SCOTT BUTKI’S INTERVIEW WITH ALAFAIR BURKE

You Don't Own Me (An Under Suspicion Novel) Cover ImageMary Higgins Clark and Alafair Burke have joined forces again for a new book in their Under Suspicion series, You Don’t Own Me.

Longtime mystery writer Clark has joined with younger writer Burke in this series about television producer Laurie Moron who has a television show to solve murders.

With this latest book, Laurie Moran is trying to solve a celebrity doctor’s murder while a mysterious person stalks her. The doctor’s wife, Kendra, is the one under suspicion and acting strangely. The show is her chance to explain herself… and hopefully find the real killer, if it’s not her.

I previously interviewed both writers for The Cinderella Murder, the first in the series. This time I was lucky enough to be able to interview Alafair, who was written some excellent novels on her own.

Scott Butki: How did the story for You Don’t Own Me come together? Was it an idea you had or Mary had?

Alafair Burke: We came up with every aspect of this book together.  We talked through various character and plot ideas we had been playing with individually and wove them together into a single story.

Scott: How would you describe the character, Kendra, who is initially seen as possibly being responsible for the death of her husband?

Alafair: I think Kendra Bell is one of the strongest characters that Mary and I have created together.  She put aside her own promising medical career to be a wife to her successful husband, Martin, and a mother to their two children, only to have her seemingly perfect marriage unravel and then to become the leading suspect in Martin’s murder.  She’s sympathetic and likable in many ways, but flawed enough that she might just be guilty. Without giving away the “who done it,” I’ll say that I think most readers will come away thinking she’s more complicated than first meets the eye.

Scott: How do you and Mary divide up the work on the series you are writing together? Do you write alternating chapters or one has big ideas and the other figures out the smaller details?

Alafair: Neither one of us outlines our own solo books, so we have to change things up when we work together.  What really helps is that we both find plot through character. We talk through every single character — who are they, what’s their backstory, what are their biggest fears and secrets, what’s their journey during the book?  The characters lead us to the plot. Only when we think we have it all do we begin writing, and we start with a synopsis that contains every element of the book. That’s a document we pass back and forth until we basically know the book.  One of us then sketches out a first draft, which we pass back and forth to flesh out. That’s the best I can do to explain the process, but we work together seamlessly at this point. I still have to pinch myself sometimes!

Scott: How do you divide up your work on your own novels versus these done on collaboration? For example, I’ve heard of writers listening to different music for one series versus another?  Do you avoid work on your own books when working with Mary?

Alafair: No, I don’t have any of those kinds of rituals.  Maybe it’s an old habit from lawyering, but I can work on multiple projects at once, though I certainly prefer to be doing the deep work on one while editing or tweaking another.  But the work needs to get done, and that’s the priority.

Scott: How did you and Mary go about researching this book?

Alfair: Most of it takes place in downtown Manhattan, which is my neighborhood, so I like to say that all the hours I spend walking around constitute research.  I don’t love actual research, so fortunately, this book didn’t require much. I think Mary and I are both in the habit of writing from what we know.

Scott: What do you hope readers will take away from this story and others in your series?

Alafair: I got hooked on crime fiction through long-running series characters, especially strong female characters like Kinsey Millhone (Sue Grafton), VI Warshawski (Sara Paretsky), Sharon McCone (Marcia Muller), Kat Colorado (Karen Kajewski), and Irene Kelly.  I’d like to think that Laurie Moran could hang with that crowd. She’s also surrounded by a rich supporting cast, both at home and work. A good series book is like a visit from an old friend, and I hope readers feel that way about Laurie and her gang.

Scott: Last time I talked to you, in December 2014, you were really into Serial. What crime-related programming are you currently into?

Alafair: I have been cyberstalking a few actual cases myself, but am not deeply into any true-crime programming right now.  I am counting down the days, though, for a podcast Michael Connelly is creating called Murder Book. It’s starting in January.

And though it’s not true crime, I just binged the hell out of Ozark and am about to start (finally) Killing Eve.

Scott: Looking back, was the jump from prosecutor to criminal law professor and novelist a big change or more of a natural progression?

The Better Sister: A Novel Cover ImageAlafair: It all felt normal to me, but I’m sort of a weirdo.  I’ve been both a professor and a novelist for fifteen years. It’s hard to imagine not doing both.

Scott: How long do you see this collaboration going?

Alafair: As long as readers will have us!

Scott: What are you working on next?

Alafair: My book, The Better Sister, will be out on April 16, and I’m working on the screenplay for The Wife.

 

Women’s History Month: Recommendations of Women (and Men) in Crime Fiction, From Women in Crime Fiction

-Post by Molly

March is Women’s History Month, so at the beginning of the month, I reached out to many of my favorite female authors writing in crime fiction today for some thoughts and recommendations. Jamie Mason, Meg Gardiner, Ausma Zehanat Khan, Megan Abbott, and Lori Rader-Day all sent replies along, posted earlier this month (Mason’s response posted separately), and now we bring you some of their amazing recommendations. Not all the authors listed below are currently in print (although some soon return to print), and this is certainly not an exhaustive list of all the best crime writers today (a virtually impossible task). I’ve added quite a few of the following to my “to read” list. Enjoy!


monday's lieJamie Mason Recommends…

Classic Authors:

  • Josephine Tey
  • Dorothy Sayers
  • Daphne du Maurier
  • Patricia Highsmith
  • Agatha Christie

Second Wave Authors:

  • Ruth Rendell
  • PD James
  • Patricia Cornwell
  • Mary Higgins Clark
  • Sue Grafton
  • Kathy Reichs

Contemporary Authors:

  • Gillian Flynn
  • Tana French
  • Laura Lippman
  • Megan Abbott
  • Tess Gerritsen
  • Kate Atkinson
  • Lisa Lutz
  • Mo Hayder
  • Sara Paretsky

phantom instinct

Meg Gardiner Recommends…

Classic Authors:

  • Agatha Christie
  • Mary Shelley (as innovator of suspense fiction)
  • Patricia Highsmith

the unquiet deadAusma Zehanat Khan Recommends…

Classic Authors:

  • Ngaio Marsh
  • Dorothy L. Sayers (and the Jill Paton Walsh continuation of the Wimsey/Vane series)

Contemporary Authors:

  • Deborah Crombie
  • Imogen Robertson
  • Charles Finch
  • Charles Todd
  • Alan Bradley
  • Louise Penny
  • Susan Hill
  • Ariana Franklin
  • Anna Dean
  • Martha Grimes
  • Morag Joss
  • C. S. Harris
  • Stephanie Barron
  • Laurie R. King
  • Laura Joh Rowland
  • Elizabeth George
  • Peter May (in particular, The Blackhouse)
  • the late, great Reginald Hill

feverMegan Abbott Recommends…

The following books are soon to appear in the Library of America’s collection Women Crime Writers: Eight Suspense Novels of the 1940s & 50s, edited by Sarah Weinman

  • Dorothy B. Hughes’s In A Lonely Place
  • Vera Caspary’s Laura
  • Elizabeth Sanxay Holding’s The Blank Wall
  • Margaret Millar’s Beast In View

the black hourLori Rader-Day Recommends…

Classic Authors:

  • Lois Duncan
  • Agatha Christie
  • Mary Higgins Clark

Contemporary Authors:

  • Tana French
  • Catriona McPherson
  • Denise Mina
  • Clare O’Donohue
  • Sara Gran
  • Gillian Flynn
  • Alan Bradley
  • James Ziskin

No Boys Here: Women and Crime Fiction, Guest Post by Jamie Mason

I reached out to several of my favorite female crime novelists at the beginning of March, hoping to get a few thoughts on the work of female authors in the detective genre and the representation of female characters. I was extremely gratified to get immediate responses from several wonderful authors. Check back on Thursday for some additional thoughts, and to (belatedly) kick off MysteryPeople’s March ode to women in crime fiction, I bring you a guest post from a recent visitor to the store.

Jamie Mason is the author of Three Graves Full and Monday’s Lie, and writes intense and atmospheric detective novels brimming with psychological insights. She stopped by the store in February for a signing – you can find signed copies of her latest on our shelves and via bookpeople.com – and I was privileged to review her latest novel for the blog. MysteryPeople also got a chance to interview her about her debut novel.

– Molly


– Post by Jamie Mason

I came into my reading life, or more specifically into my interest in crime fiction, when the idea of crime fiction as the province of male authors was nearing its end. Of course, there were plenty of female authors in the foundations: Josephine Tey and Dorothy Sayers and Daphne du Maurier and Patricia Highsmith and Agatha Christie, just to list a few. There has always been Agatha Christie.

There have always been women crime writers, but by the time my own my reading turned to crime as one of its staple foods in the early nineteen-nineties, finding female crime novelists wasn’t much of a thought for me. The wave of Ruth Rendell and PD James, Patricia Cornwell, Mary Higgins Clark, Sue Grafton, and Kathy Reichs was the one I rode out, never wondering if the Captains wore skirts. And isn’t that nice?

I read both men and women crime writers (in fact, I read both male and female writers across any number of genres) but if I take a longer view, you can see the rise of women crime writers over these last three decades. If you regard To Kill A Mockingbird as crime fiction, you can say that the very best in crime writing is floated on the kite strings of double x chromosomes. There are plenty of examples.

“The very best in crime writing is floated on the kite strings of double x chromosomes…”

But I think one of the best things about crime fiction, especially now, is the egalitarian feel of the results. Good crime fiction is good crime fiction. And there’s so much good crime fiction out there just now. Men buy Gillian Flynn and Laura Lippman (as well they should.) Tana French’s readers come in all plumbing. Megan Abbott is brilliant. So are Tess Gerritsen, Kate Atkinson, Lisa Lutz, Mo Hayder, and Sara Paretsky. And these are only the names that come quickly to me. We are Legion.

It’s still important now, for the time being, that we make a point of women in crime fiction, a point of women in very many  slots and chutes of achievement, really. But I have hopes that the horizon where gender is no longer an important distinction is a little closer in the crime writing world than it is elsewhere.  The future of crime fiction might very well be a small-but-illustrative map of a place where we won’t need initials or neutral pseudonyms to play coy with our genders – a place where good work speaks for itself.