Thursday, March 11, 2010

Cover Me

I received a happy surprise via e-mail today: The prototype book cover for DEATH NOTICE. I regret that since it's not the official, finalized version, I can't let you see it yet. But I'm pleased to tell you that it's a very nice cover, with lots of cool details that readers can only understand once they finish the book. It's also a very professional-looking cover. The illustrations, the colors, the fonts are all top notch. It has me very excited.

And very, VERY freaked out.

Why? Quite simply, because my name is on it. In big, bold letters. The title is in bigger and bolder letters. And I'm not used to that. In my thirty-five years on earth, I've grown quite accustomed to seeing book covers that feature other people's names in big, bold letters. So to see mine there is more surreal than you can imagine.

Yet I can't stop looking at it. And I can't wipe this silly grin off my face. And I can't wait until it's completely finished so I can share it with all of you.

Sunday, March 7, 2010

Best Pictures

I'm a movie buff. A huge one. So Oscar night is a big deal for me, even thought what I think is the best picture of the year seldom ends up being the big winner. In that spirit, I present a decade's worth of personal best picture winners. The Academy of Motion Picture Arts and Sciences and I have agreed only once -- in 2002 -- although I'm hopeful that tonight we'll see eye to eye.

Update: Oscar and I agree once again!

1999 Magnolia



Paul Thomas Anderson's epic is about an army of messed-up characters colliding in a Los Angeles filled with loneliness, isolation, coincidences, raining frogs and Aimee Mann tunes. The cast -- featuring Tom Cruise, John C. Reilly, Julianne Moore, Phillip Seymour Hoffman and William H. Macy -- couldn't be better, and Anderson juggles the characters and plots with a deftness that rivals the late, great Robert Altman. Some critics have called it too long and over-the-top. I prefer to think of it as operatic -- and a masterpiece.

2000 Crouching Tiger, Hidden Dragon



There's a lot of fighting going on in Ang Lee's martial arts epic. In fact, Crouching Tiger, Hidden Dragon boasts some of the best action sequences ever put on film. Yet it's the twin tales of doomed love among warriors that truly resonate. Chow Yun Fat and Michelle Yeoh are the older, wiser pair, who know they can never be together. Ziyi Zhang -- who gave the performance of the year -- and Chen Chang are the younger pair whose coupling has tragic results. Did I mention that every frame of Crouching Tiger looks ravishing? It's poetry for the eyes.

2001 In The Mood For Love



A perfect, melancholy film. Maggie Cheung and Tony Leung play neighbors whose spouses are having an affair. They bond over this shared pain and soon find themselves falling in love as well. Wong Kar-Wai's aching masterpiece is sensory overload, with clothes and wallpaper so vivid you can practically feel their textures. But all that direction has a purpose. It alone expresses the blooming love that the characters dare not speak of. A throwback to the great, tragic romances of the fifties, In the Mood For Love makes brooding look beautiful.

2002 Chicago



At last, the Academy and I can agree on one thing: That Chicago was the best movie of the year. A musical set in the Jazz Age, when criminals were celebrities and vice was a virtue, it features Renee Zellwegger, Richard Gere and Catherine Zeta-Jones giving hands-down the best performances of their careers. The showstopping numbers are killer (pun intended), but underneath all the sequins beats a cynical, black heart.

2003 Lost in Translation



Sofia Coppola portrays Japan as another planet, far different from the America we live in. Then she plants two dazed strangers into this strange land and watches how they connect. One is an actor filming a whiskey commercial. The other is the wife of a celebrity photographer. Bumbling through a surreal and sparkling Tokyo, they form a tender, unrequited romance. Anchored by sensitive turns by Bill Murray and Scarlett Johansson, it's the funhouse-mirror version of In the Mood for Love, and just as beautiful.

2004 The Aviator



Million Dollar Baby, Oscar's choice, was an incredible film, but Martin Scorsese's look at the rise and fall of Howard Hughes has an irresistable cinematic va-va-voom. Sure, Kate Beckinsale doesn't even come close to capturing Ava Gardner's fire, but Leonardo DiCaprio is fantastic as Hughes, Jude Law is perfect casting as Errol Flynn and Cate Blanchett's Katherine Hepburn captures both her distinctive voice and legendary essence.

2005 Good Night and Good Luck



It's hard to believe, but there used to be a time when journalists actually investigated things. And when they discovered something they didn't like, they told the world. This was especially true in the fifties, which Good Night and Good Luck protrays in crisp black and white. While the plot is about how Edward R. Murrow responded to McCarthyism, it's true purpose is to shed light on the shameful neglect now being practiced by the media elite.

2006 Little Miss Sunshine



"You can pick your friends. You can pick your nose. But you can't pick your family." My dad used to tell me that, and I'm sure the filmmakers behind Little Miss Sunshine had been told the same thing a time or two. Ostensibly a road movie about an oddball family trying to get to a kiddie beauty pageant, it's really about family life in general. Like the Hoover clan, most families are sad and have dreams and feel like outcasts. The only way to get by is to hunker down, spend some time together and enjoy the ride.

2007 Michael Clayton



This is the kind of movie they don't make much anymore: A thought-provoking thriller for adults that addresses serious issues while maintaining a breathless narrative momentum. George Clooney is perfect as a lawyer who discovers his conscience during a landmark class-action case. Even better is the film's warning -- by selling our souls to corporations, America is making a deal with the devil.

2008 Wall-E



I'm not exaggerating when I say that Wall-E himself will go down in history as one of film's most endearing characters. In addition to being divinely animated and exceptionally witty, this Pixar masterpiece is about the unstoppable forces of both love and nature. And by giving a robot a soul, the Pixar geniuses make us appreciate the ones we already have.

2009 The Hurt Locker



Avatar was a feast for the senses and there'll always be a special place in my heart for Up, but Kathryn Bigelow's look at a bomb disposal unit on the chaotic streets of Baghdad gets my vote for sheer filmmaking brio. With a you-are-there feel that's at once disorienting and exhilarating, it's the most apolitical war film ever made. Instead, it's about three men doing a dangerous job and what spending every day balanced on a tightrope between life and death does to them.

Monday, March 1, 2010

Is the Price Right?

In the waning days of January, Macmillan and Amazon got into a disagreement over the price of e-books being sold on the Kindle. The result was that Amazon yanked all Macmillan books from the Kindle and its online store. I didn't weigh in on this at the time for several reasons. The first is that my publisher, St. Martin's Press/Minotaur, is an imprint of Macmillan, so I thought it best to let them do the talking. Second, since my book won't be out for months, I knew this skirmish didn't affect me. (It was quickly resolved.) But the main reason was that I really had no idea what the fair price for an e-book was or how much it cost for a publisher to create and distribute one.

Lucky for me, The New York Times does. And they've written a thorough and concise examination of just how much it costs to produce an e-book. Read it here. It's very interesting and probably explains the cost structures of a lot of e-goods, whether it's a Kindle book or an album from iTunes.

Friday, February 26, 2010

Cabin Fever

Central New Jersey has been walloped with snow. Again. And when I'm not driving in blizzards to get to work, I'm pretty much snowed in, battling writer's block. It all makes me think of a certain movie ...

Monday, February 22, 2010

An Excerpt

Whenever someone learns that I'm a writer, the first thing they ask is what I write. My common answer is mystery/thriller, which is correct. If I know them well enough, I even direct them to this blog to give them a better idea.

But there's a problem with that. Looking at this blog, you still don't know what I write? Right? Sure, there's that Free Fiction tab on the right, but those are stories. I write novels. And I figured it was time to give visitors here a glimpse of what I really write.

So there's now a new label: Excerpts. This will be the tiniest snippets of any upcoming works. Today's excerpt is from the first chapter of my forthcoming debut novel, DEATH NOTICE. Enjoy!


When Kat found the box, it was indeed sitting on the side of the road, resting on a patch of frozen snow. Although the truck driver who spotted it called it a coffin, Kat, in true police chief fashion, refused to speculate on the matter. Squinting against the sun’s reflection on the snow, she peered through the windshield at the box sitting a few yards away. Rectangular in shape, it looked to be made of untreated wood. Probably pine, if Kat cared to guess. Which she didn’t.

She climbed out of the car, her breath forming a brief ghost of vapor that floated away in the frigid breeze. It was too damn cold for March, which Kat thought was bad news in several ways. For one, the prolonged winter depressed her. Second, the cold had kept the tourists away for too long. And most folks in Perry Hollow depended on them for their livelihoods.

Finally, the cold seemed to Kat a shivery warning of impending danger. It was too sharp, too unnatural.

When she finally got around to taking that first sip of coffee, it was in a vain attempt to steel herself against the chill. But the java itself had already succumbed to the cold, not helping her one bit. Kat instead had to rely on her parka, which she zipped up to her chin.

When she reached the box, Kat understood why someone passing by could think it was a coffin. It certainly looked casket-like. More than six feet long, three feet wide and about two feet deep, it was definitely big enough to hold a body.

Kneeling next to it, she inspected the box for signs of where it had come from and, hopefully, where it was supposed to go. She looked for an invoice stapled to the side or a company’s logo branded into the wood. She found neither. Running a hand across the box’s top and along its sides, the rough wood scraped her palm. Whatever its intended use, the box was definitely homemade, most likely by an amateur. Any craftsman worth his salt would have subjected the wood to at least some form of sanding.

Leaning in close, Kat sniffed deeply, detecting a faint trace of pitch. Pine. Just as she had suspected.

She wanted to believe the box had simply landed there after falling off a truck, but instinct told her otherwise. It was in perfect condition. No scratches or scuffmarks. No signs of impact with the road. The way it sat — on its back, stretched tidily across the ditch — also raised suspicion. No box tumbling from a truck could have landed so perfectly without some assistance.

Its location was no accident. Someone placed it there. Someone wanted it to be found.

Finished with her examination, Kat saw no point in delaying the inevitable. Coffin or not, the box needed to be opened. Tugging on the lid, she noticed it was nailed shut at the corners and at two points along each side. She marched back to her patrol car and grabbed a crowbar from the trunk before returning to the box. With the crowbar’s help, the nails barely resisted when she pried the lid open and yanked it away.

The first thing she saw was a pair of wheat-colored work boots. Next was a pair of mud-streaked overalls that continued over a red flannel shirt. Finally, framed by the shirt’s collar, was the face of man in his late sixties.

The full picture sent Kat scrambling backwards. Standing halfway between the box and her car, she turned away and clamped one hand over her mouth to calm her gasping. She pressed the other hand against her right side, where a sudden fear jabbed at her ribs.

When a minute passed, Kat willed herself to look at the coffin again. The second glance was accompanied by the sad, stomach-sinking realization that she knew who the corpse belonged to.

His name was George Winnick, and until that morning, he had been a farmer who tended fifty acres on the outskirts of Perry Hollow. Kat didn’t know him well. Other than exchanging greetings at the Shop and Save or in passing on the street, they had barely spoken. But he was enough of a fixture in town for her to know he had been a decent man — hard-working and dependable. She also knew there was no reason he should be lying dead in a pine box on Old Mill Road.

“George,” she whispered as she unsteadily approached the body again. “What happened to you?”

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