Hi, I’m Jackie Layton, and today I’m interviewing Ruth J. Hartman. Ruth and I became friends through our agent, Dawn Dowdle. We bonded at Malice Domestic, and our friendship grew through grieving Dawn’s passing. It’s fun that we’re both Level Best Authors, and we both have books releasing this year.

Hairless Hassles was released on April 15.

Ruth, have you ever been a cat groomer, or have you hired one?  Do you give your cats baths? And how many cats do you have in real life?  

Hi Jackie, it's good to be here with you! I've never been a cat groomer or used one, so the research for them was fun. Especially since the groomer in my Mobile Cat Groomer Mysteries goes to see many of her feline clients in her van. I normally don't bathe my cats since they're indoor kitties, but two of them we have now, a brother and sister, had a skin condition when we got them as kittens. 

So, for the next ten weeks, I had to bathe them in special shampoo three times a week. Even though that period was hard on them and me, it bonded us, and even now, four years later, they love to be with me and follow me around.  That time period was a learning opportunity for me too, since it gave me a small picture of what a cat groomer does. Along with the brother and sister cats, we already had an older cat when we got them.
 
I like cats, but because of allergies I’m more of a dog person. I include dogs in all my books. In A Texas Flower Farmer Cozy Mystery Series, my main character, Emma Justice rescues a puppy. In An Organized Crime Cozy Mystery Series, Kate Sloan is rescued by a stray dog. You probably guessed that this becomes her dog. How do you keep up with all your fictional and non-fictional cats?
 
I love the dogs in your books! I'm sorry that you have an allergy to cats but am glad you can be around dogs with no problems.  I understand about the stray and rescued dogs in your mysteries. All of the cats we've had are either strays or rescues. I think it makes them more grateful when they finally get a forever home. For my non-fictional cats, we have three. The two I mentioned, Murray and Molly, are almost four years old. And our Calico, Remmie, is fifteen this year!

As far as the fictional cats, that's more complicated. All of my series have cats in them. In the Mobile Cat Groomer Mysteries, the main character, Molly Stewart, has two of her own - Percival and Jasper. Then, of course, there are lots of others in the stories since Molly spends most of her days grooming and taking care of her fluffy clients. Since every one of my four series has at least one cat in it, I keep track of them in a notebook where I write down all the characters, both human and feline. In my notes, I list the people and cats, their names, appearance, and personality quirks - yes even for the cats! (And the main character in this series was named after our cat, Molly.)

     I include dogs in my stories because I love them. I also think they add a layer to characters' development. Sometimes you can judge a person by how they treat dogs. Also, dogs need to be walked. So, they get my characters out and about in the community.
Why do you write stories that have cats? 

I've never had dogs, but my brothers, as adults, have had them. I've always had cats my whole life. In most of the pictures of me as a little kid, I'm holding a cat or two. My mom was the same way, and so is my sister. Cats are smart, funny, and each has his or her own personality. It's always a joy to get to know each different cat and see what kind of quirks or habits they have.

All my books are set in small towns, and Whitewater Valley is charming. Did you base it on a real place?
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    Thank you! It's loosely based on the small Indiana town where I live, with people who all know each other, and who are mostly friendly and quirky, with the occasional nut tossed in!
 
Ruth, thanks for answering my questions. Congratulations on Hairless Hassles.
 
 
Ruth J. Hartman loves a good mystery. That’s probably why she happily gave up a life of
cleaning other people’s teeth to write books. With several cozy mysteries under her belt,
her main problem is keeping the characters straight – sometimes they have a tendency to
hop on over to a different series, just for laughs.

Over forty books later, consisting of romances, a children’s book, women’s fiction, and
now cozy mysteries, Ruth still enjoys the thrill of taking the thoughts and images of her
characters from her imagination to her computer screen.
​
She lives in rural Indiana with her husband, Garry, and their family of spoiled cats.
Because of Ruth’s love for felines, every one of her books has at least one cat in it. Her
cats, who’ve deemed themselves her editors, act like they’re supervising her writing,
even though they’re often loafing off or napping.
 

I find the trappings of the Golden Age of crime fiction irresistible: a gifted amateur sleuth, the closed circle of suspects, the isolated country house, the 1930s setting. There is something about those books by Agatha Christie, Dorothy L Sayers, Anthony Berkley, and their contemporaries that resonates with me. It is all to do with the puzzle element, I suppose, the game between reader and author to solve the case before the solution is given, but I think it also has something to do with the restoration of order. The Golden Age (and those modern practitioners of it) was careful to make sure that the guilty were punished and the innocent saved, and after the upheaval and chaos of murder, the world was put back to normal. There was – and is – something very comforting about that.

But is it all a little too cosy?

Several years ago, after decades of having short stories published and radio plays performed, I decided it was time that I wrote a novel and, not surprisingly, my mind drifted towards an homage to the Golden Age detective novel. I didn’t want to write a pastiche nor did I want to send up the genre.  That is too easy to do.  But nor did I want it to be a cosy novel. Don’t get me wrong: I have no issue with cosy mysteries. They are very popular and they have a wide audience. But I didn’t want to write a novel where the crime centred around a dog, a cat, or a canary; nor did I want to write a murder mystery that was just as concerned with baking, painting, or pottery making as it was about violent death.

Instead, I wanted to write a serious novel set within the confines of a detective story.  P.D. James had done it so well – her novels were, in effect, Golden Age stories, but they were populated by believable people, whose lives were affected by the murder concerned.  I became fascinated with the idea of writing a traditional whodunit with realistic undercurrents, where the suspects would be relatable people, with feelings and emotions a reader could recognize.  Their motives and secrets, uncovered during the investigation, would be serious human conundrums and problems, not simply the embezzlement of church funds.  They would touch the darker recesses of the human soul.

All this pondering resulted in the first book in my Everett Carr mystery series, A Talent for Murder. That first novel was typically Golden Age: a closed community of characters, isolated in an English country mansion, and a locked room mystery to boot. A locked room mystery is an artificial construct, but it must make sense in its own terms. A criticism of John Dickson Carr, the doyen of that particular type of detective story, is that his solutions are sometimes so contrived and unwieldy that they can be unsatisfactory.  I wanted my locked room to be believable despite its artificiality.  By blending this fictional construct with the realism of believable characters and motives, I hope that the Everett Carr mysteries give a contemporary twist on traditional Golden Age tropes.
​
It seemed appropriate to honour Dickson Carr, so I named my amateur sleuth after him.  Everett Carr is a former High Court judge, who retires when his wife is murdered in a failed assassination attempt on Carr himself.  A stray bullet is lodged in his knee, leaving him lame and serving as a physical reminder that his wife died in his place.  Carr’s pain is both physical and mental. But a character cannot remain stagnant – they must progress and develop. Each book, I hope, tells something new about Carr and his world, not least in his psychological trauma. Although his physical wound remains constant, the books show Carr’s mental trauma over the death of his wife begins to deepen, as he comes to realise that he is manifesting the symptoms of what would later become known as Survivor’s Guilt. How he manages with this consequence of his personal tragedy is a developing and progressing subplot to the novels – which I hope is another way of elevating the Carr mysteries from simple whodunit puzzles to novels of some character depth.   

Since the publication of A Talent for Murder, Carr has investigated several Golden Age whodunits. He has braved The Dangers of this Night, the second in the series and he has tackled A Killing Amongst the Dead, which is the third. This year, in the latest mystery, he comes face to face with The Serpent’s Fang, due for release in March. This latest case involves the murder of a faded actress and Carr’s attempts to save a woman from the gallows.

Everett Carr is my homage to sleuths such as Hercule Poirot, Lord Peter Wimsey, and Gervase Fen. He is also my attempt to make such a character psychologically interesting to a modern audience. 

I hope he and I have done the Golden Age proud.

The Everett Carr Mysteries are published by Level Best Books and are available in paperback and e-book formats.

As a lifelong aficionado and expert on Sherlock Holmes, Matthew Booth is the author of several books and short stories about the famous detective. He wrote a number of scripts for a Holmes radio series produced by Jim French Productions in Seattle, as well as creating his own series about a disgraced former barrister investigating crimes for the same production company.  

He is the creator of Everett Carr, an amateur sleuth in the traditional mould, who appears in his debut investigation in the book, A Talent for Murder, a traditional whodunit, which offers a contemporary twist on the format.  

An expert in crime and supernatural fiction, Matthew has provided a number of academic talks on such subjects as Sherlock Holmes, the works of Agatha Christie, crime fiction, Count Dracula, and the facts and theories concerning the crimes of Jack the Ripper.  

He is a member of the Crime Writers’ Association and is the editor of its monthly magazine, Red Herrings. He lives with his wife in Manchester, England.

Erica Miner and Lori Robbins took a similar path, from the stage to the page, when they drew upon their real-life experiences as inspiration for their books. Erica’s Julia Kogan Opera Mystery series and Lori’s On Pointe Mysteries take readers on a backstage tour that’s equal parts glamour and intrigue, even before the first murder victim takes a literal swan dive. The two authors interviewed each other to explore the connection between fact and fiction for them and their amateur sleuths.
 
Lori’s Questions for Erica:

• Are there any elements of your life as a performer you don’t address in your writing?

 
Many. I focus on the most dramatic elements possible, since that is what makes opera such a compelling subject for murder mysteries. Opera stories are among the bloodiest, most violent ever written. That’s why composers often choose novels, and the plays of Shakespeare, as the basis for their operas. It’s all about great stories, made even greater by setting them to music. The parts I leave out tend to be the more mundane aspects of my performing life, although I do touch upon those to make my protagonist, Julia, as believable as possible. She does have to deal with the daily routines of being a performing musician, but I think readers are more interested in the conflicts, the jealousies, rivalries and backstabbing that occur behind-the-scenes. A big part of Julia’s arc is to morph from starry-eyed neophyte to savvy survivalist. It’s the intensity of the operatic drama that gets her there.

• Other than the murders, how much is fiction and how much is true to life?

 
I like to say only the author knows for sure! But I also admit that my fictional portrayals, of the characters who work at the opera and of the atmospheres of the opera houses, are extremely authentic. In my first Opera Mystery, Aria for Murder, which takes place at the Met Opera where I was a violinist for 21 years, I drew upon my experiences about what goes on backstage there and my knowledge of the dark corners and hidden stairways in that huge opera house to create authenticity and an environment fraught with danger. It’s a very mysterious place; so mysterious that creating motivation for murder seemed natural to me. When it came to the opera houses in the sequels, Santa Fe and San Francisco Opera (Prelude to Murder and the next sequel, Overture to Murder), I had to do a great deal more research to build a realistic world of mystery. I was fortunate in that I had connections with people who worked in those places and gave me on-site tours from top to bottom, which I used to fabricate stories that are very true to life. (Just FYI, San Francisco’s War Memorial Opera House, built in 1932, is the creepiest place ever.) But since I never performed in those opera theatres, I used my wicked imagination to create stories that would be believable.

• Did you base any of your characters on real people?

In Aria for Murder, most of the characters are based on a combination of traits of different people I worked with at the Met. Sometimes I would give certain attributes to certain characters but create them as different genders than they actually were. The exception was one key character who is entirely based on a real person. One of my colleagues who read the book immediately recognized this person who, sadly, is no longer with us. The protagonist throughout the series, Julia, is much like me when I first started out at the Met: naïve, unaware of the political machinations that go on behind the scenes. She becomes smarter fast, and I give her great courage and fortitude. That’s the beauty of fiction: you can give a character similar to yourself qualities you only wish you had. In Prelude to Murder, I also based characters on people I met in various departments throughout the opera house, but I extrapolated certain nationalities and traits of people who worked at the Met to create new and compelling characters who figured importantly in the Santa Fe plot.

• Is there any parallel between performing and writing?

For me, yes, when I’m writing about performing and performers. I’m constantly thinking of recreating my own feelings and remembrances of my performing life as I move these characters around in their performing world. I also am visualizing a performing milieu and feeling the deep emotions of performers as I write. The two elements are inextricably linked for me.

• Are there any elements of life as a performer that books and movies consistently get wrong?

I’m not going there!

• What surprises readers about the worlds you describe?

Most readers don’t have any idea what goes on behind the scenes at an opera house. They tell me they’re constantly amazed at the intensity of relationships between the multifaceted groups of people who work there. I try to make the descriptions of those conflicts, as well as of the many different locations within in the theatre, as vivid as possible. Many of those who have read Aria for Murder tell me the story and its descriptions of the Met brought them back to the times they’ve been to performances there. Others who have read Prelude to Murder have told me the descriptions are so intriguing they feel like getting on the next plane to Santa Fe!

• You use quotations to open each chapter of your books. What was the inspiration behind that decision?

 
I honestly can’t remember what it was initially, but I think it seemed the natural thing to do in order to further open up the world of opera to my readers. In these Opera Mysteries, the worlds of musical drama and real-time murder collide. The opera quotes that head the chapters give a hint or taste of what’s to come in the context of those bloody opera stories I mentioned above. Having the quotes first in the original language gives a flavor of the opera from which they come, and adding the English translation clues the reader in as to the subtleties of meaning. My readers tell me they love this feature of my books.
 

 
Short bio:
Award-winning Seattle-based author, lecturer and arts journalist Erica Miner believes opera theatres are perfect places for creating fictional mischief! Drawing on her 21 years as a violinist at the famed Metropolitan Opera, Erica’s fanciful plot fabrications reveal the dark side of the fascinating world of opera in her Julia Kogan Opera Mystery series (Level Best Books): Aria for Murder (2022), finalist in the 2023 CIBA and Eric Hoffer Book Awards; Prelude to Murder (2023) (‘A skillfully written whodunit of operatic proportions’--Kirkus Reviews); and Book 3, Overture to Murder, just released last month. Erica’s debut novel, Travels with My Lovers, won the Fiction Prize in the Direct from the Author Book Awards. She is an active member of the Puget Sound chapter of Sisters in Crime and the Northwest chapter of Mystery Writers of America.  
Buy links, Overture to Murder:
 
Amazon
Barnes and Noble
Third Place Books

 
Erica’s questions for Lori:

• Was ballet your first love? When did you decide to start studying?

 
I saw a production of Swan Lake when I was sixteen and fell in love with ballet. The next day, I signed up for my first lesson. Most girls my age were getting ready to audition for professional companies, and I knew my dream of one day joining that elite group was unlikely to come true. But, like my protagonist, dance was the only thing that mattered. Three years after I walked into the studio for the first time I signed a contract with a modern dance company in Miami. Ballet remained my first love, and I went on to dance in a number of regional companies, as well as with Ballet Hispanico. I still take lessons several times a week, and ballet remains an important part of my life.

• How did you determine you wanted to base your murder mysteries on ballet?

 
The dance world is filled with inherent drama, which makes it the perfect vehicle for a murder mystery. The competition is fierce, the careers are short, and the pressure is intense. Ballet offered a range of vivid possibilities for characters, as well as for plot and setting. Leah Siderova, the protagonist for the On Pointe mysteries, defies expectations, both fictional and factual. Yes, she’s embroiled in a murder mystery, but she’s also a ballerina on the wrong side of thirty and the stakes are higher for her than they would be for someone facing a less uncertain future.  Those challenges make her observant, wary, and more than a little cynical. In other words, the perfect amateur sleuth.

In my Master Class series, the protagonist is an English teacher who on the surface is very different from Leah. But she too is facing an uncertain future. There’s something deeply satisfying about writing, and reading, about amateur sleuths, no matter what world they inhabit. They show ordinary people, who, when challenged, find the strength and courage to do extraordinary things.

• Are there any elements of life as a performer that books and movies consistently get wrong?  

It’s rare for a movie or book to capture how intense and exhausting life as a performer can be. Many fictionalized portraits depict dancers indulging in nonstop sex, drugs, and barhopping. In real life, they rarely have the time, money, or energy that would enable that kind of lifestyle.

• Other than the murders, how much is fiction and how much is true to life?

The descriptions of a dancer’s life are all grounded in reality, but the stories and characters blend fact and fiction. The murders are works of my imagination, as are the characters, although both are inspired by real-life events. Murder in Third Position, for example, was inspired by problems the Metropolitan Opera had with the mechanical parts of an elaborate set that caused several minor injuries. In my book, the set design kills someone.

• Did you base any of your characters on real people?

Most are composite characters. Some, like my protagonist’s mother, are pure works of fiction, but I feel I know them! Barbara, in particular, is so vivid and commanding a figure, I think I’m going to have to give her her own book. Or at least, a short story.
It’s not only the characters individually but their relationships with each other that interest me. Professional dancers remain students for as long as they’re dancing. They take class every day, and their interactions with teachers and choreographers are a rich source of real-life and fictional tension. The dynamic between a grown daughter and her mother also offers continuing opportunities for both drama and growth. But not too much growth, or the exchanges between Leah and Barbara wouldn’t be nearly as funny.

• You also use quotations to open each chapter of your books. What was the inspiration behind that decision?

 
Dancers talk with their bodies. We don’t often get to hear their words, although many are remarkably eloquent speakers and writers. I added the quotations to give them a voice. In my Master Class mystery series, however, the quotations serve a different purpose, as they provide clues to solving the murder. Not all clues, however, are created equal. Some are genuine leads and others are designed to deceive. I love puzzles, and those quotations reflect that.
 
 
Short bio:
Lori Robbins writes the On Pointe and Master Class mystery series and is a contributor to The Secret Ingredient: A Mystery Writers Cookbook. She won the Indie Award for Best Mystery and two Silver Falchions. Short stories include “Leading Ladies” which received Honorable Mention in the 2022 Best American Mystery and Suspense anthology. A former dancer, Lori performed with a number of modern dance and classical ballet companies, including Ballet Hispanico and the St. Louis Ballet. Her commercial work, for Pavlova Perfume and Macy’s, paid the bills. After ten very lean years onstage she became an English teacher and now writes full time.
Lori is a co-president of the New York/ Tristate Sisters in Crime and an active member of Mystery Writers of America.


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What comes to mind when you hear the word “occult”? Evil cults that worship the devil? Weird rituals where animals are sacrificed? Wizards with nefarious aims wielding power behind the scenes? If so, you probably got those impressions from Hollywood or from fear-based religious groups. Let’s pull back the dark curtain that shrouds the occult arts to discover how supernatural elements can contribute to a mystery novel’s plot.
 
What Does “Occult” Mean?
           
First of all, the word “occult” simply means hidden, as in hidden knowledge. For centuries, people who practiced the occult arts had to hide what they knew and practiced in order to avoid imprisonment, torture, and murder at the hands of misguided authorities. They formed secret societies sometimes known as Mystery Schools, passed down wisdom through symbols and oral tradition, and wrote in secret code.
 
Yet occult ideas and practices––witchcraft, divination, spellcasting, incantations, and magic potions––continue to fascinate us to this day. Perhaps the most famous scene in literature comes from Shakespeare’s MacBeth where three witches stir a mysterious brew while they prophesy “toil and trouble” for the Scottish king. The Bard’s plays MacBeth and Hamlet also feature ghosts, and A Midsummer Night’s Dream involves faery spells and shapeshifting. More recently, J.K. Rowling’s popular Harry Potter stories have captured the imaginations of millions of young people worldwide and introduced them to some of the tenets of magic work––and its possibilities.
 
Using the Occult in Plotting a Story
 
Occult practices involve working with forces beyond the mundane, tapping into reservoirs of hidden power, and sometimes interacting with supernatural beings. Therefore, they let writers and readers step outside the ordinary limitations of a storyline. Ghosts and spirits can also expand readers’ knowledge into realms beyond the physical. In Alice Sebold’s The Lovely Bones, for example, a murdered girl shares a perspective of the crime from her vantage point on the other side.
 
Oracles such as the tarot, astrology, or runes can give veiled glimpses into the future. Is someone destined to die when the Death card turns up in a tarot reading? In my mystery novels What the Walls Know, The Goddess of Shipwrecked Sailors, and Running in the Shadows a tarot card reader sees trouble lurking ahead for the protagonist Lizzie Crane, which adds to the stories’ suspense.
 
Authors can incorporate metaphysical ideas into their novels in various ways. For example:

• Is a character a seasoned witch or wizard, or a novice dabbling with forces she doesn’t understand, like the Sorcerer’s Apprentice?
• Does a character pursue a metaphysical path that leads him to a discovery or danger? How does he grow from this experience?
• If this is a historical novel, what local customs, religious beliefs, and laws affected occultists at that time? Are historical events, such as the Salem Witch Trials of the early 1690s, worthwhile additions to the book?
• Do nonphysical entities influence a character’s decisions, aid her in solving a problem, or guide her into a realm beyond the physical one?
• Does a character conjure a spell that works––or goes wrong––and takes the story in an intriguing direction?

 
Oh, and by the way, writing is a powerful form of magic. When casting a spell, you envision an outcome you want to create. Then you infuse it with color, action, emotion, intention, and passion. You experience it as if you’re living it right now. In your mind’s eye, you see the result as if it already exists––and you’re the Creator who makes it happen. Sounds like writing a novel, doesn’t it?
 
Author Bio:
skyealexander.com/Skye Alexander’s historical mystery novels What the Walls Know, The Goddess of Shipwrecked Sailors, and Running in the Shadows use tarot cards to provide clues. Skye is also a recognized authority in the field of metaphysics and the author of fifteen bestselling nonfiction books on the occult arts including The Modern Guide to Witchcraft, The Modern Witchcraft Book of Tarot, and Magickal Astrology.

​Sarah: Somehow we both have written very similar characters, though different
plots, in our first procedural novel. Your book takes place in Laurel,
Maine. It's a small town on the coast of Maine that is a tourist area
(meaning summer residents), and a small steady population year round. LT
Nichols never planned to join the police, and in fact was a bartender
when it was suggested to him. My book takes place in Eden County,
Florida. A rural county with a tiny year-round population in North
Central Florida. Jim Sheppard didn't want to be a sheriff, and he was
getting his masters in education so he could teach history, when his
wife's death and having a baby son made him decide to drop out of
college and go home to Eden County and become a deputy under his father
who was Sheriff.

In the first book they are both faced with crimes that test their
ability to be law enforcement officers, and make both of them doubt
their ability to solve the crime. But they are both determined to find
out what happened and who did it and why, no matter what roadblocks get
thrown in their path.

How did you come to write about LT? And why do you think he became a
good police chief?

Albert: There are so many characters in crime fiction who have extraordinary capabilities, whether it’s incredible powers of deduction or a deep knowledge of psychology or ninja-like combat skills.  But none of the police officers that I know and have known are like that.  They’re real people who try to do their best in an extremely difficult job.  To me, that’s much more dramatic and compelling than the adventures of fanciful quasi-superheroes.  (Though I will admit to reading and loving all of Sherlock Holmes—over and over.)  LT is a good person with good intentions, like many of us.  The difference is that while he realizes his shortcomings, he will not let them get in the way of doing what’s right.  He’s not afraid to do the hard things, even if they appear to be beyond his capabilities.  The funny thing is that I don’t see The Ruins of Woodman’s Village as a police procedural (though I suppose that’s what it is).  I see it as character-driven fiction where the protagonist happens to be a police chief.  Maybe that approach is what keeps LT from being a cliché on the page.

One thing that Sheriff Jim Shephard has that LT does not is a high level of education and a certain thoughtfulness.  LT is a college dropout who was drifting before he joined Laurel’s police force.  Jim Shephard was purposely headed in a different direction and yet wound up in the family business:  being the Sheriff of Eden County.

How does Jim’s educational background and intelligence play into how he approaches his job?  Is it at odds with his family history?

Sarah: I never thought about LT’s education. That is a difference. Jim Sheppard had a Bachelors and was half-way through his Masters program when his wife died in a car wreck. He’s more educated than most of his deputies, except for Dee Jackson, who is completing her Masters in Criminal Justice. That might be a reason that Jim and Dee connect really well.
Jim’s father went to the University of Florida on a football scholarship, which is what he wanted his son to do. He also wanted him to major in Criminal Justice, and instead he majored in history.

I don’t think that Jim thinks of himself as better educated, but more that he loves history. I don’t think he considers what education level his deputies have, as long as they are good at their job. He hires a lot of veterans, because he sees them as having experience that prepares them for dealing with violence.

In BURNING EDEN, Jim does not feel qualified to solve a kidnapping or a possible serial killer. He is overwhelmed. He really relies on the experience of his deputies. He leans on Dee Jackson, with her Military Police experience, and his contacts in the Florida Department of Law Enforcement who do all the forensic work for Eden County.

Jim’s education is at odds with everyone’s in his department, and with his family as well.
However, history does educate a person a great deal about human beings. His education has caused him to hire diversely. He has deputies who know the people – all the people – and don’t react according to the prejudices that you’d encounter in a mostly white Sheriff’s department in rural Florida.

Eden County is pretty rural. There are a few wealthy people, but the majority of the population is poor. In THE RUINS OF WOODMAN’S VILLAGE, because Laurel is a summer tourist community, there are HUGE differences in wealth that are visible. You continue to deal with this part of being the Police Chief in Laurel in FLOOD TIDE, the next book – where LT Nichols has to work with a very wealthy, politically connected family. LT definitely seems to have issues with the “summer” people who come into Laurel and change the atmosphere a great deal. Does that change how you approach the characters and the crime?

Albert: The changing summer demographics and the accompanying dynamics of being in a seasonal tourist town pose additional challenges for LT Nichols. They complicate what is already a difficult job. As the town transforms from a small fishing village into a fast-paced resort every summer, a heightened energy envelopes Laurel. In the simplest analysis, the more people who occupy a space, the greater the chance for interactions that can take a bad turn. In addition, backgrounds and expectations can clash. It’s a lot for LT to handle. At the same time, however, he comes to realize that people, no matter what their socioeconomic status, all want the same things (love, comfort, respect, etc..,) and face the same demons (greed, selfishness, unchecked desire, etc..,). When all these things collide, life gets tough for LT Nichols. Maybe that explains his fondness for a cold Budweiser at the end of the day.

Jim Shephard does not exactly have it easy in Eden County, Florida. In Burning Eden and Frozen Eden, the sequel, he faces a different set of challenges, and they come from environmental stressors. In the first book, it’s heat and wildfires. In the second, there are unheard-of wintry conditions and an ice storm. What choices did you make to place Jim and Eden County under these conditions? How do they work into the fabric of who Jim is and his role in the county?

Sarah: Florida weather is a bit like “Florida Man,” unpredictable and extreme. The wildfires written about in BURNING EDEN really happened in 1998. There used to be orange trees in South Florida, but the freeze I write about in FROZEN EDEN pretty much destroyed the industry here.
Yes, we have long periods of “typical” Florida weather. It includes daily afternoon rains, sunshine in the mornings, and clear skies at night. It’s hot in the mornings and early afternoons, then the rain cools it down for the evening.

We have hurricanes and tornadoes. Four Corners, an unincorporated community west of Walt Disney World, has more lightning strikes than any other community in the USA.
We rarely have freezes long enough or bad enough to ice roads. We have no salt, no sand, no way to distribute it on the roads if we had it. We still have homes that don’t have any heat!
For Jim these conditions change everything. They literally threaten the lives of everyone in the county. They bring out Jim’s best qualities. His empathy and his ability to know how and where to use the strengths of his deputies. He’s a smart man, and it’s enjoyable to bring that out in the open.

One of the things I really like about LT Nichols is there’s no artifice about him. He’s a local guy who ended up being the police chief. In both THE RUINS OF WOODMAN’S VILLAGE and FLOOD TIDE, LT has to deal with people who control their world and the people around them with finely developed public personas. From a big man who controls a community through fear to a man who controls his world through wealth and political power, LT never stops pushing for the truth. Even when everyone is telling him to let it go, he simply can’t. Why?

Albert: It’s who he is. He is constantly trying to prove something, not to anyone else, but to himself.  He’s always been small in stature and often underestimated. But he knows if he’s doing his best, he can live with himself. Although he was a good athlete, it wasn’t until he found wrestling in his youth that he fully applied himself to something. LT realizes that it was giving everything he had to wrestling that made him successful—a state champion. He knows that if he wants to do his job to the best of his abilities, he needs to apply that same single-mindedness to being the chief of police in Laurel, Maine. And while he is correct about that with regards to his work, his personal life can suffer collateral damage as a result. This is something that’s explored in THE RUINS OF WOODMAN’S VILLAGE and carries over into FLOOD TIDE. By being someone who refuses to let himself down professionally, LT steps out onto a tightrope of his own creation again and again.
   
While LT Nichols is a bachelor, Sheriff Jim Shephard is a single father—of a son who wants to follow him into law enforcement. While Jim reluctantly stepped into his father’s role of Sherriff of Eden County, Jim is determined to keep his son, Michael, out of the family business. But in the upcoming FROZEN EDEN, Michael edges closer to an active role in an investigation. This intertwined family and professional dynamic is at the heart of who these characters are and where they are going. How does this weigh on Jim? How does it affect the decisions that he makes, both professionally and as a father at home?

Sarah: I think Jim Sheppard feels that his son should have the choice he was denied in life. It’s not that working in the Eden County Sheriff’s Department is a bad choice, but it was a choice he feels he didn’t make. Michael Sheppard has grown up watching his father, and before that his grandfather, do a job that is about doing good in the community. He’s watched his father make changes – a more diverse group of deputies, better educated/trained deputies – and he admires it. While Jim sees being a deputy as limiting Michael’s life experiences, Michael sees it as challenging.

Many of Jim’s deputies have greater life experiences – such as serving overseas in the military. Others are better at routine and knowing the people and Eden County’s geography. The variety of experience makes his department stronger, more capable. He can use deputies in different ways, capitalizing on their abilities and experiences.

I think he fears that Michael would be “settling” for something familiar and never giving himself the opportunity to grow more as a man by being a part of the outside world. Jim did experience that by going to graduate school and his love of history. Being a father pulled him back into Eden County, which I don’t think he regrets, but that he does feel limited him in ways that he sees other people aren’t.


Sarah Bewley has been a private investigator, a freelance writer, and is an award-winning playwright. Her love of mysteries inspired her to write her first book BURNING EDEN. She lives in North Florida with Pat Payne, a visual artist. She rock climbs, takes boxing lessons, and loves reading and dogs.  
 

Albert Waitt is the author of Flood Tide, The Ruins of Woodman’s Village, and Summer to Fall.  Flood Tide, published by Level Best Books in March of 2024, is the second book of a series featuring Laurel, Maine, police chief, LT Nichols.  Waitt’s short fiction has appeared in The Literary Review, Third Coast, The Beloit Fiction Journal, Words and Images, Stymie: A Journal of Sport and Literature, and other publications.  Waitt is a graduate of Bates College and the Creative Writing Program at Boston University.  Experiences ranging from tending bar, teaching creative writing, playing guitar for the Syphlloids, and frying clams can be found bleeding through his work.

The Lady Dragons of Brookville features Trixie, Kathleen, and Martha, three middle-aged women from different backgrounds and life experiences, join forces to protect their community. If I were to bump into them on the street, which one would eye me suspiciously?
Lynn, I guess my first question is what exactly are you doing? If you were suspicious, Trixie would totally give you the stink eye and probably ask you some very probing questions. Which one would apologize and then faint? Oh, no doubt, Kathleen. She is the epitome of a real Southern genteel lady. And which one would karate-chop me? Definitely, Martha. Martha, has a take no prisoners attitude and she is a rule girl. If you’re breaking the rules, Martha will be there to get you back on track.

It’s sometimes said that there’s always a little piece of a character they create in the author. So, which one of the Lady Dragons do you relate to the most?
Not Kathleen. Sadly, my salty language would give Miss Kathleen the vapers.  I think there’s a bit of a Trixie and Martha mashup. Trixie’s directness and Martha’s weird fascination with forensics are pieces of my personality. 

How far did you stray from the original concept to the published book? 
Overall, I kept the original concept which was a mashup of the Golden Girls and Rizzoli and Isles. However, initially, there was going to be four women. The fourth one was a meeting planner. But, in the end four is a crowd. 

Without giving away anything, is there a particular scene in the book you struggled with?
The opening scene of the first chapter stresses me out. There’s just so much riding on it.
One you’re rather proud of? There’s actually two chapters that I was pleased with. The first when Doc and Trixie are at Emile’s restaurant and the second chapter is the well chapter. One that made you laugh out loud? The ladies investigating Camille’s house. Honestly, that chapter tickles me every time I read it. LOVE it!

What type of music does Trixie listen to?
She likes rock music when she runs, especially Guns and Roses.  But Trixie also likes 80’s music. Duh, because everyone knows 80’s music was the best!
Kathleen? She enjoys jazz music and the old crooners such as Dean Martin, Frank Sinatra.
Martha?  Film soundtracks fascinate Martha. She is fascinated by the process of how the music is created to fit specific characters and situations within a film. 

Describe Trixie, Kathleen, and Martha each with the first word that comes to your mind. One word only. Don’t cheat. 
Trixie - loyal 
Kathleen - a pleaser  
Martha - pragmatic

Now, describe Karen in one word. Determined.
Your favorite color? Turquoise 
Beach or mountains? Beach but not the sand.
Ice cream or brownie? Brownie. However, vanilla ice cream with the brownie is acceptable. I’m not big on fruit ice cream but I do line peanut butter chocolate ice cream.
Steak or lasagna? Both. My favorite steak is filet cooked medium. And lasagna, always homemade.

What are you currently working on?  Book 2 of the Lady Dragons. In book two, the ladies have formed LDB Investigations. Their first case is trying to solve the murder of a friend. Early in their investigation, they receive threats which puzzles Trixie, frightens Kathleen and delights Martha.


 
    The quaint town of Brookville was just what Trixie Tanner needed for a fresh start. The condominium brochure promised, “Your vacation destination for everyday living,” and so far, it was true. She loved her new condo, the charming town, and her new life.
    But during Trixie’s early morning run, all that changed. A piercing scream shattered the morning tranquility and the illusion. When the body of a young woman is discovered murdered on the condominium trail, Brookville’s idyllic façade starts to crumble.
    Despite warnings from law enforcement and the formidable medical examiner, Trixie and her new friends Martha, a quirky CSI-wannabe, and Kathleen, a prim and proper retired schoolteacher: the Lady Dragons of Brookville join forces to find the killer and become the voice
for the dead.
 
Karen Fritz lives in North Carolina with her husband, two daughters, one maniacal Doberman and a bougie cat.

Lynn Chandler Willis is an award-winning author, a Shamus Award finalist, and the first woman in a decade to win the PWA Best 1st PI Novel competition. Her latest book with Level Best is What the Monkey Saw. She lives in a little house on the farm in the heart of North Carolina with her shelter dog, Finn, a happy border collie, and a hand-me-down kitty named Jingles.