Books like Dancers in Mourning — picked by fans

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

Puzzles intrigued me since I was a three-year-old. Puzzle pieces that fit into pre-sized spaces. Then, disassembling and reassembling small 3-D animal shapes. Crosswords were next. Finally, Nancy Drew entered my life. I was addicted. Sherlock and Agatha became my mentors. But I loved to paint as well, so art was my first major at Michigan State University. Changed it to advertising in my senior year. Shortly after, Leo Burnett hired me to write print and radio media for Buster Brown shoes. Television was next. I solved many advertising puzzles at Foote, Cone & Belding, but after retiring, mystery re-entered my life when I wrote my first book.

I’d always known about the Lady of the Dunes. I’d read about how she was found in the dunes of Provincetown, Massachusetts, on July 26, 1974. I didn’t know about the tens of thousands of other unidentified victims like her, stowed around the US in the back rooms of morgues and unmarked graves. As a journalist who has always given a voice to those who struggle to be heard, I feel compelled to research and write about these Jane and John Does and the people who work to keep their cases in the public eye. I share a unique bond with writers who do the same.

Even though I’m an engineer and accountant by education, I love to write and growing up, I read many historical fiction and murder mysteries. History spanning from the Victorian Era until the mid-twentieth century has always fascinated me, and I’ve studied various events from that period. Therefore, I wrote A Bloody Hot Summer, a crime novel using some historical events as a background. The interwar years were the heyday of crime fiction, and that is why I set my novel during that period. While researching, I get to expand my knowledge regarding history, culture, art, language, and values of those times, which I add to the novel.

Having taken up the brush myself, I can attest to some sort of mystical, out-of-body experience that sometimes surfaces as an artist creates. Emotions and senses become directly connected to one’s hands, releasing the unconscious, allowing the artist to bring something to life that was buried deep inside. My favorite class in art school was Aesthetics, which explored the philosophy of art – what possessed the artist to paint – and what passions and beliefs were behind some of the art movements, including Surrealism, Dadaism, and Futurism. Books that delve into the craft and passion behind great works of art are my favorite reads.

As a screenwriter I’ve always enjoyed noir stories, whether books or movies. Stories where the characters are not your squeaky-clean “good guys.” I like to see “ordinary” people; people who are flawed (like all of us), or maybe with a shady past, who are swayed or manipulated by dire circumstances into doing something they would not ordinarily do. I enjoy stories with unique, interesting characters that are not your run-of-the-mill private eyes, and whose moral compass might be a bit off. I particularly like stories where characters are forced to become investigators because of a situation they are thrust into, whether by accident or by their own dubious actions. 

The North of England is home. I was born here, I work here and it’s where I will see out my days. It’s a place with its own character, a place largely forged on hard industrial work and one trying to find a new purpose after decades of financial neglect. My home city of Hull captures this in miniature as we’ve shared a journey over the last decade via my novels from 'UK Crap Town of the Year’ to ‘UK City of Culture.’ Tied in with my background in studying Social Policy and Criminology, I’ll continue to map the city and the region’s trials and tribulations.