I had a great time on tonight being interviewed by author Paul Levine on his podcast PULP FRICTION. You can hear it here:
Books
The New, Unimproved Monk
It wasn’t easy for me to walk away from writing the Monk books. After 15 novels over seven years, I’d become very attached to the characters. Monk, Natalie and the rest of the gang were always on my mind because I was always writing the books. But I decided it was time for a change (little did I know I’d soon be writing THE HEIST with Janet Evanovich!) And when I let my publisher know I was leaving, they told me they’d like to continue the series without me. They asked if I could recommend someone to pick up where I left off. I strongly recommended my friend Hy Conrad, a writer-producer on MONK and a terrific mystery plotter. He already knew the characters inside-and-out and had written some of the most beloved episodes of the TV series. I knew the characters would be in very good hands with him, no matter what direction he decided to take the books. And that, of course, was the first, fundamental issue he had to deal with, as he explains in this guest post…
When it was announced I was taking over these novels, Monk fans started contacting me in droves, all asking the same question. Was I going to reboot the series, like a Batman or Spider-Man franchise, or just pick up where Lee Goldberg left off?
To be honest, I never thought of rebooting. To me, the Monk characters are real. On the show, the other writers and I took Monk and Natalie to a certain place in their lives. Meanwhile, in a parallel universe, Lee continued to expand them, smoothing out little bumps and creating new ones. I didn’t want to mess with that reality.
In the new books, some things will naturally be different, because Lee and I are naturally different. For example, his Natalie knows a lot about architecture. Mine, not so much. His Monk is more obsessed with numbers and symmetry. Mine is a little more phobic. I tried to insert some pop references into Natalie’s voice. But the show never did many pop references and it doesn’t come naturally to me.
In many ways, Lee strengthened the Monk franchise. For one thing, he knows San Francisco and the wonderful character of the town. We wrote the show in Summit, New Jersey, and, while we did have a San Francisco map, it was pinned on the far wall and no one wandered over there very often. I’ll try to do improve on our atmospheric quality, I promise.
The same goes for forensics accuracy. Lee had called on a cadre of experts to make sure his details were right. Despite our own police consultant, the Monk writers tried not to burden ourselves with too many facts. At one point, the production team called to tell us our formula for bomb making was ridiculous. We replied, “Do you really want us broadcasting how to make a bomb?” That shut them up.
The good news is that we were sticklers for logic. We may not have known bomb making, but we insisted that the logic of every story always worked. For example, when Monk was in a life-threatening predicament in Act Four, which he usually was, we knew we had to send Stottlemeyer in there to save the day. In a lot of TV shows, the writers never ask, “Well, how did Stottlemeyer know Monk was in trouble?” We did. And sometimes it would take us a full day to answer the question.
The other good news is that I was with the show from beginning to end, for all eight years. I was the mystery guy, while everyone else had come from the world of comedy. Along the way, I think I had some influence on the way Monk talked and interacted. In other words, he wound up a little bit like me, which makes writing for him a pleasure.
When I first told Monk creator/executive producer Andy Breckman that I was doing this, his response was, “Great. You can use some of the Monk stories we never got to do.”
Mr. Monk Helps Himself is one of those stories. I brought it into the writers’ room during season six. We played around with the idea until it morphed into something totally different—Mr. Monk Joins a Cult, guest-starring Howie Mandel. That’s how it happens in a roomful of writers. There are dozens of great plots, half thought through, buzzing around in our collective memory.
I have to admit it’s nice to finally have the last word in what mysteries Monk solves and how he reacts. I’ll try not to abuse the power.

Happy Endings Can Be Hell
And they lived happily ever after…
That may be a satisfying, romantic ending for a book…but it can be living hell for an author who wants to write a sequel, as New York Times and USA Today bestselling author Jenna Bennett (aka Jennie Bentley) explains in this guest post. She writes the “Do It Yourself” home renovation mysteries for Berkley Prime Crime and the “Cutthroat Business” mysteries for her own gratification. Her most recent book is the just-released Change of Heart, book six in the “Cutthroat Business” series.
Once upon a time, I wrote a five book series of romantic mysteries.
More accurately, I wrote a very long romance novel in five parts, with a dash of mystery thrown in for good measure.
It had all the usual things you usually find in a novel: three high points of escalating stakes, a dark moment towards the end, and a climax and resolution.
The only difference was that each of my high points was its own book, the dark moment was a separate book, and the climax and resolution was yet another book.
And then I stopped, and started working on other things. The hero and heroine were together, after all. The story was over.
A couple of months went by, and people started asking when the next book was coming. I had to tell them that there would be no more books. There was nothing more to say.
“Oh, but…”
After I heard that enough times, I realized two things.
One was that although the hero and heroine were together, the story wasn’t necessarily over. When the fairytale ends, it doesn’t mean that nothing more happens. Life goes on. Life went on for my characters, too. I didn’t kill them, after all.
The other thing I realized—and call me mercenary—was that people wanted to read more about those characters. Like in the movie: if I wrote another book, they would come.
It was a no-brainer, really. We all want devoted readers, right? My readers were devoted enough to ask for more books. So why not come up with another story arc and write another few books? And make everyone happy. What could it hurt, after all?
Famous last words.
Come to find out, there’s a reason the fairytale ends with ‘and they lived happily ever after.’
It’s the same reason why, in romance novels, the book is over when the relationship is settled.
Happy, domestic, everyday relationships are damned hard to write.
Or maybe I should say that they’re damned hard to make interesting.
Who wants to read a book with no conflict, after all? No romantic tension? No stakes? Just page after page of cooking dinner and taking out the trash and going to sleep together and waking up together.
Even the sex becomes boring.
So the new book became about tossing wrenches into the works. I’d played the jealousy card before, but I played it again. I came up with a secret one party couldn’t tell the other. I threw in some extended family unhappiness about the relationship. I made sure that one party’s efforts to show the other party the beauties of domestic life had the opposite effect.
I did my level best to make trouble in paradise. And then I crossed my fingers and threw the book out there, holding my breath to see whether I’d succeeded.
It’s been a couple of weeks, and so far things look promising. The consensus seems to be that the series didn’t hit bottom once the hero and heroine were in a settled relationship. In fact, some people even said it was their favorite book in the series so far.
Of course, it’s early days yet. And I do have a few more books to write. And you can only play the jealousy card so many times before it becomes old hat.
But it turns out the story isn’t actually over when the curtain comes down. Life goes on behind the curtain. And the prince and princess don’t always live happily ever after. At least not every moment.
It’s more like they live mostly happily, with a little tension and a few arguments and some excellent makeup-sex, ever after.
And that isn’t so bad either.
Fifteen Minutes to Live
You don’t get many do-overs in life, but my good friend Phoef Sutton, the insanely talented, Emmy-award winning writer, got the chance with his new novel Fifteen Minutes to Live. And it’s fitting, since the book is also about revisiting the past. But I don’t want to spoil the story, so I’ll let Phoef tell it…
I started writing as teen-ager. Short stories. I still have hundreds of rejection slips from PLAYBOY and ALFRED HITCHCOCK’S MYSTERY MAGAZINE and ELLERY QUEEN. I took each one as a badge of honor. I knew that one day I’d get accepted…
Well, that day never came. I started writing plays in college because I knew I could put them on – they’d have that much life anyway. This proved an invaluable experience for what came to be my chosen profession. Writing stuff that makes people laugh.
I loved TV as a kid. Who doesn’t? I can still recite episodes of the DICK VAN DYKE SHOW and GET SMART by heart. But I never thought my career would go in that direction. I always wanted to write horror stories and thrillers. Richard Matheson was my idol. And Cornell Woolrich and Robert Bloch. I knew who Carl Reiner and Jim Brooks and David Lloyd were, of course. But I never saw myself following in their footsteps.
But fate had plans for me. I ended up writing for CHEERS, sitting next to David Lloyd and learning from the masters. I guess writing for what TV Guide just named one of the best written shows in TV history is something to be proud of. But I still had that nagging desire to see my name in print.
When I read Oliver Sacks’ THE MAN WHO MISTOOK HIS WIFE FOR A HAT and started putting myself in the place of its oddly brain damaged heroes I knew I had a way in to that novel I always wanted it write. It just flowed out of me, unbidden, like a dream.
Writing in complete sentences after a career of writing stage directions was not so easy. But the joy of being able to get inside characters’ heads and tell what they’re thinking and feeling was heaven.
So I wrote FIFTEEN MINUTES TO LIVE, then called ALWAYS SIX O’CLOCK. Imagined that, in the book world, the writer was king and what he says is Gospel. I didn’t know about editors and notes. I made the mistake of selling it to a publisher who wanted to turn it from a noir-ish, Cornell Woolrich-style nightmare into a straight romance. And I agreed. The end result pleased nobody and sank without a trace.
With the advent of electronic publishing, I now have the chance to present the book as I originally intended. People seem to be responding to it the way I hoped they would years ago. It’s very gratifying. Almost like getting one of my stories accepted by ELLERY QUEEN would have been to my high-school self!
The Story Behind THE DEAD MAN #18: STREETS OF BLOOD
Author Barry Napier was the winner of the “You Can Write a DEAD MAN Novel” contest last year….and his book, THE DEAD MAN #18: STREETS OF BLOOD, has just been published by Amazon/47North. I’ve invited Barry to talk about his experience writing the book:
I won Amazon’s You Can Write a Dead Man Novel contest last year. The months between October – January were spent writing and editing it. If I’m being honest, I learned a lot from writing it, some of which I think most writers can either relate to or need to know.
First, Lee Goldberg and William Rabkin were very kind about pointing out a few of my flaws…flaws that have plagued me since writing my first short story at the age of 14. Among them…I’m too wordy. I tend to wax poetic when it’s not called for. I try to create back story that serves as a story in and of itself (this one, I will argue to my last breath, is often necessary and pivotal for longer works). When I try to write about someone collecting information or being smacked by insight, I tend to come off as too passive.
The great thing is that I have had these things pointed out by editors in the past. But with The Dead Man #18: Streets of Blood, these things were not only pointed out, but highlighted with blood and gore. Writing this book was perhaps my biggest lesson in reigning myself in when I wanted to get too wordy or experimental when it wasn’t called for.
This book was equally odd to write because of its content. It’s one of the bloodier things I have written in a while. When you consider the fact that I was writing a faith-based suspense novel at the same time, it was a very challenging and eye-opening few months.
So, while researching parts of scripture for the faith-based novel, I was also having to research old morbid nursery rhymes for my Dead Man book.
I’m not going to lie…it was sort of fun.
So again, a big thanks to Lee Goldberg for helping me through the process. It was an intensive course in writing short novels while helping me to further cripple some of the mistakes that I still wrestle with in my writing.
The Heist Commercial and Trailers
Random House is going all-out promoting THE HEIST, the novel I wrote with Janet Evanovich. They’ve produced three trailers and a slick national TV commercial for the June 18th roll-out. I’ve never had that kind of promotional support before and it’s very exciting. I think they’ve done a good job selling the “franchise” and tone of the book in just a few seconds. I’ll have the commercial and trailers posted on the site soon…but in the mean time, here are links to them on YouTube. Let me know what you think!
NATIONAL TV SPOT: The Con is On!
TRAILER #1 – Meet Nick Fox and Kate O’Hare from THE HEIST
TRAILER #2: Meet FBI Agent Kate O’Hare from THE HEIST
TRAILER #3: Meet Con man Nick Fox from THE HEIST
Spenser is Back

With WONDERLAND, Ace Atkins flawlessly captures Parker’s narrative voice and has written the best Spenser novel in his years. It reads like Parker in his prime, and even without Hawk appearing in the book. There isn’t a single false note in the plotting, character, pacing or prose. It’s an astonishing feat, it’s like he’s channeling Parker from the great beyond. It’s actually better, and truer to Parker and his characters, than the last few Spenser novels that Parker himself wrote. It’s a shame Atkins can’t take on Jesse Stone and Virgil Cole, too.
Three Books You’ve Got to Have…
…and they are all THE HEIST by Janet Evanovich and yours truly.
There are three different hardcover editions of the book coming June 18th…but all of them are available for pre-order now.
There’s the standard edition of THE HEIST, which contains stickers and, I believe, a chapter from the 20th Stephanie Plum novel.
There’s the Barnes & Noble Exclusive Edition, which also contains the never-before-published prequel novella THE CAPER.
And there’s the Signed Collector’s Edition, which is the same as the standard edition, except that it’s hand-signed by Janet and me on a special pre-title page… it will be available at Target and some independent mystery bookstores.
Come See Us on Tour
Janet Evanovich and I will be going on a book tour on June 18, starting with some media interviews in NY and then hitting Westlake, Ohio with our first booksigning that night. We’ll be in Dallas on June 19, Houston the next day, then finishing up in Atlanta on June 21st. The complete schedule is below.
But if you can’t see us in one of those cities, don’t despair…signed copies of THE HEIST will be available at some select retailers. I’ll let you know as soon as I have a list.
Westlake Ohio, June 18
Barnes & Noble – 6 PM
Signing with Janet & Lee
198 Crocker Park Blvd.
Westlake, OH
Dallas, Texas – June 19
Barnes & Noble – 6 PM
Signing with Janet & Lee
7700 West Northwest Hwy., Ste. 300
Dallas, TX
Houston, Texas – June 20
*TICKETS REQUIRED*
Murder by the Book presents a Q&A with Janet and Lee – 7 PM
The Renaissance Houston
Greenway Plaza Hotel
6 Greenway Plaza East
Houston, TX
Event is in the Greenway Ballroom
*Murder by the Book really wanted to have a special evening for their customers. The $35 ticket includes a seat for the Q&A, a pre-signed copy of The Heist and hotel parking.
Companion seat tickets are $8 (if a companion comes separate from the main ticket holder, please see a Murder by the Book employee to have parking validated.) Murder by the Book will have books for sale at the event, but you are welcome to bring books from home to be signed.
Purchase tickets in-person, starting on May 9, at…
* Murder by the Book, 2342 Bissonnet Street
* Over the phone (713-524-8597)
* Online at murderbooks.com.
Atlanta, Georgia – June 21
Barnes & Noble – 6 PM
Signing with Janet & Lee
1217 Caroline St. at Moreland Ave.
Atlanta, GA
Free Signed Book Plates for THE HEIST
I signed thousands of these book plates this weekend…and I suspect I will be signing a lot more! To get your free, signed bookplate for The Heist send a self addressed and stamped envelope (regular business size is fine) to:
Evanovich Heist Plate
PO Box 2829
Naples, FL 34106