| Conversation with Author:
TELL US A LITTLE ABOUT YOURSELF, HOW AND WHEN YOU STARTED WRITING.
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I “fell” into writing. I was a theatre major in college and spent a decade in New York City directing plays and composing music for musicals; but since there was no money in that, I became a writer. This was theearly 1980s. My first book was a non-fiction encyclopedic work about the history of James Bond, a bio of Ian Fleming, and analyses of all the 007 books and movies up to that point. THE JAMES BOND BEDSIDE COMPANION was published in 1984, was nominated for an Edgar, and established me as a “Bond expert.” Surprisingly, though, my career took a sharp left turn, for I got involved on the ground floor of computer games. Between 1985 and 1997 I was a computer game designer and writer, creating role-playing adventure style games, many of them award-winning. To use a movie analogy, I was the screenwriter and sometimes director. It was only when the Ian Fleming Estate came calling in late 1995 that I started writing books again. Since John Gardner was retiring from the gig as Bond author, they asked me if I’d like to give it a shot. While I wrote my first novel, ZERO MINUS TEN, I remained employed at Viacom New Media as a game designer. But after the book came out in 1997, I quit the day job and became a writer full time.
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HOW DID YOU USE YOUR LIFE EXPERIENCE OR PROFESSIONAL BACKGROUND TO ENRICH YOUR
STORY?
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THE BLACK STILETTO. The locations of the novel—Odessa, Texas, Chicago NW suburbs, and New York City—are all places where I have lived. I know them like the back of my hand, so my knowledge informs the story. As for the plot and characters, they simply emerged from my imagination. I’ve always been
a comics and graphic novel fan, and my idea was to create a graphic novel/comic book in the form of a prose novel.
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ANYTHING AUTOBIOGRAPHICAL IN YOUR NOVEL?
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As answered in the previous question, I lived in all three of the main locations. Most importantly, though, my mother-in-law died of Alzheimer’s—in the same nursing home where Judy Talbot (the Black Stiletto) lives in the novel. The experiences my wife and I had dealing with her mother directly inform the novel. Everything in the book that happens regarding Alzheimer’s is real.
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WHO IS YOUR FAVORITE OR MOST SYMPATHETIC CHARACTER? AND WHY?
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Judy Cooper, the Black Stiletto—she is very likable, if I do say so myself. I managed to write from a female perspective and make it believable. One female reader told me she never would have known a man had written it. I tried to make Judy tough and vulnerable at the same time, someone with a sense of humor and a worldly outlook—and yet place her in a time period in which women of that ilk were kept in their places.
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WHAT PART OF WRITING YOUR BOOK DID YOU FIND THE MOST CHALLENGING?
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Getting the period accuracy correct, both for New York City and Odessa, Texas. I relied on several resources for this—including a friend in New York whose grandparents were the owners and managers of the Algonquin Hotel during the time period, an archivist in Odessa who helped me with things like what streets and schools were active in that time period… I really wanted readers to believe that this was the 1950s.
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HOW DO YOU DIAL UP THE TENSION TO KEEP YOUR READERS ON THE EDGE OF THEIR SEATS?
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Good storytelling and structure is what thriller-writing is all about. There are all kinds of technique-tricks, such as utilizing a crisp, fast pace, using “timebomb” structure, ending chapters with cliffhangers, and keeping things moving.
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WHAT WRITERS HAVE INSPIRED YOU?
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Ian Fleming, Ruth Rendell, Richard Adams, Neil Gaiman, J. D. Salinger, Stephen King, Michael Connelly, Greg Iles, Harlan Coben, Philip K. Dick, John Irving, Jim Thompson, James M. Cain, Raymond Chandler….
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WHAT IS THE WRITING PROCESS LIKE FOR YOU?
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I liken it to building one of those 1000+ piece jigsaw puzzles. You do it one piece at a time. You “build” a novel, you don’t write it. There are definite phases—the conceptual phase, the initial research phase, the outline phase, the nitty-gritty research phase, the writing phase, and the revising phase. I outlined this in my article “The 007 Way to Write a Thriller” in the November 2010 issue of THE WRITER magazine.
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WHAT IS THE BEST PIECE OF ADVICE ABOUT WRITING THAT YOU’VE EVER RECEIVED?
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Read a lot.
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ANY FINAL WORDS YOU WOULD LIKE TO SAY ABOUT YOURSELF, YOUR NOVEL, OR LIFE IN
GENERAL?
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I have many interests and try to utilize them to make money. For example, I’m a film historian. So I teach Film History (credit course) at the College of DuPagein Glen Ellyn, IL; I teach film-related courses in Continuing Education at Harper College in Palatine, IL; and I write articles and reviews for CINEMA
RETRO Magazine. With Chicago film critic Dann Gire, I present a monthly live show called “Dann & Raymond’s Movie Club,” which is growing more popular each month. I also write reviews and articles for the DAILY HERALD newspaper (Chicago).
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I am a music enthusiast and pianist—I play piano for a Klezmer band and have in the past played solo piano at bars and restaurants. I write reviews and articles for PROGRESSION Magazine (devoted to the Progressive Rock genre).
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My James Bond connection has gone beyond just writing a series of 007 novels. For 3 decades I’ve been known as a “Bond expert” and have presented many slideshow lectures on the history of Bond—as far away as the prestigious Edinburgh International Book Festival. The Kagawa Prefecture of Japan has erected a permanent museum in my honor entitled “The 007 Man with the Red Tattoo Museum” on Naoshima Island, celebrating my Bond novel that takes place there. I am also an Ambassador for Kagawa Prefecture.
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