Award-winning author Kathleen Donnelly is a K-9 handler for Sherlock Hounds Detection Canines—a private narcotics dog company. She enjoys using her K-9 experience to craft realism into her fictional stories. Along with working dogs, Kathleen loves horses. She owns two horses and a bossy yet adorable pony. Kathleen’s love of the mountains inspired her setting for Chasing Justice. She enjoys escaping to the high country to hike and photograph the scenery and wildlife. Kathleen has a B.A. in Journalism from Colorado State University and formerly wrote for The Berthoud Weekly Surveyor, where she won a Colorado Press Award. Kathleen lives in Colorado with her husband and all their four-legged friends.
Please tell us about your upcoming release: Chasing Justice
After losing her military K-9, Marine Maya Thompson swears she’ll never work with dogs again. But when she returns home to Colorado and accepts a job with US Forest Service law enforcement, fate brings K-9 Juniper into her life just as another tragedy unfolds.
“Chasing Justice is a must-read for dog lovers and crime fiction lovers alike.” ~Margaret Mizushima, author of the award-winning Timber Creek K-9 Mysteries, including Hanging Falls
Thanks so much for having me on your blog today, George! I enjoyed answering questions about my path to publication and inspiration for Chasing Justice, my debut novel and the first in a series. Stay tuned to my social media channels and newsletter for more information about future books.
How long to get it published? I started writing Chasing Justice in 2016. However, the idea had been rattling around in my brain for a couple of years. I knew I wanted a female protagonist who would be a K-9 handler. Once I had the concept figured out, I started writing. In 2017, Chasing Justice (then titled Free Base) was a finalist for the Claymore awards, but I hadn’t completed the book yet. However, being a Claymore finalist gave me a confidence boost, and I finished the book over the next few months.
I then entered the book into the Rocky Mountain Fiction Writers Colorado Gold Contest, where it took second place. I thought this would lead to immediate publication, but it received rejections when I sent the book out. I decided to send the manuscript to an editor who had just started freelancing. She’d previously worked at St. Martin’s Press, and the genres she specialized in included mystery and romance. Her edits showed me that while I had the possibility of a good book, I still had a lot to learn. I knew I had to start over except for the first three chapters.
I did just that and continued to study other books along with reverse engineering books that I liked. I started to understand what the editor was telling me. I went back to doing an outline, and I rewrote the entire book finishing it in the spring of 2020. I started querying my novel, and by July of 2020, I had a request to read the full manuscript from my agent Ella Marie Shupe who’s part of the Belcastro Agency. After reading the full manuscript, we talked on the phone, and soon after, Ella Marie offered me representation. We spent the fall of 2020 editing, and in January of 2021, Ella Marie started submitting to publishers. By spring, we had an offer from Carina Press, and I signed the contract a few months later. The rest, as they say, is history.
We hear of strong-willed characters. Do yours behave, or do they run the show? I would love to say that my characters behave, but they just don’t! They seem to have a mind of their own. I do an outline, and we have long talks during that process where I tell my characters to speak now or forever hold their peace. Most of the time, they listen. I have one character in Chasing Justice (I won’t say who because that would be a spoiler.) that started out completely different in previous drafts. I wanted this character to be responsible for certain actions, but in the end, that character won out and got their way.
Maya, my main character, is quite strong-willed and stubborn. We have had many discussions, but what I love about her is how honest she is and how much she wants to do the right thing. She has been a fun character to work with.
Then there’s my fictional K-9, Juniper. While Juniper’s character developed from K-9s that I’ve worked, she can definitely change course and do her own thing—especially if it involves ripping up her dog bed. When you read Chasing Justice, you will see Juniper loves to get her way and keeps Maya on her toes.
Do you have subplots? If so, how do you weave them into the novel’s arc? Chasing Justice has a subplot that I left somewhat open for future stories. There are some small subplots within the novel as well. I used my outline to make sure the subplots made sense in the storyline and blended well with the entire arc of the novel. The freelance editor was very helpful in teaching me about weaving in subplots. The biggest lesson I learned was that you need to have a strong core of the story—one that can be put into a sentence. Once you have that core, you can develop subplots that go with that storyline. For example, Maya comes home to Colorado after being in the military but isn’t speaking to her grandfather. This plays into the main story, but the reason she and her grandfather aren’t speaking is a subplot.
My editor with Carina Press, Mackenzie Walton, also helped me figure out how to weave in and refine the subplots. Mackenzie’s edits on Chasing Justice were fantastic, and she did a great job of pushing me to become a better writer.
How do you raise the stakes for your protagonist—for the antagonist? I love the “what if” game. I spend time brainstorming and mind mapping ideas. I was lucky enough to take some classes from best-selling author Grant Blackwood. He showed us how mind mapping can help tweak the stakes for your character.
I considered ideas such as how a drug-running militia living in the mountains might work. I asked, who are they? Why are they doing this? What type of drug should they be making and trafficking? For most of us, meth and marijuana are the first drugs that come to mind. I wanted something different. I started googling and mind mapping different ideas for drug production. (So far, neither the DEA nor FBI have shown up at my door, after all, my googling. Phew!) I found out about a drug called Krokodil. It’s not common here in the United States. Having an unusual drug upped the stakes for my characters and their investigation.
One thing I learned along the way is to not raise the stakes by adding another plotline. That may sound simple, but I think that happens a lot with new fiction writers. Keep the main plot, and then figure out how you can make things more difficult for your characters. Even with the dog work, I thought, okay, if I’m working a dog in the mountains, what makes things more difficult? Often, in real life, it’s the environment, so I raised the stakes by adding weather issues such as wind and dangers in the forest like trees with broken branches called widowmakers. The “what if” game is a ton of fun!
Where do you place your settings—real or fictional? I created a fictional National Forest for my book. It’s loosely based on the location of the Roosevelt and Arapaho National Forests. I did this because many Coloradoans know the national forests well, and I didn’t want to worry about whether or not there really was a lake near a trailhead. I also thought that by creating a fictional national forest and towns, I would have more fictional leeway for the story.
Do you have any advice for new writers? If you love writing, just stick with it! Learn all you can. Attend conferences and be open to feedback. Conferences allow writers to receive critiques from best-selling authors and editors with extensive backgrounds. Take notes, ask questions, and learn everything you can from them. I have so many published authors to thank for their help as I worked towards publication. I met most of them at conferences. Writing a novel and getting it published is a lengthy process with a big learning curve. Most importantly, enjoy the journey.
How do our readers contact you?
Readers are welcome to reach out anytime via email at: firstname.lastname@example.org
Here are more ways to connect with me:
Newsletter Sign-up: https://kathleendonnelly.com/#newsletter
Where to Purchase Chasing Justice: https://kathleendonnelly.com/chasing-justice/
Frank Scalise (Frank Zafiro) served with the Spokane Police Department from 1993 to 2013, holding many different positions and ranks. He retired as a captain. He writes gritty crime fiction from both sides of the badge. He is the author of over thirty-five novels, including the River City series of police procedurals and his hardboiled SpoCompton series. In addition to writing, Frank hosts the crime fiction podcast Wrong Place, Write Crime. He is an avid hockey fan and a tortured guitarist. He currently lives in Redmond, Oregon.
I spent twenty years and a day as a police officer. Along the way, I had a lot of the experiences that many police officers encounter, from the mundane to the extraordinary, from the sad to the scary, from the frustrating to the satisfying.
As a lifelong writer, I saw these experiences through that additional artistic lens. So when I started publishing short stories in 2004, it was no surprise that most of them were crime fiction. By the time I retired in 2013, I’d written dozens of stories and ten or so novels. Since then, I’ve added to that catalog, putting my novel count at around thirty-five.
But the latest one, The Ride-Along, may be my most important one yet.
Before you think that is an ego-driven, self-promoting bit of hyperbole, let me add that I don’t think everything I have to say is important. Most of it is just like the things we all say—in other words, the stuff of daily life. My books are meant to entertain and make readers feel and occasionally think a little—this one is different.
As police-involved deaths gained more and more public attention and this subject became a consistent (and loud) part of public discourse, I found myself in an uncommon position.
On the one hand, I’d done the job of law enforcement for two decades. My roles were many and varied, including the heavy lifting of patrol and investigations and leadership. Almost immediately after retiring, I embarked on a four-year mini-career teaching police leadership all over the US and Canada. As a result, I knew the profession well.
So I was frustrated by the lack of understanding shown by much of the public when it came to the job. By this, I mean everything from the ludicrous “shoot ’em in the leg after you kick the knife from his hand” crowd to those with more grounded criticisms. It wasn’t necessarily that they didn’t sometimes have valid points. It was that they were uninformed when it came to the realities of actual police work, and this lack of understanding often resulted in a wide swath of cops being seen in a bad light. Since I’ve known, and sometimes worked closely with, hundreds of men and women in the profession, I knew the high quality of dedicated people doing this difficult job. So that frustrated me.
At the same time, as I got a little distance from the day-to-day workings of the job—and, frankly, outside of the echo chamber of the profession—I saw places where we didn’t do things well. A fair chunk of this revolved around poor communication, or the lack of, with the public. In other words, we don’t do ourselves any favors with the attitude of “we don’t need to explain this to you.”
Some of the prevailing attitudes in the profession seemed wrong to me, too. Same with some of the overarching strategies that have been in place for decades. It seemed clear to me that law enforcement needed to change.
To be fair, we ask a lot of our cops. Some of those tasks would be better done by other professionals, with the result being a) better service delivery to the citizen and b) better use of our law enforcement resources elsewhere.
These two competing frustrations combined to create the most significant frustration of all. That was, I saw hardly anyone actually discussing the issue with the goal of understanding and problem-solving. Instead, things devolved into entrenched political positions. People debated with sound bites and chanted slogans. The best you could hope for was that they’d wait until the other party had finished speaking before launching into a diatribe… but most people sought to drown out the other instead. This tendency existed all across the opinion spectrum.
That wasn’t merely frustrating. It was maddening.
No one was listening.
So I wrote a book that forced people to listen to each other. I put two characters—a police officer and a police reformer—into the same patrol car for an entire graveyard shift. Due to their opposing views, sparks fly… and not the romantic kind.
Make no mistake; this is still a procedural. The officer and the ride-along go on calls for service. But they also talk. They get angry. They are challenged. But… they also listen a little bit.
My goal in writing this book was to fairly present the ideas of both characters. Both are good people with strong convictions. Neither is a straw man for the other to beat up on and then convince of his/her views. Both get the opportunity throughout the book to tell their own truths.
It’s a bit of a spoiler here, but both also have moments in which they pause and actually consider what the other has said.
his isn’t a Pollyanna, Kum-bay-yah novel. There are ragged edges. After all, it is a Charlie-316 novel, and anyone reading the first four containing the Tyler Garrett arc will know better than to expect something utopian. But it does represent two people doing something I wish more of us would do, myself included.
Have an honest, hard conversation that includes listening as much as—or more than—speaking.
I’ve outlined the premise of The Ride-Along already, but for the sake of clarity, here’s the description:
The Tyler Garrett scandal rocked the Spokane Police Department two years ago. Now, a consent decree governs the agency, with Washington D.C. directing its reform. It’s a tumultuous time in the city, and public outcry over local and national events is high.
Change is in the air.
Officer Lee Salter is a third-generation cop who bleeds blue. Amid the departmental chaos, he does the only thing he can—be a good officer. That means showing up for every shift, responding to calls for service, and always doing the right thing. All the while, the Department of Justice and its local supporters hope to catch another officer in its net of reform.
Salter refuses to be that officer.
Melody Weaver is a teacher and activist who believes in a better way. Despite her demanding profession, she dedicates herself to the cause of reshaping policing in her city so that the terrible events—both local and national—can stop. To understand what needs to change, she needs to see the reality of the job up close.
That means a ride-along on the graveyard shift.
And a nation's problems
As you can imagine, it’s a big night for both of them.
If you are looking for a police procedural, it’s in here. If you’re looking for something to make you think. No matter where you are on the opinion spectrum, there will be times you’ll pump your fist in agreement and others where you’ll shake your fist in disagreement. And I suspect there’ll be a few times where you might drop that fist entirely, cock your head, and consider something in a way you hadn’t before.
And that’s why I think this might be the most important book I’ve ever written.
Shelley Riley had a deep love for horses from an early age, and this love took her from humble beginnings at the Alameda County Fairgrounds to the storied barn area of Churchill Downs.
The story of Casual Lies began on a snowy January day in Lexington, Kentucky. While attending a thoroughbred sale, Shelley glanced up and made eye contact with a tiny, fuzzy eight-month-old foal that nobody else seemed to want. And the rest is the stuff of fairytales.
That nondescript colt went on to take Shelley and her husband Jim, an accomplished horseman in his own right, on an adventure of a lifetime. They went on to compete in all three Triple Crown Races—another first at the time. By finishing second in the 118th running of the Kentucky Derby in 1992, Casual Lies rewarded Shelley with the highest finish for a horse trained by a woman in the history of the Kentucky Derby. A record that still stands thirty years later.
In Casual Lies – A Triple Crown Adventure, Shelley gives the reader a fun look behind the scenes of what that adventure was like for her and Jim.
Why did you wait two decades to write your memoir about Casual Lies? It would have been far different if I had written the memoir right after the Triple Crown. I had a lot of material, mainly since I’d been writing a Daily Diary for both the Daily Racing Form as well as one for a San Francisco Bay Area newspaper. By waiting, the book became less a purge and more of a cathartic remembrance of a remarkable horse who electrified my world for far too short a time.
In 2012, I joined the Tri-Valley Branch of the California Writer’s Club. My thought was to go from writing special feature articles for local newspapers and get an idea of how to finish a middle-grade novel that I’d started many years before. Instead, I was encouraged to write a memoir. It was the best advice I’d received since Charlie Whittingham had encouraged me to run Casual Lies in the Kentucky Derby.
Two things happened by sitting down and rereading the daily diaries I’d written. I reconnected with the things that made my horse special. I remembered all the fantastic things that we experienced because of Casual Lies. Truthfully, it’s still hard to believe it really happened.
Using the equity in our house, I’d bought a tiny colt that nobody else wanted. I shared how he grew into a headstrong, charismatic horse that took us on a journey you couldn’t have replicated if you had all the money in the world.
Fans from all over the world have read Casual Lies – A Triple Crown Adventure. You’ll laugh, you might cry a little, and trust me when I say I had no trouble poking fun at myself.
Although Casual Lies didn’t win the Kentucky Derby, he still holds a place in history. But for me, he was my bright-eyed and mischievous Stanley.
So how did you go from writing a memoir to penning Sword and Sorcery Fantasy novels? When I was a kid, I was an avid reader. But each book always had to have something to do with horses. As I grew older, my taste in literature became increasingly eclectic. Ernest Hemingway, Jack London, Wilbur Smith, Larry McMurtry, Steven King, Dean Kootz, etc. the list would be endless. But my all-time favorite, as it turns out, is J.R.R. Tolkien’s Lord of the Rings, with Larry McMurtry’s Lonesome Dove a close second.
A perfect book doesn’t come with enough pages. A good story involves a fellowship that you can feel a part of. For me, a good story is one where you find yourself invested in the fellowship’s success, you’re a part of the team, and when the story comes to an end, you’re loath to say goodbye to your new friends.
I love writing short stories. I find that a thought or an image often triggers my inspiration. The idea for Into Madness – The Born from Stone Saga came from pictures I took of gargoyles situated atop a gothic cathedral when I was touring Europe.
It was one of these shots that brought about Mystislav, a dragon made of stone, who comes to life under a full moon. He flies across the city and lands on the donjon tower of Carolingian castle. Mystislav hears the cries of a newborn babe and . . .
It wasn’t a short story, but it was a strong beginning for a YA Fantasy. As it turned out, the beginning was the easy part. Now I had to write a story. It took over four years.
Tell us about Into Madness, your first book in the Born From Stone series. The marketing blurb goes like this; After a decade in hiding, captured, and imprisoned, Ravin Carolingian is left to question everything she thought she knew about herself.
Still, as the line between ally and enemy blurs, one thing becomes clear. If Ravin’s going to help the Carolingian people, she must first escape the evil that walks the halls of the place she once called home.
As a reader, I like strong characters, adventure, and scenes that engage the reader’s senses. So that is how I chose to write this story. It never ceases to amaze me how the characters occasionally grab the bit and runoff—going in an entirely different direction than I had first imagined.
So what is the title of the second book, and when is the release date? The second book is Hearts Divided, and the third is The Reckoning. Hearts Divided is nearing completion. I have been receiving good-natured demands for the release date. Words in bold type like; NOW! and TOMORROW? have been hitting my inbox. Those types of demands tend to light a fire. Every writer knows that you don’t want to piss off the reader.
Seeley James is the author of the highly acclaimed Sabel Security Series featuring veteran Jacob Stearne and athlete Pia Sabel who must work together to bring the rich and powerful to justice. I’ve just released the twelfth book in the series, a moving psychological mystery, The Rembrandt Decision.
Let me tell you about, The Rembrandt Decision: Hours after a man discovers a secret destined to tear his family apart, Pia Sabel discovers his corpse in this psychological mystery reminiscent of both Agatha Christie and Taylor Jenkins Reid.
What brought you to writing? As soon as I finished Treasure Island on a rainy day in my childhood, I knew I wanted to be a writer. But my life turned unpredictable when I was kicked out of my family at fifteen. By seventeen, I was homeless. And at nineteen, I was adopted by a three-year-old girl (details at Adopted). I quickly learned kids require money, especially for a single father, which led me to a career in tech. Many years later, after getting married and having two biological children, I retired early and pursued what I really love: writing.
Tell us about your writing process: Much is said about writing from the heart or letting the characters speak to you. I’m much more like Vladimir Nabokov. When asked what he thought of EM Forster’s proclamation that his characters take over and dictate his works, Nabokov remarked how sorry he felt for Forster’s characters. Nabokov added, “My characters are galley slaves.”
I pave each character’s dark and scary road with broken glass. Their ideas for escape are guillotined without remorse. Would we prefer to watch Serena Williams blindly toss a ball across the court, hoping for a magical point? Or do we expect her to explode a finely aimed shot at the far corner forcing her opponent to attempt an impossibly skillful feat of athleticism?
I write with intention. I’d love to believe in magic, but for me, writing is a lot of hard work. I start with something I feel needs to be expressed. For example, after being shocked to read the CEO of Glaxo referred to a $3 billion fine for criminal sales practices as “… the cost of doing business,” I decided to expand on the next inevitable step for such a moral journey. In 2014, I wrote Element 42, in which a drug company engineers a deadly virus to unleash a global pandemic only its patented drug can cure. Today, fans ask me if the novel is non-fiction.
In my most recent release, The Rembrandt Decision, I addressed an issue from my soul: adoption. As an adopted father, I often heard people say, “They’re not the same as real kids.” I know better. To illustrate family dynamics, I had to create allegorical scenes and sequences to draw out multifaceted sentiments of abandonment, rejection, and inclusion. Which led to the exploration of parenting and what constitutes a mother or father figure. Naturally, that subject raises yet another question: how far should any parent go for their children? How far is too far?
To make it work, I jotted a framework of about five hundred words highlighting the fifteen tenets of Joseph Campbell’s theory of the monomyth. It gave me a flexible platform from which to design each chapter and scene to fit within the archetypal structure. At that point, I had a great plan. Of course, the best thing about great plans is watching them disintegrate on impact. But the original framework allowed me to fix and adjust as I went, knowing that at a certain point, the hero/heroine must meet with the goddess, just as certainly as they will find atonement with the father figure.
When done right, a work based on monomyth becomes a reflection of the universal arc of human life. One day we find ourselves relying on the seemingly supernatural aid of a benefactor, just as we eventually reconcile our rebellious youth with the sober expectations of our upbringing. So must our characters resolve themselves to overcome adversity in the story. That doesn’t happen by accident.
Do you ever kill a popular character? There is a right way and a wrong way to kill a character. Experience through trial and error has taught me the difference between the two. Obi-Wan Kenobi and Ned Stark were executed to set their respective stories on fire. A death that does not ignite action is gratuitous. Don’t get me wrong, a gratuitous death can have an emotional impact, but it feels manipulative to the reader.
In my fifth book in the Sabel Security series, Death and Secrets, I needed co-lead Pia Sabel to step out from her father’s shadow. I wrote his death with the intention to set her in motion. It worked well. Pia’s impetuous nature brought about her father’s demise. At the same time, his own impatience was the direct cause. Recently, I realized I should have done more to draw out the parallels in their stories. In her next book (still in the thinking stages), she will be forced to resolve her guilt with her complicity.
What kind of research do you do? My stories are the result of my research rather than the other way around. As an avid reader of history, economics, geo-politics, and current events, my fiction is an outlet for my studies. (I also read fiction extensively and always carry a book.) In 2019, the horrific mass shooting in Christchurch, New Zealand, was followed five months later by the mass shooting in El Paso, Texas. My morbid interest led me to investigate what these terrorists were thinking. Researching the racism that both extremists believed in, I discovered the existence of a worldwide network of loosely affiliated neo-Nazis and radicalized nationalists. That horrifying concept spurred me to write Death and Conspiracy, a novel about what these fanatics were capable of doing should they get together. It remains one of my most ominous works.
Do you have any advice for new writers? Anyone can tell stories their friends are willing to sit through. Getting people to spend ten hours listening to you is quite a trick. Success is when you tell a story, so fascinating strangers will pay money to hear it. And that’s not easy. Read a lot, write a lot, study the craft, and work hard.
Link to books: http://shop.seeleyjames.com
Link about adoption story: http://seeleyjames.com/adopted
Seeley James (@seeleyjamesauth) • Instagram photos and videos
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Alma Katsu. Photo by Evan Michio
Alma Katsu is the award-winning author of seven novels. Her latest is The Fervor, a reimagining of the Japanese internment that Booklist called “a stunning triumph” (starred) and Library Journal called “a must-read for all, not just genre fans” (starred). Red Widow, her first espionage novel, is a nominee for the Thriller Writers Award for best novel, was a NYT Editors Choice, and is in development for a TV series.
Something strange is taking place in the waning days of WWII. Meiko, the Japanese wife of a U.S. fighter pilot, follows a mysterious and deadly disease spreading through the Japanese internment camps. Archie Mitchell, a preacher whose wife is killed during the explosion of a fu-go, or fire balloon, is seized with confusing thoughts of revenge. Fran Gurstwold, a reporter intent on escaping from her newspaper’s “pink collar ghetto,” is determined to write up the fire balloon incidents despite the Army’s embargo. And Aiko, Meiko’s daughter, escapes from camp and makes a dangerous solo journey back to Seattle when she’s told her mother has died. It’s all tied together by a forgotten episode in Meiko’s past: a trip taken with her researcher father to a remote island reportedly linked to the Japanese underworld.
Do you write in more than one genre? I’ve been writing historical combined with supernatural or horror or fantasy for six books, but in 2021 my first spy novel, Red Widow, was published. I got the opportunity to write Red Widow because I’d had a long career in intelligence and wanted to try to write a spy thriller that was a little unlike the usual fare—and had a publisher who was willing to take the chance! Overall I’d say writing in more than one genre is a big challenge: readers who like, say, mysteries aren’t necessarily going to pick up your romance novel. Then you have the challenge of trying to market to two separate audiences—it’s tougher than it sounds.
Tell us about your writing process: Generally, I write all morning, from about 7 am until noon, when I make lunch for the family, then write again in the afternoon until I sneak in a little exercise before making dinner. I take care of business during those hours, too: promotion, talking to agents and editors. Evenings are interviews or taping panels and reading ARCs for blurbs. I’m very lucky to do this full-time, but it is a lot of work.
For the historical horror novels, it starts with a quick sprint of research that helps me find the quirky characters and odd little-known facts that will give the book its magic. Then there’s a fairly detailed outline, and I start drafting. I generally draft from beginning to end these days, no jumping around to do favorite scenes first. First drafts are terse. I’ll do a couple more drafts, smoothing prose, filling in plot gaps, finding new twists, understanding the characters better, deepening and enriching. Then it goes to the agent for a first read, and that’s when the real work begins.
How long did it take you to write your first book? My first book, The Taker, took 10 years to get to a publishable state. I’d come back to writing fiction after a long break, and it took a long time to get my sea legs back. It was like I’d been lying on the couch eating potato chips for a decade, and I decided I wanted to run a marathon.
How long to get it published? Once it got to the point where I felt fairly confident it was publishable, it went fast. But those 10 years were filled with querying, and it wasn’t ready, so a lot of rejection and trying to fix the problems without having the chops to do it, which is why it took so long.
Do your protagonists ever disappoint you? I find protagonists much harder to write than antagonists. Villains are interesting, and my villains often end up taking over the book. Anti-heroes aren’t quite the thing these days and often come off as cliché.
Do you have subplots? If so, how do you weave them into the novel’s arc? My books are ALL sub-plots. Except for Red Widow, my books are usually multiple POV, and all those sub-plots have to come together in a satisfying way by the end. It is a ton of work. I use spreadsheets to keep track of everything.
What obstacles do you face when writing about historical figures? Three of my books are historical fiction based on real-life events. The first, The Hunger, is a reimagining of the story of the Donner Party. Most of the characters are based on real people, and I learned after that, people you have to be circumspect about doing that. It can be ghoulish to some readers. If you need to drastically change a real person’s life to make it fit your story, you’re better off creating a completely fictional character. My most recent book, The Fervor, is mostly fictional characters but it’s based on two real-life incidents: the explosion that caused the only deaths on the US mainland during WWII, and the internment of people of Japanese descent.
How do our readers contact you?
Alma’s website https://www.almakatsubooks.com/
Penguin Random House page https://www.penguinrandomhouse.com/books/667268/the-fervor-by-alma-katsu/