• The Crime Cafe

  • 著者： Debbi Mack
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The Crime Cafe

著者： Debbi Mack
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  • Interviews and entertainment for crime fiction, suspense and thriller fans.
    © 2015 - 2021 Debbi Mack
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Interviews and entertainment for crime fiction, suspense and thriller fans.
© 2015 - 2021 Debbi Mack
アート 文学史・文学批評 社会科学
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  • Interview with J.D. Barker – S. 10, Ep. 25

    Interview with J.D. Barker – S. 10, Ep. 25
    2025/05/04
    My guest for this episode of the Crime Cafe podcast is crime writer J.D. Barker. Don't miss our discussion on writing across different genres and the benefits of collaborative writing. You can download a copy of transcript here. Debbi (00:52): Hi everyone. My guest today is a New York Times and international bestselling author whose work has been broadly described as suspense thrillers, often incorporating elements of horror, crime mystery, science fiction and supernatural. That's quite a bit. His debut novel Forsaken was a finalist for the Bram Stroker Award in 2014. Several of his works have been optioned for adaptation to motion pictures. It's my pleasure to have with me my guest, JD Barker. Hi, JD. How you doing today? J.D. (01:32): I'm doing great, Debbi. Thanks for having me. I appreciate it. Debbi (01:34): Well, it's my pleasure to have you on, believe me. I'm glad you're here. I love that you have no problem with mixing genres in your work. I think that's awesome. Would you say that there's any particular genre that tends to be dominant in your writing? J.D. (01:51): Well, it's funny. I grew up, I've been writing my entire life, but I worked behind the scenes for about 20 some years. I worked as a book doctor and a ghost writer, basically helping other people get published, and one of the things I saw over and over again is an author would write a particular book and it would hit, and then all of a sudden they had to write that same book, but different for the next 20 books. The publisher just wanted that same book but different, and honestly, that scared me. I didn't want to get caught in that kind of hole, so I made a conscious effort from the very beginning. I'm a huge fan of horror. I'm a huge fan of thrillers, so I basically bounced back and forth, and I think my Wikipedia page probably sums it up the best. I think that's what you were reading from, but I describe it as a suspense novel as the common thread with little elements of horror, of sci-fi of this, of that and what that allows me to do. As long as I keep that thriller-suspense framework in place, I can branch out a little bit and the readers come along for the ride. It's not so different that it frightens 'em off. As long as I keep that thriller-suspense framework in place, I can branch out a little bit and the readers come along for the ride. It's not so different that it frightens 'em off. Debbi (02:51): That's really cool. That's great. So it gives you more flexibility J.D. (02:54): And agents hate it, and publishers hate it because again, they want you to write that same book, but different. But I'm finding that the fans, they actually enjoy it because I'm not giving them the same book every single time. I think it gets old as a reader too, so it allows me to mix it up and just keep it fresh. Debbi (03:12): Totally, I agree. Yeah, so you're directly reaching the readership as opposed to going through what a publisher thinks this should work, which is something I've advocated a long time. J.D. (03:27): Everybody approaches this from different angles, which is something else I picked up on over time. As a business model, publishers really only care about selling that book, the one they have in front of 'em, the one they signed you for. That's really their only priority. But you as an author, you really need to look at your business, your model, your brand, and approach it from that standpoint. And you can really see the stark differences. If you walk into a major bookstore, you walk into a Barnes & Noble and you're going to see pretty much the title of every book is huge. The author name is tiny little print at the top or the bottom. It's an afterthought because the publisher knows they have to put it on there, but they just want to sell that one title. But if you look around that same bookstore at the brand name authors, the ones that we all know, the household names, you see Stephen King, Nora Roberts, James Patterson,
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  • Interview with Deven Greene – S. 10, Ep. 24

    Interview with Deven Greene – S. 10, Ep. 24
    2025/04/20
    My guest for this episode of the Crime Cafe podcast is crime writer Deven Greene. Check out our discussion about her medical and scientific thrillers. You can download a copy of the interview transcript here. Debbi (00:53): Hi everyone. My guest today writes fiction in the suspense and thriller genres. Most of her works involve science or medicine. She has a PhD in biochemistry and an MD, and she practiced pathology for more than 20 years. Her books include the Erica Rosen Trilogy, Ties That Kill, and her latest novel, The Organ Broker. She's also published several short stories. It's my pleasure to introduce my guest, Deven Greene. Hi, Deven. How are you doing today? Deven (01:29): I'm doing great. How about yourself? Debbi (01:31): Great, thank you. And I'm glad you're here today, so very glad that you're on the show. You live in Northern California? Yes? Deven (01:39): That's correct. Yeah. Debbi (01:40): What part? Because I used to live in Petaluma. Deven (01:43): Oh, okay. Well, I live, you may have heard of then of Orinda, which is a tiny town, but it's near Walnut Creek in Berkeley. Debbi (01:52): Oh, yeah. I remember. It's the Napa Valley, right? Deven (01:55): Yeah. Well, yeah. Debbi (01:57): I'll be darned. Beautiful country up there. Deven (02:01): Yeah, no, I like it here. Debbi (02:03): Yeah. So with a background like yours, I can certainly see how you got inspired to write medical thrillers or science thrillers. When you started writing fiction, did you find you had to kind of adjust your writing to be a bit less formal and more engaging, so to speak? Deven (02:22): Well, it's quite different than writing pathology reports, I'll say that. But I'd say that I've read enough fiction, especially in my genre, to be able to adapt pretty easily. And interestingly, when I first started out, I had a resident working under me, and she wrote a pathology report, and she did a description of everything, but she didn't say what it was, and it was like she was waiting, trying to build up suspense. I said, no, this is a pathology report. You have to say what it is. Debbi (03:04): Yeah, yeah. Just say it. Deven (03:06): Yeah. But it's different in what I'm doing now, Debbi (03:10): For sure. Yeah. I'm sure you do work in technical terms though. And how do you, what's your method for taking complex scientific subjects and making them understandable to the average reader? Deven (03:26): That's a good question. So I really like to put what I call sciencey things in my writing. That's one thing I really enjoy doing, and hopefully people will learn things. So I'll write something and then I'll go through it several times to simplify it, and then I give it to other people to read who are not in the medical or scientific field and get feedback. And a great one is my little brother who didn't know the difference between a gallbladder and a kidney, I found out. So he's a good one. If he can understand it, most people can. So I wind up simplifying. I try to keep it still accurate. Some people may find it too much. I don't know. They can skip over those parts, but that's not the main substance of my books. So I really like to put what I call sciencey things in my writing. That's one thing I really enjoy doing, and hopefully people will learn things. So I'll write something and then I'll go through it several times to simplify it, and then I give it to other people to read who are not in the medical or scientific field and get feedback. Debbi (04:28): You'd rather sprinkle it in than overwhelm with detail? Deven (04:31): Yes, that's my attempt. That's my attempt. Debbi (04:35): I think that's generally the way people approach it. I know that when it comes to legal terminology, I tend to, I used to be very, what'd you call it? Literal in the way I would present something, or very explanatory. It's like, no, no, no, Debbi. Cut back, make it less explanatory, make it more, make it more like fiction. Duh.
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  • Interview with Edward Zuckerman – S. 10, Ep. 23

    Interview with Edward Zuckerman – S. 10, Ep. 23
    2025/04/13
    My guest for this episode of the Crime Cafe podcast is crime writer Ed Zuckerman. Check out his wealth of experience a freelance journalist, as well as his work as a debut crime writer! You can download a copy of the transcript here! Debbi (00:52): Hi everyone. My guest today has what most people would consider to be a pretty interesting resume. He began his career as a journalist writing about zombies, killer bees, talking apes and other subjects for Rolling Stone, Spy, the New Yorker, Harpers, Esquire, and many other magazines. He has written two nonfiction books, The Day After World War III and Small Fortunes then moved into writing for television drama, including more than 50 episodes of the original Law and Order, Blue Bloods, and Law and Order SVU. I have that right, don't I? SVU? Ed (01:35): That's correct. Debbi (01:36): Alright. It's my pleasure to introduce my guest, Ed Zuckerman. Hi, Ed. Good to see you here. Ed (01:43): I'm happy to be here. Thanks for having me. Debbi (01:45): Well, it's my pleasure, believe me. And wow. I mean, your guest post just tells an amazing story, and it struck me that you found the information initially in a book where a lot of people would've just stopped and said, oh, I got a book about Nigerian police. That'll do. But you took it farther. You talked to the author and then you went to Nigeria. Ed (02:10): That's right. That's right. Well, I was a journalist, but the first part of my, I've always been a writer, but my first part of my career, I was a journalist, ended up doing a lot of research and enjoyed the travel and enjoyed the research. (02:21): And when I came up with the idea for my novel Wealth Management, one of the characters is a detective from Nigeria who shows up in Switzerland to investigate a crime. Geneva, Switzerland is where the story is set. And instead of just making stuff up about Nigerian police, especially nowadays with concern about being authentic and not making who you're writing for, who writing about, I thought I would find and meet some Nigerian policemen, which was easier said than done. I can retell the story or it's in the blog post that I put on your website. So what do you? [I]nstead of just making stuff up about Nigerian police, especially nowadays with concern about being authentic and not making who you're writing for, who writing about, I thought I would find and meet some Nigerian policemen, which was easier said than done. Debbi (02:58): I will link directly to the website. Ed (03:00): Okay. Debbi (03:00): I think they should read it because really it's a remarkable story to read. Ed (03:05): The short version. I ended up going to Nigeria, which is a tough top. People don't go to Nigeria. Nigerians don't need you, and they expect the same. Tourists are not especially welcome, and you have to be all careful watching your step over there. People don't go to Nigeria. Nigerians don't need you, and they expect the same. Tourists are not especially welcome, and you have to be all careful watching your step over there. Debbi (03:22): Interesting. Very interesting. And the police are not always cooperative. Ed (03:28): They didn't see any reason to cooperate with me, but I did arrange some contacts as I described in my blog post that you can read on the Crime Cafe website. Debbi (03:37): I will be sure and put a link into the notes with this episode for sure. Ed (03:42): Oh, good. Debbi (03:43): Yeah. And you're giving away a copy of the book as I understand it. Ed (03:47): Yes, I am. I have a few left. Debbi (03:50): Awesome, excellent. Because I got to tell you, I'm reading it now and it's very, very compulsive reading. Short chapters. Well-written. Ed (04:01): Well, I did write for a TV for a long time, and for better or worse, the book is structured a little bit like a TV script with short chapters and a lot of dialogue and a good story I hope, but also a substantial dose of humor.
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