in a cross-pollination sort of way!), by listening to the wind, watching the stars, letting our minds wander and by remembering what it was like to be a kid without our parents around, when the world held possibilities and not an endless, bone-crushing grind. I find inspiration in all of those things, a little every day, plus in studying beautiful and striking artwork, in playing guitar, in talking to a best friend, in listening to (and sometimes mishearing) a family member. Don’t always wait for inspiration. Breathe life until you’re about to burst so that there is always material creating itself in your subconscious.


Trust in our heart-of-hearts that what we write about matters to us and means something is incredibly important. If we don’t trust our process then it’s already standing on shaky ground. It’s easier to be inspired and find inspiration when we know deep in our gut that we’re going to find something worth saying, with characters that bleed and bond together, with dialogue that crackles, with obstacles that push our characters to their limits, and in turn, the reader.

What I’ve done to build trust in my process is to accept that nothing I ever write will be perfect, not to me, not to anybody. It takes some of the pressure off, lets me say, “Hey, I’ll just do my best and that’s all that’s required.” Then I go do my best and more often than not I’m mostly satisfied with the results.


Your muse will probably kick you in the nuts or vagina if you never let your imagination run wild and naked through the forest or bound recklessly down slick city streets. Imagination is paramount. It’s as important as the execution of a tale. It’s details, the way they’re told, the massive scope of the project, and it carries the weight of stars and land and sea. All of the greats had bucket loads of it pressing at the walls of their brains. They dipped their pen in that gushy mass of nerves and created what wasn’t there before.

When I read slush for Horror Library Vol. 4, back before I’d ever sold a story, one of the things that struck me about most of the rejected pieces was a lack of imagination. You know why? Because the majority of them would tell the same stale tale and how do you get excited about that?

We’re all given and nurture (or not) a certain volume of imagination. Those gifted with a lot must be wary that it doesn’t override the story because its easy for the very imaginative to let that fire burn away the story and diminish it. We learn through experience when we have too little or too much. Those who lack imagination are in a similar predicament, but theirs is that their work can come out too bland, bound by the constraints of what their logical, rational minds allow. We have to let go of our place in the world if we’re to let our imaginations grow. I think part of what holds us back is conditioning by parents and preachers and school systems. When we chase security it flees from us because it doesn’t exist. It’s a mirage.

There are many writers but only a handful who have truly inspired me, muses many times in their own way down dark passages and those open, lovely times that are crowded by bliss: William Faulkner, Tom Piccirilli, Stephen King, Ray Bradbury, Mr. Poe, Jack Cady, Greg Gifune, Robert Dunbar, Sara Gruen, Dennis Lehane, John Connolly, Peter Straub, Douglas Clegg, Clive Barker, Cormac McCarthy, John Gardner, Gary Braunbeck, Jack Ketchum, Brian Hodge, Lee Thomas, and Neil Gaiman. I’m going to dedicate my serial novel THE COLLECTED SONGS OF SONNELION to them because they are all in this, hidden between pages and crowding sentences with their undeniable mark.

So, go find those seeds that you can toss to the wind. Be patient while you work and every now and then as you toil away in your closed little world, eyes straining and heart aching, you’ll peek over your shoulder and see those seeds have taken root. What will grow? God only knows. But that’s part of the fun.