I was inspired to write by John D. MacDonald’s Travis McGee novels. You could call it pulp, or detective fiction. Like jazz and comics, it is a uniquely American invention. Edgar Allen Poe invented the detective story with his character C. Auguste Dupin in The Murders In the Rue Morgue. Poe wrote the rules. (1) The detective story must play fair. (2) The detective story must be readable.
There are several types of detective stories including the cozy and the locked room. The cozy usually involves an eccentric British woman sitting in her drawing room drawing conclusions. Frequently, her cat solves the crime. Sometimes it involves a fat armchair detective, such as Nero Wolfe. Every Nero Wolfe story contains at least one good recipe.
The locked room mystery is self-explanatory. How did the killer get into and out of the locked room to commit the murder?
That’s not the type of fiction I write. I try to write in MacDonald’s shadow, a rueful, realistic, sometimes brutal account that stares evil in the face. No one was able to touch the pulse of evil like MacDonald. His bad guys are stunningly realistic. My goal is to grab the reader by the throat and drag him, her, or it into the narrative so forcefully they forget they are reading a book.
I do this with a combination of characterization and action. Readers want someone with whom they can identify, or as Raymond Chandler put it, “But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.”
He’s not always a nice guy. He can be a real wise ass, like Philip Marlowe or Spenser. Or he can be tightly self-contained, like Dan Simmons’ Joe Kurtz. My character, reformed motorcycle hoodlum Josh Pratt, is of the latter. When he was young, he spouted off a lot. But after a stint in prison, he’s learned humility and the value of holding his tongue.
While some of the stories involve motorcycle clubs, others delve into rock and roll. The list of rockers who ride bikes include Neal Pert, Billy Idol, Billy Duffy, Bruce Springsteen and many others. A lot of bikers work as roadies. Few other jobs allow them the freedom of their lifestyle. Thus it’s only natural that in Not Fade Away, the third Bad Road Rising novel, Josh Pratt takes a journey into the past, to discover the truth about legendary rocker Wes Magnum whose song “Marissa” has been co-opted by an insurance company. The real Marissa, the mother of his child, claims Wes gave the song to her. Josh’s journey takes him from the mansions of Bel Air to a marijuana grow op in the mountains of Colorado, and finally a confrontation with an insane, almost supernaturally deadly serial killer.
In Buffalo Hump, Josh hires on as security for a charismatic Sioux blues musician whose decision to play the opening of a new casino splits the tribe in two. Half the tribe welcomes the jobs and opportunity, while the other half decries the incursion of vice and increasing dependency. Both sides ride motorcycles.
Not Fade Away: http://a.co/d/fUx0pXm
Buffalo Hump will be released in February.