The Big Deal and Top Suspense

Amazon has put the following Top Suspense kindle books on sale for $0.99 as part of their Big Deal sale that runs until Aug. 4th

The Midnight Room by Ed Gorman

Deep Blue Alibi by Paul Levine

Easy Innocence by Libby Fischer Hellmann
A Shot to Die For by Libby Fischer Hellmann
The Ellie Foreman Mysteries -- Boxed Set by Libby Fischer Hellmann

Stone Cold by Joel Goldman
Deadlocked by Joel Goldman
Dead Times Four by Joel Goldman

Julius Katz and Archie by Dave Zeltserman
One Angry Julius and Other Stories by Dave Zeltserman
21 Tales by Dave Zeltserman

Watch Me Die by Lee Goldberg
Deadspace by Lee Goldberg

True Crime by Max Allan Collins ($1.99)
Flying Blind by Max Allan Collins ($1.99)
Triple Play by Max Allan Collins ($1.99)

Memorial Day by Harry Shannon
Eye of the Burning Man by Harry Shannon

Ed Gorman interviewed

Over on The Rap Sheet, J Kingston Pierce conducts an excellent long interview with Ed Gorman:

Gorman’s efforts have not gone unrecognized. As I mention in today’s Kirkus column, he has at various times received the Shamus Award, the Bram Stoker Award, the Spur Award, and The Eye, the lifetime achievement award given out by the Private Eye Writers of America (PWA). But his influence doesn’t stop there. Together with author Robert J. Randisi, in 1985 he created Mystery Scene magazine, for which he still pens a regular column, “Gormania.” From 2008 to 2009 he served as president of the PWA. And he’s been a frequently enthusiastic supporter (occasionally through his blog) of efforts by other wordsmiths looking to break into the fiction-writing game or win greater recognition for their talents.

“Ed Gorman’s talent as a writer is matched only by his generosity to other writers,” Randisi told me in a recent e-note. “Indeed, he’s a true Renaissance man because he has also been columnist, reviewer, and publisher in this business. But I’ve also been privileged over the years to have Ed as a friend, and perhaps that is where he has been the most invaluable.”

Click here to read the complete interview.

London Between the Wars: Of Crimes and Costermongers

Paul Levine interviews New York Times bestselling author Jacqueline Winspear  on his Pulp Friction Podcast here.  Jackie sets her "Maisie Dobbs" crime fiction series in the 1920's and 30's in London.  If you don't know what a "costermonger" is, this is the place to find out!

The Science Thriller

As someone whose stories have often turned on an element of science - imagined science in the early days, real science later on - I was recently in Dublin for a panel discussion hosted by Trinity College as part of the European Science TV and New Media Festival. It wasn't a debate, as such; everybody brought something different to the panel and we ranged from the coaching of actors to achieve authenticity, to the dangers of embracing bad science for popular appeal, to the wider use of media to communicate real and urgent science issues in accessible ways.

Along the way I referred to a document that I'd written for private circulation back in March 2009, when we were waiting to hear if CBS were going to pick up Eleventh Hour for a second season. Our figures were good but the omens weren't, as we'd only been given a partial order for extra episodes instead of the full 'back nine' to complete the first season.

This was a memo that I'd written at the request of the Bruckheimer people, spitballing a future direction for the show and reflecting on why our science thrillers could hold a unique place alongside the forensics and the procedurals elsewhere on the network. Having mentioned it in Dublin, I said that I'd put it online when I got home. So if you were there, here it is.

And even if you weren't, here it is anyway. It's a gathering of thoughts resulting from my experience on the ITV show, where I had little control and my commitment to scientific probity was considered unhelpful, and from the US episodes which represent some of the most satisfying work I've ever done.

The whole thing runs just over four pages and the PDF is here.

Here's an extract:

Villains and Guest Characters

At the beginning of my career I wrote a miniseries called Chimera, a variant on the Frankenstein story with a cold-hearted scientist as its villain. It made some waves, and through various debates and public events brought me into contact with a lot of real-world science professionals. I found that these scientists were, almost without exception, sharp, cultured, funny, and great late-night company. They were well-read, they listened to opera, they played musical instruments. Future Nobel prizewinner Paul Nurse was a motorbike nut (and was the guy who first encouraged me to dream up a real-science drama). Biologist Jack Cohen advised sf writers on alien-building. All were genuinely excited to be doing the work they did.

As much as these real scientists shaped my picture of Hood, they also shaped my attitude to science villains. The ruthless, 'playing God' stereotype, arguing that harm can be justified in the name of progress, is a cartoon. Science's villains are the same recognisably human people as those regular scientists. But they become villains through regular human flaws, not by Nazi logic. They sell out, or screw up. They can bend the truth to suit their paymasters or the policymakers, and call it 'being realistic'. They can be reckless, they can underestimate danger, they can lie to cover their mistakes, they can take desperate measures to cover their lies. But science's villains are characterised by their human failings, not by single-minded immoral intent.

And often they won't even be scientists, but people who co-opt science to their own purposes. CEOs, charlatans, toxic waste dumpers, politicians, lobbyists, thieves, counterfeiters, scammers, conspiracy theorists, drug lords, mobsters. People like the real-life international hustler and would-be breakthrough human cloner who provided the model for the bad guy in my very first story.

The memo was never intended for public circulation but I reckon enough time's probably passed by now.

You may find it a useful snapshot of a discussion in the show-making process. Just bear in mind that we didn't get the pickup!