Thursday, September 15, 2011

Barry Eisler and The Detachment

You've seen blog tours. You've seen book excerpts on authors' sites. But have you ever seen first five chapters of a to-die-for thriller on five separate blogs? With commentary, interviews and essays?

No you, haven't. It's never been done before.

Our guest today specializes in "never been done before." Barry Eisler has been a CIA operative, a technology lawyer, and a Silicon Valley start-up exec. After his John Rain series achieved critical and commercial success, Barry shocked the literary world by turning down a major contract with one of the Big Six publishers in favor of self publishing. Then he set New York buzzing again when he teamed with Amazon for their groundbreaking digital publishing venture. Smart people in the industry keep an eye on what Barry's doing. Smart readers keep an eye on what he's writing. If you haven't read one of his icy-hot thrillers yet, you're in for a great ride.

JRW: Barry, it's a treat to have you here with an excerpt from The Detachment on the day it goes on sale.

Barry: My pleasure, guys, and thanks for having me.

JRW: A lot of people are excited about the return of your series character, the half-Japanese, half-American assassin John Rain. What made you decide to bring Rain out of retirement? And to combine him with your black ops guy, Ben Treven, and the other characters from the Treven series?

Barry: Well, I never felt like Rain retired exactly. It was more that, at the end of the sixth Rain book, Requiem For An Assassin, it felt like he was going to get a break for a while -- a chance to work things out in Paris with his lover, Mossad agent Delilah. Of course, that romance didn't end happily (for the break-up itself, there's my short story, Paris Is A Bitch), so I imagined Rain back in action in a general sense. And then, as I closed in on the end of my previous book -- Inside Out, a Treven book -- and started thinking about the plot of the next one, I realized my antagonist, JSOC Col. Scott Horton, would need several high-security, high-profile targets to die of what looked like natural causes. Which meant he would need someone like Rainso why not Rain himself?


And once I started thinking about putting into the same mix all the Rain characters and all the Treven characters, I fell in love with the idea. I mean, these guys are all so dangerous, and also so lone-wolf… what would happen if they were forced to work together? They'd barely be able to avoid killing each other. And what would happen if everything went south (because, of course, it's going to), and they're betrayed by their employers, and the entirety of America's metastasized national security state is targeting them… will they turn on each other? Will they be able to avoid that? And if so, how?

So overall, the book became a continuation of the Inside Out plot (though it also works perfectly fine as a standalone) but with Rain as the central character. And I got to drop him into the biggest canvas I've painted to date: rolling terror attacks across America; an attempted coup; presidential hit-teams, secret prisons, White House backstabbing… everything. All as real and timely as I could make it, and quite a challenge for my unlikely team of lone-wolf killers.

Here’s Chapter 4 of Barry’s new thriller, The Detachment, available today exclusively from the Amazon Kindle Store (and in paper in bookstores everywhere on October 18). You can read other chapters, and Q&A with Barry on other topics, at the following blogs:

Chapter 1 – Truthout: The Politics of The Detachment

Chapter 2 – A Brain Scientist’s Take on Writing: The book’s unusual path to publication

Chapter 3 – Buzz, Balls & Hype: The book’s image system

Chapter 5 – A Newbie’s Guide to Writing: Publishing a book with Amazon



Chapter 4

Larison stood just beyond the ambit of a streetlight, watching the silent images on the handheld video feed. One second, an empty street; the next, a crazy montage of kaleidoscopic images: limbs/grimaces/a car/a building/the sky flashing past. Darkness. Then the sky again, and glimpses of Rain, apparently going through Beckley’s pockets. Rain’s face in close-up, peering with dawning recognition directly into the button lens on Beckley’s cooling torso. A flash of static, then, finally, darkness.

He heard rapid footfalls from the direction of the Jinbocho subway station and looked up to see Treven come tearing around the corner. Larison pocketed the video monitor and stepped into the street with his arms forward, palms out.

Stop,” he said. “It’s already over.”

Treven slowed, his face registering confusion. Probably he’d been expecting Larison to be riding to the rescue, too, no matter how futile a rescue attempt would be at this point. Meaning he hadn’t absorbed what Larison had told him about the contractors not being part of the team.

Go!” Treven said, moving to go around. “Didn’t you see the video? Rain ambushed them!”

Larison moved with him and shoved him back. Treven’s face darkened and he dropped his weight like a bull about to charge.

Larison held up his hands again. “Don’t make a scene,” he said. “There’s nothing we can do. They’re already dead.”

We don’t know that. Rain’s gone, okay, but—”

They. Are. Dead.”

Treven straightened and some of the tension went out of his body. “What about the cell phones?” he said. “The equipment. We need to retrieve it.”

Rain took it all.”

How the hell do you—”

Wouldn’t you have? But it doesn’t matter. I watched him, over the video feed. He took the equipment and he’s gone.”

Treven watched him silently for a moment. Then he said, “You were close enough. You could have done something, if you’d wanted to.”

Larison glanced at the street behind him, then back at Treven. In some ways, he sympathized with Treven, who Larison understood was grappling with his recent first contact with the real world in the same way Larison once had. On the other hand, he didn’t care for Treven’s stubborn patriotism, which he found sanctimonious and naïve. And he hated that Treven knew his secret, having discovered Nico, Larison’s other life, when he’d tracked Larison to Costa Rica, looking for the torture tapes Larison had stolen.

You manipulated them,” Treven said. “All that talk about taking the point… you goaded them. Because you knew what would happen.”

Larison shrugged. “What did I owe them? They were sent over here to spy on me. On both of us.”

Treven’s expression was incredulous bordering on disgusted. “They were Americans.”

Larison blew out a long breath. The contractors had been a hindrance, and he had gotten rid of them. It was no more complicated than that. He tried to remember a time when such a thing would have been a problem, when he might have paused beforehand and maybe even felt a pang of conscience after. He couldn’t. It had been too long ago, and too much had happened since.

What does that have to do with anything?” he said.

Treven shook his head. “You’re a burnout.”

Larison didn’t respond. He didn’t know what to do. Kill Treven? But he needed him to get to Hort, and anyway Hort knew about Nico, too.

But once Hort was dead…

Once Hort was dead, the only person who would even know Larison was alive, let alone about his other life, would be Treven. Plus Rain, soon enough, and this other guy they were supposed to find. Larison needed them for now, he knew that. But once Hort was dead, all they’d represent would be downside.

Use the others to finish Hort, then finish them, too. Walk away with the diamonds, and silence everyone who posed a threat.

It was perfect. It could be done. All he had to do was bait the hook. The rest would take care of itself.

He tried not to smile. “Let’s just call Rain,” he said.

Wednesday, September 14, 2011

Half-Baked by Meredith Mileti

LUCY BURDETTE: As you probably realize by now, I've been on a tear reading fiction involving food to get mentally ready for my food critic mystery series. I can't wait to read AFTERTASTE by Mereith Mileti--it's sitting on my nightstand, with that gorgeous yellow cover calling to me. And lucky for us, Meredith is here today to talk about the difference between bakers and cooks. And to give away one of her brand new books to a commenter. Welcome Meredith!

MEREDITH MILETI: One of the many terrific things about being a writer is that you can give
voice to all sorts of crazy opinions and foist them off on your innocent
characters, forcing them to hold the ridiculous opinions instead of you.
If anyone questions you, you can always claim to be one of those writers
whose characters have minds of their own. They sometimes insist on
returning to the cheating boyfriend or hopping on the next plane to Paris,
even when you know he’s bad news and she can’t afford it. You can sigh
wearily and say, “I know, I just never know what she’ll do next!” And
there is always a chance that, if you aren’t carted off to the nearest
mental health facility for transcribing those tiny voices, people just
might think you’re imaginative or creative.

The protagonist in Aftertaste, Mirabella Rinaldi, is a professional chef
and something of a loose cannon. She has all sorts of half-baked ideas.
For example, early on in the story, Mira espouses the theory that bakers
are more rule-bound than cooks. They are the people who sat up front in
cooking class, who wrote things down. They are precise and orderly. Even
though Mira doesn’t come out and say it, what she really means is that
cooks are more creative; they thrive on improvisation. They are the rogue
artists of the culinary world, to the baker’s blue-collar workman.

Are cooks and bakers really so different? The truth is that I’m actually
both a cook and a baker, although I am definitely more of a natural cook
than baker. I often have trouble following directions. I get sidetracked
easily, take the scenic route a little too often, and am an unapologetic
wanderer in farmer’s markets and supermarkets. I confess it, there are
too many rules in baking for me.

The exception is bread. I love making bread. There is that moment when
the gluten reaches a certain level of development and you can actually
feel the dough come alive in your hands. It is exhilarating and thrilling
and can elevate the simple act of mixing flour and water to the spiritual
and sublime. In fact, I’d argue, it is the ultimate creation, giving life
to something that a few minutes ago was a static pile of flour, yeast and
salt. Add water and suddenly it is a thing alive beneath your hands. It
makes me feel maternal and God-like, if only for an instant. So much for
the blue-collar workmen of the culinary world.

Usually, though, what drives me both as a cook and a writer is throwing
things together to see what will happen, be they ingredients or
characters. I love the feeling of being surprised when I bite into
something new or turn the page of a book to find an unexpected twist.
Cooking and writing are both creative processes. In order to keep things
flowing in the kitchen and on the page you have to be organized, but that
doesn’t mean you can’t be spontaneous. Give it a taste and see what it
needs. Throw in something unexpected.

Which are you? Cook? Baker? Or Both?

Since producing her first batch of gluey brownies from her Easy-Bake oven, Meredith Mileti has loved cooking for her family and friends. She is an adventurous and eclectic diner, and appreciates any well-cooked meal, whether from a lobster shack in Bar Harbor, a friggitoria in Naples, a Michelin-starred restaurant in Paris or an undiscovered little gem in her Pittsburgh neighborhood. Aftertaste is her first novel. Follow her on twitter!

Tuesday, September 13, 2011

Is it a crime...to read and write crime fiction?


LUCY BURDETTE: Every so often I get grilled about why I write and read murder mysteries. Why would I stake my writing life on serious crime and criminals?

It's not a bad question.

When I was first starting out as an author (as Roberta Isleib), I organized a panel for the American Psychological Association convention that addressed exactly this question. The other panelists were Hallie's co-author at the time, Dr. Donald Davidoff, school psychologist and cozy mystery author Denise Swanson, and the fabulously talented Abigail Padgett. To describe our panel, Abby wrote up the best answer to that "why" question that I've seen:

"Mystery novels are read worldwide, and have enjoyed unflagging popularity since Edgar Allan Poe created the first one. A recent study conducted by the publishing industry documents a demand by contemporary mystery readers to learn something while being entertained by a good story in which evil is never triumphant. Murder, the stock-in-trade of all mysteries, is the perfect amalgam of imposed morality (Thou shalt not kill.) and intellectual hunger (Why do people kill other people?) And nowhere are the tools for analysis of this duality more finely honed than within the various disciplines of psychology."

Isn't that a wonderful mouthful--the perfect amalgam of imposed morality? What about you guys? Why crime fiction?

JAN BROGAN - I once talked to a researcher who was studying murderers and she said the interesting thing about murderers was that basically, anyone could be a murderer. Where bank robbers and muggers and other criminals tended to be of similar ilk - sociologically, murderers came from all corners. And unlike the high rate of recidivism for other criminals, a murderer can murder once and never be pushed to murder again.(Obviously, she wasn't talking about serial murderers here)

For me, though, I have to admit, I was always more interested in writing about corruption than about the murder. What fascinates me is the rationalizations humans make on a regular basis and what they will tell themselves to cross lines that shouldn't be crossed. Not that one moment of misguided passion that causes them to actually take someone's life.

HALLIE EPHRON: I write it because I love reading it. And because I can. I'd never be able to write romance, or comedy, or literary fiction. But I can create the drama of a crime novel, ratchet the tension and that something personal is at stake. And of course, I love the challenge (and satisfaction) of crafting an ending that comes as a complete surprise AND inevitable in retrospect. It's like being a magician.

DEBORAH CROMBIE: I write crime fiction because, although I read many things, that's what I've always loved most, and British crime fiction in particular. I love fantasy but don't think I have the innate world-building capacity. I enjoy a good romance novel but like a bit more ambiguity in the relationships in my own stories. And crime fiction is, at least for me, the perfect combination of left-brain/right brain. I'm an obsessive plotter and outliner--I have to work out every story line in the novel from beginning to end and see how they're all going to fit together. Left-brain, check. But then the actually writing seems almost a completely different process. The words take over. Characters come to life and do unexpected things. The story takes twists and turns within the structure that I never imagined, and sometimes the structure itself changes. Right-brain, check.

I wonder if this dual engagement is one of reasons we all love reading crime fiction? Pattern, but flow within pattern. Hmm. Off to do brain research . . . .

HANK PHILLIPPI RYAN: Ah, what an interesting thing to have to think about! Ive been a TV reporter for more than 30 years..and I've learned that what I really love about my job---besides making things right and fair--is the storytelling.

Sometimes, in doing my has-to-be-true journalism, I think--hmm, wouldn't it be interesting if....but of course, in reporting, the only reality is what is real. There's also the search for justice, and the good guys winning and the bad guys getting what's coming to them,and the desire to change the world a bit.

In writing crime fiction--people say what I want them to say (ah, usually), and the story is as interesting and intriguing as I can make it.

I wondered, when I began, whether I could make stuff up. Turns out, I do love it. Tellng a story that leaves people thinking--"wow, I'm surprised!"--what could be better?

LUCY: Such interesting answers--but what else would I expect? Your turn Reds, we'd love to hear why you write and/or read crime fiction!