"Think Dashiell Hammett meets Lee Child meets John Locke" for FREE

I have just made my latest book, Vapor Trail, free for the next week on Kindle (see here). I've gotten some great reviews. One of the best reads:

This is hard-boiled crime with a military twist. Think Dashiell Hammett meets Lee Child meets John Locke. The protagonist's almost clinical lack of empathy is shocking at first, then the speed at which characters are dispatched becomes a rhythm that draws the reader in, carries you through the plot twists, and dumps you out at the end of the book, determined never to join a military style workout group, ever. A great, quick read, especially if you are a fan of grindhouse movies.

If you have been looking for a free book with some decent reviews, may I suggest Vapor Trail (here). And may I also suggest you let me know what you think? I promise to return the favor.

Back to an Old Friend

The problem with having a favorite author who is no longer around is that once you've read all their stuff, it's hard to go back and enjoy their works in the same way that you enjoyed them the first time around. I'm going back to read an old friend. Dick Francis. One of my many favorite authors. I'm sure I've read Reflex before, but now that I don't remember it, I think now is a great time to go back and reacquaint myself.

The first line isn't too bad considering some of the others (see here):

Winded and coughing, I lay on one elbow and spat out a mouthful of grass and mud. The horse I’d been riding raised its weight off my ankle, scrambled untidily to its feet and departed at an unfeeling gallop. I waited for things to settle: chest heaving, bones still rattling from the bang, sense of balance recovering from a thirty-mile-an-hour somersault and a few tumbling rolls. No harm done. Nothing broken. Just another fall.

Francis, Dick - Reflex

One of the few good things about going back and re-reading novels is that I like to remember where I was when I read them, and think about who I used for the character models and what places I used for the setting. When I was younger and had a very small history of English country houses to pull from, I always used my parent's friends, the Turner's house as the setting for so many of Dick Francis' novels. It's a tudor style home and was the closest I could get to envisioning British homes.

I also like to remember who it was I envisioned in different roles. Whenever I read a Stephanie Plum mystery (see evidence of that guilty pleasure here) I have a very clear image of the real person in my life who I use in that role. She's perfect for it even though she looks nothing like the way Stephanie Plum is described. Same goes for Jack Ryan. Got me a person for that role too. I like to read these old novels and remember who I used. Usually I remember then think to myself, "What were you thinking!"

Well, . . . It Wasn't Dull . . . But Do We Call That Thrilling?

It's well documented that I have a man-crush on Hugh Grant. Don't know why . . .just do. I suspect it's a British accent thing. And if there is a British accent combined with slang, doesn't matter who says it . . .I dig it. I watch "The Great British Baking Championship" right now and I just love their slang. "I'm going give it a whack in the over." When said with a British accent it is an incredibly endearing statement.

Love Actually is one of my little brother's favorite movies. I don't blame him. Lots of British accents in that sucker. If it wasn't for the fact that Keira Knightley looks so much like a fish when she talks, it might be my favorite movie too. The scene I love most is when Hugh Grant is talking to his aide about a secretary and the aide calls the secretary "The Chubby One." Grant says "Hmmmmm, would we call her chubby?"

That's sort of how I feel about Barry Eisler's book, Fault Line (see here). Except I think my review would be, "Hmmmmm, do we call that a techno-thriller?"

The plot is pretty humdrum. A Macguffin in the form of a secret virus cracking software that the government wants and they will kill to get it. Everyone who comes near it or has something to do with it ends up dead. But really it's the story of two brothers, Ben and Alex. Ben the super spy and Alex the tech lawyer. All in all, although not a yawn fest, it just wasn't as good as some of Eisler's other works (see here).

I loved Eisler's work with the John Rain series. I thought the writing was impeccable. Sadly the last few that I've read just aren't as good as his first few (see here). Now, don't get me wrong. It's better than anything Brad Thor has ever thought about producing and as good as any of the Tom Clancy legacy novels that are still being produced. Are they on par with Forsythe? Not quite. 

His first few may have been, but these latest two have been leaving me wanting more.

Thrillers not Dullers

I love thrillers almost as much as I love mysteries. If I had to choose one book, and I was offered a choice between Lawrence Sanders' best mystery and Fredrick Forsyth's best thriller I would probably get stuck in a cognitive loop from which I would never escape. So it's nice to fall into a nice thriller every now and then from an author whose previous work I so admired.

I have just started Fault Line by Barry Eisler (here). I read and loved the John Rain series of books. I thought they were fun to read, extremely well written and innovative for thrillers (see more here). The other books I've read by Eisler are not quite as good as those, but as a winner of  a Barry Award for Best Thriller and a Gumshoe Award for Best Thriller you have to give him some credit. So far, Fault Line is as good if not better than "Gods Eye View" (see here) but still far from as good as any of the John Rain series.

As for first lines (see all here), Fault Line doesn't disappoint:

The last thing Richard Hilzoy thought before the bullet entered his brain was, Things are really looking up.

Eisler, Barry - Fault Line

Thrillers not Dullers

I love thrillers almost as much as I love mysteries. If I had to choose one book, and I was offered a choice between Lawrence Sanders' best mystery and Fredrick Forsyth's best thriller I would probably get stuck in a cognitive loop from which I would never escape. So it's nice to fall into a nice thriller every now and then from an author whose previous work I so admired.

I have just started Fault Line by Barry Eisler (here). I read and loved the John Rain series of books. I thought they were fun to read, extremely well written and innovative for thrillers (see more here). The other books I've read by Eisler are not quite as good as those, but as a winner of  a Barry Award for Best Thriller and a Gumshoe Award for Best Thriller you have to give him some credit. So far, Fault Line is as good if not better than "Gods Eye View" (see here) but still far from as good as any of the John Rain series.

As for first lines (see all here), Fault Line doesn't disappoint:

The last thing Richard Hilzoy thought before the bullet entered his brain was, Things are really looking up.

Eisler, Barry - Fault Line

Not Sure What I'm Supposed to Like

I'm in California this week. Specifically, right now, I'm in Longbeach just south of LA. I was up near Oakland earlier in the week and got to stay smack dab in the middle of the area I used for the setting for my third book (see here), just near Concord, CA. I think that area is pretty, the bay area. Down here, in LA and south of LA, I'm not too sure what I'm supposed to be impressed with.

I'm currently reading a book about how to write mysteries, a book on the craft of writing. A few years ago I had a pledge to read one book on the writing craft for every two fiction books (see here). I'm re-starting that project under slightly different terms. This latest book began with a chapter on setting. One of the elements of mysteries that this author of the first piece focused on was setting. He stated that a mystery writer must choose either LA or New York for the setting. (I'm not too sure how seriously I should take this book). Having been to New York last year and having read so many Lawrence Sanders novels that took place in New York, I can understand using that city as a setting. LA? I don't see the appeal.

I understand the noir aspect of LA but I think that time has come and gone. I can also understand the glitz and glamour of the city, but for the most part LA is just dirty, busy, and self involved.

I'm sure that there are places here that I've yet to suss out, and I'm also sure that many people will say, "You live in Houston! Houston is just a dirtier, hotter, more humid LA that is on a disgusting Gulf rather than on the Pacific." They'd be right. But I don't have my settings in Houston. It's boring as a setting.

Long and short, I don't understand the LA fascination. New York, sure. LA, still not buying it.

Yet Another One Where I Can't Wait for the Next One

Despite the dissonance involved in the title, I loved We're All Damaged by Matthew Norman. As I have finished it, and as I like to catalog last lines (see here) as well as first (see here), I offer the below.

This line occurs after the main character is trying again (don't want to give too much away) and is with the new girl. Having worked through problems like the main character has, I agree with the thought and the sentiment in the last line.

“It’s all so pretty,” she says. “But it’s kind of scary, too.” 

And she’s right. It’s absolutely terrifying.

Norman, Matthew - We're All Damaged


We're All Damaged is alot like About a Boy. Loved reading About a Boy. It was lively, engaging, a bit surreal, funny and best of all the somewhat boring ending that occurred in the book was souped up a bit for the movie. I can see the same thing happening with We're All Damaged. The climactic scene for the action in this novel, that involves a booted motorcycle, a dented pickup, boxer shorts and NWA rap, could use a bit of fine tuning. Other than that, the book was a wonderful sojourn for the lonely, love forlorn and those going through difficult relationships.

The only thing . . . it may only speak to guys, so be careful ladies. My review may not transfer across gender lines.

So why the odd title to this post? Well, I read Matthew Fitzimmon's first book, The Short Drop (see here) and I loved it. I even said I couldn't wait for his next book. The same hold true for Matthew Norman.

NaNo Ideas 2016 Edition

So, I'm writing my fourth novel and for the most part I'm basing it on a short story I wrote several years ago about a "revenge fantasy." It was more than any other story, a release of frustration on my part about an aspect of my family (if you'd like a quick read . . . you can find it here).

I have a dilemma. There is a perfectly good motivation in the short story. It makes sense for what the reader knows about the characters. Can it be expanded and would it make as much sense in the novel format? I think so. The problem is that I have stumbled upon what I think may be an even better plot and character motivation and I'm wondering if I should scrap the old, keep with the old and safe the new for a potential novel number five, or try and blend the two together.

I remember reading Stephen King's On Writing (here) and although I hated it, I do remember a nugget or two of good advice from the book. I remember him writing about how he liked being able to always whip out a book in the doctor's office or on the bus and always trying to move forward in his reading and therefore in his writing. That he was always chewing away on his characters and plots and writing. And this I remember well, he wrote, if you aren't trying to always think about and make your writing better, why are you a writer? (or something to that effect).

Nevertheless, I was in one of those moments when I was chewing on my plot when this better idea about a murder came up. I think though the decision is a pretty easy one. This new one is more complex, more deliciously nuanced and it wouldn't do to try and blend them. I'll save the short story sniper plot for next time.

Kindle Editions

I subscribed to Kindle Unlimited so for a small sum every month I get free books, as many as I want, only ten at a time, and only from a certain selection. It's not that bad a gig for a guy who reads quite a bit. I betcha I've saved close to a hundred bucks thanks to Kindle Unlimited. All of my books are a part of Kindle Unlimited, so you Unlimited folks can go out there and get them for free (see here, here, and here).

There is also Kindle Audio. This is the audio version of all the books that I get. It's basically Audible.com linked up with Kindle. I use Audible some. Not as much as I would like, but some.

There's the definitions too. If I have a question about a word, all I need to do is highlight it and BOOM, there's  the definition. Or if I'd like to see what other people are highlighting or noting all I have to do is turn that option on.

There a lot of great things about Kindle, there's also a whole lot they've left on the table, and not just for the reader, there's a lot missing for the author too.

When I first got my Kindle I was not as impressed as I hoped. I blogged about it (here) and brought up many things that I thought could be done better. Why isn't there "Kindle Soundtrack" that plays music while you read? Why isn't there "Kindle Interactive" that allows you to quickly see maps and photos of the things the reader is reading about? I remember when I was reading Shogun I really wanted to see a map of Japan. Nope. I had to go find the map that was in the book and that wasn't an easy navigation.

What about Kindle Auto Edition. What would that be? Well, I know that there are parts of my newest novel that could have used a bit more of an edit. How do I know that? Well a couple of my favorite readers let me know about them. One of my newest readers actually compiled a list of all the edits she felt should have been made before the release and sent them to me (she got a huge Starbucks gift card and free copies of all my other books for her efforts).

My problem? Why can't I upload my changes and have those changes automatically be pushed out to all the editions of my novel that have been bought? It would act as an update. By the time I push them out it might be too late, but better late than never right?

So, hurry up Amazon and get that Kindle Auto Edition going. Those of us out here who don't edit well the first time could really use it.

Stumble Upon

When I was in San Diego last year we stumbled upon a truly incredible Italian restuarant. We weren't looking for an Italian restaurant, no one had recommended it, but when we sat down on their patio, and met our waiter we knew we were in for something incredible. The food was amazing, the service exemplary, the price was reasonable and the entire thing was the perfect experience. Pure serendipity. 

This is what has happened with We're All Damaged by Matthew Norman (here). I've only just started the book but already I can't stop reading it. It's fast paced, witty, light, and fun. It reminds me of a book I read many years ago which I also loved, Sellavision by Augusten Burroughs (here). 

What I love most about this novel so far is that there are times I'll be reading it and I will think, "wouldn't it be neat if he . . ." then the author does that very thing. Or worse I'll think, "Awe man! I should have thought of that and written that." Still, it's fun to read a book that speaks to you and that you just stumbled upon for no better reason than it happened to be free as a part of the Kindle Unlimited program. I don't read much comedy, I rarely find it that funny. Nice to see it done well here.

I love cataloging first lines as we all know, so it's nice to see Mr. Norman's offering. I've clipped almost the whole first page because I love the way it sets the scene.

It’s scary how many details I remember about the night Karen left. 

That’s the thing I hate most about my brain, the way it stores and catalogs things, all this dumb shit on a giant hard drive in my head, so I’m forced to obsess over it all like a crazy person. 

Here’s a perfect example. 

Our waiter had a button stuck to his apron that said “Ask Me about Bacon Time!” Why in the hell would I remember that? He had to have been wearing, like, thirty buttons— they always do— but that’s the one I remember. He brought us our food, I saw the button, and I wondered if he was ever tempted to wear it outside of work, like with jeans and a T-shirt, just hanging out with his friends. 

Hey, everybody— you guys— ask me about Bacon Time! 

There was an old couple at the table next to ours drinking these enormous novelty margaritas, like a pair of drunks on a cruise. The lady kept touching her husband’s hand across the table. It was nice. I remember thinking that. They wore matching Velcro sneakers. 

“Wake Me Up Before You Go-Go” by Wham! was playing. Blast from the past, I know, but talk about a jagged little piece of pop music irony. I suggest Googling it. It’s the single most upbeat fucking thing in the history of recorded music. In five thousand years, archaeologists will unearth it on someone’s long-lost computer. Jesus, were these primitive people really that happy? they’ll ask in their high-tech future language. 

Karen was wearing her green sweater, the one I got her for her birthday. She really loves green. Green throw pillows. Green socks. She painted an accent wall green in our dining room once when I was away. It was kind of weird— her green obsession— but I went with it, because she was my wife. I saw the sweater on one of those creepy headless mannequins at the Gap, and I knew she’d love it. 

Here’s the worst detail of all— worse than Wham! even, if you can believe it. It all happened at Applebee’s.

Norman, Matthew -We're All Damaged 

I like the way he's taken so many seemingly normal things in suburban life and arranged them into his breakup to be completely absurd and revealing at the same time.