Books like The Fixer

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

In college, I studied under the former Director of the Defense Intelligence Agency, General Sam Wilson, who laid the foundation for my understanding of geopolitics and the intelligence world. Post 9/11, I began reading every book on terrorism that I could find, and my vision for conspiracies was broadened by both what I read and what I experienced in the daily news cycle. Steadily, the combination of my creative juices and research led me to write my trilogy of political spy thrillers, the Surviving the Lion’s Den series, which explores the Iranian threat to the West via a mirage of conspiratorial plots. 

I wear so many hats that if I murdered you, you wouldn’t know which one of me struck. I am a crime fiction writer, a producer, a public speaker, and an entrepreneur. I have to admit I am an accidental writer who wanted to leave a legacy behind and, ergo, wrote a book in 2010. But I found writing crime fiction so addictive I became a serial killer…err…writer. In my spare time, I read—spoiler alert!—crime fiction and binge-watch crime shows. I am an avid golfer, I love music and traveling, and I find something in the sound of water that encourages me to write and murder a few more people (fictionally, of course).

My mother’s family is descended from both Afrikaner and English South Africans, and the inherent tension between those two groups has always fascinated me. From Olive Schreiner’s The Story of an African Farm to Andre Brink’s Devil’s Valley, books that examine the reclusive, defensive, and toughened attitudes of white settlers make for the kind of discomforting reading that I find immensely compelling.

My writing often focuses on motherhood and the difficult choices mothers are asked to make every day. I search for books to help me understand the points of view of other women. What they're thinking and feeling and the revelations that shape them and change the trajectory of their lives. I decided a long time ago, that if I'm going to invest the amount of time it takes to write a novel, then I have to have a passion for it. I strive to write characters that resonate, with those who are often marginalized in society because I want to shine a light on all the facets of humanity, not just the pretty ones. 

Like a caricature, satire lets you see reality better by exaggerating it. When satire is done right, every element, from the overall plot to the characters to paragraph-level details, is there to cast an exposing light on some part of our real world. They are books that exist on many levels, expose hubris and essential misunderstandings, and generally speak truth to power. They should leave the reader reassessing core assumptions about how the world works. I’ve written a best-selling nonfiction book about machine learning in the past, and I probably could have taken that approach again, but AI and American politics are both ripe for satire.

I first became interested in the subject of my novel after reading about the prosecution and sentencing of Andrea Yates, the mother who drowned her five children in a bathtub. My curiosity led me to Dr. Spinelli’s book, and the studies and scientific information told me there was a book there. Having lived on the St. Clair River, I knew it had to be part of the story. As a retired lawyer, I had plenty of knowledge of the court system, so I decided to write the novel from the lawyer’s point of view and include her personal growth as she connects to her client in unorthodox ways.